We are living in interesting times in terms of visual cultural production and image-building activity. In Dubai, with its diverse mix of cultures, the range of icons and languages that we deal with on a daily basis is tremendous – and at times quite confusing.
How do we assert ourselves as individuals, companies or brands in a competitive environment where being unique can be crucial to success? Dubai may very well be the blueprint for the Middle Eastern and Arab city of the future. As visual communicators we are very fortunate to be working in this part of the world at this very moment. What we design will have lasting effects on a large part of society and may even alter the cultural image of the entire Arab world. God only knows how much we need to improve that image internationally, and especially in the West.
We need to start this by addressing the most basic of our visual communication’s building blocks: Arabic typography and Arabic fonts. One has only to visit a book fair, browse through Arab magazines or newspapers, or look around at billboards and posters in town to notice the lack of variety and quality of the Arabic fonts used. It is just painful to look at the same ugly fonts everywhere and at this visible lack of desire to innovate or enhance quality.
The neglected state of this aspect of Arab culture must be improved. We need to revive an interest in the creation of Arabic fonts that are aesthetically sound, represent contemporary design trends, and respond to the practical and technical needs of print and new media.
HISTORY REPEATING. There are a few heated discussions in closed circles about the influence of the West on Arabic type design. This “controversy” is often uninteresting, irrelevant, and motivated by commercial interests or lack of imagination. However, the situation around Arabic type design is quite peculiar.
First of all, historically, the majority of Arab designers show very little interest in typeface design. Since the invention of moveable type, it is predominantly the West that has been involved in designing and producing Arabic type and delivering printing machines to the Arab world.
Secondly, many Arab nations are underdeveloped with high illiteracy rates. Arab educational systems are lacking and most quality education is imported from the West. In design education, the teaching of Arabic typography and design has also suffered from lack of resources and up to date information.
And third, even in the present day the most influential players involved in Arabic type design and production (with the exception of a few individual Arab designers) are companies, scholars and designers of Western origins. A discussion about “too much” Western influence on Arabic typography may be taking place, but even that was initiated and most vocally expressed by non-Arabs. This sounds like a new form of cultural neo-colonialism and it’s embarrassing to see that those most affected by the state of design in the region are the least active of all.
TIME FOR CHANGE. It’s clear that the Arabic alphabet is far harder to convert into useable type than its Roman counterpart. Designers have struggled to produce Arabic typefaces, given the complications that arise when trying to mimic handwritten Arabic text. The arrival of the computer and advanced software allowed for the creation of complicated calligraphic fonts. Nevertheless, creating Arabic calligraphy on a computer remains a tortuous way to produce text. Even when it works, the results have limited applications for new media and give an antiquated image to contemporary Arabic design.
A preoccupation with reviving the involvement of Arab designers in their own script and giving it a modern image was the main reason behind my establishing the Khatt Foundation three years ago. The goal was to create a platform for type and graphic design development in the region, and to provide a space where Western and Arab designers can exchange expertise and knowledge.
The Khatt Foundation is set on expanding the network of likeminded designers who are committed to effecting change within their own societies through design, and who want to promote a non-stereotypical image of the Arabic world. Khatt’s type design pilot project, documented in the book Typographic Matchmaking, was the first of its kind to create truly ‘dual-script’ (Arabic and Latin) fonts. The project brought together five teams of renowned type designers (each team consisting of one Arab and one Dutch designer) to create professional, fresh-looking Arabic fonts. The fonts were inspired by the rich heritage of Arabic calligraphy but focused on providing solutions for today’s design and communication media requirements.
Arabic typography is essential in building a modern Arab image. A committed investment from those in influential positions to raising awareness about the important role of this design field among their clients is crucial. They must make Arabic type design more attractive by commissioning young, talented Arab or Iranian designers to develop new Arabic fonts. A strong (visual) culture can only be developed by inspired artists and caring audiences. It can never be based solely on a glorious past.
Huda Smitshuijzen AbiFarès is the author of several books on type design. She is the founder of the Khatt Foundation, Center for Arabic Typography.
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