Vip Arabic Typo

[Marquez Feliciano]

Zero Posters is an experimental project from Jordan-based Designers and Tariq Yosef and Alaa Tameem . Seeking to tackle stagnation in design, the pair created Zero Posters as an outlet for exploring new techniques and styles, with a focus on explorative typography and grid systems through Arabic typographic posters.

When creating a document with text in the Arabic script on a computer, the process is all but identical to the one for a Latin script text. There is a rectangular text area, usually defined by margins, that is filled with text, just like a basin is filled with water. Subject to the features of the software that I use for creating and viewing my new document, there are some options and requirements for Arabic text: It needs to run from right to left, letters are joined automatically at the right places, and sometimes I can choose a dictionary for one of the languages using the Arabic script, providing additional functionality. Values like the typeface, the font size, the default interlinear space, margins etc. are usually inherited from the Latin script, for which the software was originally designed. Indeed, the differences appear marginal between the typography produced by page layout software for the two scripts, and one could easily get the impression that substituting the letter shapes is all it takes to design an Arabic document.

But where and how could one find answers to the questions outlined above? In which context, and under what specific circumstances can Arabic typography reasonably be seen as embodying quintessential characteristics? Characteristics that transcend stylistic experimentation, personal expressivity, technical limitations, the aesthetics of an era and a place, and display a maximum of functionality and usability?

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First the background grids: In the workbook for AP, one of the projects is a magazine. The instructions tell you to set up a background grid, but background grids are not explained in the book. The instructions tell you how to set up the background grid (not everything in the instructions are so clear, though), but what they don't explain/tell you is how they decide on the numbers/units they use for the background grid. Making sense? What I mean is how do they determine that you should set the spacing to 4mm, for example? Why not 7mm? 24mm? How are those units arrived at or determined?

For any guide really, how are those numbers arrived at or determined? If I'm laying out a project from scratch, how do I know which numerical values to enter when setting up guides and the background grid? For example, I was taught a formula for setting up a baseline grid, so I know how to arrive at/determine which numerical values to enter and I know what those numbers mean. But for guides and background grids is there a book that teaches about how to arrive at their numerical values for the Guides Manager?

what they don't explain/tell you is how they decide on the numbers/units they use for the background grid. Making sense? What I mean is how do they determine that you should set the spacing to 4mm, for example? Why not 7mm?

I don't know your example but you might consider that a software provider usually doesn't explain the principles of the various aspects and use cases for software usage but rather focusses on its particular ways to achieve a wanted result technically, means the tools and functions, the UI and UX.

Although Microsoft's content appears correct, it is too short and not much helpful. While this one is a way more detailed -design/ it is still missing "recipes" or concrete examples for calculation of various sizes and dimensions.

a software provider usually doesn't explain the principles of the various aspects and use cases for software usage but rather focusses on its particular ways to achieve a wanted result technically, means the tools and functions, the UI and UX.

@thomaso yes, you are correct and I consider this. But I thought because it was a workbook for AP and Serif did such outstanding job explaining other points related to using the software and completing the projects they teach (amazing book they did, by the way), they would give some insights about the grids to help new users navigate that part of the program. But it is very possible my expectation was incorrect and misplaced. And so far, to be fair, only the magazine project has not been so clear to me as the other projects. And even in the magazine project, only the grids part - so far - has boggled the mind.

Thank you for the article links! I also had read - before posting my question - this article: -your-page-layouts-with-affinity-publishers-column-guides/ and I noticed the author also did not give any guidance about how to determine the numerical values for the grids. This is what made me think there must be books that teach this aspect of layout/graphic design.

I will likely try to get the books you gave the links for and I will see for books about "Book Typography" as you suggest. You have been most helpful and provided very useful information. Again, I thank you.

Nowadays Affinity still uses those, for instance when interpreting / assigning an image resolution as being 72 dpi in the Resource Manager (in V1, changed in V2) or the equivalent in Windows of 96 dpi assigned to a new Affinity document that gets created from the content in the clipboard (simply ignoring the resolution of the copied content).

Do you know, I do not think many (including myself) consider the historical/ ancient typographical rules and conventions that inform modern layout design and typography. This was a good reminder. But I have a question, to make sure I understand. Typesetting and DTP are the same thing, no? The "type setter" as it were was replaced but the typesetting is still what the graphic designers do. Is this correct? (Much of this is new to me)

And the images you provide (thank you!) are well...hmm...the first set seem as if the text of the articles would be nearly illegible. It is clear that David Carson was concerned with the visual aspect of typography - the picture that could be made - and not with the reader's ability to easily read the article. And the Arabic calligraphy is very much like a puzzle. I have seen both Arabic and Chinese writing that is so "picture-puzzle" like that one was more focused on the picture they were seeing than on what the characters/letters actually said. The message seemed less important than the picture. I am curious to know if this picture actually has meaning or if it is just letters combined to create a picture.

Almost. Initially the designer did not typeset, they first started it with DTP. Before DTP, in the ages of typesetters as separate profession, the designer drew text manually: large type (headlines) as sketched type and gray bars for body text. In a next layout step the designer might have ordered some lines of text from a typesetter for more detailed layout creation and decision, including the calculation of required space / number of characters. Finally the typesetter got the main info data only (font name, weight, size, leading, column width, space before/after) and the typesetter did the entire job. For common fonts and sizes designers could also use ready printed filler text paragraphs to create the layout (with knife and glue on paper). With photocopy machines the filler text layouts became faster & cheaper for designers.

In the old times of manual typography, the typesetter (compositor) stood in front of an inclined desktop, where he had its case (two parts, lower- and upper case) full of types, where he picked the desired letters (sorts) and aligned (set) them on kind of a ruler. Once he has completed a few lines with appropriate leading between, he discharged them in a frame, that was later brought to the lay out marble.
There came the "mise en page", i.e. placing the content of the different columns in a page, together with titles, rules, blocks for large whites, simili-clichs for images; then placing these pages together in a form (imposition) and bind them tightly before bringing it to the printer. (Wikipedia, Letterpress printing#Process.)

Graphic designers came probably first with offset printing. Working with films, instead of rigid metal chassis, allowed cutting and pasting, letting place for creative and unusual arrangement on the pages.

For the Arabic typography, it is very beautiful even if one cannot read it (native speaker or non-native speaker). The image in the middle of the 3 images you posted this time is especially appealing to the eye.

@Oufti your description of the typesetter - thank you - immediately brought to mind a very Dickens-like image. Your description also reminds that we do not often (if at all) consider what work it takes to produce the printed products we read. It is wonderful to learn so much while learning to use Publisher. A completely enjoyable experience.

Description of the issue:
I am based in the UK but visiting the google search engine or google maps brings up the arabic version of the site. Even if language is changed back to english the problem happens again if the page is refreshed.

I cant read arabic so its hard to know 100% whats going on but google maps when launched is focused on the UK. however the map starts off showing my current location. Ive tested google maps on other laptops and the same issue happens.

Consider the idea if one or more of your things appear to have been compromised, then chances are others are as well. Definitely would check on accounts, history, and possibly changing all your passwords once you know your device is secured.

Zeerak Ahmed is a designer, engineer, and writer, who founded the Urdu technology initiative Matnsaz. With many years of experience at Amazon and Microsoft, Zeerak is a renowned design and product leader in the technology industry. He is also known for his cultural work, having been a well-read writer about Pakistani music for over a decade. Zeerak frequently lectures in design and computer science at Harvard University, and the Lahore University of Management Sciences.

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