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Colored pencil with Arabic Islamic calligraphy symbols for creative writing, idea and inspiration, education and learning concept. Blogging and copywriting This article presents the Diwani style of Arabic that led to the design of Thuraya, a contemporary yet faithful interpretation of the Diwani style with extensive calligraphic features.

Arabic calligraphy is undoubtedly one of the highest achievements of Islamic art, and over the centuries an enormous number of calligraphic styles have emerged from different regions of the Islamic and Arab world. Arabic writing is an ethereal art separated by its diversity of styles, the skill and passion required, and the message it was intended to convey.

The strong influence of calligraphy has long inhibited the progress of the development of Arabic type design. Religious and cultural attachments to art played a role in this, as well as the complexity of styles, which far exceeded the capabilities of Latin-oriented typography systems. Consequently, Arabic type made several leaps combined in the digital age, all marked by severe limitations: in the case of hot metal type, a faithful reproduction of calligraphic styles required the creation of an extremely large (minimum of 900 characters, Bulaq. Press, Cairo, Early 1800s). In the case of Linotype’s simplified Arabic, the limitations of typeface technology required modifications to the core of the script itself. Recent technological developments have removed many of these limitations, and many new possibilities are emerging thanks to the growing interest in Arabic type (as separate from Arabic calligraphy) and the resources available to skilled designers.

My fascination with Arabic calligraphy has always been my primary motivation for type design, and since modern type design (not just for Arabic script) has taken on a whole new level of complexity, I wanted to explore the relationship between these two areas.

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My research has focused on the intersection of calligraphy and type in a digital type environment, balancing the possibilities of both sides. For this purpose I chose the Diwani style, one whose complexity and unconventional rules perhaps discouraged more extensive digital exploration.

The Ottoman dynasty held the Arabic script and its calligraphic traditions in high and sacred esteem. They assimilated them, developed them with both devotion and great imagination, mastering the already existing styles as well as developing new styles of their own. The Ottoman sultans patronized the most talented artists of the day, which led to the rise of a very large number of skilled calligraphers. One of the most important derivative styles of this period was the Diwani script, which was developed in the late fifteenth century by Ibrahim Munif, and later modified and refined by the celebrated Turkish calligrapher Shaykh Hamdullah. It is a cursive script based on the Ta’liq style, ‘written on a less dramatically hanging baseline, although the connections of its letters are vertical and inclined’ ¹. It is characterized by dramatically curved undotted letters that are joined together in an unconventional manner, and by trailing swashes that often extend below the baseline of the letters. Diwani is written without vocalization marks. It was primarily practiced in the council chambers (Arabic: diwan) where it was used for all official correspondence of the Sultans. The Jali Diwani, an ornamental variant that is much admired to this day, is characterized by large geometric shapes created by the small and delicate ornaments that fill all the gaps between the letters and the words. It was used for long names and titles of Sultans.

Because I respect and admire the art of writing, its calligraphic practices and styles, and because the attempt to capture a calligraphic spirit in a digital medium inevitably involves the risk of losing beauty and sacredness of writing, I wanted to make every effort to study the Diwani style before drafting a single letter.

So I contacted the renowned Lebanese calligrapher Ali Assi and had several lessons with him in which we tried to cover all the essential information for the start of my project. My goal was not to be able to write Diwani, but rather to understand, always keeping in mind the coming change of the medium and how this new knowledge can be applied in a digital type environment.

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Under Mr. Assi I learned about the rules of Diwani, the structure and proportions of the letters (measured by the rhombic dot) in their different positions and the alternative shapes, angle and movement.