29LT AZAL: A Free Geometric Display Font

Pascal Zoghbi

29LT Azal is a sturdy geometric font with contemporary Arabic features that are inspired from the old Eastern Kufic manuscripts and drawn in a modern-day approach, and old is, after all, what Azal means in Arabic. It is a display font with prominent and sturdy design characteristics. Each letter structure is designed to create a balance between solid base forms and elegant terminals. The font structure is a mixture of: high contrast between thick and thin pen strokes, diagonal skeleton, small counters, thick baseline and sharp edges contrasted by circular dots.

29LT-Azal-Header-Image-02

The font corresponds to the old manuscripts that were hand drawn by the “qalam”– which is a type of pen made from a dried reed, used for Islamic calligraphy. To emphasize on the usage of this technique, each set of novel letter structures has a different angle that gives the typeface a dynamic feature.

29LT-Azal-Header-Image-01

29LT-Azal-Header-Image-03

أزل هو خط هندسي متماسك مع ميزات عربية معاصرة مستوحاة من المخطوطات الكوفية الشرقية القديمة ومرسومة بنهج حديث. فعلى أي حال، تعني كلمة « أزل » باللغة العربية قديم. إنه خط عرض يتميز بخصائص تصميمية بارزة ومتماسكة. إن هيكلية كل حرف مصممة من أجل خلق توازن بين أشكال القاعدة الصلبة والنهايات الطرفية الأنيقة29LT-Azal-Header-Image-0429LT-Azal-Header-Image-05

تُعد هيكلية الخط مزيجًا مما يلي: تباين كبير بين ضربات القلم السميكة والرقيقة، ومخطط هيكلي قطري، وعلامات صغيرة، وخط قاعدة سميك وأطراف حادة تتناقض مع نقاط دائرية. يتوافق هذا الخط مع المخطوطات القديمة التي كانت تُرسم يدويًا بواسطة «القلم» – وهو نوع من الأقلام، مصنوع من القصب المجفّف ومستخدم للخط الإسلامي. ومن أجل التشديد على استخدام هذه التقنية، تتمتع كل مجموعة من هيكليات الحرف العصرية بزاوية مختلفة تمنح الخط ميزة ديناميكية

 

29LT-Azal-Header-Image-06

PROCESS

Azal was created within the duration of one month by the American University of Sharjah (AUS) students in the College of Architecture, Art and Design (CAAD) enrolled in the “Arabic Typography” course that is given by Professor Pascal Zoghbi. At the start of the project letters were distributed among 17 students to be worked on, they were curated every week by the professor to review their progress, and provide feedback on the changes that were needed to be made to achieve the final result of the font Azal.

Azal_ClassAzal_Sketches_3Azal_Sketches_2Azal_Sketches_1

In the beginning of the process, the font was first based on rough and geometric edges. After some revision, it was decided to take a more curved direction until a balance of the two was achieved. As the sketches progressed, changes on the previous constraints were altered depending on each of the letters’ characteristics; in order to achieve satisfactory final forms.

Azal_Feedback_1Azal_Feedback_9Azal_Feedback_2Azal_Feedback_11Azal_Feedback_4Azal_Feedback_12Azal_Feedback_5Azal_Feedback_6

After the drawing phase, type design digital techniques were discussed in class which enabled each student to draw their letters on the Glyphs App. All the letters were compiled on one file and recurrent design and feedback sessions were conducted in class to make the necessary alterations that made Azal come together.

Azal_NotesAzal_Feedback_13Azal_Feedback_14Azal_Feedback_15

Alongside the finalization phase of the font, students experimented with different design mediums to showcase the font, varying from posters to 3D models.

Azal_AUS_1Azal_AUS_2Azal_AUS_3Azal_AUS_4Azal_AUS_5Azal_AUS_6Azal_AUS_7Azal_AUS_8Azal_AUS_9

The 17 students that worked on this font were a combination of sophomores, juniors and seniors: Ahmad Geaissa, Layal AlGain, Malak Kobaisi, Mariam El-Ashmawy, Felwa Alhouti, Tala Khalil, Shaikha AlMaazmi, Lama Murad, Deena Khatib, Kinda Waisi, Nada Aldash, Aisha Almuhairi, Dima Khalayli, Sali Mallat, Shahdan Barakat, Aliaa Elhammamy, Afnan Al Dimasi.

 

 

29LT Azal Type Specimen

Visit 29LT Azal webpage on www.29LT.com website and download the type specimen for full information about the typeface.

 

Published by Pascal Zoghbi

When setting up to establish 29LT digital type foundry in 2013, Lebanese designer and educator Pascal Zoghbi aspired to explore the diversity and potential of the Arabic script. Zoghbi envisioned 29LT with a cross-cultural approach. Having evolved, studied and worked in a multicultural and largely bilingual environment, he embraced multilingualism. Coming into contact with more than one language in his everyday life, he has developed an exceptional ability to think global and to reflect the various technical, conventional, and cultural writing systems into his work. Accordingly, he has excelled in creating innovative, high-quality contemporary multiscript type families, each of which is unique in its design approach and responds to regional and international market needs. Staying true to his culture, he worked on turning traditional Arabic script into contemporary type. Always on the lookout for new ideas and harmony between scripts, he explores various tools and techniques and regularly partners with a team of professional designers specialized in specific scripts to create multiscript typography. Not only is he heavily involved in the practice of Arabic type design and typography, but he has also contributed to the field as an educator. Between 2007 and 2017, he taught at various design schools in Lebanon (American University of Beirut, Lebanese American University, and Notre Dame University) and in the UAE (American University of Sharjah). Besides lecturing at universities, he takes part in a range of design events worldwide and provides trainings and workshops on Arabic typography at universities, conferences, and agencies. Zoghbi has gained an international reputation for his work and has received throughout his professional career prestigious design awards and honors, such as TDC Typographic Excellence, Granshan, AIGA, and was nominated to Jameel Prize 3. His work encompasses an outstanding collection of contemporary Arabic and multilingual typefaces. He co-authored and edited the “Arabic Graffiti” book published in 2010. Zoghbi started his academic journey at Notre Dame University in Lebanon where he grew interest in Arabic typography. He further developed his type design skills at the Royal Academy of Art (KABK), the Netherlands, where he obtained in 2006 a Master of Design in Type & Media. In 2018, he relocated to Madrid where he is currently based. Since then, his interest in a vast number of Spanish historical and cultural topics, especially those that showcase the merging of Arabic and Spanish cultures, grew keener. 29LT expanded accordingly, shifting from supporting only Arabic and Latin scripts to a global multiscript approach tapping into other world scripts.

Leave a comment