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WinSoft Arabic Typography Contest

Interview with jury member Aref Hijjawi
Director of Programmes at Al Jazeera

WinSoft International has the great pleasure to count Aref Hijjawi, director of Programmes at Al Jazeera, amoung its jury members. We wanted to know a bit more about him. You will find below some of his thoughts about the WinSoft International Arabic Typography contest.

1. Why did you accept to be part of the WinSoft Arabic Typography Contest jury? What appealed to you?

I was approached by WinSoft International because I am Director of Programmes at Al Jazeera, but it so happened that I worked as a calligrapher myself. I changed career 30 years ago, but once a calligrapher always a calligrapher. I wanted to learn more about new trends in this field.

2. What does the theme of the WinSoft Arabic Typography Contest mean to you?

"Rapprochement of Cultures"? A harmless slogan. Why not!

3. What, in your opinion, are the main skills necessary to create a quality work of typographic design?

Knowledge, precision, and boldness.

4. What advice would you give to participants?

Do not overdo it, and have the Arabic speaking people always in mind. Arabs often do designs for the eyes of non-Arabs, for those who provide the funds. Fact is, Arabic speaking people appreciate this design much more; and in the end, they are the ones who will use and enjoy these designs for a long time after the event comes to an end.

5. What are your expectations for the WinSoft Arabic Typography Contest?

It will encourage many people to be more creative, and it will hopefully set new higher standards.

6. Where does your passion for typography come from?

It came from two calligraphers in my home town Nablus - Palestine. They were competing for years. The shop signs became works of art, and the taste of people became more refined. That was, alas, before the ready-made computer letters took over.

7. In your opinion, what will be the main trends in Arabic typography in the next few years?

Colour will continue to dominate, as a protest against a long tradition of black on white. My wish, though is to have new Ruqa typefaces to replace the current inferior versions. In Arabic print Naskh still dominates. Ruqa has simplicity, readability, and beauty. It is the basis for the hand writing in most Arab countries in Asia plus Egypt. What are we waiting for before turning it into the typeface for books?
As for the text, designers will pay more attention to the new poetry of Ahmad Matar, Muzaffar al Nawab, and Nizar Qabani; in addition, of course, to the verses of the Holy Quran.

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