'Arabised,' explores the nuanced dynamics of education in the Middle East with a particular focus on language, typography, and branding. Utilising a zine as the primary medium, this work embodies my personal and professional journey as an Arab graphic designer. The project probes the intricate challenge of integrating Arabic and Latin typographic characteristics — a task that is a delicate balance between innovation and the preservation of my rich Arabic calligraphic heritage.
The fusion of Arabic and Latin typographies risks diluting storied calligraphic traditions and cultural identity within design. My work meticulously examines the repercussions of such typographic mergers, especially their effects on readability and cultural resonance. A critical aspect of this exploration is the steadfast commitment to maintaining the unique aesthetic properties of the Arabic script, thus reinforcing my dedication to preserving Arabic design traditions.
Complementing the zine, the project extends into a series of posters inspired by the rich legacy of Arab art. I employ the square shape to pay tribute to ancient Islamic tiles, and I use the square Kufi font, a revered style from the 14th century, to forge a symbolic link with historical art forms.
The project became an outlet for expressing my complex feelings about my educational experience. Cultural richness, limited art education (الثراء الثقافي والتعليم الفني المحدود), a gap in nurturing artistic minds (فجوة في رعاية العقول الفنية), missing the artistic opportunity (ضياع الفرصةالفنية), overlooked (التغاضي), impotent (العجز) and unheard (مجهول), were integrated into my compositions. These words depict my personal feelings about the failure of many curricula to fully embrace or cultivate the rich artistic traditions of students' cultures.
"Arabised" is not merely an academic project; it is a profound personal statement and a professional manifesto. It stands as a call to acknowledge and incorporate cultural depth, ensuring that all artistic futures are as rich and nuanced as their pasts.
Complementing the zine, the project extends into a series of posters inspired by the rich legacy of Arab art. I employ the square shape to pay tribute to ancient Islamic tiles, and I use the square Kufi font, a revered style from the 14th century, to forge a symbolic link with historical art forms.
The project became an outlet for expressing my complex feelings about my educational experience. Cultural richness, limited art education (الثراء الثقافي والتعليم الفني المحدود), a gap in nurturing artistic minds (فجوة في رعاية العقول الفنية), missing the artistic opportunity (ضياع الفرصةالفنية), overlooked (التغاضي), impotent (العجز) and unheard (مجهول), were integrated into my compositions. These words depict my personal feelings about the failure of many curricula to fully embrace or cultivate the rich artistic traditions of students' cultures.
"Arabised" is not merely an academic project; it is a profound personal statement and a professional manifesto. It stands as a call to acknowledge and incorporate cultural depth, ensuring that all artistic futures are as rich and nuanced as their pasts.