THE BEAUTY OF ARABIC WRITING ط ال ال ا ل ر
ح د د 2 Muhammad Musa Albazi Naskh A Font that deserves to be printed in gold. A state of the art unique typeface combining the Arabic calligraphic beauty with unmatched range of features and true calligraphic tatweel up to seven levels of elongations. س ز ا ا ل و و سى
3 ر ل ا ط ال ال 1. Introducing Muhammad Musa Albazi Naskh Typeface... 4 2. Text demonstrating the font with full diacritical marks (Quran)... 5 3. Sample of text without marks... 6 4. A presentation of the Arabic poetry adjusted in the font... 7 5. Another sample text with full diacritical marks (Hadith)... 8 6. A quick glance over key features of the font... 9 7. Some beautiful slides of the font... 10 Slide 1 Slide 2 Slide 3 Slide 4 Slide 5 Slide 6 Slide 7 8. Quick manual of 20 stylistic sets... 17 9. Some salient features of the font that are applied automatically... 18 10. Shaping rules for the word ALLAH, Falillah and Lillah... 26 11. Demonstration of the seven levels of the calligraphic tatweel... 27 12. Beautiful original honorific ligatures available in the font... 28 13. Typing sequences for all these honorific ligatures... 29 14. Stylistic sets in details with samples... 31 15. Stylistic set 1... 31 Heh final variant 16. Stylistic set 2... 32 Expanded inter-word spacing Text sample 17. Stylistic set 3... 33 Letters overlapping 18. Stylistic set 4... 34 Meem final and Meem isolated variants Text sample with stylistic set 1 and 4 applied 19. Stylistic set 5... 36 A multi-function set that does three kinds of changes Ayah Sign variants are applied Changes in marks combined with small Meem Changes Madda to large, wider Madda 20. Stylistic set 6... 39 Meem medial and meem final variants 21. Stylistic set 7... 40 Heh medial variant 1 22. Stylistic set 8... 40 Heh medial variant 2 Samples of different words with stylistic set 7 and 8 applied TABLE OF CONTENTS 23. Stylistic set 9 and 10... 42 Two Kaf variants. Shorter Kaf variant by stylistic set 9 Longer Kaf variant by stylistic set 10 A Large number of words with stylistic set 9 and 10 applied 24. Stylistic set 11... 44 Combined Shadda-Kasra and alternate Sukun shape 25. Stylistic set 12... 45 Smaller swashes for all letters Swashes feature Longer swashes for all letters Different letters shaping with smaller swashes and larger swashes applied 26. Stylistic set 13... 47 Changes calligraphic tatweel to straight tatweel 27. Stylistic set 14... 48 Alternate shape for Fathatan, Kasratan and Dammatan Demonstration of three styles Shadda-Kasratan 28. Stylistic set 15... 50 Beautiful set of wider marks for the whole text 29. Stylistic set 16... 51 Demonstration of set 16, changing tatweel marks to slightlysmaller marks 30. Stylistic set 17... 52 Alternate shapes for some honorific ligatures. 31. Stylistic set 18... 53 An amazing feature of the font, making the quranic script according to Ottomanic script by changing the above hamza to below hamza. 32. Stylistic set 19... 54 Beautiful overlapping swashes alternates. 33. Stylistic set 20... 55 Stylistic set 20 Converts all longer swashes marks and all tatweel marks to shortest marks Sample of text with set 20 applied 34. Another unique feature of the font in using Superscript alef after Fatha... 56 35. Superscript Digits of the font... 57 36. Justification alternates feature with detailed sample... 58 37. Different text samples of the font for printing to observe the font's beauty... 59 Text sample in 15 point size Text sample in 16 point size Text sample in 17 point size Text sample in 18 point size Text sample in 19 point size The booklet is designed and published by Al-Qalam Foundation. The content of this booklet, furnished for informational use only, is subject to change without notice. Muhammad Musa Albazi Naskh is a registered trademark of Al-Qalam Foundation. www.alqalamfoundation.org Email: alqalam777@gmail.com 2015 Al-Qalam Foundation. All rights reserved.
4 INTRODUCTION Muhammad Musa Albazi Naskh is a unique, state of the art typeface capturing the calligraphic perfection of the Arabic script in the form of a font. The font comprises common classic Naskh style used in Pakistan, India, Iran, Afghanistan, Bangladesh, Burma and the other neighboring countries. It is one of the most complex Arabic fonts ever created having in depth calligraphic shaping rules. The novel typeface offers the Naskh style in its full glory on the computer platform, utilizing tatweel elongation up to seven levels for all letter shapes along with 20 stylistic sets. An amazing feature of this typeface is that it is a space-less Naskh font, one of its own kind, in which the kerning is covered not only between adjacent letters but also between adjacent words that have space character between them, opening up new ways for Arabic type designers. At present the font covers only the Arabic language but there is a very big scope to expand it to cover all the other languages of Arabic script like Persian, Pushto, Sindhi etc. as all the letter shapes are separated from dots so that a single shape works for all similar letters. الله اك ر Muhammad Musa Albazi font adds ultimate calligraphic beauty, accuracy and variety to the typography of the Arabic script in classic Naskh style, with letters and marks variants and calligraphic styles without any compromise. The font is specifically developed to take advantage of the extensive functionality for Naskh Arabic typography. The typeface consists of extreme typographic richness and full Unicode support while giving access to the special features of Naskh style. The high-end Arabic typeface is particularly well suited for traditional book typography and provides fine typographic control by marrying the latest Open-Type technology to traditional calligraphic and typographic models. Having so much features, contextual alternates for letters and marks and language-specific forms as well as integrating the seven levels of true calligraphic tatweel for all letter shapes, yet the font is very smart and compact containing about 1150 Arabic glyphs only. In this high quality, character based typeface extra care is taken in the design of all outlines. The graceful curves, rounded terminals, and the contrast between thick and thin strokes are consistent and lively throughout the typeface providing all the correct calligraphic shapes for ر. Naskh quality Arabic الله اك
إ ٱ ٱ إ إ ض ف ل ف إ ض إ غ غ ٱ ق ٱ 5 Full diacritical marks ح ٱ الر ح س ٱ الله ٱ الر ق ل ه ٱ ال ح ق و ٱ ا ل ذ ل و ل ل ل ف ل ك ك ا ل ه ٱ الله ك ا كا و ل ا ا ل د ل كا ك وه و ل ك ل س ى ف ٱ ك ل ا د إا دا ه ا ٱ ا ل ذ ء ا وا إا ذ ا و ا ر ل ف ل ك ا لك ه د ر هد وا ه و ٱس و ل ه ۥ ا ل د ل ط ا ل هو ف ل ل ل س لا ا ا و ف و ض ه ٱ ال ح ق س ف ه ا ا ا ل ذ ل ٱ ف ك ا ا ه س س ٱ الله ر ه ۥ و ل ا د ط ا ذ لك ل ه ۦ ل ا ا إا ر ا ا و ك ر غ وه ص وا ا ك وا و ل ا ذا ا د د ا ء إا ٱ ا ل ه و ل ا ر د ه ا ٱ الا إا ح ر ك ذ ا ف ه د ض ل إا ح د ا ء ا ا ل ه و ٱ ا ر ض ٱ ر و ف ر ل لوا ف ه ۥ وق إ ه د و و ل ا كا و ل ا ا ر ا هد وا إا ذ ا ه ا و وه ل ا ك ا اح س ل ك ك ف ل و ه ا ا ض ر ة د ر و ر ة ك ا لا ر ا و ا إا ل ا د ى ا د ة و ه و ل ٱ الله و وا لا ك ق ٱ الله ر ه ۥ و ل ه ۥ و ا ا ل ذ ٱ اؤ ك ا ف ل ؤ د و ة ف ا دوا ك ا ا ر ف ه ر و ل س ف إ ك و ل ء ل س و ٱلله ك و ل ك ٱ الله وا ٱ الله ٱ ق و ك ا ء ا ء و ذ ل ف فر اس س سك ه ٱ الله وه ا و سك ى ا سد وا ا إ ر و و ا ى ٱ الا ا ل س و ل ل له ا ى ٱ ا لو ه ا ف ه ۥ ء ا ث ق ل ه ۥ و ٱلله د ة و ك ا ل ه ٱ ر س ل ه ۦ ر ق ا د لا ف ه ۦ و ر س ل ه ۦ إ ئك ه ۦ و ك ٱ الله و ل ء ا و ك ل ؤ ء ق د ر ء ا ٱ الر س ول ا ا ز ل إال ه ر ه ۦ و ٱ ل ل س و ٱلله ل ك ل ه ا ا ا إا ل ا و س ه ا ف ٱ الله لا ك ل ل ص ر ٱ ا إ ل ك ا و ر ا ك ر ا ط ط ا ذ ا ا ل ا ؤ ر و ل ه ا ا ٱ ا ك ك ا و و وا س ا و ل ا ف ر ا ر ه ۥ ل ا ل ذ ق ل ح ل ا إا ص ر ا ك ا ا و ل ا ل ل ا ر ا ا و ا طا سا و ٱ ا ه ۦ و ٱ ف ا ق ة ل لا ط ا ا ل إا س و ٱ ص ر ا ل ٱ ا ا ف ل ا ا و ل س ح ا و ٱر ل لك فر الرءو ٱ اف
ض ر ث ض ض ر ث ف ض ث ث اللل غة ا ل ر ة ث حد ها اك ث ر ف ا ل ا ل ار ا غا ا حد ث إاو حدى اك ث ر اللل ا ل ر ة اك ث ر ل غا ال وة ا لسا ة ف ال ط قة ال ر ف و ة اس ا لوط ا ل ر ال إ ض ا ف ة إالى ا ل د د حد ث وها ل و سة و وز 42 2 اه ة ق صوى ذا ة اللل غة ا ل ر غال إاو ر ر ا. وال و ا ل س رك ا و اد ا رى ال حاورة كال حواز و ال اططق ال ئ س ا ر ة ئ ر س ة ل غة ض ا كلا ها.ا ل ر ة ه ى ا ف ال إاسلا إالا إ قا ا رى( ادا ل غة ا ل ق آ ار ولا ا لصلاة )و ل غة قدسة لدى السل ف ه ار ال إاسلا ة وا ل فك ر ة ا ل هود ة ف ا ل صور ا لوسطى. او ث ر ا لدى دد ا لك ا ئ س ال س ح ة ف ا لوط ا ل ر كا ك ها ا لك ث ر اه ال اال الد ث ر ا ر ا ل ر ة ا د ل قرو ط و لة ف ال ا ار ض ا ل ى حكها السل و او اللل غة ا ل ر ة او ص ل غة ا ل س اسة وا ل ل و الا ف ا ر فا كا ة دولا و اس سه ة ا ل ا س ة وال فارس ة وال ا ز غ ة و ا لكرد ة وال ارد و ة والا ل ز ة وال إا دو رك ة وا ل ف ا ل ا ل ال إاسلا ى كا ل ا رى غا ال ا ر لى ك ث ر اللل ا ر ا او غ ر والا ل ط ة وا ل ص ل ة. كا ة وا ل ر غا ل ة إاس ا وس ط ة ها كال ال و اصة غا الا ور و ة سل ة و اللل ا رى ثل الهاوسا وا ل سواح ق ة ال غا ال إا ف و اللل ق ة الحاذ ة للوطط ا ل ر. إاسلا ة والدول ال إا ف ف الدول ال كل رس ى او غ ر رس ى ا ها درس ف ظة الا ا لس ل. وه ى إاحدى اللل غا الرس ة اد و إا ر ر ا إاو سرا ئ ا ل ر ة ل غة رس ة ف كل دول ا لوط ا ل ر إا ض ا ف ة إالى كو ها ل غة رس ة ف ر اك ث ر 80 ا لف ظور ا ل قر ا ل ثا ل ا ل ر لا غ اللل و ة ف لى س ل ال ثال حو لسا غا ح الادة اللل غة ا ل ر ة ا غ زر اللل ال حدة. و ر ح و لى 42 ا لف كلة. ادة ا ف اللل غة الا ل ز ة إف ق اوس ص ئ و ل و سو وهو اوا ئ ل و ض ق اوس إا ل ز ا ل قر ا ل ثا ص ح دد ال حروف 29. ك ا ل ر ة اللل و ا ه إا ض ا ف ة حرف الهزة إالى حروف ا ل ر ة ل غ و رى ح و ا ل ر ة لى 28 ح ف ر ا ك و ا. ل غ ه ف ا ل ض اد حرف ل. غة ا ل ض اد هو الاس الذ طل قه ا ل ر لى فارس ة وا ل ر ة ولى كس ا لك ث ر اللل غا ا ل ال ة اللل غة ا ل ا ل إالى ا ل سار. سلها ل ل. لوذلك ق ال ا ا ل ط ال : ا ل إالا ف ا ل ا ل ر ولا و د ف كلا ص ه ال ا ى و و ا لط ر د و و ذ طق ا ل اد و ه ر كل هو ر ة صر ا ل ر ة وا ل ى ه ى ارة س ا ل ض اد ال ر ف و ة وال س س حدة ا ل و ف دول ثل اصة. غ ر ا ا ل ض اد ال ق صودة ه ا ل ث ذه ه إالى ا ها للل ر ح ا ل ظاء واللا وا د هذا ا ل صو ا ل ظاء ا ر ز صو آ س حس ق ارءة ا ل ق آ ار او ا ل ر ا ل ر ها اا ا ل ض اد ا ل ر ة ا ل قد ة ف ه ف ة وه ى ا ل ى لا دال ف ة ك حول ا ل ثاء إالى اء والذال إالى دال ف ال حوا ض ر إالى دال حو ل دورها ا ها حرف ا - - اس ا ى ف قد ف ة ا ا ل ظاء ه ى ذال ز رة ا ل ر ة. ولا ف ال ل ة ا ل ى س ا ل ض اد ال غا ك ث رة. وه ى ل ف ا لوا ق و ودة ف ل اصة ا ل ر ة ل ه ى ف ة ل س ف ة ه ى ا ل ض اد الحد ثة. ف الدال ال وصار هذه الدال ال ا ل ر و غ ره. ظور صاح لسا كا ها ال وا 6
ث ق ف ل غ ف ف ض ل ط ف ق ق ق ح غ ف ل غ ث ق ل ض ق ف ل س غ ض ف ف ح ث ق ا ا ل ا ل ا الله ر ا ح ح ك ر س د ا ل ل ل ا س ا ه س ا ه س ط و ر ا اس ا ف ل ر د ؤ ر ا ق ا ا ا د ق د ل و ا ل لك ح ا ف ط ف ظ ط ح ك ر ل ط ك ر ا هو ا ل اء ر د اء ر ا لك ر ا و لك طا هر ص ل ط ف و ح د و ا حد ا ح د ر ق ل فا فر ص د و ر ر اد ر و ال و ل د ح ر ر ح ح ا ك ر اق و س اف ا ل و غ ا و د ا ل ا الله ح و ل ا ا سه ط ظل ا ا و سا سسو اه ا د ر د و س و ف و ح و ق اساء الله الحس ى ق ص دة طو ف ا ل از للاهحر حد وسى لل ح الر ح الله الر ا ا و د س ا ا ف الا ا ل ل ا ا لس س ر ل اه ر ق ا هر ق ه ار و ق و ا الد ر ر ا ف ر ف ال ح ك ر ز و سس و ا سس و ل ا ل ا ق ل ١ ى ال ق ظ ا لل ه ق ظ و ز ر ا ط ظر ه ا طط ك ل ذ ا ل ذ سار و س فر و ار و ا ل ا ل ا ذ د ر و و صى س ئ ا ل ا ل ا ل ار و ا ر ا ر و كك ا ل د ا لس و د هو ا ل و ا ل ل ا ق ى و ه ر ك و ا لى و ا ل ر د اح و ا د س ل ا ؤ ف ك س ى هه ا ل ك ر و ا ر هف و د ل هه ى ى و ح ح د ئ طر ا هاد ا ل اس ق د ال ل ل ك ا ز ا لك ا للك ز ز ق ظ ذ و ل ال ض ل ذ و و و ا ح ا و و ص ر ل اق ا و س ه د ح ص ا سسط ق ل ال ل ق ر ا ل الد هو د و ر س ر ل س ل ل ر و ا د ال ل و ر ا ص ق و ا و ق ى ل و ل اد ق د ص ء ل س ر ك و ا و ل ا ار ف ل ه ا ز حز ا ل ؤ د و د و د و ا د ال ح د و ح و د و ار للو ار ف ى ر اط الد و ا ل ر س د ٢ ا ف ا ل س ار و ض ا ا و ر ذ ل ا س ظ ط ئ ر ا ل و ا ك ر ا ا ل ا ل ل و د ا د ا ل و ا لق ا ل كك د ا ر ا د الداه ر ر د ا و ا ق ا ا ل سس ر ء و ف ر ادى ا و ا ف و ا ا ا ل ا ح ا ل ر ل ل اة س ا قه ص ل و ص ا 7 Adjusting the Arabic poetry in documents has always been a very difficult task for all the Arabic users and publishers. Now it will become a fun for publishers with Muhammad Musa Albazi Naskh font, by using its beautiful seven levels calligraphic tatweel and different stylistic letter variants. It can be clearly observed on this page that the Arabic poetry, adjusted with this unique typeface, appears to be an amazing master piece of true hand written calligraphy. ا ككر و ل ى و كك ل كو ر س ط ر ق ر كا س ف ا ل ذ و ط و ل ر ف ق ال و و ف ل ف ا و ف ا ططر ا ك د ر ا ق ى ذ وا و س ر و ذ و ا ح ل ار ا و ق و ا ح ق ر دا ف الا كاف و ء س ا سل ه س ك س ف ل ا ا و ها ر ا زا ق ف ا ر ا ا ر ح ا و ا و ص و ر لل طف د ر ك اللل ف ا د ى ال ح ح وى ا س اء ك ا ر ا ى و ر ا د ىال ذ ق سل ا ذ ل ا و ا ر ا ل ا الل ه و ف ا لا ا ر س ر ق ال ه ا ر ح ط ل ا ق ر ال ا لى و ا ل ف د ض ح و لق سة ا ا ل ل ل ح ق ا ط غ و د ال ا و اد و هو ر ح د و ق ا ى ح ا ة ا ل س ا ا ا ل ال ى س ه ضص و ر از ا و ك ار ا ل اد و ح ز ا ل ى ك ا ر ا لد ر د ال ح و ر زا د ك س ر ق غ ر و و ا ق ك ل ق ل ا لس ا ا اء و ا ر ض ك ا ر ض لا ح له. ١٢ ال إاذ وز ا ل ر ١ ال ى : ا ق ص را ف هذا ا ل ف ل لى ال إا سارة إالى الاس ال ف ف لل ض صرورة. ١٢ ٢ ض ار : ا ل
ق إ ث ث ث ل إ ق ق ض ق ق ث ث ق ق إ إ إ ف ل ل ف ح سد الر 8 ث ا د ح ساس سد ا كر ك ح ول إاس ق ح د د ث س س د ل ح ا إا ر ا هه د ث س ة ا ل ص ر ح ال د ا ا ح د د ث ار ح د ل ى ا و ث ل ا ث ا ف ل د ر د ة ف ل لى و ا ف ل ل ى ا و د ة د ر و ا ه ف ل ل ا ى د ك ح ول إا ذ ا س ه ا ا س ى ﷺ ق و ف هللاضر ل س ا ل ح الر ال ح د ح ح و ق د ر و ه ذ ا ر غ و سى ه ذ ا ح د ل ا ل ق سل ا حد س د س ا و ل ر ا ف ل لى ث و ا لا ث ا ل ى ا د ر ث ف ل لى س ى ﷺ. و ف هللاىضر ا ل ح سد الر ساس ا سة سد الله د الله س الز ه ر و ه ر و اه ذا ا ر ه و ف هللاضر غ ل ر س ح و ح ة إال ا ر ا و ا ا لك ا د ث ا ح د ث ار ح ال ا ا د ث ح ال ر س ول الله ﷺ ا دق ا ر س ول الله ا لاة ا لص ى ا ل سا ر ا ح و ا و و سى ل ا س ود ه ا و ا ط و ل ل ذا ك ل لك ف و ة إا ا ل ه ا ا ا ر ظ ا ل ه ر و ا ل ص ىالر ك ل ى الر ل ا ا اء ر ة ه ر ا س ر ح د ا ا ل س ح و ة و هو ا ا لى ا ث ا ر س ول الله ﷺ ساس ا ل ال ل د ذو ا ر ة و سى و ح د ا ه ر ر و ذ ا ل د هللاىضر ل ا هذ ا ال لوا ا لاة و ا ف ه د ا لص و ا ههل ا ا و ا ك ا ى ا لص ل اة ا سس ا ا ال ذ ر و ال ح د ص ح ال ه و ل هذ ا ا ح ا سا ص ح ح د و ف ر ق هؤل ا ل ا ف ز ه الله ل ق ر ر ة ا ه ر ى ح د ك ح د ا ل ل ك ل ل ا ه له ا و ا س ل ه ا ل د ذو ا ل ا ك ل ك ل ح د ا س ل ق و ل ا ل ل سا. ا ل ل ل ص ر ل د ا ال ل ه ذ و ا ا ث س ى ﷺ ا ص ر ف ا ل هللاضر ا سل ر ف ر س د ك سل س ود ه ا و ا ط و ل س حد ر ل ك ر س ل ال ال ح د ى هذ ا ل ا ل ل ه لف ا و ا ح ح هللاضر ح د ف ر ا ى ه ذ ا ا ل ا ف ى ا لص ل اة ل و ا ا لك ل ا ا ق سل ر ح د كا و ر زق ق ص ى و إا ا ه سس ا ف ه ل ا إا ذ ا اكل ا ا ى ﷺ ى ا لص س ا ل و ل ر ة ا ه ر د ا ك ل ا لص ى ا س ا اء ا ل د و ا ل ك ل ه ا ر ى ا ه ق د ا ء ل ا ه و ه و ى س ال إا ا ل ك ل هللاضر إا ل ه ق سة ا لص ل اة ا ف ال إا ا و هو ل ل ل لا ه و ك ل ه ا ه د ر س ول الله ﷺ ق لى و ز اد ف ر ا كا ا ا ح ل و ك ذ ا ا س ه ه ا و و لى ق ل ا ه ا هللاضر و ه ف ه ا ر ا ا ل و ل ا ز اد ا ل د هللاضر ل ذو ا ل ك ل ل لى ى ا ح د ى هذ ا لا و ل إاس ق و و ل ا ذا ا لك ح د و ا ه ل ا
ح 9 Some Key features of the typeface صح Control to use different shape alternates for words to achieve the dissimilation of the same letter through variations and to open up new creative possibilities for advertising, front pages, greeting and business cards. Control to use different shape alternates for marks also like dammatan, fatahatan, kasratan etc. Control to adjust space between words, normal space-less mode or wide spacing. The typeface provides two kinds of beautiful swashes for all letter shapes, longer swashes and medium swashes. One of the biggest feature is the 100% calligraphic tatweel (elongation and stretching of words) up to seven levels for all words with auto-change of smaller marks to longer marks as tatweel extends, so the Kashida distribution and frequence can be precisely controlled to create Arabic calligraphic documents without a calligrapher. Accurate marks positioning, horizontally centered, slightly above or below the letters, neither touching the letters nor colliding with adjacent marks. Hundreds of kerning pairs for the fine adjustment of letters specially after Raa, Zaa, Waw and before Kaaf. Special characters for modern and classic Arabic, such as Qur anic punctuation and Tajweed marks. Beautiful justification alternates. Proportional and tabular numerals. A super fast Arabic font with all these features consisting of only 1150 Arabic glyphs. Suitable for any kind of cultural text, from religious to poetic and literary, to create sophisticated Arabic literary and academic books. Also suitable for large text sizes.
قق ل و ل د ل ٱ ٱ الله ٱ ٱ ا لص د ك ٱ ٱ الر ح ٱ ٱ ح ٱ الله ٱ الر ا د ٱ ٱ الله ح و ه 10 ه ك ل ل و لو د ل ا اح د و ف ف ۥ
اللهل لاله 11 الله ل لاله
12 حد هللاىلص
13 ف ه ا ف ى ا ر ة و ا د ه ط فر د و س ل
14 لل فردوس ا هل ا لس ه إال ال ح ار قوى لى ا لا و فر ذ و غ ا و ة ف ل و غ ف ف ه ا ل ظ إف ك غ ا ف ر الذ
15 ح ق ق ال ر هللاضر : ا الله از قو إاسلا ال غ ره اذ ل ا الله ا ا ل زة غ إفذا ا
16 ا ح س ر ى ا ل ظ ظ
17 Stylistic Set 1 Ending Heh shape changes Stylistic Set 2 Inter-space between words increases Stylistic Set 3 Letters overlapping is applied Stylistic Set 4 Meem shape changes Stylistic Set 5 Multi-function set (Check details on next pages) Stylistic Set 6 Medial Meem shape changes Stylistic Set 7 Medial Heh shape changes to style 2 Stylistic Set 8 Medial Heh shape changes to style 3 Stylistic Set 9 Kaf shape changes to shorter kaf Stylistic Set 10 Kaf shape changes to longer kaf Quick manual of 20 stylistic sets. Detail of each set is given on next pages. Click any set to view its details. الله له الله له ف كة ف كة إا ا ا ا ارء ا و رة ارء ا و رة كر كر ر ا ا طا طا ر سها سها سها سها ك ك ك ك Stylistic Set 11 Combined shadda and kasra along with circular sukun are applied Stylistic Set 12 Smaller swash letters Stylistic Set 13 Calligraphic tatweel (Kashida) changes to straight tatweel Stylistic Set 14 Dammatan, fathatan and kasratan shape changes Stylistic Set 15 Normal short marks change to beautiful wide marks Stylistic Set 16 Tatweel longer marks change to slightly shorter marks Stylistic Set 17 Honorific ligatures shapes changes to alternate shapes Stylistic Set 18 The above hamza is replaced by below hamza according to the Qur anic script grammar Stylistic Set 19 Overlap Swashes are applied د د س س ر ر د د د د د د ا ا س ا ا س ا ا ﷺ سلا هل هللا ىلص سلا هل ل ئكة او ل إ ئك ل إ ئكة او ل ئك ا ل ظ ا ل ظ س ا الله س ا الله Stylistic Set 20 All marks (from tatweel 1 to tatweel 7 and swashes marks) change to normal shortest marks. س ا س ا
ء ل ل 18 A List of Salient Features of the Font that are Applied Automatically Muhammad Musa Albazi Naskh is one of the most complex Arabic fonts ever created containing twenty stylistic sets and calligraphic tatweel up to seven levels of elongations. These stylistic sets and the calligraphic tatweel are not applied automatically i.e. the user has to manually apply these sets and tatweel by his choice where he likes. But there is a very large number of features that are applied automatically by the font in the background. The rules governing all these auto-features are very complex. Some key autofeatures of this font are mentioned below. These features very clearly enumerate the high quality work done in finalizing the text for the users. إ ئك ة ئكة ل ل إ ئك او ل ئك و Hamza above letter is auto-changed to hamza below letter in certain letters of Quran to make the words according to the Ottoman manuscript. Double looped Heh is very commonly used with Arabic year sign. To get the double looped Heh use Heh+tatweel (Heh+Kashida) and the font will auto-change it to the required shape. ه ه When Arabic Ayah sign is used without any digits then the font automatically converts the large circle of Ayah to smaller circle to harmonize it with the surrounding text and when the Ayah circle is followed by digits then the font auto-changes small Ayah circle to larger size to accommodate digits inside the circle. ٱ الر لك ٱ الر ل لك ٱ الر ل لك ٱلرح ٣ لك When ending Lam is followed by Hamza without any space in-between them then the font automatically moves the Hamza over the last end of Lam. ل ل ء
19 A very unique feature of the font is that default Lam-alef لا shape changes to very beautiful لا shape at certain places. The rules governing this specific Lam-alef shape change are very complex and these rules control this shaping in such marvelous way that upper expanding strokes of لا never collide with adjacent letters, while at the same time the large white space under the upper hands of this Lam-alef is always accommodated by the neighboring letters very precisely thus giving a very cool and pleasant look to the flowing text. ولا ة ولا ة The Arabic digits are kerned very accurately to remove the unbalanced inter-digit space. ٤٢ ١ ٤٣٨٩ ٤٢١٤٣٨٩ The digits after the Arabic Ayah sign automatically change to smaller size and then accommodate within the Ayah circle. ٢٢٢ ٢٢٢ Similarly when Arabic number sign, Arabic page sign, Arabic footnote sign and Arabic year sign are followed by digits then the digits auto-change to slightly smaller size and then adjust very beautifully over these Arabic signs. Another amazing thing that occurs automatically is that these Arabic signs change to longer and longest sizes as needed according to the number of digits following them. ٨٨٨٨ ٨٨٨ ٨ ٨ ٨ ٨٨٨٨ ٨٨٨ ٨٨ ٨ ٤٤٤٤ ٤٤٤ ٤ ٤ ٤ ٤٤٤٤ ٤٤٤ ٤٤ ٤ ٤٤٤ ٤ ٤ ٤ ٤٤٤ ٤٤ ٤ ٢٠١٥ ٩٠١ ٢٠١٥ ٩٠١
20 Medial Beh shape changes from lower tooth to higher tooth shape according to Arabic calligraphic rules. There is a complete set of rules governing the tooth height change. These rules are very complex and work even with elongating tatweel as demonstrated below. س ح ا ل ظ س ح ا ل ظ ا ل ص ا ا ا ا ل ص ا ا ا س After certain Quranic letters normal small Madda changes to longer Madda increasing the text beauty. س س Quranic mark Madda with Superscript-alef auto changes its shape and its position to adjust very precisely over the letters. At the same time the Alef after this Madda also changes its shape to avoid collision with the mark. ا ا ف ف Alef-isolated and Alef-final before Kaf auto-changes its shape to cover the large white space under the Kaf upper right handle. راك ا لاكا ارك ا لاكا اك ا اك ا A very amazing feature of the font is that Lam-alef above marks are auto-positioned at the centre of word thus giving a splendid calligraphic look to the text. قولا قولا قولا قولا ل ا لا لا لا لا لا لا لا
21 A very deep kerning work is done in the font covering thousands of pairs to remove the extra white spacing between different letters. As Muhammad Musa Albazi Naskh is a space-less font so the kerning needed special care for the better adjustment of text. Here the kerning is done not only between adjacent letters but also between the adjacent words that have space character in between them. The complexity of the kerning work in this font has reach to such an extent that in most of the cases each single kerning pair has at least 6-12 different kerning values depending upon several factors like (1) with upper dots (2) without upper dots (3) with below dots (4) without below dots (5) with upper marks (6) without upper marks (7) with below marks (8) without below marks, then with all these factors get together with a space or without a space, thus taking into account all these things, every single kerning pair needs at least 6-12 kerning values. All these kerning pairs with complex multi-situations are managed very beautifully in the typeface. In the few examples given below, all the pairs on the left side of arrows are kerned but the kerning varies depending on the above and below marks and dots. ر ر ر ر ر ر ر ر ر ر ر ر ا ا ا ا ر كا ر كا ر كرا ر ر كا ر كا ر ركا ر الاو ل الاو ل الاو الاول الاو الاو ل الاو ل الاو الاول الاو Required ligatures are formed automatically by the font; ل ا ل ا لا لا If yaa-alef is followed by hamza below the Yaa auto changes to slightly broader shape to accommodate below dots and below hamza. إ إا
إ 22 Dots and below Hamza that are colliding with preceding letters or dots are always shifted to avoid the collision. There are hundreds of such adjustments done in the font to make it free of such collisions and to do the quality kerning work that would not be possible without such adjustments. إ ر ا ر ا ا ا ا ا ر ر ى رإ ر Similarly marks colliding with adjacent marks or letters are automatically shifted for the fine adjustment of kerning pairs. ر د ر د ر د ر د و و ر إار سا ا
ل 23 Alef shape automatically changes to avoid collision with preceding above marks. Superscript alef is adjusted over all letters according to calligraphic rules. ا ا ر ى ل ر ى لى Superscript alef is further adjusted before medial kaf to avoid its collision with kaf upper stroke. لك لك Subscript alef under all letters preceded by Reh is precisely positioned to avoid its collision with preceding Reh letters. ره ره ره هر If Lam or Lam-final is followed by such upper marks that have much height or these letters have two level above marks, one over the other, then the marks are positioned lower to decrease the paragraph line height. ل سل ق ل ل ق At some letters the normal marks get too close to each other. At such places these marks auto convert to smaller marks for better legibility. و و ل له ح ه ح Dots and marks on medial khah are very precisely adjusted to remove collisions with adjacent letters and marks. The Alef shape also changes making more room for marks and dots. غ ا ف ح ا غ ا ف ا ح ا ا
24 The size of marks automatically changes according to the width of letters below. Initial Beh shape changes according to the joining letter. Beh dots automatically shift to the centre of letter along with the elongating tatweel. س س س س ر ر ا ا ا ا ا ا ا ا ا ا ا ا All standard ligatures are formed automatically. Rules governing these ligatures are very complex and in several cases these ligatures are marks sensitive, so placing a mark at letter that have no room for it, will automatically change it to other shape. الله الل ه الله الله الله الله حص ح سر ح ر صح ح ر ر س حر س ا ر س حر ا ر ص حى حد ص ح حد صى كى ل ص ك ل
25 The initial Ain joined with Lam or alef automatically changes to beautiful round bottom shape according to calligraphic rules. ا ل ل ا ل ل Some initial letters have large space below them. If these letters are preceded by Reh then the Reh automatically changes its shape to cover the large white space. رح ر را ر ا Kaf kerning is covered very beautifully with preceding letters while taking care for the above marks of the preceding letters. ركا ر كا ر كا كرا ر كا ر كا اكا آ كا اكا اكا دكا د كا دكا دكا To make the text more compact, the alef moves inside Reh, Dal and Thal as done in calligraphy very commonly. الراس الر س الدار الدار الذال الذال
26 The font consists of very complex rules for the shaping of word Allah.الله Here are the letter sequences that will form the word Allah and Falillah and Lillah. Word Allah will automatically form its proper shape with above marks, though the letter sequence is used without any mark ا ل ل ه الله ا ل ل ه الله ا ل ل ه الله ف ل ل ه ف لله ف ل ل ه ف لله ف ل ل ه ف لله ف ل ل ه ف لله لله ف ل ل ه ف ل ل ه ل له ل ل ه لله ل ل ه ل له ل ل ه لله
ح ح ط 27 Muhammad Musa Albazi Naskh is an amazing Arabic Naskh font with seven levels of true calligraphic tatweel (elongation). Another specific feature of the font is that marks over letters also elongate along with the extending tatweel. If the tatweel extends 7 tatweels then the calligraphic tatweel auto changes to common straight tatweel and at the same time the longer tatweel marks auto convert to normal shorter 3 marks. 4 ط 2 ح 1 5 0 6 7 calligraphic tatweels ح ط ح ط ط ح ط ح ط ح ط
28 Muhammad Musa Albazi Naskh font contains a large number of Honorific ligatures that are used very commonly in Arabic books. These Honorific ligatures are shown below. ل لاله ﷺ ﷺ سلاهل سلاهل هللاضر هللاىضر للاهحر
29 Here is list of phrases or sequence of letters for the formation of these Honorific ligatures. Some of these Honorific ligatures can be applied through stylistic set only (Check Stylistic Set 5). All these Honorific ligatures are marks sensitive, so inserting any mark in the phrase will stop its formation, although some of these support a mark (shadda) insertion. As all these shapes are marks sensitive, so if a user do not want to use them, he can easily avoid these by placing a mark on any letter and these specific shapes will not appear. lam. This shape also appears when a shadda is placed over ل لاله ل لاله صلى الله ل ه وس ل ﷺ lam. There should be no space after waw. This shape also appears when shadda is placed over صلى الله ل ه و له وس ل هللاىلص lam. There should be no space after waw. This shape also appears when shadda is placed over سلاهل ل ه ا لسلا ا لسلا ها ل ا لسلا ه ل ا لسلا ها ل This shape will appear whether there is a space after waw or not. سلاهل وا لسلا ا لصلاة ل ه This shape will appear whether there is a space after waw or not. وا لسلا ا لصلاة ها ل This shape will appear whether there is a space after waw or not. وا لسلا ا لصلاة ه ل
30 This shape will appear whether there is a space after waw or not. وا لسلا ا لصلاة ها ل ر ض الله ه هللاضر dots. This shape will appear whether Yeh with dots is used or without ر ض الله ها This shape will appear whether Yeh with dots is used or without dots. ر ض الله ه هللاىضر dots. This shape will appear whether Yeh with dots is used or without ر ض الله ها This shape will appear whether Yeh with dots is used or without dots. ر ض الله ه This shape will appear whether Yeh with dots is used or without dots. رحة الله ل ه رحة الله ل ها رحة الله ل ه رحة الله ل ها رحه الله ا ل للاهحر only. It has an alternate shape that can be applied through Stylistic Set 5 رح ها الله ا ل It has an alternate shape that can be applied through Stylistic Set 5 only. رح ه الله ا لى It has an alternate shape that can be applied through Stylistic Set 5 only. رح ها الله ا ل It has an alternate shape that can be applied through Stylistic Set 5 only.
31 Stylistic Sets in Detail حه Stylistic Set 1 الله ح هحهapplied Stylistic Set 1 The font has two kinds of final Heh. One is the default shape while the second shape can be achieved by applying Stylistic Set 1. This variant of Heh has less width as compared to the default Heh, so this Heh variant comes handy in situations where space matters. Default final Heh shape الله
ف ف 32 Stylistic Set 2 The font gives the user an option to select from two kinds of inter-word spacing. (1) Compact text without any extra space between the words. It is the default behavior of font. (2) wide spacing between words. It can be achieved by applying Stylistic Set 2. Default Space-less Text Same text with Expanded space by applying Stylistic Set 2 الله الرح الرح إالا الله ا ل ل ا ل ظ لا حول ولا قوة س ر ا ل ر ل ك كول و ا الل ه ا ر لا إال ه إال ا ا ء ق د ر و ا الله ق د احاط كل س ىء وا ل ا ل ك. ال ا الله لى كل س ا ل ظ ا ساء الله كا ها ا ذ ا آ ر كل دا ة ا فس ى و ى ا وذ ك ر لهف إا ددا الل س ىء ل ا و ا حصى كل إا ر لى صراط س ق. ل ل ى س د ا حد ف ال ارواح. و ص ل لى روح اهله. و حدا ا هو د ا الله ا ز ا س ى ور. الله ا ل غ روح حد س د ا حد ف ا ل ق ر صل لى ق ساد. و س د ا حد ف ال د ل قك و ز ة ر ض ى دد و اه إالى و الد كا ل ه و لى آ ال ه او صحا ه و ا ل ة وسلا ا و ح و ف كل ال اه و دد او ارق ال اس ار و ا ل ار و و دد ق ط ر س ك و داد كلا ك ودد الرل وا ل ا ل غا فلو. ل ذكرك د د ا ذكر و ا ل ذكر ا ذكرك الذاكرو و ر ة و ا ض اف ذلك ا لف ا لف و ر ح د الروحا ى ض ف حد وسى ا الزا هد ا ل ارف الله ال و لو س ا ل د ا ل قول ا ا د : ف ح و ا ازهر ض صر و ك ا لد ال حل د : هذا سس فر ا ف ا ل فرد وس ال ا ل از وه له الله الى ا ل ال ؤ د ه ا ظ الذ إاذا د صا الاس الله ال اك ر و زا ا اس الله ال دة سا لى ر ص فه و هو او ل ض د ه و ل ق ه و و ل ف وس ا ه ا ئل ه ا طى. اله ى الله الى ا إاو ذا س ا ر. ه احد ال قد و ال سا ف ف ؤ ل ل ضو ال و ف هذا ؤ ف الله الرح الرح ا ل ظ ا ل ظ لا حول ولا قوة إال ا الله ا ل ل ل ك كول و ا ر ا ل ر س الل ه ا ر لا إال ه إال ا ا ء ق د ر و ا الله ق د احاط كل س ىء ل ا و ا حصى ا ساء الله كا وا ل ا ل ك. ال ا الله لى كل س ها إا ر لى صراط ا ذ ا آ ر كل دا ة ا فس ى و ى ا وذ ك ر لهف إا ددا الل س ىء كل س ق. ل لى د س د ا حد ف ال ارواح. و ص ل لى روح اهله. و حدا ا هو د ا الله ا ز ا س ى ح ة وسلا ا و ور. الله ا ل غ روح حد س د ا حد ف ا ل ق ر صل لى ق ساد. و س د ا حد ف ال ل قك و ز ة ر س ك و داد كلا ك و ر ض ى دد اه إالى و الد كا ل ه و لى آ ال ه او صحا ه و ا ل ر ة و ا ض اف ا لف ا لف كل و ال اه و دد او ارق ال اس ار و ا ل و ف و و دد ق ط ار ودد الرل وا ل ا ل غا فلو. ل ذكرك د د ا ذكر و ا ل ذكر ا ذكرك الذاكرو و ذلك ا ل از ر ح د الروحا ى ض ف حد وسى ا الزا هد ا ل ارف الله ال و لو س ا ل د ا ل قول ا ا د : ف ا ازهر ح و لى دة ض صر و ك ا لد ال حل د : هذا سس فر ا ف ا ل فرد وس ال وه له الله الى ا ل ال ؤ د ا إاو ذا س ئل ه ا ا ظ الذ إاذا د صا الاس الله ال اك ر و زا ا اس الله ال سا ف هذا ال و ضو ل ر ص فه و هو او ل ؤ ف ض د ه و ل ق ه و و ل ف وس ا ه ا ه ا طى. اله ى الله الى ر. ه احد ال قد و ال سا ف ف ؤ ل
33 Stylistic Set 3 To make text more compact or space saving, the font provides the option of using overlapping letters as commonly used in hand written calligraphy. Basically this set provides about twenty kinds of letters overlapping, some of these overlappings are demonstrated below. س و س و س و س و ص و ص و ص و ص و و و و ل و و س و ل و و د ل ذ د س د ل ذ د رذ رد رذ رد رء رء رؤ رو رؤ رو رة ره رة ره ررة رره ررة رره ر ذ لرد رذ لرد سرء سرء رؤ هرو رؤ هرو لرة صره لرة صره
34 طظ Stylistic Set 4 By applying this set, the user can change isolated Meem and final shape of Meem to its variant. The variant shape Meem is much compact as compared to the default Meem and saves a lot of space for the user in text. Default Meem final and Meem isolated shaping طظ ظ ظظ Meem variants
ق آ آ آ ف ق آ آ آ ف 35 Default Text shaping س الله الرح الرح ق و دد ل ا ا ل ظ دد ل س ا الله وال حد لله ولا إال ه إال ا الله والله اك ر ولا ح ول ولا قو ة إال ا الله ا ل لء ار ض ه و ثل ذلك س وا ه و ا لق و لء ق و لء ا هو ل ا لق و لء ا ا هو ة لق و ز ا ة ا لق و ز ا هو ا ذكره ه ض اه ح ى ر ض ى و دد ر سلل غ ل قه و ز ة ر س ه و هى رح ه و داد كلا ه و وا ض اف ذلك و دد ا لساا و س ل لة و ساة و هر و ة و و و كل س ة ف ا ضصى و دد ا ه ذاكروه ف ا ف ل ا رة و اك ث ر ذلك لا ق ط او ل ه و لا ا و ا د ال آ د الا اد ا د إالى ا د ا د الد فاس و ا و فس الا ا ر ه. فد آ ا ل ظ ا ل ل ا ل ظ لا حول ولا قوة إال ا الله س ر ا ل ر ل ك كول و ا الل ه ا ر لا إال ه إال ا ا ء ق د ر و ا الله ق د احاط كل س ىء ل ا و ا حصى ا ساء الله كا وا ل ا ل ك. ال ا الله لى كل س ها إا ر لى صراط ا ذ ا آ ر كل دا ة ا فس ى و ى ا وذ ك ر له إا ددا الل س ىء كل ه ا ل ه ا ل ر كل ل ه و ا ل ال. و ا وذ ك ل ه ا ه ا ل ه و ا ى اسالك ال ر كل س ق. الل ه إا إا ل ها سار وا ق ر إا ل ها قول ول و ا وذ ك ا ل ة وا ق ر ال له ا ل ه و ا ل ال. و اسالك و ا دك و ذ ك ا اس اذك ه و رسولك حد ﷺ او س د ك لك ر ا سا اسالك ال قول ول. و رسدا رح ك ا ارح الراح. ه ل ار ا ل ا ق اسالك ا ق ض رس لوك حد ﷺ. و ل لى د س د ا حد ف ال ارواح. و ص ل لى روح اهله. و حدا ا هو د ا الله ا ز ا س ى ح ة وسلا ا و ل غ روح حد ور. الله ا ل س د ا حد ف ا ل ق ر صل لى ق ساد. و س د ا حد ف ال ل قك و ز ة ر س ك و داد كلا ك ودد و ر ض ى دد اه إالى و الد كا ل ه و لى آ ال ه او صحا ه و ا ر ة و ا ض اف ذلك ا لف ا لف كل و و ف ال اه و دد او ارق ال اس ار و ا ل ار و و دد ق ط الرل وا ل ا ل غا فلو. ل ذكرك د د ا ذكر و ا ل ذكر ا ذكرك الذاكرو و ر ح د الروحا ى ض ف حد وسى ا الزاهد ا ل ارف الله ال و لو س ا ل د ا ل قول ا ا د : ف ا ازهر ح و لى ض صر و ك ا لد ال حل د : هذا سس فر ا ف ا ل فرد وس ال ا ل از وه له الله الى ا ل ال ؤ د ا إاو ذا س ئل ه ا ا ظ الذ إاذا د صا الاس الله ال اك ر و زا ا اس الله ال دة سا ر ص فه و هو او ل ؤ ف ف هذا ال و ضو ل ض د ه و ل ق ه و و ل ف وس ا ه ا ه ا طى. اله ى الله الى ف سرار ا ل غ ر ال الل ه ال طا ل ال صف و س فوز ف ر. و ه احد ال قد و ال سا ف ف ؤ ل و زو ة ك و ة و فا ئ س كا و ح قا ئ ق كا ص و ة كا كا فة و فة و د ق ا ئ ق ر ل ط فة و ارف ة. روحا قا ف ة و د ق ك إالها ة و ل طا ئ ف قا ق ح الله الرح الرح ق و ل ا ا ل ظ دد ل إالا الله ا ل س ا الله وال حد لله ولا إال ه إال ا الله والله اك ر ولا ح ول ولا قو ة لء ار ض ه و ثل س وا ه و ا لق و لء ق و لء ا هو ل ا لق و لء ا ا هو ة لق و ز ا ة ا لق و ز دد ا هو ض اه ح ى ر ض ى و دد ر سلل غ ل قه و ز ة ر س ه و هى رح ه و داد كلا ه و ذلك وا ض اف ذلك و دد و و و ل لة و ساة و هر و ة كل س ة ف ا ضصى و دد ا ه ذاكروه ف ا ه ف ل ا ذكره ه ا رة و اك ث ر ذلك لا ا و ا د ال آ د الا اد ا د إالى ا د ا د الد ا لساا و س و فس الا فاس و ا ه. ا ر ق ط او ل ه و لا فد آ ا ل ظ ا ل ظ لا حول ولا قوة إال ا الله ا ل ل ل ك كول و ا ر ا ل ر س الل ه ا ر لا إال ه إال ا ا ء ق د ر و ا الله ق د احاط كل س ىء ل ا و ا حصى ا ساء الله كا وا ل ا ل ك. ال ا الله لى كل س ها إا ر لى صراط ا ذ ا آ ر كل دا ة ا فس ى و ى ا وذ ك ر له إا ددا الل س ىء كل ه ا ل ر كل ل ه و ا ل ال. و ا وذ ك ل ه ا ه ا ل ه و ا ى اسالك ال ر كل س ق. الل ه إا سار وا ق ر إا ل ها قول ول و ا وذ ك ا ل ة وا ق ر ال له ا ل ه و ا ل ال. و اسالك ا ل ه و ا ذ ك ا اس اذك ه و رسولك حد ﷺ او س د ك لك ر ا سا اسالك ال إا ل ها قول ول. و رسدا رح ك ا ارح الراح. ه ل ار ا ل ا ق اسالك ا ق ض دك و رس لوك حد ﷺ. و ل لى د س د ا حد ف ال ارواح. و ص اهله. و ل لى روح حدا ا هو د ا الله ا ز ا س ى ح ة وسلا ا و ور. الله ا ل غ روح حد س د ا حد ف ا ل ق ر صل لى ق ساد. و س د ا حد ف ال ل قك و ز ة ر س ك و داد كلا ك و ر ض ى دد اه إالى و الد كا ل ه و لى آ ال ه او صحا ه و ا ل ر ة و ا ض اف ا لف ا لف كل و ال اه و دد او ارق ال اس ار و ا ل و ف و و دد ق ط ار ودد الرل وا ل ا ل غا فلو. ل ذكرك د د ا ذكر و ا ل ذكر ا ذكرك الذاكرو و ذلك ا ل از ر ح د الروحا ى ض ف حد وسى ا الزاهد ا ل ارف الله ال و لو س ا ل د ا ل قول ا ا د : ف ح و لى دة ا ازهر ض صر و ك ا لد ال حل د : هذا سس فر ا ف ا ل فرد وس ال وه له الله الى ا ل ال ؤ د ا إاو ذا س ئل ه ا ا ظ الذ إاذا د صا الاس الله ال اك ر و زا ا اس الله ال سا ف هذا ال و ضو ل ر ص فه و هو او ل ؤ ف ض د ه و ل ق ه و و ل ف وس ا ه ا ه ا طى. اله ى الله الى ف سرار ا ل غ ر ال الل ه ال طا ل ال صف و س فوز ف ر. و ه احد ال قد و ال سا ف ف ؤ ل زو ة ك و ة و فا ئ س كا و ح قا ئ ق كا ص و ة كا كا فة و فة و د ق ا ئ ق ر ل ط فة و ارف ة. روحا قا ف ة و د ق ك إالها ة و ل طا ئ ف قا ق و ح More compact text with Stylistic Set 1 and 4 applied
36 Stylistic Set 5 It is a multi-function set that does three kinds of changes, so this set should be used very carefully as needed at different situations. Below are the three changes by this set. (1) First Change by stylistic set 5 This set also changes the shape of the circles of Ayah sign used in Quran. (2) second change by stylistic set 5 This set changes the shape of diacritical mark small meem combined with different above marks and convert it to a compact, narrow shape mark to avoid any collision with the adjacent marks or dots.
37 د د د د (3) third change by stylistic set 5 The madda mark is changed to larger, wide madda. Similarly all above marks combinations containing madda are also changed accordingly. This change should be applied very carefully as the wide madda may collide with adjacent letters or dots and marks. ا ا و و ا ا سا سا
38 اك ر الله
رح ﷺ 39 Stylistic Set 6 The font also provide the user an option to choose from two kinds of medial Meem, a solid, filled default Meem medial and an elegant hollow Meem that can be achieved by applying stylistic set 6. This set also changes the final Meem shape to a new style to greatly harmonize with the hollow Meem medial. So basically there are three different shapes for Meem final (1) default shape (2) by using stylistic set 4 and (3) by using stylistic set 6. This stylistic set also changes the Meem medial before final Reh to a much beautiful shape. ح ر حد Default Meem final shaping Default Meem medial shape Default Meem medial before reh حد Meem final with stylistic set 6 Meem medial before Reh with stylistic set 6 Meem medial shape with stylistic set 6
40 Stylistic Set 7 هد and 8 A beautiful feature of the font is that it gives the user an option to select from three shapes of medial Heh (1) default medial Heh (2) Heh medial with stylistic set 7 and (3) Heh medial with stylistic set 8. Default Heh medial shape هد Heh medial with stylistic set 7 Heh medial with stylistic set 8
ف ف 41 Default Heh medial shapes for different letters هر صهر طهر هد ف هد كهل هلة ل ها هك حصهل لهد ها هة ا هاالذ ه ك هده ا ل ه د ه ل ك هك ا ط هر ك Same words with first kind of Heh medial variants applied through stylistic set 7 ل ها هك ح صهل ل هد ها هة سهر صهر طهر هد فهد كهل هلة ك هك اا هاالذ ه ك هده ا ل ه د ط فهر ك ه ل Same words with second kind of Heh medial variants applied through stylistic set 8 هر صهر طهر هد ف هد كهل هلة ل ها هك حصهل لهد ها هة ا هاالذ ه ك هده ا ل ه د ه ل ك هك ا ط هر ك
42 Stylistic Set 9 and 10 Another specific feature of the font is that there are two kinds of variants for all the initial, medial, final and isolated shapes of Kaf ك ك Shorter Kaf variant applied with stylistic set 9 كك Default Kaf shape Longer Kaf variant applied with stylistic set 10
43 The two types of Kaf variants can be applied to any initial, medial, final and isolated shape of the Kaf. Some examples are given below: Default Kaf shaping ك كل سكرا لك ك كاله ل ل سك ه لك ك ر ال ك ال ك ك ر ك كلى ا و كر لك ال Shorter Kaf variants with stylistic set 9 ك كل سكرا لك ك كاله ل ل ئك ه لك ك ر ال حك ال حك ك ر ك كلى ا و كر لك ال Longer Kaf variants with stylistic set 10 ل ئك ه لك ك كل سكرا لك ك كاله ل ك ر ال حك ال حك ك ر ك كلى ا و كر لك ال
44 Stylistic Set 11 By default the font keep the shadda separate from kasra and kasratan according to the calligraphic rules. Similarly the Sukun mark is open mouth shape as commonly used in calligraphy. But there are also a very large number of users who prefer combined shape of shadda with kasra and kasratan as provided in common Arabic fonts. Similarly these users also like a circular shape Sukun mark. These users can apply the style of marks they like by using stylistic set 11. ل ا د ح د Default Separated shadda and kasra and normal sukun د س ر د ل ق د و ه ط ص ف ك ل د ل ا د ح ر س د ق ف د د ص ط ح ر د ر ل ا د ح د Combined shadda-kasra and alternate sukun د ل ك ل د و ه د د ل ا ر س د ق ف د ح ص ط د ر س د ق ف ر ر د ص ط ح
ص 45 Muhammad Musa Albazi Naskh font has three kinds of swashes as shown below. Default letter Shape صصصصص Shorter swashes by using stylistic set 12 Longer swashes by using the Swash feature of the font Overlap swashes applied by stylistic set 19
46 Swashes The font also contains beautiful longer swashes that can be applied through Swashes feature. So Muhammad Musa Albazi Naskh font has three kinds of swashes. (1) Longer swashes applied by Swashes feature (2) Shorter swashes applied by stylistic set 12 and (3) overlap swashes applied by stylistic set 19. A few examples are given below. Default letter shapes حس ك صلى ى ى ك ك ق ف س حك صلى ف س حق ال ح ى ف كك س Longer swashes applied by Swashes feature ى ك حس ك ك ق ف س حك ف س حق ال ح ى ف س كك صلى Smaller swashes applied by stylistic set 12 ى ك حس ك ك ق ف س حك ف س حق ال ح ى ف س كك Overlap swashes applied by stylistic set 19 ر لى د ه ورق ا ل ف ض ة ا ا ل
47 Stylistic Set 13 Another smart feature of the font is that it also provides the user an option to use the common straight tatweel. So if a user does not want to use calligraphic tatweel, he can use the common straight tatweel variant for any letter shape by applying the stylistic set 13. Default calligraphic tatweel Straight tatweel variant with stylistic set 13
48 Stylistic Set 14 The font gives full choice to user to choose from two types of Fathatan, Kasratan and Dammatan (1) Default style (2) Second style by applying stylistic set 14. Default Normal Fathatan, Kasratan and Dammatan ح ط سا ا ا ا دا صدا ر ا د ا د اط ا ا ف ا ف ط ف ص ط د ح ح ص د ر ق ق ك ص ص د ح ح س ح د ر ر Alternate Fathatan, Kasratan and Dammatan applied by stylistic set 14 ح ط سا ا ا ص ا دا صدا ا ف ر ا د ا د اط ا ا ف ط ف ص ط د ح ح ص د ر ق ق ك ص ص د ح ح س ح د ر ر
49 The user has choice to choose from four different styles of Shadda Kasratan by applying stylistic set 11 as well as stylistic set 14, separately or combined. Default shape of separate Shadda and Kasratan Second style of Shadda and Kasratan obtained by applying stylistic set 14 Third style of Shadda Kasratan obtained by applying stylistic set 11 Fourth style of Shadda Kasratan obtained by applying stylistic set 11 and 14 collectively.
ف ف 50 Stylistic Set 15 The user has choice to use normal diacritical marks or expanded wider marks adding extra beauty to the text. و ا ا ح د ق ل Default normal diacritical marks ح ٱ الر ٱ الله ٱ الر ل ل د و و ٱ الله ا ح د ٱ الله ٱ ا لص د ل لو د و ه ل ك ل ه ۥ ك و ا ا د ق ل Good looking broad diacritical marks by applying stylistic set 15 ح ٱ الر ح س ٱ الله ٱ الر ل د و و ٱ الله ا د ٱ الله ٱ ا لص د ل لو د و ه ك ل ه ۥ ك
51 Stylistic Set 16 Stylistic set 16 changes tatweel longer marks. It makes the marks a little shorter in length. It beccomes handy if under any situation the longer marks gets too close to the next letter marks. So by applying this set the user can avoid the extreme situations. Default longer marks on elongated tatweel letters ح د س ال ه ا لص لاة و ا لس لا ا س ا س ا س ا س ا Stylistic set 16 applied so the marks become slightly shorter ح د ال ه ا لص لاة و ا لس لا س ا س ا س ا س ا س ا
52 Stylistic Set 17 The stylistic set 17 changes the shapes of certain honorific ligatures as shwon below. More detail of honorific ligatures is also given on page 29 and 30. ﷺ هللا ىلص 29. This shape can also be achieved without using this stylistic set 17 by using the typing sequence of this shape given on page سلا هل سلا هل 29. This shape can also be achieved without using this stylistic set 17 by using the typing sequence of this shape given on page This shape can also be achieved without using this stylistic set 17 by using the typing sequence of this shape on page 29. This shape can also be achieved without using this stylistic set 17 by using the typing sequence of this shape on page 29. This shape can also be achieved without using this stylistic set 17 by using the typing sequence of this shape on page 30. للا هحر This alternate shape can be achieved by applying Stylistic Set 17 only. This alternate shape can be achieved by applying Stylistic Set 17 only. This alternate shape can be achieved by applying Stylistic Set 17 only. This alternate shape can be achieved by applying Stylistic Set 17 only.
ل ق ق ل ف ق ل ق إ إ ف إ 53 Stylistic Set 18 The user can activate an amazing feature of the font by applying stylistic set 18. This feature is specifically related to the Quranic script grammar. In Ottomanic scrip of the Quran when Above-Hamza is followed by a kasra then the hamza is written below the letter. By applying stylistic set 18 the user can get this result very easily to make the Quranic text according to the script grammar. When this stylistic set is applied the font automatically changes all the Above-Hamza followed by a kasra to Below-Hamza as shown in the examples given below. Default text shaping with hamza above س ا ر ٱ الله. ا ف. ء ا ا ك. س ل. ل و. ا ف. س ئل. س ا ه ا ئل إ. و ح ل ئ ك ل و. و ر ة ٱ ا ئذ. ذ ا ا. و. ا. ط ا. و ا و ٱ ا لس ا ل ل. ا ك ز و. ا إ ئف. ٱ ا ز ا ٱ الله. ل ط ر. سك. ط إ ئد. ا ل ر ٱ الله. ٱ ا س. س د ا ك ا ك. ا ا Hamza below by applying stylistic set 18 س ا ر ٱ الله. و ل إ. ل ا إ ف. ء ا ا إ ك. س.. س إ ئل. ا إ ف س ا إ ه ا ئل إ. و ح ل ل و. و ر إ ئ ك ة ٱ ا إ ذ ا ا. و إ ئذ. ا. ط إ. ا. و ا و ٱ ا لس ا إ ل ل. ا إ ك ز و. ا إ ئف. ٱ ا لل ز ا ٱ الله. سك. ط ط إ ر. إ ئد. ا ل س إ ر ٱ الله. ٱ ا. س إ ك د ا ا إ ك. ا ا
54 Stylistic Set 19 Stylistic set 19 activates the beautiful looking overlapping swashes. These swashes should be carefully applied to selective words only as the overlapping swash may collide with the next letters. Normal text with default letter shaping Overlapping swashes applied by stylistic set 19 الله الرح الر ح ا ل ظ س ا الله دا درس ف س ر ا ل ق آ ار ا ل حو ضص ا ل اء ف ذلك ر لى د ه ورق ا ل ف ض ة ا ا ل الله الرح الر ح ا ل ظ س ا الله دا درس ف س ر ا ل ق آ ار ا ل حو ا ل اء ف ذلك ض لى د ه ورق ا ل ف ض ة ا ر ا ل
س س ف س ف 55 Stylistic Set 20 By applying stylistic set 20 all the longer marks change to normal short marks. A few examples are given below. Different kinds of default longer marks over different elongated tatweel letters, over longer swashes and over smaller swashes By applying stylistic set 20 each and every mark changes to normal short mark ال ه ا ل ص لاة و ا ل لا د ح ال ه ا ل لاة و ا ل لا د ح ال ه ا ل لاة و ا ل لا د ح ال ه ا ل ص لاة و ا ل لا د ح ال ه ا ل لاة و ا ل لا د ح ال ه ا ل لاة و ا ل لا د ح ك ف ق ك ى س كك س حس ك ف س حق ال ح ى حك ك حس ك ف ق ك ى س كك س ف س حق ال ح ال ه ا لص لاة و ا لس لا ح د ال ه ا لص لاة و ا لس لا ح د ال ه ا لص لاة و ا لس لا ح د ال ه ا لص لاة و ا لس لا ح د ال ه ا لص لاة و ا لس لا ح د ال ه ا لص لاة و ا لس لا ح د ك ف ق ك ى كك س حس ك ف س حق ال ح ى حك ك حس ك ف ق ك ى س كك س ف س حق ال ح
56 An amazing and beautiful feature of the font is that if a superscript alef mark is inserted after any tatweel letter, the longer fatha marks of the preceding tatweel letter will autochange to slightly smaller marks. In Arabic text, superscript alef is very commonly used after fatha mark, so this feature gives the user ultimate ease of use. ح ح ا ح ح ا ا ا ح ا
57 Superscript Digits and footnote mark Muhammad Musa Albazi Naskh font also contains beautiful superscript digits and superscript Arabic footnote and Arabic numbers signs. Use of the smaller superscript digits is a very common practice in almost all Arabic documents. Default Digits, with and without Arabic footnote and Arabic number signs ه ٣٣٣٣ ك ا ه ٧٨٦ ف و ق ال ف ه ٣٣٣٣ ك ا ه ٧٨٦ ف و ق ال ف Small higher digits are applied to the same above text through Superscript/Superior digits feature ه ٣٣٣٣ ك ا ه ٧٨٦ ف و ق ال ف ه ٣٣٣٣ ك ا ه ٧٨٦ ف و ق ال ف
ئ ر 58 The font also contains justification alternates features. In this feature, the longer swashes are used for auto-justification of the paragraph. In the text below, this feature of the font can be observed. All the longer swashes in the below text are auto-applied by the font through justification alternates feature. فة غ ر واحد لاء ا ل حو. ا الله و ه ا الله و حو ذلك. صر ح هذه ال حاص ة ا ل قال ا ا ف دا ها حو ا الله ف ف ظة ال ح لالة كلة ا وحدها صا ل ا لص ا ل د ة ل داء ف ك د ل إف ها ا. ا ل ا حروف ا ل داء ا ل ا ها ا ه ا للاهحر ( ح ٢ ص ) ١٦ ٤ : او ها ا ض ح لا رح ا ل و ف ا ل ص ر ح ال ازهر للاهحر ق ال ا ل غا ث ة حو ا ل له ل سل. و ا ل ثا ى ف هذا ال ك إال ا ث لا ث ة وا ض : ال او ل الاس ظ ر للاس الله غا ث ة او ص حو ها. و ا وحدها ف داء اس الله حو ا الله. ا هى كلاه. ول ا والاس ه ا للاهحر : ولا ادى اس ال غ ى لا ف غا ث ة حو ا لله للسل. ا هى. و ا الاس ا ف رحه : و ا ا ا ل و ض ح و ف ف ا ها الر ل و ا ا ها ال ار ة. ها حو ا ث ثا ل ا ا ها. وا ل ف كل ادء و ف اس الله. ق ال ا ل لاة د ل إف ها ف ة ( ح 3 ص 103 ) او ها ا رح ال ا ل ى كلة ا. ا هى. و ق ال الا س و ى للاهحر ف ا ها و ا ها إال ا ها ا غا و ث الله و الاس ال س ز لالا ه غ رلاز. ا هى. ق قة او ل دها ح ر ةل س ادؤها إال ا ا.لا هاو ا ها. ل االا غا او ث فال س ف ل ق طال حلالة ا ل ص اللا هحر:وكا ا ف ا ا داء الاس الله ا سوى ا احرف ا ل داء قل : ا ا لسر إف ساة و الرا طة ا ل ق و ة ل ق ط الله وحرف اس ة ا ل ق ال لاص ها ح ق فة. ة كا روحا ل ط فة و لة لى اسرار ا ل ال إلها الله ال ف ض ال ا ذلك لو وه ك ث رة قل : الذ طر قة ض ا الد ق ار الك وة و ال إا ا ف ص ل الا سرار الك و ة و ال إا سا اس ة ا ل ق و ة الاس الله و ا و ل ق ق ال ل ط فة ل ح ددة ا ئ سا ر حروف ا ل داء. دو ك ال آ ا و وه ا ة. ا. لو له ال حد و ال ا ل ل ة ا ل ى لا دها ف غ ر هذا ا لك حل لة از ا ل فا ئ س ال لة لى هذه الا سرار ال ص ها حرف ا داء الاس الله. و هذه ا لو وه اءا ا ل ث و قة ا ل ى وال إا د وذا ه حرف ا و الاس الله. ف كا اك ه الله الى غ ردرك اس ة ا ل اة د لول ذا الله الى. و إا س ئ ف قل : و ود ال ق قة ا و حلها و اس ة ا ل ا ة ح ا لو ه الا ول : و ود ال و حل اس الها ال و ضو له ور د ق ق ا ل صر كذلك د لول ا ال ح ا ا هى إا ل ه ا و هه لا ح ق ر سة ك ف لا و لو ك ف س الرحا و ح و ة الح ة ح اس ار و ار الى ورة ك ف ا ل ق ا ه ا ل فكر. ق و ا ل لف ا لسا ل ف ل ا لسا الا ئ ة د ا ظ ا ا غ ر ل. اس الله ال ق. ل ق و ا س قا ق ه وا اصله ا غ ر ف ظه. إف اره ه د. ف لا درى ار ا سر ا ى. إا ها الاس الله و ل و إا س ئ ف ا هذا ا لو ه لى ف هذا كلا كا ارق ز و ا كسار. و ا ل سؤال ذ ا. ا لو ه ا ل ثا ى : ا ل داء إالى الله الى قا سؤال و إا ظ طهار ف داء الاس الله الس ور ال ه اصل ا و ل ف طا و ا ا الس ورة د لول ا س و حو ذلك. ف لا ح و قول ا ل ا قل و د لول حرف ا و اس الله قو ل ا ا الله لكو إالا ل ه ر ال إ ا ة. ولا حل هذا ال ى ولا دل ال غزى كا ا ق ف هذا اد ل هذا ا ل ف حوى و ال ى و اس فكر. ا ف كار ال