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For decades, it was nearly impossible to type in Urdu. Some are working to bring the script into a digital future.
If you were to walk down a street in New York City, you might encounter hundreds of fonts on a single block: everything from street signs to shop names take on distinct personalities. Urdu and its nastaʿlīq typeface, lagging in the digital space, are much more difficult to iterate on with existing technology. Where there are hundreds of thousands of Latin digital fonts — fonts so iconic that we know them by name, like Helvetica or Times New Roman — digital Urdu fonts are limited to a handful at most. The nastaʿlīq typography that you might see on the streets of Pakistan is most likely to be hand painted.
“We went on Google and typed “what are fonts, how do we develop them,” Zeeshan recalled. “We purchased software but sat on it for a long time because we didn’t know how to use it.” Produced in collaboration with a government technology board over the course of a decade, Mehr Nastaliq uses 500 characters, all handwritten by Nasrullah — a tiny fraction of the 20,000 glyphs Jamil so painstakingly wrote in the 1980s. The Mehrs are particularly proud of how light their font is: at 60 KB, it doesn’t slow down websites and renders quickly. You can elongate letters and add diacritics.
Their experience of developing Mehr Nastaliq drove home an important lesson: the need for close collaboration between the calligrapher and developer. “It is imperative that the calligrapher and developer understand each other,” emphasised Zeeshan. “Abbu understands programming too now, so he can offer a different solution when confronted with tech limitations.” Working with his parent comes with its own challenges, of course. “Sometimes, Zeeshan would say, This letter isn’t looking nice,” Nasrullah said with a chuckle. “And I’d get huffy and say, Are you the calligrapher?”
Unicode, developed in the early 1990s, is now a global standard for representing characters across language systems in computing code, which means if you write Urdu — in naskh or nastaʿlīq — on one computer, it won’t appear as a string of garbled symbols in another. But technological advances don’t automatically bode well for the digitization of non-Latin type languages. Nemeth notes that the proliferation of easy-to-use design software doesn’t eliminate the need for script-specific expertise. “Designers who are not willing or able to invest the years of learning and research necessary to master a foreign script,” he says, “are led to believe that their tools and some superficial ‘borrowing’ of design elements are sufficient for successful design.”
This is a dictionary of the Arabic language originally compiled between 1368 and 1392 whose title translates into English as The ocean. Words are indexed by their last root letter and have brief definitions. There are frequent marginal notes.
It was compiled in naskh script in western Persia, around the year 1400.
Click here for additional information, or jump here to see the facsimile!
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Immerse your space in profound beauty and spiritual depth with this exquisite "O My All, Be With Me" Arabic Calligraphy Framed Poster. This captivating artwork features the timeless words "يا كل كلي فكن لي" (Ya Kull Kulli Fa Kun Li), a powerful and beloved verse from the renowned Sufi mystic, Mansur Al-Hallaj. Translated as "O, my all, be with me, if you are not with me, who would be there for me?", this line speaks of ultimate devotion and connection.
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