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TUGboat Volume 31 (2010) No 2 197
Qurʾanic typography comes of ageAEligsthetics layering and paragraphoptimization in ConTEXt
Idris Samawi Hamid
1 The background of Oriental TEX
Attempts to integrate scripts beyond the Latin intothe TEX universe are nearly as old as TEX itselfIn the case of Right-to-Left (RTL) scripts as Arabicscript the inadequacy of the original TEX to the taskwas pointed out bluntly by Knuth himself back in19871 Since then the heroic efforts of the ArabTEXand Omega projects took large strides in the way ofextending TEX to support Arabic-script typesettingOn the other hand by the early 2000s the realizationof a paradigm capable of capturing the fullness of theArabic script and its sophistication still seemed a longways away Combined with other challenges egcritical-edition typesetting so much work remainedto be done
In the winter of 2005ndash6 this author along withHans Hagen and Taco Hoekwater initiated a very am-bitious attempt to address the challenges of Arabic-script and critical-edition typesetting in the contextof a radical overhaul and extension of TEX that wouldaffect and potentially benefit virtually every cornerof the TEX paradigm This overarching context con-stitutes the ongoing LuaTEX project By virtue of amajor grant from Colorado State University in thespring of 2006 since extended by the generosity ofUS TUG DANTE and private donors Oriental TEXhas both served as the midwife of LuaTEX as wellas having reached major mileposts in its particulargoals pertaining to Arabic-script and critical-editiontypesetting and typography
2 Mileposts in the Oriental TEX project
21 The Qurʾan test
The most relevant torture test of Arabic-script type-setting and typography involves capturing the nu-ances of the Arabic used in traditional Qurʾanicscript a task that involves much by way of multiplelayers of diacritics paragraph optimizations usingstretching and shape alternates as well as multilay-ered coloring
The Oriental TEX project is proud to announcethat it has reached the milepost of being able to rep-resent these aspects of Qurʾanic typography markinga major outward milepost in the forward movementof Oriental TEX There is still a ways to go but in
1 See p 157 of Knuthrsquos Digital Typography CSLI Publica-tions Stanford 1987
the current visual results we can confidently say thatwe are ldquoover the humprdquo so to speak
22 Infrastructure
The visuals achieved by Oriental TEX build on anextensive infrastructure involving the following mile-posts both achieved and in progress
bull Aleph + pdfε-TEX + native UTF-8 + Lua =LuaTEX (done)
bull OpenType + language processing in Lua rArrConTEXt MkIV (beta)
bull Development of Husayni font family (flagshipfont nearly complete)
bull Paragraph optimization and justification model(initial implementation)
bull Bidirectional model (under development mdash nomore naive mirroring primitives but a full typo-graphical framework for bidi)
bull Structural-elementcritical-apparatus controlrArrCriTEXt (under development)
23 Documentation
In addition to the numerous papers presentationsand other documentation by Hans Hagen I am work-ing on the following documentation tasks for a wideraudience
bull An Ontology of Arabic-script Typography (indevelopment)
bull CriTEXt The Critical Edition Module for Con-TEXt (white paper available unpublished)
bull Typographical AEligsthetics and Engineering Struc-tured and Automated Authoring in ConTEXt (indevelopment this will be perhaps the first bookon ConTEXt for a general audience)
3 Qurʾanic typography
Qurʾanic typography involves getting the followingtasks done
31 Control of aeligsthetics
Given an Arabic string there is often more thanone way to aeligsthetically represent it Which way onechooses depends on the context This goes beyondthe mere availability of glyph alternates as in LatinPut another way just as one must choose the rightfont for a given typographical task in Latin script soalso must one choose the right set of aeligsthetic featuresfor a given Arabic-script task This principle can beapplied to Latin especially in the form of calligraphyfonts but itrsquos nowhere near as important an issue
Available Arabic fonts generally mimic Latinfonts in that they have little-to-no flexibility in thisregard That is given a font its aeligsthetic style is
Qurʾanic typography comes of age AEligsthetics layering and paragraph optimization in ConTEXt
198 TUGboat Volume 31 (2010) No 2
generally fixed OpenType allows for far more flexi-bility of aeligsthetic sets within Arabic-script providingmore culturally authentic possibilities
In ConTEXt MkIV we have something calledfontfeatures Using fontfeatures we can define addand subtract sets of OpenType lookups mdash called fea-tures to create myriads of output possibilities
In the case of Qurʾanic typography we willillustrate a default feature set and see what happenswhen we
bull subtract and add featuresbull stretch glyphs using alternates
32 Layering
Arabic script is mostly consonantal The vowelsare generally not letters2 And the consonants arecharacterized by ambiguity given a letter shapeit may represent two or more actual letters Onedisambiguates by means of identity marks mostly inthe form of dots
In historical texts including the Qurʾan some-times only the consonantal layer is represented in thetext sometimes only either the vowel or the identity-marks layer Sometimes the two layers clash andwe have to adjust the shape of the consonant or themutual positions of characters belonging to the twodiacritics layers
33 Paragraph optimization
Given that Arabic script in general does not accepthyphenation getting even color in a paragraph willuse alternate glyph substitution or stretched glyphsubstitution The first involves an entirely differentshape eg
ك versusڪzwnjzwnjwhereas the latter involves a stretch of the existingcharacter eg
دمحلا versus دمحلاOne can also combine this with changes in aeligstheticseg
دمحلا versus دمLJحLJلاGetting all of this under control is still in the
experimental stages of implementation The plethoraof possibilities for optimization plus the good jobthat the current paragraph builder does leads us tofocus on a line-by-line optimization after the initialparagraph is optimized by TEX We illustrate thisby showing some real-life samples from the Qurʾanfrom Surahrsquos Fatih ah and Baqarah
2 There are three consonants that sometimes function asvowels as well analogous to the letter lsquoyrsquo in English
4 AEligsthetics and layering
41 Fontfeatures default
Given a font it should have a default aeligsthetic be-havior To that end we define a default fontfeatureset
definefontfeature[husayni-default]
[analyze=yes mode=node language=dflt
script=arab ccmp=yes init=yes medi=yes
fina=yes rlig=yes calt=yes salt=yes
anum=yes ss01=yes ss60=yes
js16=yes kern=yes curs=yes mark=yes
mkmk=yes tlig=yes
colorscheme=husaynidefault]
For illustration we have shown excerpts from thelist of dozens of possible features Features to bedisabled can be commented out or lsquoyesrsquo changed tolsquonorsquo
Also note the colorscheme key at the end Thisrefers to a mechanism for the coloring of the variouslayers of the text as we mentioned earlier
42 Subtracting aeligsthetics
Letrsquos get a barebones minimalist Arabic-script im-plementation by subtracting features Thus the keycommand here is subff
switchtobodyfont[husayni-default40pt]
definefontfeature [first_order]
[script=arabdlig=yesss01=yes
ss03=yesss07=yesss10=yesss12=yes
ss15=yesss16=yesss19=yesss24=yes
ss25=yesss26=yesss27=yesss31=yes
ss34=yesss35=yesss36=yesss37=yes
ss38=yesss41=yesss42=yesss43=yes]
subfffirst_order
Our ConTEXt input text typed in Arabic (omittedin other examples)
9
switchtobodyfont[husayni-default40pt]
definefontfeature [first_order]
[script=arabdlig=yesss01=yesss03=yesss07=yes
ss10=yes
ss12=yesss15=yesss16=yesss19=yesss24=yesss25=yes
ss26=yesss27=yesss31=yesss34=yesss35=yesss36=yes
ss37=yesss38=yesss41=yesss42=yesss43=yes]
subfffirst_order
نيملاعلانيملاعلا crlf
خيتاولرجفنيسدجهتم
﮲ن﮵يملاعلا﮲ن﮵يملاعلا
ر﮳ج﮲ف﮲ن﮵يسد﮳جه﮴تم
﮲خ﮵ي﮴تاول
43 Default AEligsthetics
Setting up the default aeligsthetics is simple
And the result
9
switchtobodyfont[husayni-default40pt]
definefontfeature [first_order]
[script=arabdlig=yesss01=yesss03=yesss07=yes
ss10=yes
ss12=yesss15=yesss16=yesss19=yesss24=yesss25=yes
ss26=yesss27=yesss31=yesss34=yesss35=yesss36=yes
ss37=yesss38=yesss41=yesss42=yesss43=yes]
subfffirst_order
نيملاعلانيملاعلا crlf رجفنيسدجهتم
خيتاول
﮲ن﮵يملاعلا﮲ن﮵يملاعلا
ر﮳ج﮲ف﮲ن﮵يسد﮳جه﮴تم
﮲خ﮵ي﮴تاول
43 Default AEligsthetics
Setting up the default aeligsthetics is simple
43 Default aeligsthetics
Letrsquos show the default aeligsthetics
switchtobodyfont[husayni-default40pt]
Idris Samawi Hamid
TUGboat Volume 31 (2010) No 2 199
The result
10
switchtobodyfont[husayni-default40pt]
نيملاعلانيملاعلا crlf رجفنيسدجهتم
crlf خيتاول
﮲ن﮵يملاعلا﮲ن﮵يملاعلا
جه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ﮳ ر
خ﮵ي﮴تاول ﮲
Study the differences between the first two words once we introduce vowels One of
them has a mild stretch to accommodate a lower vowel
44 Advanced AEligsthetics
For more fancy text letrsquos add some features Note the stacking of characters giving
in some cases a slanted feel to the text The key command here is lsquoaddffrsquo
Study the differences between the first two wordsonce we introduce vowels one of them has a mildstretch to accommodate a lower vowel
44 Advanced aeligsthetics
For more fancy text letrsquos add some features Notethe stacking of characters giving in some cases aslanted feel to the text The key command here isaddff
switchtobodyfont[husayni-default40pt]
definefontfeature [stackhaamulti-level]
[script=arabss05=yesss06=yesss09=yes
ss13=yesss17=yesss40=yes]
addffstackhaamulti-level
11
switchtobodyfont[husayni-default40pt]
definefontfeature [stackhaamulti-level]
[script=arabss05=yesss06=yesss09=yesss13=yesss17=yesss40=yes]
addffstackhaamulti-level
رجفنيسدجهتمنيملعلا crlf خيتاول
﮲ن﮵يملعلاجه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ﮳ ر
خ﮵ي﮴تاول ﮲
45 Stretched and Alternate AEligsthetics
Again we are adding this time adding stretched-alternate and glyph-alternate fea-
tures
45 Stretched and alternate aeligsthetics
Again we are adding this time adding stretched-alternate and glyph-alternate features
switchtobodyfont[husayni-default40pt]
definefontfeature [maximal_stretching]
[script=arabss05=yesss09=yesss06=yes
ss13=yesss17=yesss40=yesjs13=yesjs14=yes
js16=yesjs05=yes]
addffmaximal_stretching
12
switchtobodyfont[husayni-default40pt]
definefontfeature [maximal_stretching][script=arabss05=yes
ss09=yesss06=yesss13=yesss17=yesss40=yesjs13=yesjs14=yes
js16=yesjs05=yes]
addffmaximal_stretching
رجفنيسدجهتمنيملعلا crlf خيتاول
﮲ن﮵يملعلاجه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ر﮳
خ﮵ي﮴تاول ﮲
This example in part illustrates that TEX is informed about where it is legal to
stretch and where it is illegal So there are three stretch points to the word
ج﮲ف﮲ن﮵يس ر﮳
The above example shows three stretches but in real life we want only one of them
46 The Base Consonant Layer
Here we get the base consonants only
This example in part illustrates that TEX isinformed about where it is legal to stretch and whereit is illegal This word third from the right in theabove example shows three stretches in real lifewe would use only one of those three for any givenstretched instantiation of the word
12
switchtobodyfont[husayni-default40pt]
definefontfeature [maximal_stretching][script=arabss05=yes
ss09=yesss06=yesss13=yesss17=yesss40=yesjs13=yesjs14=yes
js16=yesjs05=yes]
addffmaximal_stretching
رجفنيسدجهتمنيملعلا crlf خيتاول
﮲ن﮵يملعلاجه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ر﮳
خ﮵ي﮴تاول ﮲
This example in part illustrates that TEX is informed about where it is legal to
stretch and where it is illegal So there are three stretch points to the word
ج﮲ف﮲ن﮵يس ر﮳
The above example shows three stretches but in real life we want only one of them
46 The Base Consonant Layer
Here we get the base consonants only
46 The base consonant layer
Here we get the base consonants only
switchtobodyfont[husayni-default40pt]
definefontfeature [consonant]
[script=arabss61=yesss49=yesss52=yes]
addffconsonant
13
switchtobodyfont[husayni-default40pt]
definefontfeature [consonant]
[script=arabss61=yesss49=yesss52=yes]
addffconsonant
رجفنيسدجهتمنيملعلا crlf خيتاول
رجفنيسدهتمنيملعلا
خيتاول
47 The Identity Marks Layer
Letrsquos disambiguate the characters and use colors to illustrate the difference
47 The identity marks layer
Letrsquos disambiguate the characters and use colors toillustrate the difference
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
definefontfeature [identity]
[script=arabss49=yesss52=yes]
addffidentity
14
input font-gdsmkiv
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
definefontfeature [identity]
[script=arabss49=yesss52=yes]
addffidentity
رجفنيسدجهتمنيملعلا crlf خيتاول
ر﮳ج﮲ف﮲ن﮵يسد﮳ه﮴تم﮲ن﮵يملعلا
﮲خ﮵ي﮴تاول
48 The Vowels Layer
In the histor of the Qurʾānic text the vowels were developed before the identity
marks so vowels without identymarks is not an abstract example
48 The vowels layer
In the history of the Qurʾanic text the vowels weredeveloped before the identity marks so vowels with-out identity marks is not an abstract example
Qurʾanic typography comes of age AEligsthetics layering and paragraph optimization in ConTEXt
200 TUGboat Volume 31 (2010) No 2
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
definefontfeature [vowel]
[script=arabss61=yes]
addffvowel
15
input font-gdsmkiv
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
definefontfeature [vowel]
[script=arabss61=yes]
addffvowel
رجفنيسدجهتمنيملعلا crlf خيتاول
رجفنيسدهتمنيملعلا
خيتاول
49 Full Layering
Letrsquos put it all together with full layering and color distinctions
49 Full layering
Letrsquos put it all together with full layering and colordistinctions
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
16
usetypescriptfile[type-husayni]
usetypescript[husayni-default]
input font-gdsmkiv
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
رجفنيسدجهتمنيملعلا crlf خيتاول
﮲ن﮵يملعلاجه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ﮳ ر
خ﮵ي﮴تاول ﮲
5 Optimization and Sample Qurʾānic Typography
51 Sūraḧ Fātiḥaḧ
Letrsquos look at the first page of the handwritten frontspiece of the standard Egyptian
edition of the Qurʾān The entire edition is typeset except for the two first pages
that constitute the frontspiece (see Figure 1)
As simple as the handwritten version seems it contains numerous subtleties that
make imitation using traditional typesetting technology virtually impossible Fol-
lowing we present it in Oriental TEX with full layering (see Figure 2)
5 Optimization and sampleQurʾanic typography
51 Surah Fatih ah
Letrsquos look at the first page of the handwritten fron-tispiece of the standard Egyptian edition of theQurʾan The entire edition is typeset except forthe two first pages that constitute the frontispiece(see Figure 1)
As simple as the handwritten version seems itcontains numerous subtleties that make imitationusing traditional typesetting technology virtuallyimpossible Figure 2 presents it in Oriental TEXwith full layering
But we can be creative and imitate other stylesas well An Iranian style is shown in Figure 3 andan Indo-Pakistani style in Figure 4
52 Surah Baqarah
From the frontispiece we move to more straightfor-ward paragraph typography We illustrate this withtwo aeligsthetic sets from Surah Baqarah with opti-mization applied to get square paragraphs that fillthe page as well as full layering (Figures 5 and 6)
6 Conclusion
As you can see Oriental TEX has come a long wayThere is much work ahead including further refine-ments to the aeligsthetics and the optimization routinesbut it is certainly gratifying to see such sophisticatedreal-world results Qurʾanic typography has finallycome of age
Idris Samawi HamidColorado State Universityishamid (at) colostate dot edu
17
Figure 1 Sūraḧ Fātiḥaḧ from the 1924 Egyptian Edition of the QurʾānFigure 1 Surah Fatih ah from the 1924 Egyptian Edition of the Qurʾan
TUGboat Volume 31 (2010) No 2 20118
نمحرلاهللامس﮳ب﮲
zwnjzwnjzwnj رلا
١م﮵يح
رلا﮲نمحرلا٢﮲ن﮵يملعلا﮳برهللدمLJحLJلا
م﮵يح ٣
﮳بع﮲نكا﮵يإzwnjzwnj٤﮲ن﮵يدلامو﮵يكلم
كا﮵يإود
﮲ن س
رصلاا﮲ندها٥﮲ن﮵يع﮴ت
٦م﮵ي﮴ق﮴تسملاط
رص
﮳بو﮲ض﮲غملار﮵ي﮲غمه﮵يلع﮴تمع﮲نأ﮲ن﮵ي﮲ذلاط
zwnjzwnj٧﮲ن﮵يلا﮲ضلاالومه﮵يلع
Figure 2 Sūraḧ Fātiḥaḧ based on the 1924 Egyptian Edition of the Qurʾān done in Oriental
TEXFigure 2 Surah Fatih ah based on the 1924 Egyptian Edition of the Qurʾan done in Oriental TEX
19
But we can be creative and imitate other styles as well An Iranian style (Figure 3)
نمحرلاهللامس﮳ب﮲
zwnjzwnj رلا
م﮵يح ١
حلا نمحرلا٢﮲ن﮵يملعلا﮳برهللدم﮲
zwnjzwnj رلا
٣م﮵يح
كا﮵يإود﮳بع﮲نكا﮵يإzwnjzwnj٤﮲ن﮵يدلامو﮵يكلم
﮲ن س
رصلاا﮲ندهاzwnjzwnj٥﮲ن﮵يع﮴تسملاطا
٦م﮵ي﮴ق﮴ت
رصzwnjzwnj﮲ن﮵ي﮲ذلاطا مه﮵يلعzwnjzwnj﮴تمع﮲نأ
﮳بو﮲ض﮲غملار﮵ي﮲غ
مه﮵يلع
zwnjzwnj٧﮲ن﮵يلا﮲ضلاالو
Figure 3 Sūraḧ Fātiḥaḧ in a more Iranian styleFigure 3 Surah Fatih ah in a more Iranian style
202 TUGboat Volume 31 (2010) No 2
20
Or an Indo-Pakistani style (Figure 4)
س﮳ب
رلا﮲نمحرلاهللام
١م﮵يح
مLJحLJلا ملعلاzwnjzwnj﮳برهللد zwnj﮲نمحرلا٢﮲ن﮵ي
رلا
٤﮲ن﮵يدلامو﮵يكلم٣م﮵يح
﮳بع﮲نzwnjzwnjڪا﮵يإ
﮲نكا﮵يإود س
٥﮲ن﮵يع﮴ت
رصلاا﮲ندها
سمzwjلاطا
رص٦م﮵ي﮴ق﮴ت
طا
مهzwj﮵يلعzwnjzwnj﮴تمع﮲نأzwnjzwnj﮲ن﮵ي﮲ذلا
1050492ر﮵ي﮲غ
مهzwj﮵يلع﮳بو﮲ض﮲غملا
٧﮲ن﮵يلا﮲ضلاالو
Figure 4 Sūraḧ Fātiḥaḧ in a more Indo-Pakistani styleFigure 4 Surah Fatih ah in a more Indo-Pakistani style
1 1
1 1
﮴ةرzwj﮴ق﮳بلا﮴ةروس
٤
ىلعكئلوأ
zwnjzwnjzwnj٥﮲نوحل﮲فملامهكئلوأومه﮳بر﮲نمzwnjىده
رzwj﮲فzwjzwjك﮲ن﮵ي﮲ذلا﮲نإ
ملمأمه﮴تر﮲ذ﮲نأءمه﮵يلعءاوساو
مهر﮲ذ﮲ن﮴ت
ال
ؤ﮵ي
م﮴ت﮲خzwnj٦﮲نو﮲نم
ىلعهللا
ىلعومه﮳بول﮴ق
ىلعوzwnjمهعمس
مهرص﮳بأ
سا﮲نلا﮲نموzwnjzwnj٧م﮵ي﮲ظع﮳با﮲ذعمهلوzwnj﮴ةو﮶ش﮲غ
ؤم﮳بمهامور﮲خاءلامو﮵يلا﮳بوهللا﮳با﮲نماءلو﮴ق﮵ي﮲نم
zwnj٨﮲ن﮵ي﮲نم
ي يامواو﮲نماء﮲ن﮵ي﮲ذلاوهللا﮲نوعد﮲خ﮵ امومهس﮲ف﮲نأالإ﮲نوعد﮲خ﮵
رع﮶ش﮵ي
رممه﮳بول﮴ق﮵ي﮲ف٩﮲نو
رمهللامهدا﮲ز﮲فzwnj﮲ض
zwnjzwnjا﮲ض
م﮵يلأ﮳با﮲ذعمهلو
١﮲نو﮳ب﮲ذك﮵ياو﮲ناكام﮳ب مهلل﮵ي﮴قا﮲ذإوzwnj٠
١﮲نوحلصم﮲نح﮲نام﮲نإاولا﮴ق﮲ضرألا﮵ي﮲فاودس﮲ف﮴تال ١zwnj
رع﮶ش﮵يال﮲نكلو﮲نودس﮲فملامهمه﮲نإالأ
١﮲نو ا﮲ذإوzwnj٢
ؤ﮲نأاولا﮴قسا﮲نلا﮲نماءامكاو﮲نماءمهلل﮵ي﮴ق
﮲نماءامك﮲نم
١﮲نوملع﮵يال﮲نكلوءاه﮲فسلامهمه﮲نإالأءاه﮲فسلا ٣
Figure 5 Surah Baqarah in a basicEgyptian style
1 1
1 1
﮴ةرzwj﮴ق﮳بلا﮴ةروس
٤
لوأ
﮳بر﮲نمzwnjىدهىلعكئ ه لوأوم
zwnjzwnjzwnj٥﮲نوLJحLJل﮲فملامهكئ
رzwj﮲فzwjzwjك﮲ن﮵ي﮲ذلا﮲نإ
المهر﮲ذ﮲ن﮴تملمأمه﮴تر﮲ذ﮲نأءمه﮵يلعءاوساو
ؤ﮵ي
﮳بول﮴قىلعهللام﮴ت﮲خzwnj٦﮲نو﮲نم لعوzwnjمهعمسىلعومه
ى
سا﮲نلا﮲نموzwnjzwnj٧م﮵ي﮲ظع﮳با﮲ذعمهلوzwnj﮴ةو﮶ش﮲غمهرص﮳بأ
ؤم﮳بمهامور﮲خاءلامو﮵يلا﮳بوهللا﮳با﮲نمالو﮴ق﮵ي﮲نم
zwnj٨﮲ن﮵ي﮲نم
ي يامواو﮲نما﮲ن﮵ي﮲ذلاوهللا﮲نوعد﮲خ﮵ امومهس﮲ف﮲نأالإ﮲نوعد﮲خ﮵
رع﮶ش﮵ي
﮳بول﮴ق﮵ي﮲ف٩﮲نو ه رمم
رمهللامهدا﮲ز﮲فzwnj﮲ض
zwnjzwnjا﮲ض
م﮵يلأ﮳با﮲ذعمهلو١﮲نو﮳ب﮲ذك﮵ياو﮲ناكام﮳ب مهلل﮵ي﮴قا﮲ذإوzwnj٠
١﮲نوLJحLJلصم﮲نح﮲نام﮲نإاولا﮴ق﮲ضرألا﮵ي﮲فاودس﮲ف﮴تال ١zwnj
رع﮶ش﮵يال﮲نكلو﮲نودس﮲فملامهمه﮲نإالأ
١﮲نو ا﮲ذإوzwnj٢
ؤ﮲نأاولا﮴قسا﮲نلا﮲نماامكاو﮲نمامهلل﮵ي﮴ق
﮲نماءامك﮲نم
١﮲نوملع﮵يال﮲نكلوءاه﮲فسلامهمه﮲نإالأءاه﮲فسلا ٣
Figure 6 Surah Baqarah in a slightly differentvowelization style with more character stacking
198 TUGboat Volume 31 (2010) No 2
generally fixed OpenType allows for far more flexi-bility of aeligsthetic sets within Arabic-script providingmore culturally authentic possibilities
In ConTEXt MkIV we have something calledfontfeatures Using fontfeatures we can define addand subtract sets of OpenType lookups mdash called fea-tures to create myriads of output possibilities
In the case of Qurʾanic typography we willillustrate a default feature set and see what happenswhen we
bull subtract and add featuresbull stretch glyphs using alternates
32 Layering
Arabic script is mostly consonantal The vowelsare generally not letters2 And the consonants arecharacterized by ambiguity given a letter shapeit may represent two or more actual letters Onedisambiguates by means of identity marks mostly inthe form of dots
In historical texts including the Qurʾan some-times only the consonantal layer is represented in thetext sometimes only either the vowel or the identity-marks layer Sometimes the two layers clash andwe have to adjust the shape of the consonant or themutual positions of characters belonging to the twodiacritics layers
33 Paragraph optimization
Given that Arabic script in general does not accepthyphenation getting even color in a paragraph willuse alternate glyph substitution or stretched glyphsubstitution The first involves an entirely differentshape eg
ك versusڪzwnjzwnjwhereas the latter involves a stretch of the existingcharacter eg
دمحلا versus دمحلاOne can also combine this with changes in aeligstheticseg
دمحلا versus دمLJحLJلاGetting all of this under control is still in the
experimental stages of implementation The plethoraof possibilities for optimization plus the good jobthat the current paragraph builder does leads us tofocus on a line-by-line optimization after the initialparagraph is optimized by TEX We illustrate thisby showing some real-life samples from the Qurʾanfrom Surahrsquos Fatih ah and Baqarah
2 There are three consonants that sometimes function asvowels as well analogous to the letter lsquoyrsquo in English
4 AEligsthetics and layering
41 Fontfeatures default
Given a font it should have a default aeligsthetic be-havior To that end we define a default fontfeatureset
definefontfeature[husayni-default]
[analyze=yes mode=node language=dflt
script=arab ccmp=yes init=yes medi=yes
fina=yes rlig=yes calt=yes salt=yes
anum=yes ss01=yes ss60=yes
js16=yes kern=yes curs=yes mark=yes
mkmk=yes tlig=yes
colorscheme=husaynidefault]
For illustration we have shown excerpts from thelist of dozens of possible features Features to bedisabled can be commented out or lsquoyesrsquo changed tolsquonorsquo
Also note the colorscheme key at the end Thisrefers to a mechanism for the coloring of the variouslayers of the text as we mentioned earlier
42 Subtracting aeligsthetics
Letrsquos get a barebones minimalist Arabic-script im-plementation by subtracting features Thus the keycommand here is subff
switchtobodyfont[husayni-default40pt]
definefontfeature [first_order]
[script=arabdlig=yesss01=yes
ss03=yesss07=yesss10=yesss12=yes
ss15=yesss16=yesss19=yesss24=yes
ss25=yesss26=yesss27=yesss31=yes
ss34=yesss35=yesss36=yesss37=yes
ss38=yesss41=yesss42=yesss43=yes]
subfffirst_order
Our ConTEXt input text typed in Arabic (omittedin other examples)
9
switchtobodyfont[husayni-default40pt]
definefontfeature [first_order]
[script=arabdlig=yesss01=yesss03=yesss07=yes
ss10=yes
ss12=yesss15=yesss16=yesss19=yesss24=yesss25=yes
ss26=yesss27=yesss31=yesss34=yesss35=yesss36=yes
ss37=yesss38=yesss41=yesss42=yesss43=yes]
subfffirst_order
نيملاعلانيملاعلا crlf
خيتاولرجفنيسدجهتم
﮲ن﮵يملاعلا﮲ن﮵يملاعلا
ر﮳ج﮲ف﮲ن﮵يسد﮳جه﮴تم
﮲خ﮵ي﮴تاول
43 Default AEligsthetics
Setting up the default aeligsthetics is simple
And the result
9
switchtobodyfont[husayni-default40pt]
definefontfeature [first_order]
[script=arabdlig=yesss01=yesss03=yesss07=yes
ss10=yes
ss12=yesss15=yesss16=yesss19=yesss24=yesss25=yes
ss26=yesss27=yesss31=yesss34=yesss35=yesss36=yes
ss37=yesss38=yesss41=yesss42=yesss43=yes]
subfffirst_order
نيملاعلانيملاعلا crlf رجفنيسدجهتم
خيتاول
﮲ن﮵يملاعلا﮲ن﮵يملاعلا
ر﮳ج﮲ف﮲ن﮵يسد﮳جه﮴تم
﮲خ﮵ي﮴تاول
43 Default AEligsthetics
Setting up the default aeligsthetics is simple
43 Default aeligsthetics
Letrsquos show the default aeligsthetics
switchtobodyfont[husayni-default40pt]
Idris Samawi Hamid
TUGboat Volume 31 (2010) No 2 199
The result
10
switchtobodyfont[husayni-default40pt]
نيملاعلانيملاعلا crlf رجفنيسدجهتم
crlf خيتاول
﮲ن﮵يملاعلا﮲ن﮵يملاعلا
جه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ﮳ ر
خ﮵ي﮴تاول ﮲
Study the differences between the first two words once we introduce vowels One of
them has a mild stretch to accommodate a lower vowel
44 Advanced AEligsthetics
For more fancy text letrsquos add some features Note the stacking of characters giving
in some cases a slanted feel to the text The key command here is lsquoaddffrsquo
Study the differences between the first two wordsonce we introduce vowels one of them has a mildstretch to accommodate a lower vowel
44 Advanced aeligsthetics
For more fancy text letrsquos add some features Notethe stacking of characters giving in some cases aslanted feel to the text The key command here isaddff
switchtobodyfont[husayni-default40pt]
definefontfeature [stackhaamulti-level]
[script=arabss05=yesss06=yesss09=yes
ss13=yesss17=yesss40=yes]
addffstackhaamulti-level
11
switchtobodyfont[husayni-default40pt]
definefontfeature [stackhaamulti-level]
[script=arabss05=yesss06=yesss09=yesss13=yesss17=yesss40=yes]
addffstackhaamulti-level
رجفنيسدجهتمنيملعلا crlf خيتاول
﮲ن﮵يملعلاجه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ﮳ ر
خ﮵ي﮴تاول ﮲
45 Stretched and Alternate AEligsthetics
Again we are adding this time adding stretched-alternate and glyph-alternate fea-
tures
45 Stretched and alternate aeligsthetics
Again we are adding this time adding stretched-alternate and glyph-alternate features
switchtobodyfont[husayni-default40pt]
definefontfeature [maximal_stretching]
[script=arabss05=yesss09=yesss06=yes
ss13=yesss17=yesss40=yesjs13=yesjs14=yes
js16=yesjs05=yes]
addffmaximal_stretching
12
switchtobodyfont[husayni-default40pt]
definefontfeature [maximal_stretching][script=arabss05=yes
ss09=yesss06=yesss13=yesss17=yesss40=yesjs13=yesjs14=yes
js16=yesjs05=yes]
addffmaximal_stretching
رجفنيسدجهتمنيملعلا crlf خيتاول
﮲ن﮵يملعلاجه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ر﮳
خ﮵ي﮴تاول ﮲
This example in part illustrates that TEX is informed about where it is legal to
stretch and where it is illegal So there are three stretch points to the word
ج﮲ف﮲ن﮵يس ر﮳
The above example shows three stretches but in real life we want only one of them
46 The Base Consonant Layer
Here we get the base consonants only
This example in part illustrates that TEX isinformed about where it is legal to stretch and whereit is illegal This word third from the right in theabove example shows three stretches in real lifewe would use only one of those three for any givenstretched instantiation of the word
12
switchtobodyfont[husayni-default40pt]
definefontfeature [maximal_stretching][script=arabss05=yes
ss09=yesss06=yesss13=yesss17=yesss40=yesjs13=yesjs14=yes
js16=yesjs05=yes]
addffmaximal_stretching
رجفنيسدجهتمنيملعلا crlf خيتاول
﮲ن﮵يملعلاجه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ر﮳
خ﮵ي﮴تاول ﮲
This example in part illustrates that TEX is informed about where it is legal to
stretch and where it is illegal So there are three stretch points to the word
ج﮲ف﮲ن﮵يس ر﮳
The above example shows three stretches but in real life we want only one of them
46 The Base Consonant Layer
Here we get the base consonants only
46 The base consonant layer
Here we get the base consonants only
switchtobodyfont[husayni-default40pt]
definefontfeature [consonant]
[script=arabss61=yesss49=yesss52=yes]
addffconsonant
13
switchtobodyfont[husayni-default40pt]
definefontfeature [consonant]
[script=arabss61=yesss49=yesss52=yes]
addffconsonant
رجفنيسدجهتمنيملعلا crlf خيتاول
رجفنيسدهتمنيملعلا
خيتاول
47 The Identity Marks Layer
Letrsquos disambiguate the characters and use colors to illustrate the difference
47 The identity marks layer
Letrsquos disambiguate the characters and use colors toillustrate the difference
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
definefontfeature [identity]
[script=arabss49=yesss52=yes]
addffidentity
14
input font-gdsmkiv
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
definefontfeature [identity]
[script=arabss49=yesss52=yes]
addffidentity
رجفنيسدجهتمنيملعلا crlf خيتاول
ر﮳ج﮲ف﮲ن﮵يسد﮳ه﮴تم﮲ن﮵يملعلا
﮲خ﮵ي﮴تاول
48 The Vowels Layer
In the histor of the Qurʾānic text the vowels were developed before the identity
marks so vowels without identymarks is not an abstract example
48 The vowels layer
In the history of the Qurʾanic text the vowels weredeveloped before the identity marks so vowels with-out identity marks is not an abstract example
Qurʾanic typography comes of age AEligsthetics layering and paragraph optimization in ConTEXt
200 TUGboat Volume 31 (2010) No 2
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
definefontfeature [vowel]
[script=arabss61=yes]
addffvowel
15
input font-gdsmkiv
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
definefontfeature [vowel]
[script=arabss61=yes]
addffvowel
رجفنيسدجهتمنيملعلا crlf خيتاول
رجفنيسدهتمنيملعلا
خيتاول
49 Full Layering
Letrsquos put it all together with full layering and color distinctions
49 Full layering
Letrsquos put it all together with full layering and colordistinctions
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
16
usetypescriptfile[type-husayni]
usetypescript[husayni-default]
input font-gdsmkiv
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
رجفنيسدجهتمنيملعلا crlf خيتاول
﮲ن﮵يملعلاجه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ﮳ ر
خ﮵ي﮴تاول ﮲
5 Optimization and Sample Qurʾānic Typography
51 Sūraḧ Fātiḥaḧ
Letrsquos look at the first page of the handwritten frontspiece of the standard Egyptian
edition of the Qurʾān The entire edition is typeset except for the two first pages
that constitute the frontspiece (see Figure 1)
As simple as the handwritten version seems it contains numerous subtleties that
make imitation using traditional typesetting technology virtually impossible Fol-
lowing we present it in Oriental TEX with full layering (see Figure 2)
5 Optimization and sampleQurʾanic typography
51 Surah Fatih ah
Letrsquos look at the first page of the handwritten fron-tispiece of the standard Egyptian edition of theQurʾan The entire edition is typeset except forthe two first pages that constitute the frontispiece(see Figure 1)
As simple as the handwritten version seems itcontains numerous subtleties that make imitationusing traditional typesetting technology virtuallyimpossible Figure 2 presents it in Oriental TEXwith full layering
But we can be creative and imitate other stylesas well An Iranian style is shown in Figure 3 andan Indo-Pakistani style in Figure 4
52 Surah Baqarah
From the frontispiece we move to more straightfor-ward paragraph typography We illustrate this withtwo aeligsthetic sets from Surah Baqarah with opti-mization applied to get square paragraphs that fillthe page as well as full layering (Figures 5 and 6)
6 Conclusion
As you can see Oriental TEX has come a long wayThere is much work ahead including further refine-ments to the aeligsthetics and the optimization routinesbut it is certainly gratifying to see such sophisticatedreal-world results Qurʾanic typography has finallycome of age
Idris Samawi HamidColorado State Universityishamid (at) colostate dot edu
17
Figure 1 Sūraḧ Fātiḥaḧ from the 1924 Egyptian Edition of the QurʾānFigure 1 Surah Fatih ah from the 1924 Egyptian Edition of the Qurʾan
TUGboat Volume 31 (2010) No 2 20118
نمحرلاهللامس﮳ب﮲
zwnjzwnjzwnj رلا
١م﮵يح
رلا﮲نمحرلا٢﮲ن﮵يملعلا﮳برهللدمLJحLJلا
م﮵يح ٣
﮳بع﮲نكا﮵يإzwnjzwnj٤﮲ن﮵يدلامو﮵يكلم
كا﮵يإود
﮲ن س
رصلاا﮲ندها٥﮲ن﮵يع﮴ت
٦م﮵ي﮴ق﮴تسملاط
رص
﮳بو﮲ض﮲غملار﮵ي﮲غمه﮵يلع﮴تمع﮲نأ﮲ن﮵ي﮲ذلاط
zwnjzwnj٧﮲ن﮵يلا﮲ضلاالومه﮵يلع
Figure 2 Sūraḧ Fātiḥaḧ based on the 1924 Egyptian Edition of the Qurʾān done in Oriental
TEXFigure 2 Surah Fatih ah based on the 1924 Egyptian Edition of the Qurʾan done in Oriental TEX
19
But we can be creative and imitate other styles as well An Iranian style (Figure 3)
نمحرلاهللامس﮳ب﮲
zwnjzwnj رلا
م﮵يح ١
حلا نمحرلا٢﮲ن﮵يملعلا﮳برهللدم﮲
zwnjzwnj رلا
٣م﮵يح
كا﮵يإود﮳بع﮲نكا﮵يإzwnjzwnj٤﮲ن﮵يدلامو﮵يكلم
﮲ن س
رصلاا﮲ندهاzwnjzwnj٥﮲ن﮵يع﮴تسملاطا
٦م﮵ي﮴ق﮴ت
رصzwnjzwnj﮲ن﮵ي﮲ذلاطا مه﮵يلعzwnjzwnj﮴تمع﮲نأ
﮳بو﮲ض﮲غملار﮵ي﮲غ
مه﮵يلع
zwnjzwnj٧﮲ن﮵يلا﮲ضلاالو
Figure 3 Sūraḧ Fātiḥaḧ in a more Iranian styleFigure 3 Surah Fatih ah in a more Iranian style
202 TUGboat Volume 31 (2010) No 2
20
Or an Indo-Pakistani style (Figure 4)
س﮳ب
رلا﮲نمحرلاهللام
١م﮵يح
مLJحLJلا ملعلاzwnjzwnj﮳برهللد zwnj﮲نمحرلا٢﮲ن﮵ي
رلا
٤﮲ن﮵يدلامو﮵يكلم٣م﮵يح
﮳بع﮲نzwnjzwnjڪا﮵يإ
﮲نكا﮵يإود س
٥﮲ن﮵يع﮴ت
رصلاا﮲ندها
سمzwjلاطا
رص٦م﮵ي﮴ق﮴ت
طا
مهzwj﮵يلعzwnjzwnj﮴تمع﮲نأzwnjzwnj﮲ن﮵ي﮲ذلا
1050492ر﮵ي﮲غ
مهzwj﮵يلع﮳بو﮲ض﮲غملا
٧﮲ن﮵يلا﮲ضلاالو
Figure 4 Sūraḧ Fātiḥaḧ in a more Indo-Pakistani styleFigure 4 Surah Fatih ah in a more Indo-Pakistani style
1 1
1 1
﮴ةرzwj﮴ق﮳بلا﮴ةروس
٤
ىلعكئلوأ
zwnjzwnjzwnj٥﮲نوحل﮲فملامهكئلوأومه﮳بر﮲نمzwnjىده
رzwj﮲فzwjzwjك﮲ن﮵ي﮲ذلا﮲نإ
ملمأمه﮴تر﮲ذ﮲نأءمه﮵يلعءاوساو
مهر﮲ذ﮲ن﮴ت
ال
ؤ﮵ي
م﮴ت﮲خzwnj٦﮲نو﮲نم
ىلعهللا
ىلعومه﮳بول﮴ق
ىلعوzwnjمهعمس
مهرص﮳بأ
سا﮲نلا﮲نموzwnjzwnj٧م﮵ي﮲ظع﮳با﮲ذعمهلوzwnj﮴ةو﮶ش﮲غ
ؤم﮳بمهامور﮲خاءلامو﮵يلا﮳بوهللا﮳با﮲نماءلو﮴ق﮵ي﮲نم
zwnj٨﮲ن﮵ي﮲نم
ي يامواو﮲نماء﮲ن﮵ي﮲ذلاوهللا﮲نوعد﮲خ﮵ امومهس﮲ف﮲نأالإ﮲نوعد﮲خ﮵
رع﮶ش﮵ي
رممه﮳بول﮴ق﮵ي﮲ف٩﮲نو
رمهللامهدا﮲ز﮲فzwnj﮲ض
zwnjzwnjا﮲ض
م﮵يلأ﮳با﮲ذعمهلو
١﮲نو﮳ب﮲ذك﮵ياو﮲ناكام﮳ب مهلل﮵ي﮴قا﮲ذإوzwnj٠
١﮲نوحلصم﮲نح﮲نام﮲نإاولا﮴ق﮲ضرألا﮵ي﮲فاودس﮲ف﮴تال ١zwnj
رع﮶ش﮵يال﮲نكلو﮲نودس﮲فملامهمه﮲نإالأ
١﮲نو ا﮲ذإوzwnj٢
ؤ﮲نأاولا﮴قسا﮲نلا﮲نماءامكاو﮲نماءمهلل﮵ي﮴ق
﮲نماءامك﮲نم
١﮲نوملع﮵يال﮲نكلوءاه﮲فسلامهمه﮲نإالأءاه﮲فسلا ٣
Figure 5 Surah Baqarah in a basicEgyptian style
1 1
1 1
﮴ةرzwj﮴ق﮳بلا﮴ةروس
٤
لوأ
﮳بر﮲نمzwnjىدهىلعكئ ه لوأوم
zwnjzwnjzwnj٥﮲نوLJحLJل﮲فملامهكئ
رzwj﮲فzwjzwjك﮲ن﮵ي﮲ذلا﮲نإ
المهر﮲ذ﮲ن﮴تملمأمه﮴تر﮲ذ﮲نأءمه﮵يلعءاوساو
ؤ﮵ي
﮳بول﮴قىلعهللام﮴ت﮲خzwnj٦﮲نو﮲نم لعوzwnjمهعمسىلعومه
ى
سا﮲نلا﮲نموzwnjzwnj٧م﮵ي﮲ظع﮳با﮲ذعمهلوzwnj﮴ةو﮶ش﮲غمهرص﮳بأ
ؤم﮳بمهامور﮲خاءلامو﮵يلا﮳بوهللا﮳با﮲نمالو﮴ق﮵ي﮲نم
zwnj٨﮲ن﮵ي﮲نم
ي يامواو﮲نما﮲ن﮵ي﮲ذلاوهللا﮲نوعد﮲خ﮵ امومهس﮲ف﮲نأالإ﮲نوعد﮲خ﮵
رع﮶ش﮵ي
﮳بول﮴ق﮵ي﮲ف٩﮲نو ه رمم
رمهللامهدا﮲ز﮲فzwnj﮲ض
zwnjzwnjا﮲ض
م﮵يلأ﮳با﮲ذعمهلو١﮲نو﮳ب﮲ذك﮵ياو﮲ناكام﮳ب مهلل﮵ي﮴قا﮲ذإوzwnj٠
١﮲نوLJحLJلصم﮲نح﮲نام﮲نإاولا﮴ق﮲ضرألا﮵ي﮲فاودس﮲ف﮴تال ١zwnj
رع﮶ش﮵يال﮲نكلو﮲نودس﮲فملامهمه﮲نإالأ
١﮲نو ا﮲ذإوzwnj٢
ؤ﮲نأاولا﮴قسا﮲نلا﮲نماامكاو﮲نمامهلل﮵ي﮴ق
﮲نماءامك﮲نم
١﮲نوملع﮵يال﮲نكلوءاه﮲فسلامهمه﮲نإالأءاه﮲فسلا ٣
Figure 6 Surah Baqarah in a slightly differentvowelization style with more character stacking
TUGboat Volume 31 (2010) No 2 199
The result
10
switchtobodyfont[husayni-default40pt]
نيملاعلانيملاعلا crlf رجفنيسدجهتم
crlf خيتاول
﮲ن﮵يملاعلا﮲ن﮵يملاعلا
جه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ﮳ ر
خ﮵ي﮴تاول ﮲
Study the differences between the first two words once we introduce vowels One of
them has a mild stretch to accommodate a lower vowel
44 Advanced AEligsthetics
For more fancy text letrsquos add some features Note the stacking of characters giving
in some cases a slanted feel to the text The key command here is lsquoaddffrsquo
Study the differences between the first two wordsonce we introduce vowels one of them has a mildstretch to accommodate a lower vowel
44 Advanced aeligsthetics
For more fancy text letrsquos add some features Notethe stacking of characters giving in some cases aslanted feel to the text The key command here isaddff
switchtobodyfont[husayni-default40pt]
definefontfeature [stackhaamulti-level]
[script=arabss05=yesss06=yesss09=yes
ss13=yesss17=yesss40=yes]
addffstackhaamulti-level
11
switchtobodyfont[husayni-default40pt]
definefontfeature [stackhaamulti-level]
[script=arabss05=yesss06=yesss09=yesss13=yesss17=yesss40=yes]
addffstackhaamulti-level
رجفنيسدجهتمنيملعلا crlf خيتاول
﮲ن﮵يملعلاجه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ﮳ ر
خ﮵ي﮴تاول ﮲
45 Stretched and Alternate AEligsthetics
Again we are adding this time adding stretched-alternate and glyph-alternate fea-
tures
45 Stretched and alternate aeligsthetics
Again we are adding this time adding stretched-alternate and glyph-alternate features
switchtobodyfont[husayni-default40pt]
definefontfeature [maximal_stretching]
[script=arabss05=yesss09=yesss06=yes
ss13=yesss17=yesss40=yesjs13=yesjs14=yes
js16=yesjs05=yes]
addffmaximal_stretching
12
switchtobodyfont[husayni-default40pt]
definefontfeature [maximal_stretching][script=arabss05=yes
ss09=yesss06=yesss13=yesss17=yesss40=yesjs13=yesjs14=yes
js16=yesjs05=yes]
addffmaximal_stretching
رجفنيسدجهتمنيملعلا crlf خيتاول
﮲ن﮵يملعلاجه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ر﮳
خ﮵ي﮴تاول ﮲
This example in part illustrates that TEX is informed about where it is legal to
stretch and where it is illegal So there are three stretch points to the word
ج﮲ف﮲ن﮵يس ر﮳
The above example shows three stretches but in real life we want only one of them
46 The Base Consonant Layer
Here we get the base consonants only
This example in part illustrates that TEX isinformed about where it is legal to stretch and whereit is illegal This word third from the right in theabove example shows three stretches in real lifewe would use only one of those three for any givenstretched instantiation of the word
12
switchtobodyfont[husayni-default40pt]
definefontfeature [maximal_stretching][script=arabss05=yes
ss09=yesss06=yesss13=yesss17=yesss40=yesjs13=yesjs14=yes
js16=yesjs05=yes]
addffmaximal_stretching
رجفنيسدجهتمنيملعلا crlf خيتاول
﮲ن﮵يملعلاجه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ر﮳
خ﮵ي﮴تاول ﮲
This example in part illustrates that TEX is informed about where it is legal to
stretch and where it is illegal So there are three stretch points to the word
ج﮲ف﮲ن﮵يس ر﮳
The above example shows three stretches but in real life we want only one of them
46 The Base Consonant Layer
Here we get the base consonants only
46 The base consonant layer
Here we get the base consonants only
switchtobodyfont[husayni-default40pt]
definefontfeature [consonant]
[script=arabss61=yesss49=yesss52=yes]
addffconsonant
13
switchtobodyfont[husayni-default40pt]
definefontfeature [consonant]
[script=arabss61=yesss49=yesss52=yes]
addffconsonant
رجفنيسدجهتمنيملعلا crlf خيتاول
رجفنيسدهتمنيملعلا
خيتاول
47 The Identity Marks Layer
Letrsquos disambiguate the characters and use colors to illustrate the difference
47 The identity marks layer
Letrsquos disambiguate the characters and use colors toillustrate the difference
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
definefontfeature [identity]
[script=arabss49=yesss52=yes]
addffidentity
14
input font-gdsmkiv
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
definefontfeature [identity]
[script=arabss49=yesss52=yes]
addffidentity
رجفنيسدجهتمنيملعلا crlf خيتاول
ر﮳ج﮲ف﮲ن﮵يسد﮳ه﮴تم﮲ن﮵يملعلا
﮲خ﮵ي﮴تاول
48 The Vowels Layer
In the histor of the Qurʾānic text the vowels were developed before the identity
marks so vowels without identymarks is not an abstract example
48 The vowels layer
In the history of the Qurʾanic text the vowels weredeveloped before the identity marks so vowels with-out identity marks is not an abstract example
Qurʾanic typography comes of age AEligsthetics layering and paragraph optimization in ConTEXt
200 TUGboat Volume 31 (2010) No 2
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
definefontfeature [vowel]
[script=arabss61=yes]
addffvowel
15
input font-gdsmkiv
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
definefontfeature [vowel]
[script=arabss61=yes]
addffvowel
رجفنيسدجهتمنيملعلا crlf خيتاول
رجفنيسدهتمنيملعلا
خيتاول
49 Full Layering
Letrsquos put it all together with full layering and color distinctions
49 Full layering
Letrsquos put it all together with full layering and colordistinctions
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
16
usetypescriptfile[type-husayni]
usetypescript[husayni-default]
input font-gdsmkiv
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
رجفنيسدجهتمنيملعلا crlf خيتاول
﮲ن﮵يملعلاجه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ﮳ ر
خ﮵ي﮴تاول ﮲
5 Optimization and Sample Qurʾānic Typography
51 Sūraḧ Fātiḥaḧ
Letrsquos look at the first page of the handwritten frontspiece of the standard Egyptian
edition of the Qurʾān The entire edition is typeset except for the two first pages
that constitute the frontspiece (see Figure 1)
As simple as the handwritten version seems it contains numerous subtleties that
make imitation using traditional typesetting technology virtually impossible Fol-
lowing we present it in Oriental TEX with full layering (see Figure 2)
5 Optimization and sampleQurʾanic typography
51 Surah Fatih ah
Letrsquos look at the first page of the handwritten fron-tispiece of the standard Egyptian edition of theQurʾan The entire edition is typeset except forthe two first pages that constitute the frontispiece(see Figure 1)
As simple as the handwritten version seems itcontains numerous subtleties that make imitationusing traditional typesetting technology virtuallyimpossible Figure 2 presents it in Oriental TEXwith full layering
But we can be creative and imitate other stylesas well An Iranian style is shown in Figure 3 andan Indo-Pakistani style in Figure 4
52 Surah Baqarah
From the frontispiece we move to more straightfor-ward paragraph typography We illustrate this withtwo aeligsthetic sets from Surah Baqarah with opti-mization applied to get square paragraphs that fillthe page as well as full layering (Figures 5 and 6)
6 Conclusion
As you can see Oriental TEX has come a long wayThere is much work ahead including further refine-ments to the aeligsthetics and the optimization routinesbut it is certainly gratifying to see such sophisticatedreal-world results Qurʾanic typography has finallycome of age
Idris Samawi HamidColorado State Universityishamid (at) colostate dot edu
17
Figure 1 Sūraḧ Fātiḥaḧ from the 1924 Egyptian Edition of the QurʾānFigure 1 Surah Fatih ah from the 1924 Egyptian Edition of the Qurʾan
TUGboat Volume 31 (2010) No 2 20118
نمحرلاهللامس﮳ب﮲
zwnjzwnjzwnj رلا
١م﮵يح
رلا﮲نمحرلا٢﮲ن﮵يملعلا﮳برهللدمLJحLJلا
م﮵يح ٣
﮳بع﮲نكا﮵يإzwnjzwnj٤﮲ن﮵يدلامو﮵يكلم
كا﮵يإود
﮲ن س
رصلاا﮲ندها٥﮲ن﮵يع﮴ت
٦م﮵ي﮴ق﮴تسملاط
رص
﮳بو﮲ض﮲غملار﮵ي﮲غمه﮵يلع﮴تمع﮲نأ﮲ن﮵ي﮲ذلاط
zwnjzwnj٧﮲ن﮵يلا﮲ضلاالومه﮵يلع
Figure 2 Sūraḧ Fātiḥaḧ based on the 1924 Egyptian Edition of the Qurʾān done in Oriental
TEXFigure 2 Surah Fatih ah based on the 1924 Egyptian Edition of the Qurʾan done in Oriental TEX
19
But we can be creative and imitate other styles as well An Iranian style (Figure 3)
نمحرلاهللامس﮳ب﮲
zwnjzwnj رلا
م﮵يح ١
حلا نمحرلا٢﮲ن﮵يملعلا﮳برهللدم﮲
zwnjzwnj رلا
٣م﮵يح
كا﮵يإود﮳بع﮲نكا﮵يإzwnjzwnj٤﮲ن﮵يدلامو﮵يكلم
﮲ن س
رصلاا﮲ندهاzwnjzwnj٥﮲ن﮵يع﮴تسملاطا
٦م﮵ي﮴ق﮴ت
رصzwnjzwnj﮲ن﮵ي﮲ذلاطا مه﮵يلعzwnjzwnj﮴تمع﮲نأ
﮳بو﮲ض﮲غملار﮵ي﮲غ
مه﮵يلع
zwnjzwnj٧﮲ن﮵يلا﮲ضلاالو
Figure 3 Sūraḧ Fātiḥaḧ in a more Iranian styleFigure 3 Surah Fatih ah in a more Iranian style
202 TUGboat Volume 31 (2010) No 2
20
Or an Indo-Pakistani style (Figure 4)
س﮳ب
رلا﮲نمحرلاهللام
١م﮵يح
مLJحLJلا ملعلاzwnjzwnj﮳برهللد zwnj﮲نمحرلا٢﮲ن﮵ي
رلا
٤﮲ن﮵يدلامو﮵يكلم٣م﮵يح
﮳بع﮲نzwnjzwnjڪا﮵يإ
﮲نكا﮵يإود س
٥﮲ن﮵يع﮴ت
رصلاا﮲ندها
سمzwjلاطا
رص٦م﮵ي﮴ق﮴ت
طا
مهzwj﮵يلعzwnjzwnj﮴تمع﮲نأzwnjzwnj﮲ن﮵ي﮲ذلا
1050492ر﮵ي﮲غ
مهzwj﮵يلع﮳بو﮲ض﮲غملا
٧﮲ن﮵يلا﮲ضلاالو
Figure 4 Sūraḧ Fātiḥaḧ in a more Indo-Pakistani styleFigure 4 Surah Fatih ah in a more Indo-Pakistani style
1 1
1 1
﮴ةرzwj﮴ق﮳بلا﮴ةروس
٤
ىلعكئلوأ
zwnjzwnjzwnj٥﮲نوحل﮲فملامهكئلوأومه﮳بر﮲نمzwnjىده
رzwj﮲فzwjzwjك﮲ن﮵ي﮲ذلا﮲نإ
ملمأمه﮴تر﮲ذ﮲نأءمه﮵يلعءاوساو
مهر﮲ذ﮲ن﮴ت
ال
ؤ﮵ي
م﮴ت﮲خzwnj٦﮲نو﮲نم
ىلعهللا
ىلعومه﮳بول﮴ق
ىلعوzwnjمهعمس
مهرص﮳بأ
سا﮲نلا﮲نموzwnjzwnj٧م﮵ي﮲ظع﮳با﮲ذعمهلوzwnj﮴ةو﮶ش﮲غ
ؤم﮳بمهامور﮲خاءلامو﮵يلا﮳بوهللا﮳با﮲نماءلو﮴ق﮵ي﮲نم
zwnj٨﮲ن﮵ي﮲نم
ي يامواو﮲نماء﮲ن﮵ي﮲ذلاوهللا﮲نوعد﮲خ﮵ امومهس﮲ف﮲نأالإ﮲نوعد﮲خ﮵
رع﮶ش﮵ي
رممه﮳بول﮴ق﮵ي﮲ف٩﮲نو
رمهللامهدا﮲ز﮲فzwnj﮲ض
zwnjzwnjا﮲ض
م﮵يلأ﮳با﮲ذعمهلو
١﮲نو﮳ب﮲ذك﮵ياو﮲ناكام﮳ب مهلل﮵ي﮴قا﮲ذإوzwnj٠
١﮲نوحلصم﮲نح﮲نام﮲نإاولا﮴ق﮲ضرألا﮵ي﮲فاودس﮲ف﮴تال ١zwnj
رع﮶ش﮵يال﮲نكلو﮲نودس﮲فملامهمه﮲نإالأ
١﮲نو ا﮲ذإوzwnj٢
ؤ﮲نأاولا﮴قسا﮲نلا﮲نماءامكاو﮲نماءمهلل﮵ي﮴ق
﮲نماءامك﮲نم
١﮲نوملع﮵يال﮲نكلوءاه﮲فسلامهمه﮲نإالأءاه﮲فسلا ٣
Figure 5 Surah Baqarah in a basicEgyptian style
1 1
1 1
﮴ةرzwj﮴ق﮳بلا﮴ةروس
٤
لوأ
﮳بر﮲نمzwnjىدهىلعكئ ه لوأوم
zwnjzwnjzwnj٥﮲نوLJحLJل﮲فملامهكئ
رzwj﮲فzwjzwjك﮲ن﮵ي﮲ذلا﮲نإ
المهر﮲ذ﮲ن﮴تملمأمه﮴تر﮲ذ﮲نأءمه﮵يلعءاوساو
ؤ﮵ي
﮳بول﮴قىلعهللام﮴ت﮲خzwnj٦﮲نو﮲نم لعوzwnjمهعمسىلعومه
ى
سا﮲نلا﮲نموzwnjzwnj٧م﮵ي﮲ظع﮳با﮲ذعمهلوzwnj﮴ةو﮶ش﮲غمهرص﮳بأ
ؤم﮳بمهامور﮲خاءلامو﮵يلا﮳بوهللا﮳با﮲نمالو﮴ق﮵ي﮲نم
zwnj٨﮲ن﮵ي﮲نم
ي يامواو﮲نما﮲ن﮵ي﮲ذلاوهللا﮲نوعد﮲خ﮵ امومهس﮲ف﮲نأالإ﮲نوعد﮲خ﮵
رع﮶ش﮵ي
﮳بول﮴ق﮵ي﮲ف٩﮲نو ه رمم
رمهللامهدا﮲ز﮲فzwnj﮲ض
zwnjzwnjا﮲ض
م﮵يلأ﮳با﮲ذعمهلو١﮲نو﮳ب﮲ذك﮵ياو﮲ناكام﮳ب مهلل﮵ي﮴قا﮲ذإوzwnj٠
١﮲نوLJحLJلصم﮲نح﮲نام﮲نإاولا﮴ق﮲ضرألا﮵ي﮲فاودس﮲ف﮴تال ١zwnj
رع﮶ش﮵يال﮲نكلو﮲نودس﮲فملامهمه﮲نإالأ
١﮲نو ا﮲ذإوzwnj٢
ؤ﮲نأاولا﮴قسا﮲نلا﮲نماامكاو﮲نمامهلل﮵ي﮴ق
﮲نماءامك﮲نم
١﮲نوملع﮵يال﮲نكلوءاه﮲فسلامهمه﮲نإالأءاه﮲فسلا ٣
Figure 6 Surah Baqarah in a slightly differentvowelization style with more character stacking
200 TUGboat Volume 31 (2010) No 2
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
definefontfeature [vowel]
[script=arabss61=yes]
addffvowel
15
input font-gdsmkiv
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
definefontfeature [vowel]
[script=arabss61=yes]
addffvowel
رجفنيسدجهتمنيملعلا crlf خيتاول
رجفنيسدهتمنيملعلا
خيتاول
49 Full Layering
Letrsquos put it all together with full layering and color distinctions
49 Full layering
Letrsquos put it all together with full layering and colordistinctions
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
16
usetypescriptfile[type-husayni]
usetypescript[husayni-default]
input font-gdsmkiv
switchtobodyfont[husayni-default40pt]
setfontcolorscheme[1]
رجفنيسدجهتمنيملعلا crlf خيتاول
﮲ن﮵يملعلاجه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ﮳ ر
خ﮵ي﮴تاول ﮲
5 Optimization and Sample Qurʾānic Typography
51 Sūraḧ Fātiḥaḧ
Letrsquos look at the first page of the handwritten frontspiece of the standard Egyptian
edition of the Qurʾān The entire edition is typeset except for the two first pages
that constitute the frontspiece (see Figure 1)
As simple as the handwritten version seems it contains numerous subtleties that
make imitation using traditional typesetting technology virtually impossible Fol-
lowing we present it in Oriental TEX with full layering (see Figure 2)
5 Optimization and sampleQurʾanic typography
51 Surah Fatih ah
Letrsquos look at the first page of the handwritten fron-tispiece of the standard Egyptian edition of theQurʾan The entire edition is typeset except forthe two first pages that constitute the frontispiece(see Figure 1)
As simple as the handwritten version seems itcontains numerous subtleties that make imitationusing traditional typesetting technology virtuallyimpossible Figure 2 presents it in Oriental TEXwith full layering
But we can be creative and imitate other stylesas well An Iranian style is shown in Figure 3 andan Indo-Pakistani style in Figure 4
52 Surah Baqarah
From the frontispiece we move to more straightfor-ward paragraph typography We illustrate this withtwo aeligsthetic sets from Surah Baqarah with opti-mization applied to get square paragraphs that fillthe page as well as full layering (Figures 5 and 6)
6 Conclusion
As you can see Oriental TEX has come a long wayThere is much work ahead including further refine-ments to the aeligsthetics and the optimization routinesbut it is certainly gratifying to see such sophisticatedreal-world results Qurʾanic typography has finallycome of age
Idris Samawi HamidColorado State Universityishamid (at) colostate dot edu
17
Figure 1 Sūraḧ Fātiḥaḧ from the 1924 Egyptian Edition of the QurʾānFigure 1 Surah Fatih ah from the 1924 Egyptian Edition of the Qurʾan
TUGboat Volume 31 (2010) No 2 20118
نمحرلاهللامس﮳ب﮲
zwnjzwnjzwnj رلا
١م﮵يح
رلا﮲نمحرلا٢﮲ن﮵يملعلا﮳برهللدمLJحLJلا
م﮵يح ٣
﮳بع﮲نكا﮵يإzwnjzwnj٤﮲ن﮵يدلامو﮵يكلم
كا﮵يإود
﮲ن س
رصلاا﮲ندها٥﮲ن﮵يع﮴ت
٦م﮵ي﮴ق﮴تسملاط
رص
﮳بو﮲ض﮲غملار﮵ي﮲غمه﮵يلع﮴تمع﮲نأ﮲ن﮵ي﮲ذلاط
zwnjzwnj٧﮲ن﮵يلا﮲ضلاالومه﮵يلع
Figure 2 Sūraḧ Fātiḥaḧ based on the 1924 Egyptian Edition of the Qurʾān done in Oriental
TEXFigure 2 Surah Fatih ah based on the 1924 Egyptian Edition of the Qurʾan done in Oriental TEX
19
But we can be creative and imitate other styles as well An Iranian style (Figure 3)
نمحرلاهللامس﮳ب﮲
zwnjzwnj رلا
م﮵يح ١
حلا نمحرلا٢﮲ن﮵يملعلا﮳برهللدم﮲
zwnjzwnj رلا
٣م﮵يح
كا﮵يإود﮳بع﮲نكا﮵يإzwnjzwnj٤﮲ن﮵يدلامو﮵يكلم
﮲ن س
رصلاا﮲ندهاzwnjzwnj٥﮲ن﮵يع﮴تسملاطا
٦م﮵ي﮴ق﮴ت
رصzwnjzwnj﮲ن﮵ي﮲ذلاطا مه﮵يلعzwnjzwnj﮴تمع﮲نأ
﮳بو﮲ض﮲غملار﮵ي﮲غ
مه﮵يلع
zwnjzwnj٧﮲ن﮵يلا﮲ضلاالو
Figure 3 Sūraḧ Fātiḥaḧ in a more Iranian styleFigure 3 Surah Fatih ah in a more Iranian style
202 TUGboat Volume 31 (2010) No 2
20
Or an Indo-Pakistani style (Figure 4)
س﮳ب
رلا﮲نمحرلاهللام
١م﮵يح
مLJحLJلا ملعلاzwnjzwnj﮳برهللد zwnj﮲نمحرلا٢﮲ن﮵ي
رلا
٤﮲ن﮵يدلامو﮵يكلم٣م﮵يح
﮳بع﮲نzwnjzwnjڪا﮵يإ
﮲نكا﮵يإود س
٥﮲ن﮵يع﮴ت
رصلاا﮲ندها
سمzwjلاطا
رص٦م﮵ي﮴ق﮴ت
طا
مهzwj﮵يلعzwnjzwnj﮴تمع﮲نأzwnjzwnj﮲ن﮵ي﮲ذلا
1050492ر﮵ي﮲غ
مهzwj﮵يلع﮳بو﮲ض﮲غملا
٧﮲ن﮵يلا﮲ضلاالو
Figure 4 Sūraḧ Fātiḥaḧ in a more Indo-Pakistani styleFigure 4 Surah Fatih ah in a more Indo-Pakistani style
1 1
1 1
﮴ةرzwj﮴ق﮳بلا﮴ةروس
٤
ىلعكئلوأ
zwnjzwnjzwnj٥﮲نوحل﮲فملامهكئلوأومه﮳بر﮲نمzwnjىده
رzwj﮲فzwjzwjك﮲ن﮵ي﮲ذلا﮲نإ
ملمأمه﮴تر﮲ذ﮲نأءمه﮵يلعءاوساو
مهر﮲ذ﮲ن﮴ت
ال
ؤ﮵ي
م﮴ت﮲خzwnj٦﮲نو﮲نم
ىلعهللا
ىلعومه﮳بول﮴ق
ىلعوzwnjمهعمس
مهرص﮳بأ
سا﮲نلا﮲نموzwnjzwnj٧م﮵ي﮲ظع﮳با﮲ذعمهلوzwnj﮴ةو﮶ش﮲غ
ؤم﮳بمهامور﮲خاءلامو﮵يلا﮳بوهللا﮳با﮲نماءلو﮴ق﮵ي﮲نم
zwnj٨﮲ن﮵ي﮲نم
ي يامواو﮲نماء﮲ن﮵ي﮲ذلاوهللا﮲نوعد﮲خ﮵ امومهس﮲ف﮲نأالإ﮲نوعد﮲خ﮵
رع﮶ش﮵ي
رممه﮳بول﮴ق﮵ي﮲ف٩﮲نو
رمهللامهدا﮲ز﮲فzwnj﮲ض
zwnjzwnjا﮲ض
م﮵يلأ﮳با﮲ذعمهلو
١﮲نو﮳ب﮲ذك﮵ياو﮲ناكام﮳ب مهلل﮵ي﮴قا﮲ذإوzwnj٠
١﮲نوحلصم﮲نح﮲نام﮲نإاولا﮴ق﮲ضرألا﮵ي﮲فاودس﮲ف﮴تال ١zwnj
رع﮶ش﮵يال﮲نكلو﮲نودس﮲فملامهمه﮲نإالأ
١﮲نو ا﮲ذإوzwnj٢
ؤ﮲نأاولا﮴قسا﮲نلا﮲نماءامكاو﮲نماءمهلل﮵ي﮴ق
﮲نماءامك﮲نم
١﮲نوملع﮵يال﮲نكلوءاه﮲فسلامهمه﮲نإالأءاه﮲فسلا ٣
Figure 5 Surah Baqarah in a basicEgyptian style
1 1
1 1
﮴ةرzwj﮴ق﮳بلا﮴ةروس
٤
لوأ
﮳بر﮲نمzwnjىدهىلعكئ ه لوأوم
zwnjzwnjzwnj٥﮲نوLJحLJل﮲فملامهكئ
رzwj﮲فzwjzwjك﮲ن﮵ي﮲ذلا﮲نإ
المهر﮲ذ﮲ن﮴تملمأمه﮴تر﮲ذ﮲نأءمه﮵يلعءاوساو
ؤ﮵ي
﮳بول﮴قىلعهللام﮴ت﮲خzwnj٦﮲نو﮲نم لعوzwnjمهعمسىلعومه
ى
سا﮲نلا﮲نموzwnjzwnj٧م﮵ي﮲ظع﮳با﮲ذعمهلوzwnj﮴ةو﮶ش﮲غمهرص﮳بأ
ؤم﮳بمهامور﮲خاءلامو﮵يلا﮳بوهللا﮳با﮲نمالو﮴ق﮵ي﮲نم
zwnj٨﮲ن﮵ي﮲نم
ي يامواو﮲نما﮲ن﮵ي﮲ذلاوهللا﮲نوعد﮲خ﮵ امومهس﮲ف﮲نأالإ﮲نوعد﮲خ﮵
رع﮶ش﮵ي
﮳بول﮴ق﮵ي﮲ف٩﮲نو ه رمم
رمهللامهدا﮲ز﮲فzwnj﮲ض
zwnjzwnjا﮲ض
م﮵يلأ﮳با﮲ذعمهلو١﮲نو﮳ب﮲ذك﮵ياو﮲ناكام﮳ب مهلل﮵ي﮴قا﮲ذإوzwnj٠
١﮲نوLJحLJلصم﮲نح﮲نام﮲نإاولا﮴ق﮲ضرألا﮵ي﮲فاودس﮲ف﮴تال ١zwnj
رع﮶ش﮵يال﮲نكلو﮲نودس﮲فملامهمه﮲نإالأ
١﮲نو ا﮲ذإوzwnj٢
ؤ﮲نأاولا﮴قسا﮲نلا﮲نماامكاو﮲نمامهلل﮵ي﮴ق
﮲نماءامك﮲نم
١﮲نوملع﮵يال﮲نكلوءاه﮲فسلامهمه﮲نإالأءاه﮲فسلا ٣
Figure 6 Surah Baqarah in a slightly differentvowelization style with more character stacking
TUGboat Volume 31 (2010) No 2 20118
نمحرلاهللامس﮳ب﮲
zwnjzwnjzwnj رلا
١م﮵يح
رلا﮲نمحرلا٢﮲ن﮵يملعلا﮳برهللدمLJحLJلا
م﮵يح ٣
﮳بع﮲نكا﮵يإzwnjzwnj٤﮲ن﮵يدلامو﮵يكلم
كا﮵يإود
﮲ن س
رصلاا﮲ندها٥﮲ن﮵يع﮴ت
٦م﮵ي﮴ق﮴تسملاط
رص
﮳بو﮲ض﮲غملار﮵ي﮲غمه﮵يلع﮴تمع﮲نأ﮲ن﮵ي﮲ذلاط
zwnjzwnj٧﮲ن﮵يلا﮲ضلاالومه﮵يلع
Figure 2 Sūraḧ Fātiḥaḧ based on the 1924 Egyptian Edition of the Qurʾān done in Oriental
TEXFigure 2 Surah Fatih ah based on the 1924 Egyptian Edition of the Qurʾan done in Oriental TEX
19
But we can be creative and imitate other styles as well An Iranian style (Figure 3)
نمحرلاهللامس﮳ب﮲
zwnjzwnj رلا
م﮵يح ١
حلا نمحرلا٢﮲ن﮵يملعلا﮳برهللدم﮲
zwnjzwnj رلا
٣م﮵يح
كا﮵يإود﮳بع﮲نكا﮵يإzwnjzwnj٤﮲ن﮵يدلامو﮵يكلم
﮲ن س
رصلاا﮲ندهاzwnjzwnj٥﮲ن﮵يع﮴تسملاطا
٦م﮵ي﮴ق﮴ت
رصzwnjzwnj﮲ن﮵ي﮲ذلاطا مه﮵يلعzwnjzwnj﮴تمع﮲نأ
﮳بو﮲ض﮲غملار﮵ي﮲غ
مه﮵يلع
zwnjzwnj٧﮲ن﮵يلا﮲ضلاالو
Figure 3 Sūraḧ Fātiḥaḧ in a more Iranian styleFigure 3 Surah Fatih ah in a more Iranian style
202 TUGboat Volume 31 (2010) No 2
20
Or an Indo-Pakistani style (Figure 4)
س﮳ب
رلا﮲نمحرلاهللام
١م﮵يح
مLJحLJلا ملعلاzwnjzwnj﮳برهللد zwnj﮲نمحرلا٢﮲ن﮵ي
رلا
٤﮲ن﮵يدلامو﮵يكلم٣م﮵يح
﮳بع﮲نzwnjzwnjڪا﮵يإ
﮲نكا﮵يإود س
٥﮲ن﮵يع﮴ت
رصلاا﮲ندها
سمzwjلاطا
رص٦م﮵ي﮴ق﮴ت
طا
مهzwj﮵يلعzwnjzwnj﮴تمع﮲نأzwnjzwnj﮲ن﮵ي﮲ذلا
1050492ر﮵ي﮲غ
مهzwj﮵يلع﮳بو﮲ض﮲غملا
٧﮲ن﮵يلا﮲ضلاالو
Figure 4 Sūraḧ Fātiḥaḧ in a more Indo-Pakistani styleFigure 4 Surah Fatih ah in a more Indo-Pakistani style
1 1
1 1
﮴ةرzwj﮴ق﮳بلا﮴ةروس
٤
ىلعكئلوأ
zwnjzwnjzwnj٥﮲نوحل﮲فملامهكئلوأومه﮳بر﮲نمzwnjىده
رzwj﮲فzwjzwjك﮲ن﮵ي﮲ذلا﮲نإ
ملمأمه﮴تر﮲ذ﮲نأءمه﮵يلعءاوساو
مهر﮲ذ﮲ن﮴ت
ال
ؤ﮵ي
م﮴ت﮲خzwnj٦﮲نو﮲نم
ىلعهللا
ىلعومه﮳بول﮴ق
ىلعوzwnjمهعمس
مهرص﮳بأ
سا﮲نلا﮲نموzwnjzwnj٧م﮵ي﮲ظع﮳با﮲ذعمهلوzwnj﮴ةو﮶ش﮲غ
ؤم﮳بمهامور﮲خاءلامو﮵يلا﮳بوهللا﮳با﮲نماءلو﮴ق﮵ي﮲نم
zwnj٨﮲ن﮵ي﮲نم
ي يامواو﮲نماء﮲ن﮵ي﮲ذلاوهللا﮲نوعد﮲خ﮵ امومهس﮲ف﮲نأالإ﮲نوعد﮲خ﮵
رع﮶ش﮵ي
رممه﮳بول﮴ق﮵ي﮲ف٩﮲نو
رمهللامهدا﮲ز﮲فzwnj﮲ض
zwnjzwnjا﮲ض
م﮵يلأ﮳با﮲ذعمهلو
١﮲نو﮳ب﮲ذك﮵ياو﮲ناكام﮳ب مهلل﮵ي﮴قا﮲ذإوzwnj٠
١﮲نوحلصم﮲نح﮲نام﮲نإاولا﮴ق﮲ضرألا﮵ي﮲فاودس﮲ف﮴تال ١zwnj
رع﮶ش﮵يال﮲نكلو﮲نودس﮲فملامهمه﮲نإالأ
١﮲نو ا﮲ذإوzwnj٢
ؤ﮲نأاولا﮴قسا﮲نلا﮲نماءامكاو﮲نماءمهلل﮵ي﮴ق
﮲نماءامك﮲نم
١﮲نوملع﮵يال﮲نكلوءاه﮲فسلامهمه﮲نإالأءاه﮲فسلا ٣
Figure 5 Surah Baqarah in a basicEgyptian style
1 1
1 1
﮴ةرzwj﮴ق﮳بلا﮴ةروس
٤
لوأ
﮳بر﮲نمzwnjىدهىلعكئ ه لوأوم
zwnjzwnjzwnj٥﮲نوLJحLJل﮲فملامهكئ
رzwj﮲فzwjzwjك﮲ن﮵ي﮲ذلا﮲نإ
المهر﮲ذ﮲ن﮴تملمأمه﮴تر﮲ذ﮲نأءمه﮵يلعءاوساو
ؤ﮵ي
﮳بول﮴قىلعهللام﮴ت﮲خzwnj٦﮲نو﮲نم لعوzwnjمهعمسىلعومه
ى
سا﮲نلا﮲نموzwnjzwnj٧م﮵ي﮲ظع﮳با﮲ذعمهلوzwnj﮴ةو﮶ش﮲غمهرص﮳بأ
ؤم﮳بمهامور﮲خاءلامو﮵يلا﮳بوهللا﮳با﮲نمالو﮴ق﮵ي﮲نم
zwnj٨﮲ن﮵ي﮲نم
ي يامواو﮲نما﮲ن﮵ي﮲ذلاوهللا﮲نوعد﮲خ﮵ امومهس﮲ف﮲نأالإ﮲نوعد﮲خ﮵
رع﮶ش﮵ي
﮳بول﮴ق﮵ي﮲ف٩﮲نو ه رمم
رمهللامهدا﮲ز﮲فzwnj﮲ض
zwnjzwnjا﮲ض
م﮵يلأ﮳با﮲ذعمهلو١﮲نو﮳ب﮲ذك﮵ياو﮲ناكام﮳ب مهلل﮵ي﮴قا﮲ذإوzwnj٠
١﮲نوLJحLJلصم﮲نح﮲نام﮲نإاولا﮴ق﮲ضرألا﮵ي﮲فاودس﮲ف﮴تال ١zwnj
رع﮶ش﮵يال﮲نكلو﮲نودس﮲فملامهمه﮲نإالأ
١﮲نو ا﮲ذإوzwnj٢
ؤ﮲نأاولا﮴قسا﮲نلا﮲نماامكاو﮲نمامهلل﮵ي﮴ق
﮲نماءامك﮲نم
١﮲نوملع﮵يال﮲نكلوءاه﮲فسلامهمه﮲نإالأءاه﮲فسلا ٣
Figure 6 Surah Baqarah in a slightly differentvowelization style with more character stacking
202 TUGboat Volume 31 (2010) No 2
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Or an Indo-Pakistani style (Figure 4)
س﮳ب
رلا﮲نمحرلاهللام
١م﮵يح
مLJحLJلا ملعلاzwnjzwnj﮳برهللد zwnj﮲نمحرلا٢﮲ن﮵ي
رلا
٤﮲ن﮵يدلامو﮵يكلم٣م﮵يح
﮳بع﮲نzwnjzwnjڪا﮵يإ
﮲نكا﮵يإود س
٥﮲ن﮵يع﮴ت
رصلاا﮲ندها
سمzwjلاطا
رص٦م﮵ي﮴ق﮴ت
طا
مهzwj﮵يلعzwnjzwnj﮴تمع﮲نأzwnjzwnj﮲ن﮵ي﮲ذلا
1050492ر﮵ي﮲غ
مهzwj﮵يلع﮳بو﮲ض﮲غملا
٧﮲ن﮵يلا﮲ضلاالو
Figure 4 Sūraḧ Fātiḥaḧ in a more Indo-Pakistani styleFigure 4 Surah Fatih ah in a more Indo-Pakistani style
1 1
1 1
﮴ةرzwj﮴ق﮳بلا﮴ةروس
٤
ىلعكئلوأ
zwnjzwnjzwnj٥﮲نوحل﮲فملامهكئلوأومه﮳بر﮲نمzwnjىده
رzwj﮲فzwjzwjك﮲ن﮵ي﮲ذلا﮲نإ
ملمأمه﮴تر﮲ذ﮲نأءمه﮵يلعءاوساو
مهر﮲ذ﮲ن﮴ت
ال
ؤ﮵ي
م﮴ت﮲خzwnj٦﮲نو﮲نم
ىلعهللا
ىلعومه﮳بول﮴ق
ىلعوzwnjمهعمس
مهرص﮳بأ
سا﮲نلا﮲نموzwnjzwnj٧م﮵ي﮲ظع﮳با﮲ذعمهلوzwnj﮴ةو﮶ش﮲غ
ؤم﮳بمهامور﮲خاءلامو﮵يلا﮳بوهللا﮳با﮲نماءلو﮴ق﮵ي﮲نم
zwnj٨﮲ن﮵ي﮲نم
ي يامواو﮲نماء﮲ن﮵ي﮲ذلاوهللا﮲نوعد﮲خ﮵ امومهس﮲ف﮲نأالإ﮲نوعد﮲خ﮵
رع﮶ش﮵ي
رممه﮳بول﮴ق﮵ي﮲ف٩﮲نو
رمهللامهدا﮲ز﮲فzwnj﮲ض
zwnjzwnjا﮲ض
م﮵يلأ﮳با﮲ذعمهلو
١﮲نو﮳ب﮲ذك﮵ياو﮲ناكام﮳ب مهلل﮵ي﮴قا﮲ذإوzwnj٠
١﮲نوحلصم﮲نح﮲نام﮲نإاولا﮴ق﮲ضرألا﮵ي﮲فاودس﮲ف﮴تال ١zwnj
رع﮶ش﮵يال﮲نكلو﮲نودس﮲فملامهمه﮲نإالأ
١﮲نو ا﮲ذإوzwnj٢
ؤ﮲نأاولا﮴قسا﮲نلا﮲نماءامكاو﮲نماءمهلل﮵ي﮴ق
﮲نماءامك﮲نم
١﮲نوملع﮵يال﮲نكلوءاه﮲فسلامهمه﮲نإالأءاه﮲فسلا ٣
Figure 5 Surah Baqarah in a basicEgyptian style
1 1
1 1
﮴ةرzwj﮴ق﮳بلا﮴ةروس
٤
لوأ
﮳بر﮲نمzwnjىدهىلعكئ ه لوأوم
zwnjzwnjzwnj٥﮲نوLJحLJل﮲فملامهكئ
رzwj﮲فzwjzwjك﮲ن﮵ي﮲ذلا﮲نإ
المهر﮲ذ﮲ن﮴تملمأمه﮴تر﮲ذ﮲نأءمه﮵يلعءاوساو
ؤ﮵ي
﮳بول﮴قىلعهللام﮴ت﮲خzwnj٦﮲نو﮲نم لعوzwnjمهعمسىلعومه
ى
سا﮲نلا﮲نموzwnjzwnj٧م﮵ي﮲ظع﮳با﮲ذعمهلوzwnj﮴ةو﮶ش﮲غمهرص﮳بأ
ؤم﮳بمهامور﮲خاءلامو﮵يلا﮳بوهللا﮳با﮲نمالو﮴ق﮵ي﮲نم
zwnj٨﮲ن﮵ي﮲نم
ي يامواو﮲نما﮲ن﮵ي﮲ذلاوهللا﮲نوعد﮲خ﮵ امومهس﮲ف﮲نأالإ﮲نوعد﮲خ﮵
رع﮶ش﮵ي
﮳بول﮴ق﮵ي﮲ف٩﮲نو ه رمم
رمهللامهدا﮲ز﮲فzwnj﮲ض
zwnjzwnjا﮲ض
م﮵يلأ﮳با﮲ذعمهلو١﮲نو﮳ب﮲ذك﮵ياو﮲ناكام﮳ب مهلل﮵ي﮴قا﮲ذإوzwnj٠
١﮲نوLJحLJلصم﮲نح﮲نام﮲نإاولا﮴ق﮲ضرألا﮵ي﮲فاودس﮲ف﮴تال ١zwnj
رع﮶ش﮵يال﮲نكلو﮲نودس﮲فملامهمه﮲نإالأ
١﮲نو ا﮲ذإوzwnj٢
ؤ﮲نأاولا﮴قسا﮲نلا﮲نماامكاو﮲نمامهلل﮵ي﮴ق
﮲نماءامك﮲نم
١﮲نوملع﮵يال﮲نكلوءاه﮲فسلامهمه﮲نإالأءاه﮲فسلا ٣
Figure 6 Surah Baqarah in a slightly differentvowelization style with more character stacking