Arabic/Latin—Designed in dialog | Linda Hintz, Pascal Zoghbi, Toshi Omagari | ATypI 2023

Three main aspects distinguish 29LT Okaso and Ada type projects: 1st, intriguing research topics. 2nd, bi-script creative design process, and 3rd, use of the latest available type technology (Variable Fonts and Advanced Opentype) to best render the fonts.

Looking at the starting point and the final visual outcome, the two projects presented could not be more varied. Okaso is a constructed Kufic inspired by a vernacular archive of non-scholar writing, while Ada is a fluid Ruqaa drawn under the critical eye of a master calligrapher.

Nevertheless, they share a lot of similarities under the hood: both projects use Arabic as a starting point that is joined by a Latin companion, designed through dialog. Both scripts infuse each other during the process and challenge the way we would “normally” do things on both ends. The unconventional Latin design solutions would not have manifested in their unique ways without the inspiration from the Arabic. A Latin baseline with a slant, a different approach to a semi-serif, a stretch horizontal axis, contextual alternates, advanced contextual elevation kerning are some of the fun aspects that distinguish these projects. Existing type models get reshuffled and set typographic parameters get challenged while staying true to the respective script.

Each of the type projects exist as a type system in itself with 3 main styles in each. The Okaso superfamily is created from a Geometric, a Cursive, and a Slanted set of fonts, while the Ada superfamily contains a Sharp, a Flat, and a Round variation. These diverse styles behave as unique typographic hierarchical tools for typographers.

Driven by an interest to find contemporary solutions to long-existing forms – a challenge that asks for new approaches and rethinking existing models.