ARABIC GRAFFITI PASCAL ZOGHBI PDF

A new book published in Germany looks at what makes Arabic street art unique — and just how powerful it can be. Cinnamon Nippard reports Graffiti can be more than just a can of spray paint: It played a small part in the revolutionary change that swept the Arab world earlier this year. The uprising in Syria was incited by the arrest in early March of a group of children, aged 8 to 15, who had been caught spraying anti-government graffiti on the wall of their schoolhouse. The children were released on March 20, reportedly showing signs of torture, and people took to the streets against the regime. Since then, human rights groups say that more than 1, people have been killed and 10, arrested.

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A mixture of straight vertical, horizontal, and diagonal letter structures fused in-between sharp corners and edges give the typeface a dynamic characteristic and rhythmic feel. Its straight terminals and mono-spaced Latin letters lend the typeface a young and contemporary image that makes it suitable for diverse number of projects from fun and urban to serious and corporate. In the Arabic script, the neo-Naskh glyphs transform into amalgams inspired by both the Thuluth and the Naskh calligraphic styles.

Thuluth is considered as the most elegant style in classical Arabic calligraphy that was crafted for important writings. Naskh is however known as the common style designed for standard copy text. The design decision adopted to blend these two realms together gives the typeface a unique characteristic and makes it offer a new Arabic typographic hierarchy option.

In the equivalent Latin script, the letters gain vertical contrast inspired by the pointed-pen expansion principle, whilst keeping a hint of the broad-nibbed pen translation structures in the bowls and finials. This design choice gives Zarid Display Latin a unique appearance and preserves consistency with the rest of the type family as well as bridging the Latin and Arabic scripts together. The range of weights provides suitable typographic hierarchical solutions in bi-script Arabic and Latin layouts.

Its design approach makes it ideal for display text as well as short copy text. A hybrid Arabic typographic design that lives between the geometric and cursive realm echoes a strongly built Latin slab serif type design of firm and agile qualities. The range of weights provide suitable typographic hierarchical solutions in bi-script Arabic and Latin layouts.

Zarid Text is the lucid neo-calligraphic version of Zarid Serif after numerous design and technical modifications were executed on the latter. Improved legibility in small point size and habitual appearance are its key characteristics. It respects and inspires from the calligraphic writing systems while drawn with modern features and graphical qualities.

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Category: Pascal Zoghbi

This new revised edition is extended by a new chapter about graffiti produced during the recent Arab uprisings and an update of graffiti in Bahrain. In addition to a rich assortment of photos featuring Arabic graffiti and street art styles, it includes essays by distinguished authors and scene experts, in which they explore the traditional elements, modern approaches, and the socio-political and cultural backgrounds which have shaped Arabic graffiti movements in the Middle East. Saleh, Houda Kassatly and William Parry. More than four years of research culminated in the publication of the first edition Arabic Graffiti English in January However just then, the Arab uprisings started, and concurrently an explosion of Arabic Graffiti hit the region. Even while residing in Berlin, Don Karl found himself in the middle of these currents. Through various art projects he broadened his contacts with artists, who took part in the Egyptian and Tunisian revolutions, and befriended many of them.

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Arabic Graffiti

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