Referring to the MRALLAH.jpg that comprises all the Arabic Characters from Hamza-to-Ya, I would like to highlight the Smart, Attractive + Space-saving Features of the Arabic Script first.
Needless to say, the Arabic letter Ha has 4 shapes: the flower-like initial, the 8-like middle + the final that looks like either o or q depending on the letter coming before.
That's right: Virtually, Arabic letters Change shape —Tails not heads— in such a way that they:
1. join (connect) appropriately to neighbouring letters through short curves or straight lines. See (S+J) in Sojjadan + As-Sojood and how J joins D in the first and WAW in the latter.
2. form easy-on-the-eye + self-explanatory Combinations (Ligatures) of 2 or more letters, not only at the beginning, but also at the mid & end of words.
See (S+J) in Sojjadan and As-Sojood and (M+H+M) of Mohammed and explore more...
3. need no space between the words: one would simply understand where a word ends and the next one starts.
That's clearly seen in virtually all the Arabic Calligraphy (AC) of the "Qol Howa Allaho Ahad" where the Ha of the "Howa" overlaps the Lam of "Qol". Since the Lam takes the final shape and Ha the flower-like shape, then the space between the 2 words "Howa and Qol" is narrowed to minus.
—————— 03.2003 Start bulding my Naskh with 5+1 TTFs ——————
As the strength of a chain lies in its weakest link, the Quality of an Arabic font lies in its poorest feature: Ligatures , Diacritics Positioning Kerning?
By Applying my own technique, I finished designing -9 months ago- a new font of AC with the help of which I successfully completed building up the most Challenging Arabic Text of the Glorious Quran—3 years of hard work...
As the MRALLAH.jpg shows, my font is distinguished by:
• Ligatures of upto 4 Consonants, not only at the beginning, but also at the mid + end of words.
• Smart Joiners: Straight and curved Tails for Consonants and ligatures.
See (S+J) in Sojjadan and As-Sojood and how J joins D in the first and WAW in the latter.
• Full Kerning by shifting up and/or right any letter that follows, R,D,WAW and likewise. See (D+Alif) in Ashidda and (R+T) in Maghfiratan.
• Four (4) baselines for Consonants & 7 lines for Vowels (Diacritics).
See the 3 lines in (M+H+M) of Mohammed and the fourth in (Y+N) of Allazina.
• Accurate Vowels Positioning. They —Vowels (Diacritics or Marks) are:
1 horizontally centered, slightly above or below the letters they belong.
2 distributed in harmony with the ligatures,
3 neither touching the letters to which they belong, nor transgressing neighbors.
• WAW Discrimination: The word WAW (AND) is lowered and attached to the next word. See (WAW+R) in WaRizwana.
• Compatibility with any software that runs on 98/2000/XI & reads RTF.
That's right: In order to achieve all the possible ligatures of AC, and accurately position diacritics, I:
• Designed (5+1) TTFs comprising more than 1100 Glyphs and
• Translated the Rules of AC into Word-Macros to juggle 5 TTFs accordingly.
Finally, worth mentioning that Virtually, the Arabic Text (AT) of All the PC & TV Programs of the Glorious Quran
• is too small and/or does not match the poorest AC.
• does not always start and/or end meaningfully in the same screenshot,
• and/or does not always go in line with Recitation and/or Translation.
In summary: My Font solves all the Screen and Paper Publishing problems
————————— 08+09.2010 Aziz Naskh = A single TTF —————————
Aziz Unique+Dynamic Ballpen Naskh is being finalized to go with
MaryamSoft Arabic Calligrapher. I have typeset the above sample in Word 2003 and printed it to a PDFile (attached) in 2 colors, Glyphs in Black and the separable Dots + Marks in blue to emphasize the point mentioned by khaledhosny.
Thanks Typophiles for the Input + Feeback with Flowers.