يفrazeenA typeface desigined for bilingual publications.

Regular - Bold Sans - Sans Bold italic - italic sans

Designed by Najla M. Badran

About Razeen

Razeen is a typeface designed for bilingual publications and print material where more than one scripts are used

alongside each other. The purpose is to help create a harmonious and balanced design in situations where

multiple scripts are being used simultaneously; hence the name Razeen meaning well-balanced in Arabic. Razeen

covers Arabic, Cyrillic, Greek and Latin scripts, with the aim of providing balance across all four.

Acknowledgements

This amazing journey would not have been possible without the generous support and encouragement of countless people. I would like to express my sincere

gratitude to Gerry Leonidas, Gerard Unger, Fiona Ross, Victor Gaultney, Michael Twyman, James Mosley, all

visiting lecturers, Sahar Afshar, MATD classmates and alumni. Also, thanks to my mother, sister, brother in

law and grandparents for constant encouragement. And special thanks to Hussein El Sherbiny for motivation and

support. I would also like to thank the Monotype Award for financial support.

Credits

Typeface and specimen designed by Najla Badran.Specimen submitted in partial fulfilment

of the requirements of the MA in Typeface Design, University of Reading, UK. June 2015.

no no no

magnificentيستكملون

no

Signifies some of the flares which would be similar to those caused by the writing tool, common in both scripts to provide consistency not only in the contrast but also in the style.

The initial concept was to design an upright italic that would not go for the italic conventions of slanted and lighter texture, but go bolder more contrasted and longer terminals, the idea was initially inspired by the Riq'a script in Arabic where it is thicker, more compressed (shorter), but has less contrast.

The concept which adapted well to the serif version did not work well for the sans, apart from needing less contrast, it also required to be lighter as it did not feel like it was the italic of the same typeface but rather a different typeface all together which is where compensations like decreasing contrast and weight and becoming more compressed came in.

Alignment Zones

In order to visually convey allignment across both scripts it was vital to have the height of the teeth (Mim height) in Arabic lower than that of the x-height in the Latin.

Modulation

Despite the low contrast appearance of the sans, the design is far from mono-linear, and for the purpose of congruity in the textures, the thin strokes of the Arabic characters are often thicker than that of the Latin.

Signifies tapering caused by the end stroke of the writing tool, common in some letters within both alphabets.

Regular Regular Sansitalic italic sans

concept

creating Harmony

ARISToTLe

αριστοτέληςأرسطوطاليس

هو واحد من أهم مؤسسي الفلسفة الغربية

Τού δέ λόγου τούδ' εόντος αιεί αξύνετοι γίγνονται ανθρωποι καί πρόσθεν η ακούσαι καί ακούσαντες

τό πρωτον. γινομένων γάρ πάντων κατά τόν λόγον τόνδε απείροισι εοίκασι πειρώμενοι καί επέων καί εργων τοιουτέων οκοίων εγώ διηγεύμαι, διαιρέων εκαστον κατά φύσιν καα φράζων οκως εχει. τούς

δέ αλλους ανθρώπους λανθάνει οκόσα εγερθέντες ποιέουσι, οκωσπερ οκόσα ευδοντες επιλανθάνονται.

ARISToTLe

To this universal Reason which I unfold, although it always exists, men make themselves insensible, both before they have heard it and when they have heard it for the first time. For notwithstanding that all things happen according to this Reason, men act as though they had never had any experience in regard to it when they attempt such words and works as I am now relating, describing each thing according to its nature and explaining how it is ordered. And some men are as ignorant of what they do when awake as they are forgetful of what they do when asleep.

لهذا السبب العالمي والذى أكشف عنة ، عىل الرغم من أنه موجود دائما ، والرجال تجعل نفسها غير مدركة ، سواء قبل أن يسمعوا

ذلك، و عندما سمعوها للمرة األوىل . وعىل الرغم من أن كل شيء يحدث وفقا لهذا السبب ، الرجال يتصرفون كما لو أنهم لم يسبق

لهم أي خبرة يف هذا الشأن عند محاولتهم مثل هذه الكلمات وتعمل كما أشبة اآلن ، واصفا كل شيء وفقا لطبيعتها وشرح

كيفية طلبها . وبعض الرجال يجهلون ما يفعلون عندما يكونوا مستيقظين كما ينسوا ما يفعلون عندما يكونوا نائمين.

SIGNATURe oF THE SULTANS

عندما توترت العالقات بين تيمور لنك و بيزيد العثماين، أرسل تيمور للسلطان إنزار لم يمهر بتوقيعه ألنه كان

يجهل الكتابة، بل بصمه بكفه بعد تحبير بالمداد. و منذ ذلك الحين بدأنا نرى توقيع الطغراء شائعا عند سالطين آل عثمان، و كان آول من إستخدم توقيع السلطان سليمان بن

بايزيد يف أوائل القرن الخامس عشر الميالدي.

When the relation between Taymour Lank and Bayazeed Al Othmany became strained, Taymour Lank sent the Emperor a warning without signing it as he was illiterate, but he put his palm in ink and printed it on the letter. Since that time we have witnessed palm signing with ink, and the first to sign in writing was the Emperor Soliman Bin Bayzeed in the 15th century.

Gomaa, I. (1971)

youth and

white paper take any

impression

he often climbed up the hill and lay there alone for the mere pleasure of feeling the wind and of rubbing her cheeks in the grass. Generally at such times she did not think of anything, but lay immersed in an

inarticulate well-being. Today the sense of well-being was intensified by her joy at escaping from the library. She liked well enough to have a friend drop in and talk to her when she was on duty, but she hated to be bothered about books. How could she remember where they were, when they were so seldom asked for? orma Fry occasionally took out a novel, and her brother Ben was fond of what he called “jography,” and of books relating to trade and bookkeeping; but no one else asked for anything except, at intervals, “Uncle Tom’s Cabin,” or “opening of a Chestnut Burr,” or Longfellow. She had these under her hand, and could have found them in the dark; but unexpected demands came so rarely that they exasperated her like an injustice.She had liked the young man’s looks, and his shortsighted eyes, and his odd way of speaking, that was abrupt yet soft, just as his hands were sun-burnt and sinewy, yet with smooth nails like a woman’s. His hair was sunburnt-looking too, or rather the colour of bracken after frost; his eyes grey, with the appealing look of the shortsighted, his smile shy yet confident, as if he knew lots of things she had never dreamed of, and yet wouldn’t for the world have had her feel his superiority. But she did feel it, and liked the feeling; for it was new to her. Poor and ignorant as she was, and knew herself to be--humblest of the humble even in North Dormer, where to come from the Mountain was the worst disgrace--yet in her narrow world she had always ruled. It was partly, of course, owing to the fact that lawyer Royall was “the biggest man in North Dormer”; so much too big for it, in fact, that outsiders, who didn’t know, always wondered how it held him. In spite of everything--and in spite even of Miss Hatchard--lawyer Royall ruled in North Dormer; and Charity ruled in lawyer Royall’s house. She had never put it to herself in those terms; but she knew her power, knew what it was made of, and hated it. Confusedly, the young man in the library had made her feel for the first time what might be the sweetness of dependence.

summer, by edith wharton.

s

كان العرب يعتبرون نقت الكتابة او شكلها سو ظن بالمكتوب اليه و من طريف قول

ايب نواس يف كتاب نقط الكتابا ارسلة اليه و شكلة :

من ذا يطيق يراعة الكتاب يا كاتبا كتب الغداة يسبين

حيت شكلت عليه باإلعراب لم ترض باالعجام حين سببتين

ام لم تثق يب يف قراة كاتبا احسست سو الفهم حين فعلته

يف غيرو صلكهن بالنساب لو كنت قطعت الحروف فهمتها

introducing diacritics

The Arabs used to consider writing diacriticals as a sign of mistrust to the recipient. Of the facetious sayings of Abu Nawas replying to a writer who used diacriticals:To the writer who wrote at dawn insulting me, he who endures ignorant writing Unsatisfying to foreigners while written, even using diacritical accentsI felt a misunderstanding when you wrote it or did you not trust my reading of your writing If you had torn up the letters I would have still understood without arranging them in order. Gomaa, I. (1971)

Что почитать под Кремлем: на Красной площади стартует книжная ярмарка

Maria MoskvichevaPublished in the newspaper "Moskovsky Komsomolets" 25 June 2015, Moscow.

С 25 по 28 июня на Красной площади пройдет фестиваль “Книги России", который станет крупнейшим событием Года литература и его кульминацией. Впервые в истории знаменитые писатели, артисты и деятели культуры соберутся в сердце столицы, чтобы поговорить о самом важном в литературе и книгоиздании. Фестиваль откроет Владимир Путин. “МК" составил путеводитель по самым интересным событиям.

Image from The Moscow Times.жPronounciation “Zheh”

similar to the “s” in pleasure.

Фестиваль займет пространство от Лобного места до Исторического музея — это 23 тыс. кв. м., где разместятся 7 интерактивных площадок и большая сцена у Собора Василия Блаженного. Фестиваль, где соберутся 300 издательств и будет представлено 100 тысяч книг, рассчитывает принять 300 тысяч зрителей. Каждый день с 10 утра до 10 вечера здесь будет проходить около 100 мероприятий, которые можно посетить бесплатно. “МК” составил гид по самым важным событиям фестиваля.

Monotype

Mechanical Composition(beh-yeh ligature, with lower dot separate)

Similar but

Different

helo

أهال

meaning “ hello" without diacritics would be أهال pronounce “hala" with diacritics “Ahlan"

Arabic Diacritic What it does

The Fathatan, Dammatan and Kasratan, are called

non-existant noon in Arabic, as they provide the sound without the

letter. The sounds these diacritics produce would

be the equivilant of adding "an", "in" or "on" to a word . They are often added to

words which do not include Alif_lam in the begining.

The Fatha, Damma and Kasra are usually used on nouns. The sounds these diacritics produce would

be the equivilant of adding "a", "o" or "y" or "i" to a word . Commonly on words with

Alif_Lam in the start.

Shaddah is used to double the pronounciation of a letter rather than writing it twice.

Sukon is used to sign that there are no diacritics and

this is a letter to stop at, similar to using a period. It is

only used on verbs.

Arabic sentenceand translation

english representation and

diacritic solution

دربنا المدرس

يفكر

شكر المدير مدرسا

سلمت عىل مدرس

سلمت عىل المدرس energy

umbrella

radio

exon

urban

violin

energeticHe thinks.

Please note that the usage of Arabic Diacritics purely depends on the sentence which the word is in. In many instances, Arabic diacritics many instances change the meaning of the word. These are all examples of Egyptian Arabic.

I said hello to a teacher.

The teacher went out.

The principle thanked the teacher.

I said hello to the teacher.

We hit the teacher.

The teacher hit us.

دربنا المدرس

خرج مدرس

فكرHe thought.

hello

ex

viol

energetic

urb

umbrell

radi

energ

helo

Latin Character Set ÀÅĄẮẰẲẴẶǞÆɃḄÇƇĎƉḎÉĘẾỂỆFĠĢƓĦḤÎÏĨİIJḮĶĻĽĿŁMÑŅŇṄṊoØŒƠỌỎỒỖỘỚỠǾȪṌṐṒƆPQŖɌŞŠṢߍŦṬṮṰȚŰỦỤƯỪỬỰǓǙǛɄVWXŸỲỶZabcdefghijklmnopqrstuvwzxyzàåąạắằẳẵặầậǟæǽǣḅćċçďđḍḏḓêėẹẻếễệǝfğġģħḥïįıỉịijḯķƙĺļľŀłḷḽƗmņṅṇṋõøōœơọốồổộớởợǿṍṑṓpþƥqŗřşșťŧṯțƭűųụủưừữǚǜvwxỵỷżẓ Greek ΣΕΡΤΥΘΙΟΠΛΚΞΗΓΦΔΣΑΖΧΨΩΒΝΜΆΈΉΊΌΎΏΪΫςερτυθιοπλκξηγφ�δσαζχψωβνμάέήίϊϋόύώΐΰ Cyrillic АБВГДЕЁЖЗИЙКЛМНОПРСТУФХЦЧШЩЪЫЬЭЮЯабвгдеёжзийклмнопрстуфхцчшщъыьэюя Arabic أ إ آ ب بتــث ج جحخ دذ رز س سشــش ص صصض ط ع ععغغ ف ففف ق ققق ك ككك لــل م ممم ن ننن ههه ه و ؤ ئ ييى Arabic Diacritics Numbers ء1234567890 1234567890 Ligiatures ff fi fl ffi ffl Punctuation \ • : , ... ! ¡ # . ¿ ? ! ¡ ' ; / _ { } [ ] ( ) — – - „“ ” ‘ ’ ‚ … Symbol & £ < = > + #please note that all diacritics are set for all characters but not shown on all for the purpose of not being repetitive

Who else but me is ever going to read these letters?anne frank.

ßSmooth and simplemotion of the ocean

smooth like velvettwist and turncrash and burn

moves like jagger

look into my eyes cant you see they're open wide

would i lie to you?

hello again,

Reviving the art of film posters in EgyptInjy Higazy, Monday 15 Jun 2015

Injy Higazy, Monday 15 Jun 2015

Cinemania exhibition at Darb 1718 (Photo: Marwa Morgan)CINEMANIA

“Cairo [was] the Hollywood of the Middle east,” Poucines believes.

Cinemania, an exhibition of film poster reproductions that opened at Darb 1718 is a journey aiming to re-mold the egyptian cinematic past.It is an exhibition of reproduced film posters from the 1950's - 1970's, looks into contemporary impressions and interpretations of vintage film posters. Hosted in Darb 1718 and featuring the work of 11 young

artists, the exhibition opening attracted dozens of young people.

film posters (1950 - 1960)

Cinemania - literally and metaphorically delineating the sweeping love of cinema, is a journey that Hervé Pourcines, the project’s manager and curator, commenced over four years ago. With the advent of the 2011 revolution, the exhibit Cinemania was put on hold as Pourcines shifted to revolutionary graffiti for a while, a project that culminated into his exhibition, Brain Damage, with 35 egyptian artists held at Cairo’s Darb1718 as well.

“it was only a year and a half ago that

cinemania was revived,” Pourcines tells Ahram online.

Working with a number of artists from Brain Damage and other friends

who were interested in the project, reproductions of vintage egyptian film posters were made over the course of the year-and-a-half. The creations employ various media tools such as photography, graphic design, and paint. Cinemania is a concerted effort to shed light on the peculiar, and often sidelined, form of film-poster making art. By limiting itself to the three decades of the 1950s, 1960 and 1970s, the exhibition is duly focusing on poster painting in particular. Its utilisation of mixed media in its recreation of a number of vintage film posters serves to situate the movies within a contemporary context as well.

Film Poster Art in Egypt

This fervent nostalgia for a bygone era of artistic production is embodied in calls to revive this era and its spirit, an era strictly juxtaposed to a contemporary one that is deemed to retain futile film production that lacks both artistic quality and intellectual stimulus. Naturally, a resurgence of interest in this classic era’s film posters can be discerned as well.

The hand-painted film posters that belong to the time period that roughly extends from the 1930s to the 1990s are particularly the subject of such interest. Those film posters constituted “an integral aspect of those classic films,” and treating them as memorabilia is exemplified in this recent exhibition, Cinemania. An increased interest in the literature on the art of film posters in egypt also sheds light on an intensifying admiration for poster art.

Two books authored by egyptian researcher Sameh Fahmy, published in 2009 and 2014 respectively, are entirely devoted to collections of such vintage film posters. The books, titled The Art of egyptian Film Posters, presents an over-arching account of film poster art in egypt and incorporates profiles on the artists who mastered it. In the book, as in Cinemania, egyptian film posters are dealt with as “[extinct] pieces of fine art.” Given that those posters did not rely on contemporary media such as graphic design and photography, but rather on manual paint, adds to their artistic renown.

ملصقات األفالم يف مصر

ويتجسد هذا الحنين لحقبة الماضى لإلنتاج الفين يف النداءات إلحياء هذا العصر وروحه، عصر جنبا إىل جنب إىل

الوقت المعاصرالذى يعتبر اإلبقاء عىل إنتاج فيلم عقيمة تفتقر إىل كل من الجودة الفنية والتحفيز الفكري.

وبطبيعة الحال، تجدد االهتمام بملصقات األفالم يمكن أن يستشف

يف هذه الحقبة الكالسيكية .

ملصقات الفيلم المرسومة باليد الىت تنتمي إىل الفترة الزمنية اليت تمتد

تقريبا من 1930 إىل 1990 تعتبر موضوع األهتمام بشكل خاص. شكلت تلك الملصقات األفالم "جزءا ال يتجزأ من

تلك األفالم الكالسيكية"، والتعامل معها بوصفها تذكارات يتمثل يف هذا

المعرض األخير، سينمانيا. االهتمام المتزايد يف األدب عىل فن الملصقات

السينمائية يف مصر يسلط الضوء عىل اإلعجاب تكثيف للفن الملصق أيضا.

كتابين من تأليف الباحث المصري سامح فهمي، نشروا يف 2009 و 2014 عىل

التوايل، مكرسة بالكامل لمجموعات من تلك ملصقات األفالم الكالسيكى.

الكتب بعنوان فن ملصقات األفالم المصرية، ويعرض يشكل هدفا حساب

شامال لفن ملصق األفالم يف مصر، ويتضمن لمحات عن الفنانين الذين

أتقنوا ذلك الفن. يف ذلك الكتاب، كما هو الحال يف سينمانيا، يتم التعامل

مع ملصقات األفالم المصرية عىل أنها قطعة من الفنون الجميلة

"]المنقرضة[." وبالنظر إىل أن تلك الملصقات لم تعتمد عىل وسائل اإلعالم

المعاصرة مثل التصميم الجرافيكي والتصوير الفوتوغرايف، ولكن بدال

من ذلك عىل الطالء اليدوي، ويضيف للشهرة الفنية.

Injy Higazy, Monday 15 Jun 2015

Cinemania exhibition at Darb 1718 (Photo: Marwa Morgan) سينيمانيا

سينمانيا، معرضا لنسخ ملصق األفالم الذي افتتح يف درب 1718 هو رحلة تهدف إىل إعادة صياغة وتشكيل الماضي السينمايئ المصري. وهو معرضا لملصقات

األفالم مستنسخة من عام 1950 - 19٦0، و تنظر يف التعبيرات المعاصرة والتفسيرات من ملصقات األفالم القديمة. استضيفت يف درب 1718 ويضم أعمال

11 من الفنانين الشباب، اجتذب افتتاح المعرض العشرات من الشباب.

ملصق األفالم ( 1950 - 19٦0)

"القاهرة ] كانت [ يف هوليوود يف الشرق األوسط ،" ويعتقد بوسين .

إحياء فن ملصقات األفالم يف مصراإلثنين ١٥ يونيو ٢٠١٥، إنجي حجازي.

سينمانيا - حرفيا ومجازا ترسم بدقة الحب الجارف للسينما، وهى رحلة الىت كان فيها

هيرىف بوركيين ، مدير المشروع وأمينة، والذى عين منذ أكثر من أربع سنوات. مع

مجيء الثورة عام 2011، تم تعليق معرض سينمانيا كما تحول بوركيين لكتابات ثورية

عىل الجدران لفترة من الوقت، وهو مشروع بلغ ذروته يف معرضه، وتلف المخ، مع 35 من

الفنانين المصريين الذي عقد أيضا يف درب القاهرة 1718.

“تم احياء سينمانيا من خالل العام و

نصف المنصرمين” يقول بوركيين لألهرام أون الين.

العمل مع عدد من الفنانين من تلف يف الدماغ وغيرهم من األصدقاء الذين كانوا مهتمين

بالمشروع، وقدمت نسخ من ملصقات األفالم المصرية القديمة عىل مدار عام ونصف العام.

توظف اإلبداعات مختلف األدوات اإلعالمية مثل التصوير الفوتوغرايف، والتصميم

الجرافيكي، والطالء. تعتبر سينمانيا جهد منسق لتسليط الضوء عىل شكل مميز

وغريب، وكثيرا ما يغيب من ملصق األفالم صناعة الفن. عن طريق الحد من نفسها للعقود

الثالثة من 1950، 19٦0 و 1970، يركز المعرض عىل نحو الواجب عىل رسم الملصق عىل وجه

الخصوص. استخدامه من وسائل اإلعالم المختلطة يعمل عىل اعادة خلق عدد من

ملصقات األفالم القديمة الىت تعمل أيضا عىل وضعه ضمن سياق األفالم المعاصر.

brightflashywrite something here that

goes with these things

write more things here

ot less excellent, except for our less susceptibility in the afternoon, was the charm, last evening, of a January sunset. The western clouds divided and subdivided themselves into pink flakes modulated with tints of unspeakable softness; and the air had so much life and sweetness, that it was a pain to come within doors.

What was it that nature would say? Was there no meaning in the live repose of the valley behind the mill, and which Homer or Shakspeare could not reform for me in words? The leafless trees become spires of flame in the sunset, with the blue east for their back-ground, and the stars of the dead calices of flowers, and every withered stem and stubble rimed with frost, contribute something to the mute music.The inhabitants of cities suppose that the country landscape is pleasant only half the year. I please myself with the graces of the winter scenery, and believe that we are as much touched by it as by the genial influences of summer. To the attentive eye, each moment of the year has its own beauty, and in the same field, it beholds, every hour, a picture which was never seen before, and which shall never be seen again. The heavens change every moment, and reflect their glory or gloom on the plains beneath. The state of the crop in the surrounding farms alters the expression of the earth from week to week. The succession of native plants in the pastures and roadsides, which makes the silent clock by which time tells the summer hours, will make even the divisions of the day sensible to a keen observer. The tribes of birds and insects, like the plants punctual to their time, follow each other, and the year has room for all. By water-courses, the variety is greater. In July, the blue pontederia or pickerel-weed blooms in large beds in the shallow parts of our pleasant river, and swarms with yellow butterflies in continual motion. Art cannot rival this pomp of purple and gold. Indeed the river is a perpetual gala, and boasts each month a new ornament.But this beauty of Nature which is seen and felt as beauty, is the least part. The shows of day, the dewy morning, the rainbow, mountains, orchards in blossom, stars, moonlight, shadows in still water, and the like, if too eagerly hunted, become shows merely, and mock us with their unreality. Go out of the house to see the moon, and ‘t is mere tinsel; it will not please as when its light shines upon your necessary journey. The beauty that shimmers in the yellow afternoons of October, who ever could clutch it? Go forth to find it, and it is gone: ‘t is only a mirage as you look from the windows of diligence.

nature by ralph waldo emerson (1836)

n

LE CAIRE, ler juin. - L'Académie de Langue et de Littérature Arabes de la R.A.U vient de décider de réduire de 405 à 170 le nombre des signes utilisés pour écrire l'arabe.Jasqu'à présent, chancune des 28 lettres de l'alphabet arabe avait au moins trois formes différentes selon la place qu'elle occupait dans le mot. Elle n'aura plus désormais, en principe, qu'une seule forme. L'Académie a décidé également de faire figurer de façon obligatoire, dans l'écriture, tous les signes auxiliaires, qui sont rendus par les voyelles de l'écriture latine. Leur ommission systématique rendait en effert très difficile l'enseignment de la lecture aux enfants et de la langue

R.A.U. : REVOLUTIONDANS LA GRAPHIE DE L'ARABEUNE SEULE FORME POUR CHAQUE LETTRE. TOUS LES SIG-

NES AUCILIARES (ouesla, tanouin, etc.. ) OBLIGATOIRESarabe pour les étrangers.La décìsion de simplifier l'écriture arabe a été prise après de années d'études au cours desquelles se sont opposés novateurs et traditionalistes.Le Président Nasser estimait cette réforme indispensable pour lutter contre l'analphabétisme et faciliter le diffusion de la langue arabe parmi les populations africaines et asiatiques qui sont de plus en plus en contract avec le Caire.On va maintenant commander les matrices d'acier pour fabriquer le nouveaux caractères d'imprimerie et dès la rentrée scolaire, les livres des classes élémentaires paraîtront en arabe simplifié.

باب النجار مخلعThe carpenters' door is broken.

Egyptian saying, meaning "he who has flaws should not speak ill of those who have the same flaws."

Balanced

simple and unique, different and related

uprightsharp and smooth

clear and not simpleSTURDY

Reguar

Cyrillic

Greek

Arabic

Italic

Cyrillic Bold

Greek Bold

Arabic Bold

Bold

structure of tHe typeface family

Individuality

مختلف

Individuality

مختلف

Individuality

ατομικότηταατομικότητα

индивидуальностьиндивидуальность

Individualityindividuality

individuality

Sans

Sans Italic

Sans Bold

Αξύνετοι ακούσαντες κωφοίσι εοίκασι φάτις αύτοίσι μαρτυρεει παρεόντας απείναι.

Those who hear and do not understand are like the deaf. Of them the proverb says: "Present, they are absent."

Theodoretus, Therap.

جج

بب

As a starting point for my Arabic Italic equivilant, the design was based on the Riq'aa calligraphic script in Arabic, which is written quite fast, which results in thicker lines, more condensed writing, often teeth of the seen disappear, letters which usually occur below the line float above or are shortened. Hence for this design the terminals flare, stroke thickness is increased, pen turns are sharper, and "mim" height is shortened.

arabic italic (riq'aa)

متوازننعمة قوية

يعيش عىل البساطة

سهل وبسيط

عن رزين

رزين هو خط مصمم للمنشورات ثنائية اللغة والمواد المطبوعة حيث يتم استخدام أكثر من مخطوطة واحدة إىل جانب بعضها

البعض. والغرض من ذلك هو مساعدة عىل إنشاء تصميم متناغم عىل الرغم من وجود مخطوطات متعددة ال يزال هناك تنسيق

وتوازن، ومن هنا جاءت تسميته رزين بمعىن متوازنة بشكل جيد باللغة العربية. يغطي رزين المخطوطات العربية والسيريلية

واليونانية والالتينية ، اليت تهدف إىل توفير التوازن بين جميع النصوص األربعة.

شكر وتقدير

إن هذه الرحلة العظيمه لم تكن لتكتمل من غير الدعم السخى و التشجيع من عدد كبير من الناس. أحب ان اعبر عن خالص تقديرى

لجيرى ليونايدس، جيرارد انجر، فيونا روس، فيكتور جولتنى، مايكل توايمان، جيمز موزلى، كل المحاضرين الذائرين، سحر أفشار، زمالء

الدراسه، و الخريجين. أيضا، كل الشكر و التقدير ألمى، أختى و زوجها، و أجدادى على التشجيع الدائم. و شكر خاص لحسين

الشربينى لتشجيعه و دعمه و الكثير من األشياء . احب أيضا اأن أشكر منحه مونوتايب للدعم المالى.

تعريف

الخط و النموذج تصميم نجالء بدرانهذا النموذج قدم لتحقيق جزء من متطلبات الماجستير فى

تصميم الخط، جامعه ريدينج، بالمملكة المتحدة. يوليو 2015

Arabic Article: Ahram online.Cyrillic Text: http://www.mk.ru/

Greek Text from : http://www.classicpersuasion.org/pw/heraclitus/herpatu.htm

flتصميم نجالء م. بدران

رزينخط مصمم لمنشورات

متعددة اللغة .

عريب - بولدΕλληνικός - βαρύς

кириллица - сильный