م م ص ي
ع ل كلك كلك كلك سل ٯ ٱ ه م م ق ی ف ٮ ٮ إ ى ي ى ي ى ى ٮ صل م يميممميم م ٮللصل كل حح ح س ع ل ك لك كلك DECOtype ٮم ح ٱ ٱ خ و مل T A S M E E M T H E S P I R I T O F A R A B I C W R I T I N G ی ش ی ش ه ل خ ح طیكمق ص ق هور ح ٮٮ د لر ٮص ٮص ٮ ل ٮ ل ك ٮ ل م م قٮم فٮم لص ه له ی ی عمك ٮ می ٮك له Information in this manual is subject to change without notice. No part of this document may be reproduced or transmitted in any form of by any means, electronic or mechanical, for any purpose, without written permission of WinSoft, France. Copyright 2006 WinSoft-DecoType. All rights reserved. ی ٮ س صقٮ ٮقٮر م صفیٮ Adobe InDesign is a trademark م of AdobeSystems. م This manual as well as the software described in it, is furnished under license and may only be used in accordance with the terms of the licence. WinSoft-DecoType assumes no responsibility nor liability for any errors or inaccuracies that may appear in this book. ١٤٢٧ Tasmeem, Naskh and Emiri are trade marks of WinSoft-DecoType. graphy is a duty it is one of the keys to fortune ی ش ش ق ی ی ك ل م وه ههه ل ر ص ص SPIRIT OF ARABIC WRITING smeem Variants ٮ ٮ ل ٮٮ ل ر فٮر ص لٮص لٮ ل ٮفع ٮفل لڡ ل ل ع ع ع لٮ مٮٮ ٮصله ٮقه لسی ل WinSoft-DecoType Tasmeem Manual pre-release version 0.9 www.winsoft.eu www.decotype.com Calli Tasmeem Manual ٱ ی قه ٱ ٱ لی هل ی Variants ع ص ٮ صس ٮر ص عٮص ك م كٮم لل لم لٮ مسی هٮص ه ف Variants ح ح ك ٮ ق حرحقٮر حك ل فٮم ح ٮ ح ح ح م م م م ڡ ه ص ك ك ه ق ق حی حیحی Variants ك ٮ ٮ ٮسرٮس ٮقٮر سس صٮم كس كس كٮم ٱ عس ع ص س عس ٮٱ ی ی THE SPIRIT OF ARABIC WRITING ٱ ٱ ٱ ٱ ل ل ك ٮ ٮسرٮس ٮقٮر صٮم كس كس كٮم صس عس عس ع ٮ یی ی س ع سر عس ه صص ه ٮ ٮ ه ك سل ٮ ٮ سم ٮ ه ح هطر ط ه ٮ س حع ص ط ه طڡ س ط ه ك ه ٮ ٮ ح ل م ی ی ععٮ ل مه حعرم لهص ه عع عڡ مهك مهك ع مهه ل لٮ لٮم م م
يم ٱ ب ٱ و ل خ ط لعر ب رح THE SPIRIT OF ARABIC WRITING Tasmeem is the industry s most comprehensive tab l e of contents Introducing Tasmeem 7 Tasmeem fonts 9 Tasmeem functions 12 1 2 arabic spacing 12 Typograms or Styles 18 Typesetting with Arabic Spacing 20 word shaping 23 Calligraphic parameters 24 Kashida parameters 25 Selecting characters 26 Managing calligraphic parameters 30 Typesetting with Word Shaping 32 3 4 5 text shaping 36 Text Shaping Menus 38 Typesetting with Text Shaping 42 catchwords 46 Typesetting with Catchwords 48 rings 50 Creating Rings for Tasmeem 52 Typesetting with Rings 56
ٱ ٱ لیح ٱ ٱ ی ی ح ٱ ٱ خ ی tasmeem ٱ ل ق ر Variants ٮ حكعڡ ك ك حكك ك كك ككك ك ككل ٱ ی ی خ ل وی DECO W hat is T as m ee m Tasmeem operates inside WinSoft s Middle Eastern version of Adobe InDesign. Tasmeem adds typographic accuracy and variety without compromising existing functionality or fonts, including unicode compliance. In other words, now beautiful text remains searchable. W h y T as m ee m Tasmeem returns to the sources of the Arabic script traditions, to liberate the new generation of high-tech savvy designers and offer them a real Arabic-friendly environment. A series of fonts are being prepared in the categories: Variants لل ل ل ك لٮ ل لل لرل كلك كلك كلك فل ل ل لل ل كله ل ك كی ی م م م ل V a r i a n t s ی ش ی ش ق هور ط كلم مقعه هل خ ح ص ح ی To make Arabic as pleasantly legible and beautiful as any script, calligraphers and typographers designed a large number of ingenious improvements and perfections. Tasmeem captures this expertise in the form of simple tools. 1. Traditional, 2. Metal typography, 3. Computer type design. ك كم مم مم ٮم ٮم حم حع م صم صم عم صم صم طم س ٮم صمٮ ٮم ص ص ع كك ح حمل ع حكصمكمك عم مل Variants Variants Variants مه حمه عمه عمه ح عهملصمص ع ٮمه ععمه ع كه مه مه كمه ممه ممه ممه ٮمه عم ٮم ٮم صم مم ٮم ع ی ی ی یی ی ٮك ٮه ه ح ه صك لك ڡ حك ح له له ڡ ٮق ق صعر عر صعر ك عر ٮهر ل حٮ لٮ هم ٮهم هم هك لكك م م ه ه ه ل ه ه ٮ ٮ ل ٮ ه لك لك ه ی ی ی لٮییلٮیكهی یلٮی Variants menu tasmeem, about tasmeem Cal ل 7 ی ی
01Naskh 01Emiri Ta s m e e m F o n t s Tasmeem fonts are built to the specifications of DecoType s Arabic Calligraphic Engine (ace). Tasmeem integrates them into Adobe InDesign and makes them interchangeable with conventional fonts. Tasmeem ace fonts are recognizable by the DecoType logo. The first major project using this novel font technology is to offer naskh in its full glory on the computer platform. It is based on exhaustive analysis of five centuries of manuscript practice. The second project is a reconstruction of the metal typeface used by the Emiriya printing house in Cairo to set the 1924 Qurʾān. It is called Emiri. More projects are under way and invited. fonts menu type, character 8 9 Naskh Emiri a novel typographic presentation of the best Arabic text letter of all times. a meticulous reconstruction of the typeface that was the model for many a modern font.
Tasmeem Emiri ذ و أ ذ خ و ذو ث ق ق ذ م ذ أ ذ ذ ق م ٦٠ ل ع و ذ خ أ ل و أ ذ خ و ذو ث ق ق م ذ أ ذ ذ و ل ع م ٦٠ ق ذ أ ل خ ذ ذ و ل ل ذ ذ و م ذ ی ٱ ذ ل ل ل ه ذ ٱ خق ق ٦١ ذ ه ق و و ل ل ذ ذ و م ذ ذ ی ٱ ذ ل ل ل ه ذ ٱ خق ق ٦١ ذ ه ق و ع ه ذ ٱ ل ع ٱ ل ذ أ ل ك ٦٢ ذ خ ق ٱ ل ل ه ع ه ذ ه ل ق ذ ٱ ل ع ٱ ل ذ أ ل ك ٦٢ خ ق ذ ٱ ل ل ه ذ ه ذ ذ ل ق ٱ ل ع ه ل ل ر ك ٱ ل ل ه و م ع ذ ع ل ق م ذ أ ٱ ل ع ه ل ل ل ر ك ٱ ل ل ه و م ع ذ ع ل ق م ذ أ ل خق م ذ أع ر ٱ ل ك ذ ق و ذ ذ ٱ ل ل ه عل ذ أ ك و ر ق ذ خ ٦٣ خق م ذ أع ر ٱ ل ك ذ ق و ذ ذ ٱ ل ل ه عل ذ أ ك و ر ق ذ خ ٦٣ ر ذ و ل و ل ذ و ذ ل أ ذ ه ذ ذ ل ٦٤ ذ ر ذ و ل و ل ذ و ل ذ أ ذ ذ ه ذ ل ٦٤ ذ ر عس عس ر ذ ع ذ ق و لو ق م ی ٱ ل ذ ر ق م ذ ه ع ذ ع ذ ق و لو ق م و ذ ق ذ وم ٦٥ ی ٱ ل ذ ر ق م ذ ه ع و و ذ ق ذ وم ٦٥ ذ أ ذ ذق ٱ ل و ل ع لو ر أ أ ق ع ذ ٱ ل ل ه و عق ع ذ لر سو ٦٦ This typeface is a meticulous reconstruction of the metal typeface of the printing of the 1924 Cairo Qurʾān. Emiri it is possible to create Unicode-based searchable Qurʾān text with the familiar appearance of today s printed editions. Tasmeem s shaping and spacing controls make Emiri very effective in literary productions. ش ی ء ٱ ل ه ك ع ل ی ك ل ی ٱ ل ه ی ی و ٱ ی م ی ل ٱ ع ل ص و ل ی ی كه ی ئ ك و م ٱ ل ه ش ه ی د م ل ی ی ص و ل م و و ل و ع ی كه س ی ٱ ل ی ی ی ٱ ی ل ی ی ئو و ٱ ل ه و ر س و لكه عل ه م ٱ ل ه ل ی ٱ ل و ی ئو ی ٱ ل و ی ص ه م ٱ ر ی م و ع د ل ه ع د و ل ی م ل و ه ی د ی ٱ ح و ی س ٱ ی ر م ك و ٱ م و ئ ی ل ی ئ و ٱ م ی ل و و ص ك ی ك ٱ ل ی ك ل ی ص ی ی و ش م ل ك ب ی ی م كل ی ع ی ی ئ ٱ م و ص و ء ٱ Tasmeem Naskh This typeface faithfully captures the historical naskh as it evolved from practical calligraphy into the best legible Arabic typography ever designed. This kind of writing inspired the Tasmeem team to develop the unique novel controls to handle all aspects of authentic Arabic writing and typesetting that is described in this manual. fonts menu type, character 10 11 أ أ ٱ
1 M a i n Ta s m e e m F u n c t i o n s 1 Tasmeem is a separate item on the top menu bar of Adobe InDesign Middle Eastern version. Tasmeem function panes are activated by clicking on their names Å Arabic Spacing Arabic Spacing deals with horizontal relative positioning of Arabic letters and letter groups. It can be used to make local adjustments within ي ب can be set a bit tighter as ر ب ي words, e.g. ر. In the same way, Arabic Spacing can be used to increase or decrease the distance between complete words, locally or globally. In combination with the Tasmeem s Text Shaping tools, the appearance of Tasmeem fonts can be completely changed they can be made to look modern or traditional. Arabic Spacing is explained on the following pages. A r a b i c S pa c i n g Arabic Spacing is a set of controls specifically developed for the Arabic script structure. It is based on the fact that in Arabic typography the minimum unit of script is a group of connected letters. Such a segment or syntagm can also consist of a single letter. There is precise control of the width of the space between words and of the width of the space between word segments. There are also generic controls for the overlap or kerning between words (external) and between the segments within words (internal). Tasmeem provides a control pane with three presets: Calligraphy Classic Typography Modern Typography ق ل ر ز ق ل ر ز ق ل ر ز The single letters of the word above also count as segments; they are shown with increasingly wide internal spacing. arabic spacing menu tasmeem, arabic spacing 12 13
In the pane above, the same values are used for the external and internal word spacing parameters. Overlap parameters control the intertwining of lettergroups. Calligraphy looks best with low values. و ي لمع س م ج ل ة و م ب ض ف و م ط ل ق خ ر ى ٱ أ غ ل ٱ لل ب م ر و ع م ل ي ٱ ل ٱق ب ل ع م ي يى ٱل م خ ص ي بي ٱ ل م د و ل و م. ٱ ل و س ب يى و لي د ع ف س ه غ لل ٱ و آ ل ض و د و ع ٱ ل ه س ط ي خ ل س ف ٱ ل م ر ٱ أ م م ذ د لث ٱ ق ل أ ٱ ع يى ج م غ ٱ ل ٱ لل ب ب و أث ر ب ع ل ل عغ ٱ ل و ق يى و يى ع م ل ي ب ٱ ل ه ز ب غ لل ة د و ر ه وأ غ ل ى د ع ل م ٱ ٱ ع ل ه ل د و غ م و م ع ل ل ق ع د ة ٱ س ع س ف م ل ٱ ٱ ل ش م ل. ك ه ف و م لم م ٱ ي ب م ه ٱ ش س ي ء أ و ع ي ب ل أ ر ث ك ٱ م و ف ه و ل أ ف م ٱ ل ه ى ع ل أ ق د ر و ب م ك ل م ي ه ك ف و طص بي ب ب ل ع ج ب ٱ ر ب ع م ب ذ د ه د ي ي أ بل ك. و ل ٱ ٱ ر و ل ٱ ٱ خ ع ل أ ل ى ف وأ س رع ٱ أ ك و ل Calligraphic spacing internal/external 180/180 Preset for Naskh to approximate manuscript Arabic, with equidistant spacing. Word spaces were only introduced with typography. آ غ لل ة ل و س م ج ف يى عل م لل غ ة ض ل ه و ض ل ه و ب ف ض و ة م لط ق ة و ل خ م ض م غ لل ل أ ر ى ر ق ل ي ف هس ف يى و ي ل د ل و ع س. و م ل م د و ل ب ي ل م خ ي ص ف ل م ر خ س ة ل س ي ط ع ذ لث ق ل أ م د م ج م ع يى أ ل مع ل ي ة ز ف يى غ لل ة د و ر ب ر د و ل ع م د ع ل ى غ ل ه و أ ي م ة ب ف م ه و هم ش ل م ل. ف ك م ل س ع ل م ق ف يى ع و أث ر ب ع ل ل غ ل و ف و ف طص ي ب هل و د و م غ ل ل م ع س ة ع د ق إ ل م و ه ل ى ف لع ك ث ر و ع ي ب ل أ ش س ي ء و م و أ ه ف و أ ق د ر ك ه ي مل ك م ل أ ف ك ر و أ س ر ع إ ل ى Classic Typographic spacing 350/270 Preset for relatively tight word separations and tight internal kerning. The example uses Naskh. In the pane above, different values are used for the external and internal word spacing parameters. Before Tasmeem, mechanical reproduction of Arabic script failed to capture the intertwining of Arabic script. Tasmeem s Overlap parameters give the designer control over this characteristic feature. ض ر ق ل لمع و ي ض ر ق ل لمع و ي م لل غ م لل غ س م ج ل ة و م ب ض ف و م ط ل ق خ ر ى ٱ أ غ ل ٱ لل ب م ر و ع م ل ي ٱ ل ٱق ل ة و م ب ض ف و م ط ل ق خ ر ٱ أ ى غ ل ٱ لل ب م ر و ع م ل ي ٱ ل ٱق ب ف ض و ة م لط ق ة ف ض و ة م لط ق ة خ م ر ى ب خ م ل أ ر ى أ ل Arabic Overlap in calligraphy internal/external 400/400 Arabic Overlap in typography 200/200 The grey line has the same settings as the text at the top of the page, save the justification. The black copy below has contrasting overlap settings. Here, too, the grey line follows the main sample at the top of the right page, but right aligned. The lower line has contrasting overlap settings. arabic spacing menu tasmeem, arabic overlap 14 15
ب ف و ض ة خ م ل أ ر ى ض م غ لل ر ق ل و ي لمع م و. س و ع ل ل د ي و يى ف هس ة ف لل غ س و آ ل م ج م لط ق ة و ل أ ذ ل م د م أ ج م ع يى غ لل ل ة ف يى ع ل م ي ل م خ ي ص ل م د و ل ب ي ل ع م د ع ل ى ض د و ه و ل ط ي ع س ل ة س خ ر م ل ف لث ق أ ث ر مع ل ي ة ل ه و و ض ز ف يى غ لل ة د و ر ب ر و أ ه ل غ ي م ة ب ف م ه و هم ش ل م ل. ف ك م ل س ع ق ع د ة ل م ق ف يى ع ب ع ل ل غ ل و ف و ف طص ي ب هل و د و م س ع م ل غ ل و ك م ك مل ي ه ة لطم ق ة ض ب و أ خ ر ى م ف ل ض لل غ م ر ق ل و عمل ي س. و م و ل ي د ل و ع ف ي سه ة ف غ لل و ل س جم و آ ل م ف عل لل غ ة ل ج م ع ي أ ل أ مم ي مل د و ل ب ي مل خ ةص ي ي ض ل ع م د لمر س خ ة ل سس ةط ي ع ل س ه و د و ل ث ق ف ذ د ض أ ث ر ه و و ز ي ف ع مل ي ة ل س عل ى ل غ س ه و أ لل غ ة د و ر ب ر ة بمس ه و ممه ل ش س م ل. ف كل م سع عد ق ي ف ل م ي ة ف بع ل غ ل وع ق أ ق د ر ع ل ى ف كل م ي سه ك و غ ل ة م و د و ل ه ب ي ف صو م سس عم ل أ ف ك ر و سر ع أ إ ل ى أ ث ر و ع ي ب ل أ ش س ي ء و ل ف لس هم و ل إ ف ه م و ك The customizable settings of Arabic Spacing and Overlap let the designer discover a new world of script effects and precision. Modern Typography Arabic Spacing 400/300 400/150 Arabic Spacing preset for clearly separated words, typical for magazines and newspapers. The example uses Emiri. Custom settings sample 500/500 10/10 Configurable Arabic Spacing controls can be used to make subtle adjustments in text size, or to discover novel ways of text design. غ ل ه ع ل ى غ ل ه ع ل ى ل ع م د عل ى ل غ س ه و أ لل غ ة د و ر ل ع م د عل ى ل غ س ه و أ لل غ ة د و ر Local Spacing Local Kerning With Arabic Spacing it is possible to make local adjustments (shown in red) overruling the default Arabic Spacing. For strong overlaps Tasmeem has an improved kerning mechanism that handles letter segments: a\v on the Character pane [ctrl+ t]. arabic spacing menu tasmeem, arabic spacing 16 17
InDesign s styles can be found as a series of drawer like tabs at the right hand side of its main window. Typograms or Styles On the previous pages was shown how Arabic Spacing and Overlap settings change the appearance of Tasmeem ace fonts. This feature can by used according to the requirements of the text or to suit the taste of the typesetter. InDesign provides powerful tools called styles, to control texts in a structured and automated way. With Tasmeem, these styles can also be used to manage the characteristic dimensions of Arabic. At the bottom of the familiar list of Adobe InDesign Middle Eastern version s familiar list of parameters, a new control is added for Arabic Spacing and Overlap. Spacing and Overlap in Character Styles Character Styles are particularly useful for Arabic inserts in mixed and bi-directional texts. With InDesign s Find/Change+Format, imported font settings can easily be changed Character Styles. Spacing in Paragraph Styles By using Character Styles instead of the Character palette, the behaviour of Tasmeem ace fonts can be customized. Arabic Spacing variants of Tasmeem fonts can also be saved as Paragraph Styles, which are used for texts where Arabic is the predominant script. Imported style settings can easily be extended with the additional Tasmeem parameters. Tasmeem provides various methods for text sophistication that will be shown in this manual, using the same example text, shown on the following page spread. arabic spacing menu tasmeem, arabic spacing 18 19
Arabic Spacing practical example 1 On these pages three kinds of text need to be distinguished typographically: 1. Main text, 2. Holy Qurʾān Quotations 3. Ḥadīth quotations. Two fonts have been used: Emiri for the main text and Naskh for the quotations. The main text is done in Emiri with ample spacing. The settings are controlled by a Paragraph Style. The quotations are set in Naskh with tight spacing. The settings are controlled by two separate Character Styles. On the left page the structure is shown in colours: Green for Qurʾān text and blue for Ḥadīth. ی ح ج لد ع ی أو ل إ ل ى سس ی س ة ل خ ص ة و ه ی سس ی س ة ف سه. ذ ئ ل و م ق س ه ر ه و ی م عه م ج م ی ع ل ر د ف ة ی صل ح ف سه و ی س و سه و ی ع و ة م و ذ د م مل ق سل ی ئ ة و ی م عه ع ش ل سه و أ خ ل ج م ی ع ل ض أئ ض فم ئ ل وعل ى ل ق ی م ب ل ر ف ج م ی ع مل سه ی و یحمله عل ى ق ء ل أ س ء ب ل ذ د م و ل د م ة و لمل م ة و سل. و ی ع ق ب ف سه أ د و ل وب ة. و ی ث ی ب سه أ د سسمل جی ب إ ل ی ه م سس ف د ة لعل یل س ر ظ لحسس و ح لمد و ث حل عل ى ل فع ل أ حسس ب لس ر و ر و خ ل ق ه ف ی أ خ ذد م ق ف ب له كم ق ل م و ل لص د ج ع ر و ی ق د ی ب و ق له و ف عله و ع ق ف ی «. ف ق ل و «ی ك و و إ ی ل د ع طص ة م ك «ی ه: عل لل ه م ح م د صل و م ب ه م ك ص م و «ف ق ل عل ی ه لسل م: «ل ع م ل و ب م أ م ر ح د ع و و م م ع ه م ی صعم ة.«ف م یو ق ه ك معل ل ب ط ع ة ل ه ل ع ل ى و ه و مع ی ه ة ح یصل و ی ق د ر عل ى سس ی س ة غ ع ی ر ه و ق ی ل : أ صل ح ب سس ی س ة ف سه ف إ ی بد ٱ أ ل ه ی ف سك ل ف سك ی ك ل س ب ع لك كم ق ل لل ه ع ل ى ب ٱ ه د ی م. د ض ط ل أ م م ی سر ك ض ل م ف س ك أ ی ك م ء م و ع ل و أ م سس ی س ة لح م ة ف ه و سس ی س ة ل ر ج ل ل أ ه ل ب ی ه وح شس ی ه ض فم ئ ل و ی م عهم ل ء ق ى عل یحملهم و علممهم ی و بسهم ة أ ود و و سهم ی س ذ ئ ل و ی ث ی ب م أ حسس م سهم و ی ع ق ب م أ س ء م سهم ع ل ر د و ق ل م ك وأ ه لی م ف س ك أ ق ء م و و ی بد ٱ أ ل ه ی كم ق ل لل ه ع ل ى أ د ی م ه عل ل و ل ب ل ى صل ى لل ه عل ی ه و آ له: «ل ب ر ل ل ر ج ل ی ور ث أ ه ل ب د م یر و ل خ یر و ل ب ك ی م ع ل ی ف ق د م ه م غ طص ح ل طص ل ح ى ی د خ ل ه م ج ل ة ج و ٱ ص ط بر لع ی ه ل و أ ل ك ب ٱ ل طص ه ر وأ م ل ى ع لل ه ل ق ر «كم ج ل و ۦ ر ب د ع ب ك و وك ٱ ر و ل و أ ل هۥ ب ٱ ل طص و ق ل لل ه ع ل ى وك ی أ م ر ه أ ة ح یصل ه ی ل ب ه ة أ س ی سس و سه ة ف س ی سس ب م ر. ف م یو ق م ب م ب سس ی س ة ق لدی ف م ل یو ق كو له سس ی س ة عل ى س ئ ر ل خل ف سه و سس ی س ة أ ه ل ب ی ه ف ل ة ح یصل أ ی ك و د ع ی. م ب د ب ی ر م ه و س ئ سهم صل ح أ یو ق لع م ة و سس ی س ة ع عهم م ی و ی مل ی ع ر ش س أ د یب بسهم ة أ ود و د هم و مع سهم ش مع ی حسس م سهم ض فم ئ ل و ی ث ی ب م ذ ئ ل و مل سه ی و یحملهم عل ى ل ل ر د ح د ی سهم. و م ل ی حسس م بصل و ی ع ق ب م ی ى أ م سهم و یو ق ح للد ع و ة. ة یصل ة ل م ة و لع م ة و لح ص خ ل ة س ی سس ب ود لد ع ی ل ذد ی ه و د و ه لعل م لد ع ی ی ح ج أ ة أ ف إ و حد م س هم عل ى وی خ ب ر ه و ی م ح ه و ی س و س أ م ر ه و ی ع ق ب ه و ی ث ی ب ه ك ل ز ل ه وك لك لم ذ أ ذ د و ة ب أ ود ه لد ع ی وی ح ث ه عل ى ل ب ل و غع إ ل ى لحد م ر ب ود ل و أ م وی ر ب ی ه ب م لعل و ل أ د ب ذ لك ة أ وك ق ه ف ل ذد ی ه و و On the right page, standard black is applied on all three text flavours. The Qurʾān text still stands out with its many vowel marks. The Ḥadīth quotations begin to stand out against the main text, due to the tighter spacing and the more cursive nature of Naskh. In this first example, both Naskh and Emiri appear in the pure basic design, which is characterized by the short final form of the letter ق meem: م و instead of م و ق ی. Moreover, the basic design of the Emiri font presents a minimum of. و ی م م هع instead of و ی م عهم ligatures: This manual will also explain how the many layers of sophistication of Tasmeem fonts can be used to fine-tune and stylize a text. 13 12 arabic spacing menu tasmeem, arabic spacing 20 21
2 M a i n Ta s m e e m F u n c t i o n s 2 Å Word Shaping ف ل خ ط e.g. Word Shaping can be used to highlight phrases, ك can be set ف ل خ ط as ك. Word Shaping can also be used as an alternative to the alien phenomenon of Italics in Arabic. For instance, the default shape ل ع و ی ب ب م عی ة أ م ك ل س ه ر ك ی ل ف ٱ لل ق ب أ ی أ of a line of poetry can be altered to look like this: ر ی ب ل ع و ی ب ع ك ل م ة أ ٱ ی ل س ه ر ك ل ل ف ق أ ر ب ی أ In typesetting Arabic inside Latin text or in Arabic text with tight line spacing, Word Shaping provides a creative new solution to make subtle م ( horizontal م vs. مس م ي ي م vs. مس م ي م) ) or vertical مس م ي م مس ) adjustments of single words. The Word Shaping tools are explained on the following pages. W O R D S H A P I N G Within a typeface, and apart from the regular contextual variation, another, much less discussed phenomenon exists that is closer to the calligraphic core. Arabic developed an unequalled system of letter shape alternation. This is what makes Arabic a playground for typesetters and designers. Tasmeem s WordShaper provides totally new artistic and typographic perspectives to create legibility and the impact of written communication in Arabic. Tasmeem provides a virtual palette that enables the typesetter to handle the calligraphic dimension of Arabic without interfering with the searchable plain Unicode text: the WordShaper. Variations can be used to adjust the width of a text. ق ل ر ز ق ل ر ز ق ز ل ر ر ق ز ل ر ر word shaping menu tasmeem, word shaping 22 23
Calligraphic parameters Kashida parameters 1 Display swash variants 2 Display stylistic variants 3 Display rotated dots pairs 4 Display mimicry variants Tasmeem s WordShaper pane has four main calligraphic controls: Swash, Alternate, Rotate Dots, and Mimicry. By pressing or releasing buttons, the user can determine which calligraphic category or which combination of calligraphic categories he wants to see in the list of variants generated by the WordShaper pane. 1. Swash variation some letters can be stretched in final form: the beh class of letters: ٮ ى ں the seen class of letters: ص س the feh class of letters: the lam class of letters: ڡ ٯ ك ل ل 2. Stylistic variation many letters have stylistic variants in initial, middle or unconnected position. Here are some examples: Initial variation ط حل ط ل ح Medial variation Final variation Unconnected variation ڡ ه ه ڡ ه ه ڡ ه ه صى طص ى ٮ ٮ 3. Variation with dot orientation the dot pairs that mark the letters teh. يي يى and yeh are occasionally turned: teh يى and yeh 4. Activation of latent mimicry some of the unpointed letters may be marked by a miniature copy to distinguish them unambiguously from غ ه ة their pointed counterparts: ظ ط ط ععع ض ش ج س ص ح ب Display all variants the button located above the calligraphic buttons of the WordShaper pane There are four additional calligraphic controls: Tasmeem provides a thorough and novel solution for handling of the elongated letter connections. In Tasmeem terminology, the elongation ruled by calligraphic conventions is called kashida (from Persian and Turkish kashida), to distinguish it from unicode 0640 tatweel, which in conventional software is used to replace the typewriter style stretched bar between letters. There are four kashida controls: 5. Max the number of kashidas per word conventionally, is no more than one kashida is used per word. The WordShaper pane has an input box that controls the maximal allowed number of kashidas per word. 6. Display variants with elongated connections (length 1) the Word- Shaper observes the traditional rules and constraints that govern the use of kashida. In normal naskh text, three measures of length can be observed, so these are reproduced in Tasmeem Naskh. 7. Display variants with elongated connections (length 2) this setting instructs ace, the Arabic Calligraphic Engine, to generate all the allowed instances of kashida of medium length. 8. Display variants with elongated connections (length 3) like the previous settings, this setting can be used with or without the other measures of kashida. If the maximal allowed number of kashidas per word is increased, the combination with the other measures of kashida can generate a larger number of combinations. Clear Word Shaping Variants with the rubber button in the right top of the pane or via the expansion pane for advanced removal options. 5 Maximum allowed kashidas 6 Display kashidas 1st measure 7 Display kashidas 2nd measure 8 Display kashidas 3rd measure word shaping menu tasmeem, word shaping 24 25
In these verses by the early Arab poetess al-khansāʾ, the WordShaper خ ل س ء was used to create visual rhyme. WordShaper opens the treasure trove of ingenious shape variation characteristic of Arabic script. The WordShaper is designed to DecoType ace specifications and works with ace-compatible fonts. When the WordShaper is active, it tries to find all the possible alternatives for the selected letters. WordShaper selecting single unconnected letters If no letters are selected, the WordShaper works with the letters nearest to the text cursor, as in the example above. WordShaper selecting single letters in context Tasmeem uses the powerful ace contextual analysis to shape Arabic letters and letter groups. The two Tasmeem ace fonts are the first of a new class of Arabic designs that benefit from this aspect of the great calligraphic tradition. This technology is dedicated to a new generation to inspire and challenge young type designers to build and expand the great tradition of Arabic writing. The results are always presented in the WordShaper pane, in order of width. To change a word into one of the shown alternatives, click on the preferred form, or pass. This example shows the effect on the single, unconnected letter reh in the word bi ʿuwwāri. ب ل ع و ر This example shows what happens when the caret touches the letter أ ط م ر meem of the word aṭmāri. The alternative meem changes the form of the complete segment of which it is part: م ط or مط. word shaping menu tasmeem, word shaping 26 27
ل م ر ة The middle segment of the word ری al-marīrä triggers the WordShaper to generate four permutations. WordShaper selecting word segments If a word has more than one segment, it is possible to manipulate the segments independently by only selecting the relevant ones. WordShaper maximum selection The maximum selection is a word. If more than a single word is selected, the WordShaper ignores the input. Window menu Selection helper Tasmeem provides a simple and effective tool to deal with complex text. It is especially useful for working inside ligatures with vowels. WordShaper the Arabic typesetter s ultimate tool Tasmeem s WordShaper provides unprecedented artistic and typographic perspectives to improve the legibility and the impact of written communication in Arabic. The WordShaper tool is in its element when it is used for the meticulous shaping of relatively small amounts of text. The keen eye of the designer or typesetter determines which shape to use where. word shaping menu tasmeem, word shaping 28 29
Rüşdi Efendi Cairo 1924 Managing calligraphic parameters The easiest way to use the WordShaper variation palette is to select a complete word by double clicking. However, for a long word the number of possible forms can occasionally become very large. To keep the number of variations manageable, Tasmeem uses the novel concept of calligraphic parameters. Each parameter represents an aspect of calligraphy that can be switched on or off. 1. All variants are counted and generated. The setting allows for up to five kashidas or elongations. The grand total is 9216 variations. 2. The maximum number of allowed kashidas determines the maximum of the WordShaper s calculation: 1664 with up to four kashidas. 3. Best practice is no more than one kashida. Result: only 468. Note: Tasmeem works with three calligraphic measures of kashida. 4. Generation of the longest measure of kashida is disabled, causing the total to drop again: 360. On these two pages the principle of variation management is illustrated using the rather long word fa sa yakfīkahumu for He shall protect you against them (Q 2:137). WordShaper results are font dependent: in Emiri the word ه م ی ك ف سس ی ك yields 1886 possible forms, in the far more complex ی ك ه م Naskh, the same word varia- yields no less then 9126 ف س ب یكك ه tions. The next series of screens shows how the various parameters serve as filters to constrain shape generation. Leipzig 1867 Hamîd el-âmidî Mehmet Özçay 5. Now the medium length kashida is also disabled. Only the shortest remains active. New total: 252. 6. At this point one can be safely conclude that kashida is the single most powerful shaping factor in Arabic. Without kashida, only 144 remain of the potential 9216 variants. 7. Here, Mimicry, alias išārät al- إ ل ه م ل ihmāl off: 72 is turned إ ش ر ة variants. Mimicry is traditionally used on unpointed letters in contrast with their pointed counterparts. 8. Finally, the artistic rotation of dots is disabled. The WordShaper list with the remaining 24 variants is shown on the opposite page. word shaping menu tasmeem, word shaping 30 31
ٮ ص ص ع حكصمكمك عمكك حملحعمل Calligraphy with the WordShaper Variants practical example 2 two other Tasmeem devices: Variants In order to create the overlap and meem in the word ʿalaykum علی ك, with the result علیكم next page, the kerning value is set to -1290 (see also page 15). word shaping 32 2. Mimicry has been activated ل عیكم into علیكم on the letter ain, changing ١٤٢٧ ی ٮ س صقٮ ٮ قٮر م صفیٮ س طی هص Calligraphic parameters at work Swash can be combined with Local Kerning. For typography this overlap is not necessary, but for calligraphy the efcalligraphy is a duty it is one of the keys to fortune fect can be very interesting, if applied with taste. rotate dots Rotated dots are frequently used as ornamental variations ش ق ش ی ی ك ل م وه ههه ل رصص in pre-typesetting book manuscripts and calligraphy. Tas meem revives this feature for typography. Tasmeem as shown in the example on the صص 1. Variant forms of the letters kaf the letter extends ه ح kashida ه لك ڡ 2. صك Long ٮك ٮه from حك fehof the word mafātīḥi مف ی. The ٮق حق له له ڡ ح صعر fatha aboveitstretches automatically. عر صعر ك عر ٮهر ل 3. To apply Local Kerning the word V a r group i a n t s min mafātīḥi م مفی the caret is positioned همحٮ لٮ ح هم ٮهم هك لكك م م before directly the second word. هه ل كه لكه لههه ٮ ٮ ٮ ی ی ٮ ٮ ی ی ی لٮی ی ی The example below illustrates مه حمه عمه عمه ٮمه ععمه ع هعملصمصحع The large example on the right ٮمه uses ه ممه ممه various كه مه مه كمه مم Tasmeem عم devices: ٮم ٮم صم مم ع می می 1. یٮ یی A swash extends from the letter م. noon of the word min م V a r i a n t s كلك ك ك كلك سل ٯ ٱ ه م م ق ی ف ٮ ٮ إ ى ى ىى م مم ٱ ل ی فقه ر swash ٱ ل لد ق ل و ی ٱ لی هلی ی mimicry North African manuscripts consistently place a miniature copy below Tasmeem provides mimicry unpointed ٱ ٱ ٱ ٱ letters. ٱ Mimicry ٱ counterparts. for thoseletters that have pointed ك ی ل ح ی ل ل ح ل د س can be used as an ornament. menu tasmeem, word shaping 33
Typesetting with the WordShaper practical example 2c On these pages three kinds of text are distinguished typographically: 1. Main text, 2. Holy Qurʾān Quotations 3. Ḥadīth quotations. Two fonts have been used: Emiri for the main text and Naskh for the quotations. The main text is done in Emiri with ample spacing. The settings are controlled by a Paragraph Style. The quotations are set in Naskh with tight spacing. The settings are controlled by two separate Character Styles. In this second practical example the distinctive colours for the styles have been replaced by standard black on all three text flavours. ی ح ج لد ع ی أو ل إ ل ى سس ی س ة ل خ ص ة و ه ی سس ی س ة ف سه. ذ ئ ل و م ج یم ع ق س ه ر ه و ی م عه م ج م ی ع ل ر د ف ة ی صل ح ف سه و ی س و لس ه و ی مل ذ د م و م و ة ع ج یم ع ل ش س ه و ق سل ی ئ ة و ی م عه ع أ خ ل ل ض أئ ض فم ئ ل وعل ى ل ق ی م ب ل ر ف ل ء ق ى عل حمله وی لمس ه ی أ س ء ب ل ذ د م و ل د م ة و لمل م ة و سل. و ی ع ق ب ف سه أ د ح لمد و ث حل عل ى ل فع ل أ حسس ب لس ر و ر و و ل وب ة. و ی ث ی ب سه أ د خ ل ق ه سسمل جی ب إ ل ی ه ف ی أ خ ذد م م سس ف د ة لعل یل س ر ظ لحسس و محم د ق ف ب له كم ق ل م و ل لص د ج ع ر و ی ق د ی ب و ق له و ف عله و ع ق ف ی «. ف ق ل و «ی ك و إ ی ل د ع طص ة م لل ه عل ی ه:»ك و صل و م ب ه م ك ص م و «ف ق ل عل ی ه لسل م: «ل ع م ل و ب م أ مر ح د ع و و ح ل ع م ل ب ط ع ة ل ه ل ع ل ى و ه و ع م ه ی ك م ع ه م ی صعم ة.«فم ه ة ح یصل و ی ق د ر عل ى سس ی س ة غ ع ی ر ه و ق ی ل : أ صل ح م ب سس ی س ة ف سه ف إ یو ق ی بد ٱ أ ل ه ی ف سك ل ف سك ی ك ل س ب ع لك مك ق ل لل ه ع ل ى ب ٱ ه د ی م. د ض ط ل أ ی سر ك م م ض ف س ك م ل ی ك م أ ء م و لع و أ م سس ی س ة لح م ة ف ه و سس ی س ة ل ر ج ل ل أ ه ل ب ی ه وح شس ی ه ی س و سهم ض فم ئ ل و ی م عهم ع و ة أ ود بسهم و ی م علممه و یحملهم عل ى ق ء ل ذ ئ ل و ی ث ی ب م أ حسس م سهم و ی ع ق ب م أ س ء م سهم كم ق ل ل ر د ر و ق ل ل ى م ك وأ ه لی م ف س ك أ ق ء م و و ی بد ٱ أ ل ه ی لل ه ع ل ى و لأ ب أ د ل عل ه م ی ب ل ه أ ث ی ور ل ر ج ل ل ر ب ل «و آ له: ی ه عل لل ه صل ى ر و ل یر و ل ك ب م ی ی م ع ل ی ف ق د م ه م غ طص ح ل طص ل ح ى ی د خ ل ه م ج ل ة ج بر ط ص ٱ و ل و أ ل ك ب ٱ ل طص «كم ق ل لل ه ع ل ى وأ م ر ه خ د م و ل ج ر وك ع د ب ك و ٱ ر و ل و أ ل هۥ ب ٱ ل طص ه ر ی أ م لع ی ه و ق ل لل ه ع ل ى وك ة س ی سس ب م ر. ف م یو ق ر ب هۦ م ب ق ل خل ئ أ ك و له سس ی س ة عل ى س ر ف سه و سس ی س ة أ ه ل ب ی ه ف ل ة ح یصل أ ی ك و ف سه و سس ی س ة أ ه ل ب ی ه ة ی صل ح م ب سس ی س ة لدی ف م ل یو ق د ع ة ی. م ب د ب ی ر م ه و سس ئ س م ه صل ح أ یو ق و سس ی س ة لع م ة ع عهم م ی و ی مل ی ع ر ش س أ د یب بسهم ة أ ود و د هم و مع سهم ش مع ی حسس ب ی م ض فم ئ ل و ی ث ذ ئ ل و مل سه ی وی حملهم عل ى ل ل ر د ح د ی سهم. و م ل م بصل م سهم و ی ع ق ب م ی ى أ م سهم و یو ق ی حسس سس ی س ة ل خ ص ة و لح م ة و لع م ة ل ة ح یصل للد ع و ة. ب ود لد ع ی ل ذد ی ه و د و ه لعل م لد ع ی ی ح ج أ ة أ ف إ و حد م ه م وی خ ب ر ه و ی م ح ه و ی س و س أ م ر ه و ی ع ق ب ه و ی ث ی ب ه ك ل غ ز ل ه وك لك لم ذ أ ذ د و ة ب أ ود ه لد ع ی وی ح ث ه عل ى ل ب لو ع عل ى م ر ب ود ل و أ م وی ر ب ی ه ب لعل م ذ لك ة أ وك ق ه ف إ ل ى لحد ل ذد ی ه و و This time a typesetter went through the sample text and made occasional changes. In the example on this page the modified words are marked in red. The typesetter uses the WordShaper discreetly to adjust the alignment of the text, sometimes he uses it to improve the shapes and make the text look more inviting. In this example many changes are shown. In real book production such Word Shaping changes can be kept to the minimum: they are the finishing touch. To save time and effort in sophisticated fine tuning of the appearance of a text, Tasmeem provides another tool, called TextShaper, whose operation is described in the next chapter. word shaping 13 12 menu tasmeem, word shaping 34 35
3 TextShaper panel revealing the built-in defaults for variants. M a i n Ta s m e e m F u n c t i o n s 3 Å Text Shaping Text Shaping is an extension of Word Shaping. It is the tool for large scale Word Shaping, without having to dwell on every single word of a publication. Text Shaping can be used to configure a Tasmeem font according to the requirements of a text and to the personal preferences of the typesetter. In combination with the Tasmeem s Arabic Spacing, Text Shaping can completely change the appearance of Tasmeem fonts. This first version of the Text Shaping works best on single, threaded texts or multiple selected texts on a page spread. The Text Shaping tools are explained on the following pages. t e x t S H A P I N G The TextShaper is another innovating Tasmeem technology for bringing the calligraphic dimension of Arabic script under typographic control. It deals with the same calligraphic parameters as the WordShaper, but in a generic manner. The TextShaper is designed to handle letter variation in large amounts of text. The TextShaper also enables the user to adapt or personalize Tasmeem ace fonts. Sophisticated adaptations of the basic fonts can be saved for future use as xml files. Moreover, Tasmeem offers the user a series of ready-made settings with mnemonic names that describe their effect. These can be used as such or serve as templates for new designs. Presets can also be managed and edited as xml files from here: C:\Program Files\Adobe\Adobe InDesign CS2\Plug-Ins\arabiclayout\Presets The TextShaper provides sliding controls for distributing variations in a way that totally changes the appearance of a typeface. text shaping menu tasmeem, text shaping 36 37
Some of the presets listed by the TextShaper s top menu. The three methods listed by the Dissimilation menu. t e x t S H A P I N G m e n u s Ready-made presets Tasmeem provides a series of pre-designed font customizations that are listed from the top level menu. The name of the preset approximately describes the effect. The actual amount of variation is typeface-dependent. Customizing the TextShaper: with the following four separate calligraphy controls, new presets can be designed and stored. 1. Dissimilation The TextShaper can be set to avoid repetitive shapes according to three principles. 1. consecutive only: instead of بم ه ه م ی ی ه ه م ب 2. in the same segment: ه م ك ه ل سم و instead of و سم له ك ه م 3. in the same word: ه م إ س ه ل ك instead of إ س ه ل ك ه م 2. Variation The following menus use a special fine-tuning device that can be controlled with the mouse pointer. By dragging the small triangle in the TextShaper s sliding control, the user can change the distribution balance between the variable letters. There is a global control at the top and there is a series of detailed controls below. For each letter a separate two, three or even fourfold breakdown is possible. text shaping menu tasmeem, text shaping 38 39 3. Swashes Swashes are the elegant curves that characterize some of the variant final forms, for instance: ع يى ى ع ل Here, too, the user can determine the frequency of occurrence of swashes by dragging the small triangle in the Alternation sliding control. There is a global control (top) and there are a series of detailed controls, the allows the user to indicate for each letter separately, whether it should occur with at all, and with what frequency. 4. Kashidas By dragging the small triangle in the TextShaper sliding control, the user can change amount of alternation of the variable letters. There is a global control (top) and there are a series of detailed controls. Selective and consecutive text shaping The TextShaper menus give access to one of the most interesting aspects of Arabic writing. By disabling or enabling, or just mixing in the use of one or more variants, the designer or typesetter exerts considerable influence over Arabic typography. In combination with the Arabic Spacing controls it is possible can personalize or customize a font. More than one setting can be applied consecutively. In such a case it may be useful to disable selected letters by unchecking the box next to it. The existing distribution of effects on such letters is then left intact.
The TextShaper s main menu has a button for clearing Text Shaping variants. It works only on the selected font this example is used to clear all Text Shaping variants. It resets the selected font to its internal default. After that, the same run of text is shown after applying two TextShaper presets (below). و ة ل لطم ق ة ض ب و م ف أ خ ر ى ل ض لل غ م ر ق ل و عمل ي س. و م مل د و ل ب ي و ل ي د ل و ع ف ي سه ة ف غ لل م و آ ل س ج ل ث ق ف ذ م ف عل لل غ ة ل ج م ع ي أ ل أ م د مل خ ةص ي ي ي غ لل ة ض ل ع م د عل ى ل غ س ه و أ لمر س خ ة ل سس ةط ي ع ل س ه و د و ض ه و ز ي ف ع مل ي ة ل س د و ر ب ر ل ش س م ل. بمس ه و ممه ي ف ل م ي ة ف و أث ر بع ل غ ل وع ق غ ل ة م و د و ل ه ب ي ف كل م سع ق عد ة سس عم ل م و أ ك ث ر و ع ي م و ل إ ف ه ه ف ى لس ر عل ق د أ و م كل م ي سه ك س م ج ل ة و م ب ض ف و م ط ل ق خ ر ى ٱ أ غ ل ٱ لل ب م ر و ع م ل ي ٱ ل ٱق ب ل ع م ي يى ٱل م خ ص ي بي ٱ ل م د و ل و م. ٱ ل و س ب يى و لي د ع ف س ه غ لل ٱ و آ ل ض و د و ع ٱ ل ه س ط ي خ ل س ف ٱ ل م ر ٱ أ م م ذ د لث ٱ ق ل أ ٱ ع يى ج م غ ٱ ل ٱ لل ب ب و أث ر ب ع ل ل عغ ٱ ل و ق يى و يى ع م ل ي ب ٱ ل ه ز ب غ لل ة د و ر ه وأ غ ل ى د ع ل م ٱ ٱ ع ل ه ل د و غ م و م ع ل ل ق ع د ة ٱ س ع س ف م ل ٱ ٱ ل ش م ل. ك ه ف و م لم م ٱ ي ب م ه ٱ ش س ي ء أ و ع ي ب ل أ ر ث ك ٱ م و ف ه و ل أ ف م ٱ ل ه ى ع ل أ ق د ر و ب م ك ل م ي ه ك ف و طص بي ب ب ل ع ج ب ٱ ر ب ع م ب ذ د ه د ي ي أ بل ك. و ل ٱ ٱ ر و ل ٱ ٱ خ ع ل أ ل ى ف وأ س رع ٱ أ ك و ل ف ف و ص This is the same text fragment, now in Emiri. A single TextShaper preset has been applied to change the default short meem into the long meem (left). Then two more presets are used to adjust the appearance ض ر ق ة ل و لمع ة ي و ل س جم و آ ل لم ة د و ل ب ي لم خ ةص ي ي ف م لل غ لل غ ة ف سه ي ف ق ة لطم ة ة ض ب و أ خ ر ى ة م ف ل س. و م ل ة يد ل و ع و أ ل أ مم م لل غ ة ل ج م ع ي ي عل ض ل ع ة م د لمر س خ ة ل سس ةط ي ع ل س ه و د و ل ث ق ف ذ د ض أ ث ر ه و و س ل ة ي ز ي ف لمع ة عل ى ل غ س ه و أ لل غ ة د و ر ب ر ر بمس ه و ممه ل ش س م ل. ف كل مم سع ق عد ة ي ف ل م ة ي ة ف بع ل غ ل وع ق أ ةقد ر ف لك م ي سه ك و ل غ ة م و د و ل ه ب ي ف صو م سس عم ل م ط ل ق ة م ب ض ف و ٱ ب أ خ ر ى ي ٱ لل ب غ ل م ب ٱ ٱ ق ر ل ي و ع م ل ٱ ل م د و ل ل و س ع. و م ٱ ب يى و ل ي د ف س ه ب غ لل ٱ م و آ ل ج س ب ل و ٱ ب ف ذ لث ق د أ ٱ م م ل أ ٱ ع يى ج م م ل ب ٱ لل ب غ ٱ ل ي يى ع ٱل م خ ص ي بي لل ب غ ة وأ ه بغ ل ى ع ل د م ٱ ٱ ع ض ل ه و د و ع ٱ ل س ي ب خ ل ر س ٱ ل م و م ه ف ب ى لم م ٱ ي ب م ه ي ق ع غ ٱ ل و ث فث ر ب ل ل ع ب وأ ه و ب ٱ ل يى ع م ل ي ر ب ر ز د و ل ه م ع ل ل ب غ م و د و س ع ق د ة ٱ س ك ل م ٱ ل ف. ٱ ث ل ش ث ر ف أ ك و ه م م م و ف ٱ ل أ ٱ ل فه و أ ق د ر ى ع ل ك ي ه ب م م ك ل ف و طص بي The first preset blends variant forms into the text. The second one selectively inserts elongated letter connections. of the text (below). The same presets are used as on the left page, but the effect differs. text shaping menu tasmeem, text shaping 40 41
Typesetting with the TextShaper practical example 3a On these pages three kinds of text are distinguished typographically: 1. Main text, 2. Holy Qurʾān Quotations 3. Ḥadīth quotations. The main text is done in Emiri with ample spacing. The settings are controlled by a Paragraph Style. The quotations are set in Naskh with tight spacing. The settings are controlled by two separate Character Styles. In the previous Tasmeem operation, local adjustments were made with the WordShaper, marked in Red. Emiri can be made to look more typographic by knotting the meem. And, in order to increase the contrast with Naskh, the Emiri font can be spread out more thinly. ی ح ة ج لد ع ی أو ل إ ل ى سس ی سس ة ل خ سص ة و ه ی سس ی سس ة ف سسه. ذ أ ئ ل و م ق س ه ر هه و ی م عه م مج ی ع ل ر د ف ة لصسی ح ف سسه و ی س و لس ه و ی ق أ خل مج ی ع ل مج ی ع لمس ه ی و ض أئ ب ل ر ف ل ش س ه و سل ی أ ئ ة و ی م عه ع لم ذ د م و م ة و ع ی حمله عل ى ق ء ل فس ض ئ ل و عل ى ل ق ة ی م ذ و ل د م ة لد م أ سس ء ب ف سسه أ د حل ح لممد و ث ب لس ر و ر و أ حسس ب ق ع ی و. و سسل و لمل م ة و ل و ب ة. و ی ث ی ب سه أ د لعل یل س ظ ر لمسس ج ة حی ب ف د ة م سس ل فع ل لحسس و عل ى ذ إ ل ة یه ف ی أ خد ق خ ل ة قه و ی ق ةد ی ب و ق له و ف عله و ع ة ق له كم ة ق ل م و ل لسص د م ی «. و إ ی ل د ع طص ة م لل ه عل ة یه:»ك و محم د سصل و ج ع ف ر ب ل ع م ل و «م: لسسل یه ة ل عل ة ق ف «ص م و ح د ع و و ح ف ف ة ق ل و «ی ك م ب ه م ل ع م ل ب ط ع ة ل ه ل ع ل ى و ه و ع م ه ی ك م ع ه م ك ب م أ مر ی صعم ة.«مف ی ق و م ب سس ی سس ة ف سسه ف إ ه ة ح یسصل و ی ة قد ر عل ى سس ی سس ة غ ی ر ه و ق ة ی ل : أ لصس ح حفسك ل حفسك ی ك ل س ب ع ف س ك م ی ك م أ ء م و لع ی بد ٱ أ ل ه ی ل ى ع لل ه ل ة ق مك لك ب ٱ ه د ی م. د ض ط ل أ ی سر ك م م ض ل و أ م سس ی سس ة لح م ة ف ه و سس ی سس ة ل ر ج ل ل أ هه ل ب ی ة ه وح ش س ی ة ه م و ی م علممه وی م هلمح عل ى ق ء ل فس ض ئ ل بسه ة أ ود و م هه و لس ی س ذ أ ئ ل و ی ث ة حی ب م أ حسس م م سه و ی ع ق ب م و ی م م هع ع ل ر د م ف س ك أ ق ء م و و ی بد ٱ أ ل ه ی هه كم ة ق ل لل ه ع ل ى أ سس ء م م ر و ة ق ل ل ح ى سصل ى لل ه عل ة یه و آ له: «ل ب ر ل ل ر ج ل م ك وأ ه لی ی م ع ل ة ج ل ج خ ل ه م ی د ى ح ل ل طص و لأ ب ح أ د ل عل ه م ی ب ل ه أ ث ی ور «كم ة ق ل لل ه ر و ل خ د م و ل ج ر یر و ل ك ب م ی غ طص ه م م ق د ی ف وك ل ى ع لل ه ل ة ق و ی ه لع بر ط ص ٱ و ل و أ ل ك ب ٱ ل طص ه ر وأ م ل ى ع وك ب ك و ٱ ر و ل و أ ل هۥ ب ٱ ل طص ه ر ی أ م ر. مف ی قو م ع د ر ب هۦ م ب ب سس ی سس ة ف سسه و سس ی سس ة أ هه ل ب ی ة ه ة ح یسصل أ ك و له سس ی سس ة ق خل ل ر عل ى س ئ أ هه ل ب ی ة ه فل ة ح یسصل أ ی ك و لدی مف ل ی ق و م ب سس ی سس ة ف سسه و سس ی سس ة د ع ة ی. أ ی ق و م ب ة د ب ی ر م ه و سس ئ س م ه سصل ح و سس ی سس ة لع م ة م مع ش سه و م مع د هه و ة ب أ ود م هه أ د ی ب ش س ر ع ة ی لم ة ی و ی م م هع ع ی حسس ب ی م ذ أ ئ ل و لمس ه ة ی وی حملهم عل ى ل فس ض ئ ل و ی ث ل ر د هه. و م ل هه و ی ع ق ب م ی ى م أ م سه و ی ق و م ح بسصل د ةی م م م ی حسس سس ی سس ة ل خ سص ة و لح م ة و لع م ة ل ة ح یسصل للد ع و ة. ب ود لد ع ی ل ذد ی ه و د و ه لعل م لد ع ی ی ح ة ج أ ة أ ف إ و حد م ه م وی خ ة ب ر ه و ی م ح ه و ی س و س أ م و ی ع ق به و ی ث ی به ك ل The typesetter applies text shaping to change the open meem into a closed meem like in the words everywhere: كم, and ل ق ی م, و ی م عه passing,. In مك, and ل ق ی م, و ی م عه he distributes the two horizontal heh middle forms: ل ه and ہ evenly. Moreover, he spreads a maximum of short kashidas but no more then, كم one per word. In cases like the use of kashida brings back the open meem, as closed meem cannot always be connected to a kashida. text shaping 13 12 menu tasmeem, text shaping 42 43
Typesetting with the TextShaper practical example 3b On these pages Naskh is used for Holy Qurʾān Quotations and for Ḥadīth quotations. In order to increase the contrast between these two categories of text, the typesetter plans to apply Text Shaping to make the Qurʾān text more distinctive. Before applying the TextShaper operation, he immunizes the Ḥadīth text by changing the Naskh in its Character Style to a conventional font. On the left page this temporary stage is marked in blue. Now the TextShaper is applied on the remaining Naskh text with settings designed to make the Qurʾān text stand out against the other text flavours. ی ح ة ج لد ع ی أو ل إ ل ى سس ی سس ة ل خ سص ة و ه ی سس ی سس ة ف سسه. ذ أ ئ ل و م ق س ه ر هه و ی م عه م مج ی ع ل ر د ف ة لصسی ح ف سسه و ی س و لس ه و ی ق أ خل مج ی ع ل مج ی ع لمس ه ی و ض أئ ب ل ر ف ل ش س ه و سل ی أ ئ ة و ی م عه ع لم ذ د م و م ة و ع ی حمله عل ى ق ء ل فس ض ئ ل و عل ى ل ق ة ی م ذ و ل د م ة لد م أ سس ء ب ف سسه أ د حل ح لممد و ث ب لس ر و ر و أ حسس ب ق ع ی و. و سسل و لمل م ة و ل و ب ة. و ی ث ی ب سه أ د لعل یل س ظ ر لمسس ج ة حی ب ف د ة م سس ل فع ل لحسس و عل ى ذ إ ل ة یه ف ی أ خد ق خ ل ة قه و ی ق ةد ی ب و ق له و ف عله و ع ة ق له كم ة ق ل م و ل لسص د م ی «. و إ ی ل د ع طص ة م لل ه عل ة یه:»ك و محم د سصل و ج ع ف ر ب ل ع م ل و «م: لسل ی ه ع ل ل ق ف «ص م و ح د ع و و ح ف ف ة ق ل و «ی ك م ب ه م ل ع م ل ب ط ع ة ل ه ل ع ل ى و ه و ع م ه ی ك م ع ه م ك ب م أ مر ی صعم ة.«مف ی ق و م ب سس ی سس ة ف سسه ف إ ه ة ح یسصل و ی ة قد ر عل ى سس ی سس ة غ ی ر ه و ق ة ی ل : أ لصس ح حفسك ل حفسك ی ك ل س ب ع لك ف س ك م ل ی ك م أ ء م و لع ی بد ٱ أ ی ه ل مك ة ق ل لل ه ع ل ى ب ٱ ه د ی م. د ض ل أ ب س ی سر ك م م ض و أ م سس ی سس ة لح م ة ف ه و سس ی سس ة ل ر ج ل ل أ هه ل ب ی ة ه وح ش س ی ة ه م و ی م علممه وی م هلمح عل ى ق ء ل فس ض ئ ل بسه ة أ ود و م هه و لس ی س أ سس ء أ حسس م م سه و ی ع ق ب م ذ أ ئ ل و ی ث ة حی ب م ل ر د و ی م م هع ع م ف س ك أ ق ء م و و ب ٱ بد س ل أ ی ه هه كم ة ق ل لل ه ع ل ى م م ر و ة ق ل ل ح ى سصل ى لل ه عل ة یه و آ له:»ل یزل ك م ی ل وأ ه لرجل یورث أهل بیه لعلم وألدب لصلح حى یدخلهم لج ة جمیع ل یفقد مهم صغیر ول كبیر ول خدم ول جر «كم ط بر لع ی ه و ة ق ل ص ٱ و ل ك ب ٱ ل ص ل و ر أ ه وأ م ل ى ع لل ه ل ة ق وك ں ب ك و ٱ ر و ي ل و ل هۥ ب ٱ ل ص أ ه ر م لل ه ع ل ى وك ی أ ع د ر ب هۦ مر ب. مف ی ق و م ب سس ی سس ة ف سسه و سس ی سس ة أ هه ل ب ی ة ه ق لدی مف ل ل خل ئ ة ح یسصل أ ك و له سس ی سس ة عل ى س ر و ك ی أ ة ح یسصل فل ة ه ی ل ب هه ة أ سس ی سس و سسه ة ف سس ی سس م ب و ق ی د ع ة ی. أ ی ق و م ب ة د ب ی ر م ه و سس ئ س م ه سصل ح و سس ی سس ة لع م ة م مع ش سه و م مع د هه و ة ب أ ود م هه أ د ی ب ش س ر ع ة ی لم ة ی و ی م م هع ع ی حسس ب ی م ذ أ ئ ل و لمس ه ة ی وی حملهم عل ى ل فس ض ئ ل و ی ث ل ر د هه. و م ل هه و ی ع ق ب م ی ى م أ م سه و ی ق و م ح بسصل د ةی م م م ی حسس سس ی سس ة ل خ سص ة و لح م ة و لع م ة ل ة ح یسصل للد ع و ة. ب ود لد ع ی ل ذد ی ه و د و ه لعل م لد ع ی ی ح ة ج أ ة أ ف إ On the right page, the Naskh of the Ḥadīth text has been restored and the final results are shown in black. The settings used to distinguish Naskh for Qurʾān text from Naskh for Ḥadīth text are: equal spreading of available variants, combined with a strong use of kashideh text shaping 13 12 menu tasmeem, text shaping 44 45
4 ی م ل و ه ی د ی ٱ ح و ی س ٱ ی ر م ك و ٱ م و ئ ی ل ی ئ و ٱ م ی ل و و ص ك ی ك ی ص ی ی ٱ ل ی ك ل و ش م ل ك ب ی ی م كل ی ع ع ی ی ئ ٱ م و ص و ء ح ح ی م و ی ئو ی وك ٱ ل ه ككل ر ل ل ی یع ی م م ر ه ی ك ل و ٱ ی ی و و ل ی ٱ م ل م ی كه ل ئ ك و ی و ه م ش ل م ك ی ل ٱ م د ی كهی ر و ی ٱ م و ر The menu expands with several tools, like the Catchword Generator. ی ی ئ ل M a i n Ta s m e e m F u n c t i o n s 4 Å Catchwords Also knows as custos, the catchword is a feature of manuscripts to help the binder to combine the pages in the correct order. Interestingly, some calligraphers can be observed using the catchword as a showcase of shape alternation: they use any available alternate to make the catchword contrast with the main text. Tasmeem reintroduces the catchword to enable typographers and designers to make books more pleasant to read. The Catchword tools are explained on the following pages. c at c h w o r d s The Catchwords tool is an original Tasmeem technology for bringing another calligraphic aspect of Arabic script under typographic control. It generates copies of the first word or words of the next page and positions them in a new text frame at the bottom of the page. Catchwords uses calligraphic parameters similar to those of WordShaper. Catchwords can be used to create functional ornaments on the page spread, or simply to make threads in newspapers and magazines easier to follow. The Catchword Generator enables the typesetter to influence the calligraphic quality of the catchwords: it can be set to generate contrasts in the copied words, to copy the calligraphic variation found or to ignore any previous Tasmeem shaping. catchwords menu tasmeem, catchwords > 46 47
عید ب رك عد بم رك ب ب ب ب ب ب ے م ك ك ك ل م ب ب ك ل م ب ب م د ب بوه ههه لب بوه ههه لب ل ل ے ب ب ےس ب ب ب ب ی ی حر وب ب رسرسب م رد ب ب حر ص ص د ب د ے م بد د بس س د ر یب یرس بدب بر ب سر بص بسس م م م م ب ب د بس بیس ب بسی بوبه یسر ے به ه صلس سر د د ههه ب د كم جل ی جل ی سله هه ك ككم م مو یس رهر سكس رهر سكس م سس ب سس ب ع عه عه م ب ب ب ب ب ب ب After the text cursor is placed ے ے كك ب ب ب به ه ههه ل ب ب كك ب ب ب به ه ههه ل ب ب ب ب ب ب ب بد بر ب ب د text, ب ط س ب طم بد طم ب مب ط س ب طم بد طم ب م ب طب طب ط ب ط ب یب یب ع بههه ب one ه ب طب طب ے ب ے ب ی ب عب ی ب لب سی لب سی ب lines ب in of ك به به ه the به of به كصبو ط ب ب ب ط ب ب ب بس و ب بس و ب ب طب ب بصر سب ل the بص بس ب بر ط ط س س ك كس ر س جب جب ب ب ب ب ب ه ب ه ب به ب ب ب ب ب ب ب ب ب ب ب ب ب ب بس ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب بس ب ب ب ب ب ب ه ب ه ب به ب ب سر د د بسع كسعر ع سس سس بلم بم سبعملم م مس ه م ے ب ے ب عوعه عهعه عوعه عهعه ع م ك ك ل م كعركلعمل م ععیعی ععیعی عسع عسع ج رر سهسه ج رر سهسه ل م م م ب ب ب ل ل ك ك ب ك ك ب بب ب به به ب ههه بب ب به به ب ههه بب ه ب ب ه ب ب ه ب ه ب ے س بس ے س بس بم ب بس ب ب ب بم ب بس ب ب ب ی بب ی بب ب ب یب یعب ب ب ج ب ج ب عم ب عم ب ع ع سد سد مب عد عد ل بمب ی ی ط ی ی ط ب ل م ے بم ے بم و و ج مجم س طم س ج رر س س ج رر س س Catchword menu is set as follows: ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب سر سبس بسبسب ب بسوسه بسه سبههبه بس د كسعرلعم سع سع س كسه سسسوسع هسب سد عه بمسعس سس سبعلمس سس عل عل كسسعركسع م ك ك بلم بم ه م ے ب عوعه عهعه ع م ععیعی عسع ج رر سهسه ٱ ٱ ل ب ٱ ب ٱ ب ب ه ه ب ب ب ك ل م ب ب ب ل م د ب ب ی ی ب ب بوه ههه ب ب ك ل م م د ك ب ك ب ے ب م و هه ببس ب ب ب ب بس ب ح و ح و ے ب م ل بی ل بی ببس د ر ب ب ب ب بس دد رب ب ب بس دب ب ببس ب د د بربسر ب صبسس د د كم جل ی جل ی وه ه هه لسه هه مو ج ككم م ل م یس یس رهر سكس رهر سكس یر سس ب یر سس ب ع عه عه م كك ب ب ب ب ب ه ب ب ه ب ب ب ب ه ب ب ه د د بص بس بب ب ع بههه ب ے ب ب ب ر كس ر بس ل بب ك ب لب سیس لب سیس جط جط ع به طم بد طم برم طم بد طم برم ك به به ه به به كصبو صو ط ط ب ط ط ب طرس س طرس س ی ب ب س س ب ب ب ب ب ب س ه ه ه ب ب سد سد ب ب ب ج ب ب مب ل بمب ب بم یع ع ع ع ع طه طه ےبعم بم ےبعم بم بطو بطو كس ع طم س ع ج عد عرعسرعس ج عد عرعسرعس ل طیطی ل طیطی س س ل جم ب ب س سب س س ب ب س سب س س ب ب ب ب بس بس ب بسب ب بس سه بسه سبههبه بسل سبه بسل ك سبك بسب س ب ك سبك بسب س ب بم ب ب بم ب ب سب ب ب ب س بسسه سب سب ب ب ب ب ب ب سبس بسبسب ب بسوسه سر عل عل ع ب سعبب عه عه عسع عسع ع ب سعبب سسس د د كسعرلعم ل م م بمعم سس مع م ٱ ب ٱ ب ٱ ب ٱ ب ب ب ب ب ب ب ب ے م ك ك ح ك ل م ب ب ك ل م ب ب م د ب ه ههه ل ب ی لبی ے بس بب بوههصه ه ب ص سر بصسب یص د ے ب م د د د د ح بس د ر ب ببب یر بسبه د د د س بیس لس د د م م With this setting, the Catchword ے كك ب ب ب به ه ههه ل ب كك ب ب ب به ه ههه ل ب ب ب بد ب ب بد بر ب ے ب ب بص بس بب ب ل ب طرس ب طم بد طم برم ب طرس ب طم بد طم برم ب كصب ط ب طب ب یب یب ی ب ی ب appear بههه ب ع بههه ب ے ب ے ب ب ب on ه به به كس به به ط ب ب ب ط ب ب ب بس و ب بس و ب صرب سب ل ط ب طب طب لبسیس لبسیس ی ب ب ی ب ب س ط س ط ط ط ط ط جط every ص ك ب ر س will page. The ط ط ب minimum number of letters to be ب ب ب ب ل ب ب ب ب ب ك ك ب ك ك ب ب به به ب ههه بب ب به به ب ههه بب ه ب copied ه ب ب ب ه ب ه ب ے س بس ے س بس ی بب ی بب بم ب بس ب ب ب ب بب یعب ب ج ب عم ب ع سد سد ب ب ل ب عم ببمع بعد عم has been increased مب عد ل بمب to make ب ی یے بم و و ج طم س ل جم س ج رر س س ی یے ج ر ر س س sure the complete phrase is caught. سبه ب ب ب بس بس ب بسب ب بس سه بسه سبههبه بسل س س س س ب ب ب ب س س س س ب ب ب ب ك سبك بسب س ب ك سبك بسب س ب is relatively بم ب ب بم ب ب سربسسهعر سر font ع ب سبس size سعبب ع ب سعبب large, and ع بسبسب ببسوسعه كلس عبمهلهمس بمب ب عل عیعی ع عل عیعی ع جه The وسعه جه عوسعه سبد رر بسهسهل م سبد رر بسهسهل م ه م مس و ه ے كسعرلعم ے عهعهه عهعهه ب كك بمسعس سس سبعلمس ك ك ل مبم is aimed to the middle م the text box عد م ب رك عد بم ر ك كك ب ب ب به ه ههه ل ب ب كك ب ب ب به ه ههه ل ب ب ب ب ب ب ب ب بد ب ے ے بص بس بب بد ب ب ب م ب ب ب م ب ب ب ب ع بههه ب ے ب ب د د ب ك ب ر بس لبب لب سیس ه به به صو ط بب ط بب طرس س طرس س ی ب لب جط س س ب ب ب ب ب ب ب ب سد سد ب ب ب ج ب ے سع سب مب طههه عسع و ل بمب و بمسبع بط بط ع ع ع ع طه ےبعم بم ےبعم بم بعد عرعسر طم س ع كس ع ج عد عرعسرعس یع ل طیطی ل طیطی س س ل جم ب ب ك ب ب ك the ب of ب ب ب ب س ص ب ے ب ب ے ب ب ب د ب ب ب ب page. ی ب بس of the ب ب ب بس ب بس بی ص ب ب ك underside ببس دص بد ه ب مب ج ل دب د سرسر س بس ی لس د و But the most important setting here is (from the reference ص ب ط ط ط ص ب Different ه هههه Always كصو ه ه ه صوه ط د ط ط طب ط د ط ط طب ط ط ط ط ط ط ے ب ے ب ط ط طك ك ل سی سی ك ههه ل سی سی رطرس س رطرس س on the next page in the source): as a will result, Catchwords, ب generating ب ه ه ب ب عد ع ع ع ع ع ب ط ب ب ك ب ط ب ےع بع ےع بع عل بم طو ه ه طهه ل طی عد عرعرعسعسع ب ععع ع عععك و interesting ل م س place a calligraphically یی ج رر س س م س عد م ب رك ك عد بم ر Typesetting with Catchwords practical example 4 On these pages the traditional Catchwords device is illustrated while it is used for a totally different and new effect. A series of season s greetings is over the full عيد مب رك mubārak created by repeating the line ʿīd width of several consecutive pages. عيد مب رك instance of ʿīd mubārak With the WordShaper we make each look beautiful in a different way. Here s the catch: to add an interesting touch, the Catchword generator is be used to place below, in again عيد مب رك ʿīd mubārak the main phrase, a copy of the line a calligraphically distinct form. س ب س ب ج س سب س س سك سك س س ب ب س س ب س ب س سه سه سههه سل ج س سب سس سك سك سلسمبمب س س بسس ب سوسه سرسسهرسهه سرسر سسسسس ب سهس سلسس ب ل م م م م س و م م ٱ ٱ ٱ ب ٱ ب ب ب ب ل ب ب بر ب ب بسبس د ررس د د د د ح بدب یص وههصههلصی ص ب ب یرسرسب عر عر م حرو ے م ب د د سر سر سس سس یص مم مم ےس ب ےسس ب بسم ك كرل یجی سمر بصسس ع ص ص ج ع ك ك ل مج م یج م م ب ب ب ب ب ب ب ب ب ب ے س بس ے س بس ب بك بك بل بم ب ب ه ه ب ههه ل ب ب ب و به به بههه بل بی بی ب سد بم ب بس ب ب ب بك بك بل بم بم ب م ب ب ب ب ب بج ب ب سدج ب ب س ب و ب ب ب ی یب ب ج variation of the same text on each page. ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب عك علعمبمع ع بسع بعوع عهعهه عل ی یے ب د رر سهسهه ه ع بم بممعسععوع عهعهه عل ی یے ب د رر سهسهه ه ك ك ل مبم كك عكلعملم ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب ب د م ب بب ب ب ب ب ب ب ه ب ے به ع د ر ب ك بكك و ه بس د د سه ب رهر سك له هههه ل ی یے بك بس ب و ه ههههه ل ی كك كك كك ل ے ب ب ب ب ب ب ب ب ب ه ے ب ب ه ب س ب ب ب ب ب بك بك بل بم ببم بم بس ب ب و به بهبههه بلب ی ب ی ب ر ب س ب بس ب ب ب ب بد ب برسب ب ج بد بر بر بس بس ع ب ب ب بك بك بل بم ببم ب م ب س ب ب و ب بهبهه بل بی بی ب ب بب ٱ ٱ ٱ ب ٱ ب ب ب ك ب ب ب م رد ب ب ب حر وب ب م رد بب ب حرو بج بددبرر بررسبس ع ك ل مم وه ههه ل ی یے م ببج د ررسس ع ك ل مم وه ههه ل ی یے م ج بدبر بر بس > menu tasmeem, catchwords 49 catchwords 48
5 M a i n Ta s m e e m F u n c t i o n s 5 Å Rings In Arabic manuscripts, verses are often marked by a flower following it. The shape of the flower can vary from verse to verse. Instead of using flowers, it is a typographical convention to place verse numbers inside a ring. Here, too the shape of the ring can vary from verse to verse or remain unaltered throughout. Like conventional fonts, Tasmeem fonts provide a single ring to meet the unicode Standard. However, Tasmeem gives designers the necessary flexibility in the form of a professional series of ring options and tools for high quality publishing. The Ring Tools are explained on the following pages. ه ی ی ٥٨ م بی ه ی ی ٥٨ ی مب ی ب ی ٥٨ ی ه مب ی ٥٨ ی ه ی ب م rings menu tasmeem, rings > 50 51 r i n g s The Ring is based on unicode character 06dd End of Ayah: 1. Menu, Type, Insert Special me Character, Qur anic Delimiters, End of Ayah 2. Menu, Tasmeem, Rings, Corner Menu, Insert End of Ayah. For correct placement the caret must be positioned left of the number. A quick way for ringing all numbers in a large a text, is using the command Find [digit][space] and Replace [digit]<06dd>[space] and repeat this once for each digit. This works on texts where verses are followed by numbers instead of the period. The Rings Menu offers alternatives for the font. It can also be used to turn the numbers off when numberless flower ornaments are used instead.
C r e at i n g R i n g s f o r Ta s m e e m Conventional font support for the End of Ayah is very limited. An up-todate list is maintained here: 3. Select both petals and create a rotated copy of the (Object/Transform/Rotate...). 1. Run Adobe Illustrator and create a new artwork. Choosing Show Grid and Snap to Grid in the View menu will help. Draw a circle for the first petal of the flower with the Ellipse Tools. 2. Duplicate this petal (Copy Paste) and move it at the opposite location in the flower. Place it so that the symmetry center of the resulting group match exactly with a grid line crossing (it will help later). www.fileformat.info/info/unicode/char/06dd/fontsupport.htm Tasmeem users, however, can design their own library of alternative rings and ornaments to use instead of the standard End of Ayah mark. This chapter provides a step-by-step guide showing how the End of Ayah ring can easily be created in Adobe Illustrator and for use in Tasmeem. In this example, we are going to create a daisy flower with overlapping petals and an empty transparent center. The procedure described here can be adapted to create many designs with a central symmetry and to handle various overlapping issues. 3. 4. 4. The rotate angle is 360 divided by the number of petals. 30 gives 12 petals. Unlike OK, the Copy button creates a rotate copy of the selection. We are going to deal with the petal overlapping problem by removing the hidden parts. 5. Select the two bottom petals and click Minus Back in the Pathfinder palette (available the Window menu). 6. Do it for the upper petals also. 1. 2. 5. 6. rings menu tasmeem, rings > 52 53
7. Then, we are going to remove the central part of the flower and leave it empty for holding the number later. Draw the inner circle exactly centered between the petals (use the shift modifier to draw a circle instead of a free ellipse and alt/option modifier to draw starting from the center). 8. Select the whole drawing and click Divide inthe Pathfinder palette. 11. Select the two petals and create a rotated copy of them (use the Copy button). 12. Do Transform Again (control/command D) several times to complete the flower. 13. Colorize the result to your own taste. 9. Then ungroup (Object menu) the result. The drawing is now a collection of non overlapping objects. 10 Select and clear all the inner objects so that only the outside parts of the petals remain. 7. 8. 11. 12. 14. Your artwork is now ready, save it in an illustrator file for future use. Copy the drawing and paste it in Tasmeem s Ring 9. 10. 13. 14. Editor using the Paste button. rings menu tasmeem, rings > 54 55
Typesetting with Rings practical example 5 On the right page, a instead of a ring, a flower ornament was chosen. Select text containing one or more End of Ayah markers. Open the Rings Tool and select an End of Ayah marker, with or without number, by clicking. On the left page the chosen ring surrounds the numbers. The Ring Editor can be activated by clicking on a ring in the Ring Library: The precise proportions can be controlled the here: و و ذ ذ أ ذ و ق ث م أ ذ ل و ذ ق ق ذ ق م ٦٠ ل ق یل ذ ل ق ه أ ذ ذ ذ ل و م ذ ذ ل و ق ق ذ ٱ ل ی ق ق م ق ل س ٦١ ذ ل ه ق ل ه ٱ ذ و ل ق ق ع ذ ع ٱ ل ٱ ل ذ أ ل ك ی ٦٢ ق ل ق ل س ذ ل ه ق ل ه ٱ ق ل ذ ذ س ل هل ه ق ٱ ل ل ك ق ر ع ذ ٱ ل ه و م ق ذ ع ل م م أ ق ل ذ وأ ع ل ه م ذ ل ك رق ٱ ذ ٱ ل ه ل ع ذ أ ر ق ذ ی ٦٣ ق و ك ذ ل ر ذ ی ق و و لق و ل ذ ذ ل ق ق ه ذ أ ذ ٦٤ ذ ل ذ ر س عق ق ذم ذ ق ل ق و ول قل ق ر ذ ٱ ل ذ ی ذ ذ و و ه ه م ی ل ق ق م قل و ٦٥ و ق ل ر ذ ذم أ و ذ ٦٦ ٱ ر س و ل ل ك ذ أ ل ل ذ ٱ ل ه وأ ٱ ل س ق ل ٦٧ ذ و ذ ذ ذ ل ی أ ذر ء ذ و أ ل ل ذ م د قلذ ر ذ یق ك ذم ل م ذ ه ٱ ل ذ ذ و ذ ٱ ل م ق ی ذ ذ ق ه م ذ ر ذ ذی ء ی ذ د و م و س ق ء ذ ذ ل ك ٱ ذ ل و ل ك و ذ و ل ق ء م ق ه ل أ ٱ ذ ذ ٦٨ ق شی شی ء ك ل ی ٱ ل ل ه ك ع ل إ ل ل ه ٱ ٱی ی ی و ء إی ك ل ی ٱ ل ل ه ك ع ل إ ل ل ه ٱ ی ی ٱی و إی ی ٱ ل و ع لی ى ك ی ه ۥ ی ص ل ٱ ل ل ه و إ ل ش ه ی ى د إ ی ٱ ل و ع لی ى ك ی ه ۥ ی ص ل إ ٱ ل ل ه و ل ش ه ی ى د إ م ی لی و ص مو ع ل ى ی ص ه ل و م ء ىو إ ٱ ل دی ی م ی ی لی و ص مو ع ل ى ی ص ه ل و م ء ىو إ ٱ ل دی ی ی ی ی ٱ ٱ ى ی ل ل ه ی ل د م ٱ ل ل ه و ر سو ل ه ۥ عل إو و ی ٱ ى ی ٱ ل ل ه ی ل د ل دی م عل ٱ ل ل ه و ر سو ل ه ۥ إو و ی ٱ إ ل دی إ إو و ی ٱ ى و ل دی ع د م ی م إع د ر و ی ء إو و ی ٱ ٱ ل و ل دی ى و ع د م ی م إع د ر و ی ء و ٱ ل ى ی ی ى ی م لو ٱ ح ی د ی ىو ٱ ى ك ر ی ع و ٱ ل إ و ى ص ی ی ى و ٱ ل إ ی ی ى ی م لو ٱ ح ی د ىو ٱ ی ك ر ی ع و ٱ ل إ و ى ص ی ی ى و ٱ ل إ ى ی ك و ك و إ ل ی ی ل ی ی ه ل إ ٱ ى ی ى ص ی ی ك و ش ى و ك و إ ل ی ی ل ی ی ه ل إ ٱ ى ی ى ص ی إ و ش إ ل ك ی ى ص ل ع ل ی ی د ی ی ى إ و ى ل ٱ ل ك آ ء ی ى ص ل ع ل ی ی د ی ی ى إ و ى ل ٱ آ ء و و و ح ی م ٱ ل ل ه ك إو ی و ص ل ی إ إ ی ع ر ی م ی و ح ٱ ل ل ه ك ی و إو ص ل ی إ إ ی ع ر ی ر ی و هم م ل ی ٱ ل دی و و ی ى ٱ ل ی ه ی ل م ر ی ل Å إ م و هم ل ی ٱ ل دی و و ی ى ٱ ل ی ه ی ل م إ ل Å ك ی و ر و ش ل م هم ك ی ل ع ر ی ٱ هی ك ی ل د و و ٱ ل م ر و ر و ی ش ل م هم ك ٱ ی ه ی ل ع ر ی ی ل د و و ٱ ل م ر ح ح The numbers are disabled without touching the text by changing the Digits setting in the Ring Editor. This technology makes it possible to create different styles from one source in a way that it remains searchable as well. ذكق ی أ ل rings menu tasmeem, rings > 56 57 ل ذكق ی أ
powered by DECOtype 2006 WinSoft S.A. Tasmeem WinSoft Tasmeem team: Kamel Gaddas, Michel Hutinel, Pascal Rubini, Firaz Samet, Daniel Svoboda, Philippe Bouquet, Hugo Pilon, Cathy Gumery DecoType Tasmeem team: Thomas Milo, Mirjam Somers, Peter Somers, Stanisław Jesmanowicz, Glenn Adams ص م م ي ب ٱ ل عر ٱ ل ب خ ط ر و ح This manual was written, designed and typeset by Thomas Milo using the WinSoft-DecoType Tasmeem Exclusive Arabic Publishing System based on WinSoft Adobe InDesign Middle Eastern version. The Ring design guide and all the Ring designs were contributed by Pascal Rubini. The Tasmeem typefaces used for Arabic text are Naskh and Emiri. Naskh (1997-2005), designed by Thomas Milo and Mirjam Somers, represents the familiar standard manuscript naskh as it has been in wide-spread use from the 16 th century onward. Emiri (2005-2006), designed by Mirjam Somers, is based on the original metal face designed by order of King Fuad of Egypt for the printing of the authoritative 1924 Cairo Qurʾān. Tasmeem typefaces are the first computer fonts in the true sense of the word. Rather than digitizing legacy technology, they are based on novel analysis from which DecoType ace (Arabic Calligraphic Engine, 1986-2006) synthesizes the required contextual forms as well as all optional alternatives. The WinSoft Tasmeem team integrated DecoType ACE into Adobe InDesign ME with a custom-built user interface to bring the world of Arabic writing under professional typographic control. The Latin text face is Adobe Minion Pro designed by Robert Slimbach (1989), extended by DecoType with characters for the academic transcription of Arabic.