The character set grew from 2,100+ in Okaso to 2,600+ in Oskura. In all, 500 extra glyphs are added to enrich the design approach of the typeface and enhance its legibility in small text. This alternate capital treatment is not something commonly seen in Latin type design and is a result of a joint design process where one script inspired the other. This feature makes the Latin come closer to the Arabic, since the Arabic script does not have capital letters and pays tribute to the handwritten origin the typefaces are based on. It shifts all the capital letters downward to make them align to the x-height instead of the capital height. In the Latin character set, the extra ligatures added smooth, horizontally connected letterforms, which reflect the baseline link in the Arabic script, as well as the smooth Arabic letters structures.įurthermore, the Latin is equipped with shifted capitals that can be activated by stylistic set 4. Making Oskura fluent meant adding extra ligatures and alternates to the already extensive set present in Okaso. The Arabic character set offered an added vertical baseline shift, such as the addition of the initial Arabic glyphs that precede a medial form of the Arabic glyph , alongside the ligatures that are composed of initial Arabic glyphs that precede a medial form of the Arabic glyph , which are present in both typefaces. All these changes add an extra typographic level when the two typeface families are used together. In addition, a whole set of alternate forms in italic construction were added for the a, d, p, b, and q. The legs of K and R start to swing, for example, and the stroke terminals in n, m, and r bend outwards a little.
This approach is also echoed in the Latin where forms become lively in construction. In the Arabic letter the , for example, the initial form of the letter is a totally redrawn glyph, while the final form is a rounded version of the geometric one found in Okaso. Typographically, some glyphs in Oskura can be categorized as the rounder version of their counterpart glyphs in Okaso, while others are totally redrawn with a different skeleton and outlines. The simplified options were placed in Okaso, while the more fluid options were placed in Oskura. This spectrum is represented with Okaso and Oskura, placing Okaso on the geometric side and Oskura on the cursive side.Īnalyzing the manuscripts, different forms of each Arabic letter were noted and later filtered out to create a coherent character set in each typeface. Exploring some sample spreads from different sections of the Islamic Fiqh book Tanbīh Al-Ġāfilīn” by Naṣr ibn Muḥammad al-Samarqandī manuscript illustrates the link between the simplified geometric handwritings and the cursive rough writings. Hence the name Oskura with the c replaced with a k.Ī brief summary of the Aljamiado topic is present in the 29LT Okaso article. Moreover, the Aljamiado manuscripts were hidden in enclosed and dark spaces, like ceilings and double walls of houses. “Oscura,” “dark” in Spanish, was chosen as a name because it refers to the dark era of the end of the Muslims’ existence in the Iberian Peninsula. It is not rough and grungy as the writings in the manuscript are, but retains the flow of handwriting and presents the letterforms in clean outlines. Its humanistic design approach is built on the concept of the progressing pen. 29LT Oskura is the second interpretation of the diverse handwritings found in the Aljamiado manuscripts and works as a fluid alternate to 29LT Okaso.
0 kommentar(er)
