Abstract
A typeface is an applied medium that plays an effective role in human growth and awareness. Specification of the text affects the interaction between the reader and the text for the purpose of comprehension. This interaction should also bring about a pleasant feeling for the readers. Hence, it is necessary for the type in which the text is written to fit the writing and calligraphic culture of its audience in addition to meeting practical requirements. This is where the need for the knowledge of the principles and roots of the Iranian Nastaliq script arises. Due to its deep roots in Iran’s writing culture, Nastaliq can play an important role in applying identity to the Persian type design. Although, today, digitalizing the Nastaliq script in order to be able to type text on computers and digital environments is mistakenly referred to as the Persian type design with Iranian identity. This study demonstrates that Nastaliq cannot be used as a Persian type from a practical perspective, the readability and legibility of the script. In this analysis, comparative studies were performed on the rules and objectives of typefaces and the Nastaliq script, with a focus on Mir-Emad Hasani Nastaliq, Yagut, and Adobe Arabic typefaces, as well as Naskh script as a primary Nastaliq model. 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.
Presenters
Sareh MalakiDesigner, Designer, Iran Tooba Shahriar
Student, Masters degree, University of Göttingen, Germany Atefeh Mohammadi
Graphic Designer, Researcher, Desig, Quick Studio, Tehran, Iran
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
Typeface, Islamic calligraphy, Font design, Readability and legibility, Persian-Arabic script
