On 18/11/12 3:55 PM, Hooman Mehr wrote:
> What I am trying to say is that proper full justification of text in
> Arabic script is very complex and sometimes involves more art than
> algorithm and science, and is affected by personal or regional taste.
And by the nature of the text. The use of kashida in poetry, for
example, differs in manuscripts from its use in prose. [It needs to be
said, however, that in general the use of kashida for justification in
manuscripts is *much* less common than most typography would lead one to
think: in typography it has tended, especially on computers, to be
treated as the primary means of text justification, whereas a scribe has
a whole range of variations at his disposal that render the use of
kashida relatively infrequent.]
It should also be noted that the rules for kashida insertion are to an
extent style-specific. While there are some rules that are common to all
styles, there are some differences between e.g. naskh and nastaliq, and
these are poorly documented (the rules for less common styles even more so).
There are also contextual implications of kashida for the shape of some
following letters, e.g. mim, and this -- along with other aspects of
kashida shaping such as elongated variant glyphs, curved kashidas with
<curs> attachment positioning -- require at least some OpenType or other
smart font layout to be applied *after* kashida justification has taken
place. At present, to my knowledge, no layout engine does this, which
means that unless a font has a flat baseline stroke with a simple flat
kashida glyph, such justification will always break the text.
JH
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