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Qt Square Kufic Font Free Download
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Rosy Demorest
Dec 28, 2023, 4:07:41 PM12/28/23
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The main characteristic of the Kufic script "appears to be the transformation of the ancient cuneiform script into the Arabic letters", according to Enis Timuçin Tan.[13] Moreover, it was characterized by figural letters that were shaped in a way to be nicely written on parchment, building and decorative objects like lusterware and coins.[14] Kufic script is composed of geometrical forms like straight lines and angles along with verticals and horizontals.[15] Originally, Kufic did not have what is known as a differentiated consonant, which means, for example, that the letters "t", "b", and "th" were not distinguished by diacritical marks and looked the same.[15] However, it is still used in Islamic countries. In later Kufic Qurans of the ninth and early tenth century, "the sura headings were more often designed with the sura title as the main feature, often written in gold, with a palmette extending into the margin", comments Marcus Fraser.[16] Its use in transcribing manuscripts has been important in the development of Kufic Script. Earlier kufic was written on manuscripts with precision which contributed to its development. For instance, "the precision achieved in practice is all more remarkable because Kufic manuscripts were not ruled", says Alain George.[17] Moreover, he explains that Kufic manuscripts were laid out with a stable number of lines per page, and these were strictly parallel and equidistant.[17] One impressive example of an early Quran manuscript, known as the Blue Quran, features gold Kufic script on parchment dyed with indigo. It is commonly attributed to the early Fatimid or Abbasid court. The main text of this Quran is written in gold ink, thus the effect on looking at the manuscript is of gold on blue. According to Marcus Fraser, "the political and artistic sophistication and financial expense of the production of the Blue Quran could only have been contemplated and achieved by a ruler of considerable power and wealth".[16]
The Kufic script is inscribed on textiles, coins, lusterware, building and so on.[18] Coins were very important in the development of the Kufic script. In fact, "the letter strokes on coins, had become perfectly straight, with curves tending toward geometrical circularity by 86", observes Alain George.[19] As an example, Kufic is commonly seen on Seljuk coins and monuments and on early Ottoman coins. Its decorative character led to its use as a decorative element in several public and domestic buildings constructed prior to the Republican period in Turkey. Also, the current flag of Iraq (2008) also includes a kufic rendition of the takbir.
qt square kufic font free download
DOWNLOAD https://t.co/wv3l8JEWYq
Similarly, the flag of Iran (1980) has the takbir written in white square kufic script a total of 22 times on the fringe of both the green and red bands. Kufic inscriptions were important in the emergence of textiles too, often functioning as decoration in the form of tiraz bands. According to Maryam Ekhtiar, "tiraz inscriptions were written in Kufic or floriated Kufic script, and later, in naskhi or throughout the islamic world".[20] Those inscriptions include the name of God or the ruler. As an example, the inscription inside the Dome of the Rock is written in Kufic. Throughout the text, we can notice the calligraphic line created by the reed pen which is usually a steady stroke with various thicknesses based on the changes in direction of the movement that has created it.[21] Square or geometric Kufic is a very simplified rectangular style widely used for tiling. In Iran sometimes entire buildings are covered with tiles spelling sacred names like those of God, Muhammad and Ali in square Kufic, a technique known as banna'i.[22] Moreover, there is "Pseudo-Kufic", also "Kufesque", which refers to imitations of the Kufic script, made in a non-Arabic context, during the Middle Ages or the Renaissance: "Imitations of Arabic in European art are often described as pseudo-Kufic, borrowing the term for an Arabic script that emphasizes straight and angular strokes, and is most commonly used in Islamic architectural decoration".[23]
The normal writing format using pixelated Arabic font. The overall shape is not limited by any shape or boundary. Although this configuration is straight forward, it is not used for most Square Kufic-related work, due to its less aesthetic appearance relative to the other configurations.
While the name suggests a radial or circular form, they are usually presented in a square or rectangular shape. The 1 pixel space applies between the letters here as well. The major differences between a linear and a spiral Square Kufic calligraphy are
The beautiful Kufic art style is used in Kufication. It's a Kufic Arabic font that adapts the Latin alphabet to work within the boundaries of the traditional art. You can read more about the Kufication Arabic square font and other Arabic calligraphy styles after this tutorial.
Square Kufic has only one strict rule: absolute evenness of full and empty spaces. We can observe this in the following classic design for the word Allah, where the initial Alif is placed horizontally over the rest of the word (a liberty typical of SK) so that the overall shape is a square.
In a Square Kufic art text, each word can face in a different direction. Every horizontal and vertical in the grid is a potential baseline. Not only this, but the direction can change mid-word, as seen here in a rendering of "Allahu akbar": after the Kâf in أكبر, the connecting line rotates 90º and continues upward, so that the last two letters are on a baseline that's perpendicular to the original. This effectively fits the sentence into a square (a desirable shape both because it looks complete, and because it can then be used as a tiling unit). In fact, this change of direction can even take place mid-letter, for the more elaborate letters such as Sâd or Sîn.
Rectangles can also be tiled, but it's not so simple to create a finite pattern with them. If the rectangle's ratio is random, all we can really do is repeat it in one direction, for instance as a cornice, or rotate it and assemble it as shown below right, to create a square composition. Bear in mind that the longer (or narrower) the rectangle, the bigger the space left in the centre. Unless you intend to create a design in that space, you really want it to be as small as possible.
Rectangles with a regular ratio (1:2, 1:3, 1:4 etc) are preferable to work with, because they can be assembled into squares, which can then be rotated and so on more freely. For instance, here's a complex composition made possible (and simple) by a 1:2 rectangle.
The downloadable Exercise folder that accompanies this course contains a square grid template for you to print out and work on. You will also find there a triangular grid and different angles of skewed grids, because the principles of Square Kufic can be applied on any grid, including bent ones!
In the design below, the direction of the grid is different in each of the arms of the star, resulting in an optical illusion: we see a folding effect. A similar feel can be achieved by combining a skewed with a square grid.
This is slightly different, as this grid requires three sets of lines, set at 60º to each other (the unit is an equilateral triangle). Rather than squares and rectangles, this grid frames compositions in triangles and hexagons. You can see the grid behind the following design (and note in passing the central name, Ali, which is repeated six times in both white and red!)
There is no end to the grids that can be created, once we start feeling comfortable with the logic of SK. The design below, for instance, seamlessly morphs from a square to a concentric grid. There is no set method to it: the calligrapher drew concentric circles based on the square grid (looking at the vertical and horizontal white lines, we can see how the distance between the circles is equal to a square unit), and used visual judgment to estimate when the straight lines could begin to follow the curves instead. The transition is subtle and the overall effect surprisingly successful.
The very first thing I do is write the word or sentence in square characters, without trying to solve anything, just to see what I'm working with. Since the word قاف occurs twice, I tried writing it two different ways. I'm unsure at this point whether I'll use the dots or not.
After some moving around and modification of letters, I manage to form a block around the Qâf. The remaining blank space can be filled by its two dots, which I had originally omitted. But this shape is not a square, nor a good rectangle.
... but I decide to leave it out. The longer the rectangle, the bigger the central space when it's rotated to create a square, so leaving that word out to have a shorter rectangle makes for a tighter final composition.
Now I bring back, in a different way, my idea of having Qâf, the subject of the poem, at the centre. This central space is an entity of its own and could contain anything, even an image or a different calligraphy style. Here I'm going to stick to SK, but I am free with the scale, so I can create a design and then scale it up to fill the space. Only the space is square, so once again I'm looking for a square-fitting design. While the Qâf on the left is neat and a perfect square, I very much want to include the dots, so I'm going to go with the one on the right...
There's no doubt that Kufic art is a joy to look at and create. But if you want an Arabic-looking font for your projects when you're short on time, then head to Envato Elements. There you'll find some of the best fonts with Arabic calligraphy styles that you can download and use now.
Khodijah takes strong cues from Arabic calligraphy styles in its design. The elegant look of the type was created by a digital flat pen and through using gothic typography techniques. It all results in a classy Arabic style font download that can be used for posters, book covers, and more.
35fe9a5643
The Kufic script is inscribed on textiles, coins, lusterware, building and so on.[18] Coins were very important in the development of the Kufic script. In fact, "the letter strokes on coins, had become perfectly straight, with curves tending toward geometrical circularity by 86", observes Alain George.[19] As an example, Kufic is commonly seen on Seljuk coins and monuments and on early Ottoman coins. Its decorative character led to its use as a decorative element in several public and domestic buildings constructed prior to the Republican period in Turkey. Also, the current flag of Iraq (2008) also includes a kufic rendition of the takbir.
qt square kufic font free download
DOWNLOAD https://t.co/wv3l8JEWYq
Similarly, the flag of Iran (1980) has the takbir written in white square kufic script a total of 22 times on the fringe of both the green and red bands. Kufic inscriptions were important in the emergence of textiles too, often functioning as decoration in the form of tiraz bands. According to Maryam Ekhtiar, "tiraz inscriptions were written in Kufic or floriated Kufic script, and later, in naskhi or throughout the islamic world".[20] Those inscriptions include the name of God or the ruler. As an example, the inscription inside the Dome of the Rock is written in Kufic. Throughout the text, we can notice the calligraphic line created by the reed pen which is usually a steady stroke with various thicknesses based on the changes in direction of the movement that has created it.[21] Square or geometric Kufic is a very simplified rectangular style widely used for tiling. In Iran sometimes entire buildings are covered with tiles spelling sacred names like those of God, Muhammad and Ali in square Kufic, a technique known as banna'i.[22] Moreover, there is "Pseudo-Kufic", also "Kufesque", which refers to imitations of the Kufic script, made in a non-Arabic context, during the Middle Ages or the Renaissance: "Imitations of Arabic in European art are often described as pseudo-Kufic, borrowing the term for an Arabic script that emphasizes straight and angular strokes, and is most commonly used in Islamic architectural decoration".[23]
The normal writing format using pixelated Arabic font. The overall shape is not limited by any shape or boundary. Although this configuration is straight forward, it is not used for most Square Kufic-related work, due to its less aesthetic appearance relative to the other configurations.
While the name suggests a radial or circular form, they are usually presented in a square or rectangular shape. The 1 pixel space applies between the letters here as well. The major differences between a linear and a spiral Square Kufic calligraphy are
The beautiful Kufic art style is used in Kufication. It's a Kufic Arabic font that adapts the Latin alphabet to work within the boundaries of the traditional art. You can read more about the Kufication Arabic square font and other Arabic calligraphy styles after this tutorial.
Square Kufic has only one strict rule: absolute evenness of full and empty spaces. We can observe this in the following classic design for the word Allah, where the initial Alif is placed horizontally over the rest of the word (a liberty typical of SK) so that the overall shape is a square.
In a Square Kufic art text, each word can face in a different direction. Every horizontal and vertical in the grid is a potential baseline. Not only this, but the direction can change mid-word, as seen here in a rendering of "Allahu akbar": after the Kâf in أكبر, the connecting line rotates 90º and continues upward, so that the last two letters are on a baseline that's perpendicular to the original. This effectively fits the sentence into a square (a desirable shape both because it looks complete, and because it can then be used as a tiling unit). In fact, this change of direction can even take place mid-letter, for the more elaborate letters such as Sâd or Sîn.
Rectangles can also be tiled, but it's not so simple to create a finite pattern with them. If the rectangle's ratio is random, all we can really do is repeat it in one direction, for instance as a cornice, or rotate it and assemble it as shown below right, to create a square composition. Bear in mind that the longer (or narrower) the rectangle, the bigger the space left in the centre. Unless you intend to create a design in that space, you really want it to be as small as possible.
Rectangles with a regular ratio (1:2, 1:3, 1:4 etc) are preferable to work with, because they can be assembled into squares, which can then be rotated and so on more freely. For instance, here's a complex composition made possible (and simple) by a 1:2 rectangle.
The downloadable Exercise folder that accompanies this course contains a square grid template for you to print out and work on. You will also find there a triangular grid and different angles of skewed grids, because the principles of Square Kufic can be applied on any grid, including bent ones!
In the design below, the direction of the grid is different in each of the arms of the star, resulting in an optical illusion: we see a folding effect. A similar feel can be achieved by combining a skewed with a square grid.
This is slightly different, as this grid requires three sets of lines, set at 60º to each other (the unit is an equilateral triangle). Rather than squares and rectangles, this grid frames compositions in triangles and hexagons. You can see the grid behind the following design (and note in passing the central name, Ali, which is repeated six times in both white and red!)
There is no end to the grids that can be created, once we start feeling comfortable with the logic of SK. The design below, for instance, seamlessly morphs from a square to a concentric grid. There is no set method to it: the calligrapher drew concentric circles based on the square grid (looking at the vertical and horizontal white lines, we can see how the distance between the circles is equal to a square unit), and used visual judgment to estimate when the straight lines could begin to follow the curves instead. The transition is subtle and the overall effect surprisingly successful.
The very first thing I do is write the word or sentence in square characters, without trying to solve anything, just to see what I'm working with. Since the word قاف occurs twice, I tried writing it two different ways. I'm unsure at this point whether I'll use the dots or not.
After some moving around and modification of letters, I manage to form a block around the Qâf. The remaining blank space can be filled by its two dots, which I had originally omitted. But this shape is not a square, nor a good rectangle.
... but I decide to leave it out. The longer the rectangle, the bigger the central space when it's rotated to create a square, so leaving that word out to have a shorter rectangle makes for a tighter final composition.
Now I bring back, in a different way, my idea of having Qâf, the subject of the poem, at the centre. This central space is an entity of its own and could contain anything, even an image or a different calligraphy style. Here I'm going to stick to SK, but I am free with the scale, so I can create a design and then scale it up to fill the space. Only the space is square, so once again I'm looking for a square-fitting design. While the Qâf on the left is neat and a perfect square, I very much want to include the dots, so I'm going to go with the one on the right...
There's no doubt that Kufic art is a joy to look at and create. But if you want an Arabic-looking font for your projects when you're short on time, then head to Envato Elements. There you'll find some of the best fonts with Arabic calligraphy styles that you can download and use now.
Khodijah takes strong cues from Arabic calligraphy styles in its design. The elegant look of the type was created by a digital flat pen and through using gothic typography techniques. It all results in a classy Arabic style font download that can be used for posters, book covers, and more.
35fe9a5643
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