Grateful, present and surrounded with love.
Eid Mubarak! May the month of Syawal be filled with warmth, love and good food. Ameeeeeen 🤲✨
Jawi text: NT Panorama Naskh
Ramadan Kareem! سلام رمضان! 斋月吉庆! ரமலான் வாழ்த்துக்கள்!
This blessed month isn’t exclusive to one ethnicity so I’d like to send the same greeting in the official languages of Singapore. May your fast be fruitful and may this month of introspection bring you peace and blessings إن شاء الله 💫🤲🏻📿
Had fun with this one! First attempt at the Mandarin and Tamil script, especially pairing them together with Latin and Jawi. As a non native speaker, I am open to feedback and notes 📝
سَکل بن پھول رہی سَرسوں
In every field, mustard flowers bloom
﴾Sakal ban phul rahi sarson﴿
سياڤا ممندڠ ڤستي کن ترتاون
Whoever looks, is bound to be enamoured
﴾Siapa memandang pasti kan tertawan﴿
As someone of Pakistani and Malay descent, I’ve often felt a sense of disconnect regarding the scripts my ancestors once used. This poster pairs verses from “Sakal Ban”, penned by Sufi poet Amir Khusro, while the Malay verse is from “Zapin Telok Belangah”, a song by Singaporean composer Zubir Abdullah.
Both Urdu and Malay can be written in the Arabic script, which holds significance for me. Despite my Pakistani roots, I’ve never been able to converse with my grandmother in Urdu. Similarly, if my Malay ancestors were to write me a letter from the past, I might not easily understand them. Additionally, as a Muslim, my struggles with reading the Quran in Arabic have prevented me from fully grasping its linguistic meanings and nuances. These challenges have pushed me to reconnect with the Arabic script in recent years, and thought I’ve made some progress, truly mastering a writing system demands continuous effort and dedication—much like many other things in life.
This poster was done as part of the typography exhibition, “Typography As Muse: The Boundaries of Language”. Visit UltraSuperNew Gallery from 26 September to 6 October for during Singapore Design Week!
Thank you @deathoftypography for this opportunity for me to explore and play around with typography. Thank you beautiful people from Morisawa Inc. for the lovely library of fonts as well as organising this exhibition, allowing me and other designers across Asia to express themselves through multilingual typography.
Fonts in use:
Lutes UD Arabic
Role Serif Display Pro
“We have on this earth, what makes life worth living” - Mahmoud Darwish
Just a font-in-progress, but what has not been progressing is morality and empathy. Tired of the ignorance and lies perpetuated by the west. At this point, a ceasefire isn’t enough, free Palestine from occupation, settler colonialism and apartheid. Our leaders might choose to be blind, but we don’t have to. Solidarity and resistance comes in many forms, do what you can. May we see a liberated Palestine in our lifetime. 🇵🇸
Spent my last semester studying Arabic letterforms and Jawi writing, as well as creating glyphs upon glyphs. In short, Kau Faham Bahasa Tak? (Do You Even Get It?) is an exploratory project looking at envisioning a space for the Jawi writing system to thrive in modern graphic design, as well as challenging Eurocentric standards in typography. I wanted to take an unserious and light hearted approach, offering a fresh perspective, when dealing with learning a neglected writing system.
It took me a while to recover from the stress of the semester, but I finally got around to documenting my final year project online. There’s only so much an Instagram post can capture, and there were many things I couldn’t show during the Graduation Show last month. To understand more and see the full project, Kau Faham Bahasa Tak? is now available online at fatihrosli.com, link in bio ✌🏻
باݢايمان که هندق کيت ملستاريکن توليسن نينيق مويڠ کيت?, کالاو بودايا دان بهاس سنديري ڤون دکتڤيکن
A common sight in the lives of many Malays, the Kain Pelikat, throughout history, is a diverse checkered fabric used for almost every occasion. As part of my exploration into the Jawi script, I’ve incorporated Jawi letterforms that I’ve designed onto several unused Kain Pelikats sourced from my own family and relatives. The flexible nature of the Jawi script is reflected in the various ways this fabric can be worn. Unlike Jawi, which has faded out in replacement of the Latin alphabet to represent the Malay language, the Kain Pelikat stood strong. Despite the modernisation of the Malay world, this fabric is still widely used from our ancestors to our people today. This approach looks to reframe Jawi as a tangible object, reflecting its potential to endure across generations, akin to the fabric itself.
This is an extension of my year-long graduation project, Kau Faham Bahasa Tak? where I familiarised myself with the Jawi script and explore its potential in decolonising Eurocentic concepts in modern graphic design and typography.
Logotype matchmaking: The Jawi جاوي script, derived from the Arabic script, was used up until around the 1950s-60s. Malays embraced the writing system due to the spread of Islam in Southeast Asia in the 7th century. Before the arrival of colonial powers, Jawi was widely used in reading and writing of the Malay language, throughout Singapore and the Malay archipelago.
Here is my effort to speculate and recontextualise locally known brand logos in Singapore,if Jawi was still preserved as an official script here.
#typography #localdesigncircle #thedesignkids #visualart #eyeondesign #visualgraphic #itsnicethat #visualcommunication #design #collectgraphics #thedesignblacklist #graphikfeed #arabiclogos #arabictypography
may God protect the oppressed and stop the oppressors. from the jordan river to the mediterranean sea, palestine will be free 🇵🇸 من النهر إلى البحر ستتحرر فلسطين #ceasefirenow #freepalestine #endtheseige #palestineposterproject
