A Comparative Study of the Rules and Objectives of Typeface in the Nastaliq

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  • Title: A Comparative Study of the Rules and Objectives of Typeface in the Nastaliq
  • Author(s): Atefeh Mohammadi, Tooba Shahriar, Sareh Malaki
  • Publisher: Common Ground Research Networks
  • Collection: Common Ground Research Networks
  • Series: Design Principles & Practices
  • Journal Title: The International Journal of Visual Design
  • Keywords: Typeface, Islamic Calligraphy, Font Design, Readability, Legibility
  • Volume: 13
  • Issue: 4
  • Year: 2019
  • ISSN: 2325-1581 (Print)
  • ISSN: 2325-159X (Online)
  • DOI: https://doi.org/10.18848/2325-1581/CGP/v13i04/1-21
  • Citation: Mohammadi, Atefeh , Tooba Shahriar, and Sareh Malaki. 2019. "A Comparative Study of the Rules and Objectives of Typeface in the Nastaliq." The International Journal of Visual Design 13 (4): 1-21. doi:10.18848/2325-1581/CGP/v13i04/1-21.
  • Extent: 21 pages

Abstract

Today, digitalizing the Nastaliq script in order to be able to type text on computers and in digital environments is mistakenly referred to as the Persian type design with Iranian identity. This article demonstrates that Nastaliq cannot be used as a Persian type from a practical perspective, that is, the readability and legibility of the script. In this article, comparative studies were performed on the rules and objectives of typefaces and the Nastaliq script, with a focus on Mir-Emad Hasani Nastaliq, Yagut (designed based on Naskh script), and Adobe Arabic (designed based on Nastaliq) typefaces, as well as Naskh script as a primary Nastaliq model. There were also personal interviews conducted and professional advice sought on the subject. Results confirm that Nastaliq’s only ability is to provoke the audience with emotions, and thus it can be considered as an art piece, while the main purpose of a typeface is to transfer information at the most readable level.