tugboat, volume 31 (2010), no. 2 197 - tex · tugboat, volume 31 (2010), no. 2 197 qur anic...

TUGboat Volume 31 (2010) No 2 197

Qurʾanic typography comes of ageAEligsthetics layering and paragraphoptimization in ConTEXt

Idris Samawi Hamid

1 The background of Oriental TEX

Attempts to integrate scripts beyond the Latin intothe TEX universe are nearly as old as TEX itselfIn the case of Right-to-Left (RTL) scripts as Arabicscript the inadequacy of the original TEX to the taskwas pointed out bluntly by Knuth himself back in19871 Since then the heroic efforts of the ArabTEXand Omega projects took large strides in the way ofextending TEX to support Arabic-script typesettingOn the other hand by the early 2000s the realizationof a paradigm capable of capturing the fullness of theArabic script and its sophistication still seemed a longways away Combined with other challenges egcritical-edition typesetting so much work remainedto be done

In the winter of 2005ndash6 this author along withHans Hagen and Taco Hoekwater initiated a very am-bitious attempt to address the challenges of Arabic-script and critical-edition typesetting in the contextof a radical overhaul and extension of TEX that wouldaffect and potentially benefit virtually every cornerof the TEX paradigm This overarching context con-stitutes the ongoing LuaTEX project By virtue of amajor grant from Colorado State University in thespring of 2006 since extended by the generosity ofUS TUG DANTE and private donors Oriental TEXhas both served as the midwife of LuaTEX as wellas having reached major mileposts in its particulargoals pertaining to Arabic-script and critical-editiontypesetting and typography

2 Mileposts in the Oriental TEX project

21 The Qurʾan test

The most relevant torture test of Arabic-script type-setting and typography involves capturing the nu-ances of the Arabic used in traditional Qurʾanicscript a task that involves much by way of multiplelayers of diacritics paragraph optimizations usingstretching and shape alternates as well as multilay-ered coloring

The Oriental TEX project is proud to announcethat it has reached the milepost of being able to rep-resent these aspects of Qurʾanic typography markinga major outward milepost in the forward movementof Oriental TEX There is still a ways to go but in

1 See p 157 of Knuthrsquos Digital Typography CSLI Publica-tions Stanford 1987

the current visual results we can confidently say thatwe are ldquoover the humprdquo so to speak

22 Infrastructure

The visuals achieved by Oriental TEX build on anextensive infrastructure involving the following mile-posts both achieved and in progress

bull Aleph + pdfε-TEX + native UTF-8 + Lua =LuaTEX (done)

bull OpenType + language processing in Lua rArrConTEXt MkIV (beta)

bull Development of Husayni font family (flagshipfont nearly complete)

bull Paragraph optimization and justification model(initial implementation)

bull Bidirectional model (under development mdash nomore naive mirroring primitives but a full typo-graphical framework for bidi)

bull Structural-elementcritical-apparatus controlrArrCriTEXt (under development)

23 Documentation

In addition to the numerous papers presentationsand other documentation by Hans Hagen I am work-ing on the following documentation tasks for a wideraudience

bull An Ontology of Arabic-script Typography (indevelopment)

bull CriTEXt The Critical Edition Module for Con-TEXt (white paper available unpublished)

bull Typographical AEligsthetics and Engineering Struc-tured and Automated Authoring in ConTEXt (indevelopment this will be perhaps the first bookon ConTEXt for a general audience)

3 Qurʾanic typography

Qurʾanic typography involves getting the followingtasks done

31 Control of aeligsthetics

Given an Arabic string there is often more thanone way to aeligsthetically represent it Which way onechooses depends on the context This goes beyondthe mere availability of glyph alternates as in LatinPut another way just as one must choose the rightfont for a given typographical task in Latin script soalso must one choose the right set of aeligsthetic featuresfor a given Arabic-script task This principle can beapplied to Latin especially in the form of calligraphyfonts but itrsquos nowhere near as important an issue

Available Arabic fonts generally mimic Latinfonts in that they have little-to-no flexibility in thisregard That is given a font its aeligsthetic style is

Qurʾanic typography comes of age AEligsthetics layering and paragraph optimization in ConTEXt

198 TUGboat Volume 31 (2010) No 2

generally fixed OpenType allows for far more flexi-bility of aeligsthetic sets within Arabic-script providingmore culturally authentic possibilities

In ConTEXt MkIV we have something calledfontfeatures Using fontfeatures we can define addand subtract sets of OpenType lookups mdash called fea-tures to create myriads of output possibilities

In the case of Qurʾanic typography we willillustrate a default feature set and see what happenswhen we

bull subtract and add featuresbull stretch glyphs using alternates

32 Layering

Arabic script is mostly consonantal The vowelsare generally not letters2 And the consonants arecharacterized by ambiguity given a letter shapeit may represent two or more actual letters Onedisambiguates by means of identity marks mostly inthe form of dots

In historical texts including the Qurʾan some-times only the consonantal layer is represented in thetext sometimes only either the vowel or the identity-marks layer Sometimes the two layers clash andwe have to adjust the shape of the consonant or themutual positions of characters belonging to the twodiacritics layers

33 Paragraph optimization

Given that Arabic script in general does not accepthyphenation getting even color in a paragraph willuse alternate glyph substitution or stretched glyphsubstitution The first involves an entirely differentshape eg

ك versusڪzwnjzwnjwhereas the latter involves a stretch of the existingcharacter eg

دمحلا versus دمحلاOne can also combine this with changes in aeligstheticseg

دمحلا versus دمǇحǇلاGetting all of this under control is still in the

experimental stages of implementation The plethoraof possibilities for optimization plus the good jobthat the current paragraph builder does leads us tofocus on a line-by-line optimization after the initialparagraph is optimized by TEX We illustrate thisby showing some real-life samples from the Qurʾanfrom Surahrsquos Fatih ah and Baqarah

2 There are three consonants that sometimes function asvowels as well analogous to the letter lsquoyrsquo in English

4 AEligsthetics and layering

41 Fontfeatures default

Given a font it should have a default aeligsthetic be-havior To that end we define a default fontfeatureset

definefontfeature[husayni-default]

[analyze=yes mode=node language=dflt

script=arab ccmp=yes init=yes medi=yes

fina=yes rlig=yes calt=yes salt=yes

anum=yes ss01=yes ss60=yes

js16=yes kern=yes curs=yes mark=yes

mkmk=yes tlig=yes

colorscheme=husaynidefault]

For illustration we have shown excerpts from thelist of dozens of possible features Features to bedisabled can be commented out or lsquoyesrsquo changed tolsquonorsquo

Also note the colorscheme key at the end Thisrefers to a mechanism for the coloring of the variouslayers of the text as we mentioned earlier

42 Subtracting aeligsthetics

Letrsquos get a barebones minimalist Arabic-script im-plementation by subtracting features Thus the keycommand here is subff

switchtobodyfont[husayni-default40pt]

definefontfeature [first_order]

[script=arabdlig=yesss01=yes

ss03=yesss07=yesss10=yesss12=yes




ss38=yesss41=yesss42=yesss43=yes]

subfffirst_order

Our ConTEXt input text typed in Arabic (omittedin other examples)

9



[script=arabdlig=yesss01=yesss03=yesss07=yes

ss10=yes

ss12=yesss15=yesss16=yesss19=yesss24=yesss25=yes


ss37=yesss38=yesss41=yesss42=yesss43=yes]

subfffirst_order

نيملاعلانيملاعلا crlf

خيتاولرجفنيسدجهتم

﮲ن﮵يملاعلا﮲ن﮵يملاعلا

ر﮳ج﮲ف﮲ن﮵يسد﮳جه﮴تم

﮲خ﮵ي﮴تاول

43 Default AEligsthetics

Setting up the default aeligsthetics is simple

And the result

9




ss10=yes




subfffirst_order

نيملاعلانيملاعلا crlf رجفنيسدجهتم

خيتاول






43 Default aeligsthetics

Letrsquos show the default aeligsthetics


Idris Samawi Hamid


The result

10



crlf خيتاول


جه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ﮳ ر

خ﮵ي﮴تاول ﮲

Study the differences between the first two words once we introduce vowels One of

them has a mild stretch to accommodate a lower vowel

44 Advanced AEligsthetics

For more fancy text letrsquos add some features Note the stacking of characters giving

in some cases a slanted feel to the text The key command here is lsquoaddffrsquo

Study the differences between the first two wordsonce we introduce vowels one of them has a mildstretch to accommodate a lower vowel

44 Advanced aeligsthetics

For more fancy text letrsquos add some features Notethe stacking of characters giving in some cases aslanted feel to the text The key command here isaddff


definefontfeature [stackhaamulti-level]

[script=arabss05=yesss06=yesss09=yes

ss13=yesss17=yesss40=yes]

addffstackhaamulti-level

11



[script=arabss05=yesss06=yesss09=yesss13=yesss17=yesss40=yes]


رجفنيسدجهتمنيملعلا crlf خيتاول

﮲ن﮵يملعلاجه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ﮳ ر


45 Stretched and Alternate AEligsthetics

Again we are adding this time adding stretched-alternate and glyph-alternate fea-

tures

45 Stretched and alternate aeligsthetics

Again we are adding this time adding stretched-alternate and glyph-alternate features


definefontfeature [maximal_stretching]


ss13=yesss17=yesss40=yesjs13=yesjs14=yes

js16=yesjs05=yes]

addffmaximal_stretching

12


definefontfeature [maximal_stretching][script=arabss05=yes

ss09=yesss06=yesss13=yesss17=yesss40=yesjs13=yesjs14=yes

js16=yesjs05=yes]



﮲ن﮵يملعلاجه﮴تم ﮳ ج﮲ف﮲ن﮵يسد ر﮳


This example in part illustrates that TEX is informed about where it is legal to

stretch and where it is illegal So there are three stretch points to the word

ج﮲ف﮲ن﮵يس ر﮳

The above example shows three stretches but in real life we want only one of them

46 The Base Consonant Layer

Here we get the base consonants only

This example in part illustrates that TEX isinformed about where it is legal to stretch and whereit is illegal This word third from the right in theabove example shows three stretches in real lifewe would use only one of those three for any givenstretched instantiation of the word

12




js16=yesjs05=yes]











46 The base consonant layer



definefontfeature [consonant]

[script=arabss61=yesss49=yesss52=yes]

addffconsonant

13




addffconsonant


رجفنيسدهتمنيملعلا

خيتاول

47 The Identity Marks Layer

Letrsquos disambiguate the characters and use colors to illustrate the difference

47 The identity marks layer

Letrsquos disambiguate the characters and use colors toillustrate the difference


setfontcolorscheme[1]

definefontfeature [identity]

[script=arabss49=yesss52=yes]

addffidentity

14

input font-gdsmkiv





addffidentity


ر﮳ج﮲ف﮲ن﮵يسد﮳ه﮴تم﮲ن﮵يملعلا


48 The Vowels Layer

In the histor of the Qurʾānic text the vowels were developed before the identity

marks so vowels without identymarks is not an abstract example

48 The vowels layer

In the history of the Qurʾanic text the vowels weredeveloped before the identity marks so vowels with-out identity marks is not an abstract example





definefontfeature [vowel]

[script=arabss61=yes]

addffvowel

15

input font-gdsmkiv





addffvowel



خيتاول

49 Full Layering

Letrsquos put it all together with full layering and color distinctions

49 Full layering

Letrsquos put it all together with full layering and colordistinctions



16

usetypescriptfile[type-husayni]

usetypescript[husayni-default]

input font-gdsmkiv






5 Optimization and Sample Qurʾānic Typography

51 Sūraḧ Fātiḥaḧ

Letrsquos look at the first page of the handwritten frontspiece of the standard Egyptian

edition of the Qurʾān The entire edition is typeset except for the two first pages

that constitute the frontspiece (see Figure 1)

As simple as the handwritten version seems it contains numerous subtleties that

make imitation using traditional typesetting technology virtually impossible Fol-

lowing we present it in Oriental TEX with full layering (see Figure 2)

5 Optimization and sampleQurʾanic typography

51 Surah Fatih ah

Letrsquos look at the first page of the handwritten fron-tispiece of the standard Egyptian edition of theQurʾan The entire edition is typeset except forthe two first pages that constitute the frontispiece(see Figure 1)

As simple as the handwritten version seems itcontains numerous subtleties that make imitationusing traditional typesetting technology virtuallyimpossible Figure 2 presents it in Oriental TEXwith full layering

But we can be creative and imitate other stylesas well An Iranian style is shown in Figure 3 andan Indo-Pakistani style in Figure 4

52 Surah Baqarah

From the frontispiece we move to more straightfor-ward paragraph typography We illustrate this withtwo aeligsthetic sets from Surah Baqarah with opti-mization applied to get square paragraphs that fillthe page as well as full layering (Figures 5 and 6)

6 Conclusion

As you can see Oriental TEX has come a long wayThere is much work ahead including further refine-ments to the aeligsthetics and the optimization routinesbut it is certainly gratifying to see such sophisticatedreal-world results Qurʾanic typography has finallycome of age

Idris Samawi HamidColorado State Universityishamid (at) colostate dot edu

17

Figure 1 Sūraḧ Fātiḥaḧ from the 1924 Egyptian Edition of the QurʾānFigure 1 Surah Fatih ah from the 1924 Egyptian Edition of the Qurʾan


نمحرلاهللامس﮳ب﮲

zwnjzwnjzwnj رلا

١م﮵يح

رلا﮲نمحرلا٢﮲ن﮵يملعلا﮳برهللدمǇحǇلا

م﮵يح ٣

﮳بع﮲نكا﮵يإzwnjzwnj٤﮲ن﮵يدلامو﮵يكلم

كا﮵يإود

﮲ن س

رصلاا﮲ندها٥﮲ن﮵يع﮴ت

٦م﮵ي﮴ق﮴تسملاط

رص

﮳بو﮲ض﮲غملار﮵ي﮲غمه﮵يلع﮴تمع﮲نأ﮲ن﮵ي﮲ذلاط

zwnjzwnj٧﮲ن﮵يلا﮲ضلاالومه﮵يلع

Figure 2 Sūraḧ Fātiḥaḧ based on the 1924 Egyptian Edition of the Qurʾān done in Oriental

TEXFigure 2 Surah Fatih ah based on the 1924 Egyptian Edition of the Qurʾan done in Oriental TEX

19

But we can be creative and imitate other styles as well An Iranian style (Figure 3)


zwnjzwnj رلا

م﮵يح ١

حلا نمحرلا٢﮲ن﮵يملعلا﮳برهللدم﮲

zwnjzwnj رلا

٣م﮵يح

كا﮵يإود﮳بع﮲نكا﮵يإzwnjzwnj٤﮲ن﮵يدلامو﮵يكلم

﮲ن س

رصلاا﮲ندهاzwnjzwnj٥﮲ن﮵يع﮴تسملاطا

٦م﮵ي﮴ق﮴ت

رصzwnjzwnj﮲ن﮵ي﮲ذلاطا مه﮵يلعzwnjzwnj﮴تمع﮲نأ

﮳بو﮲ض﮲غملار﮵ي﮲غ

مه﮵يلع

zwnjzwnj٧﮲ن﮵يلا﮲ضلاالو

Figure 3 Sūraḧ Fātiḥaḧ in a more Iranian styleFigure 3 Surah Fatih ah in a more Iranian style


20

Or an Indo-Pakistani style (Figure 4)

س﮳ب

رلا﮲نمحرلاهللام

١م﮵يح

مǇحǇلا ملعلاzwnjzwnj﮳برهللد zwnj﮲نمحرلا٢﮲ن﮵ي

رلا

٤﮲ن﮵يدلامو﮵يكلم٣م﮵يح

﮳بع﮲نzwnjzwnjڪا﮵يإ

﮲نكا﮵يإود س

٥﮲ن﮵يع﮴ت

رصلاا﮲ندها

سمzwjلاطا

رص٦م﮵ي﮴ق﮴ت

طا

مهzwj﮵يلعzwnjzwnj﮴تمع﮲نأzwnjzwnj﮲ن﮵ي﮲ذلا

1050492ر﮵ي﮲غ

مهzwj﮵يلع﮳بو﮲ض﮲غملا

٧﮲ن﮵يلا﮲ضلاالو

Figure 4 Sūraḧ Fātiḥaḧ in a more Indo-Pakistani styleFigure 4 Surah Fatih ah in a more Indo-Pakistani style

1 1

1 1

﮴ةرzwj﮴ق﮳بلا﮴ةروس

٤

ىلعكئلوأ

zwnjzwnjzwnj٥﮲نوحل﮲فملامهكئلوأومه﮳بر﮲نمzwnjىده

رzwj﮲فzwjzwjك﮲ن﮵ي﮲ذلا﮲نإ

ملمأمه﮴تر﮲ذ﮲نأءمه﮵يلعءاوساو

مهر﮲ذ﮲ن﮴ت

ال

ؤ﮵ي

م﮴ت﮲خzwnj٦﮲نو﮲نم

ىلعهللا

ىلعومه﮳بول﮴ق

ىلعوzwnjمهعمس

مهرص﮳بأ

سا﮲نلا﮲نموzwnjzwnj٧م﮵ي﮲ظع﮳با﮲ذعمهلوzwnj﮴ةو﮶ش﮲غ

ؤم﮳بمهامور﮲خاءلامو﮵يلا﮳بوهللا﮳با﮲نماءلو﮴ق﮵ي﮲نم

zwnj٨﮲ن﮵ي﮲نم

ي يامواو﮲نماء﮲ن﮵ي﮲ذلاوهللا﮲نوعد﮲خ﮵ امومهس﮲ف﮲نأالإ﮲نوعد﮲خ﮵

رع﮶ش﮵ي

رممه﮳بول﮴ق﮵ي﮲ف٩﮲نو

رمهللامهدا﮲ز﮲فzwnj﮲ض

zwnjzwnjا﮲ض

م﮵يلأ﮳با﮲ذعمهلو

١﮲نو﮳ب﮲ذك﮵ياو﮲ناكام﮳ب مهلل﮵ي﮴قا﮲ذإوzwnj٠

١﮲نوحلصم﮲نح﮲نام﮲نإاولا﮴ق﮲ضرألا﮵ي﮲فاودس﮲ف﮴تال ١zwnj

رع﮶ش﮵يال﮲نكلو﮲نودس﮲فملامهمه﮲نإالأ

١﮲نو ا﮲ذإوzwnj٢

ؤ﮲نأاولا﮴قسا﮲نلا﮲نماءامكاو﮲نماءمهلل﮵ي﮴ق

﮲نماءامك﮲نم

١﮲نوملع﮵يال﮲نكلوءاه﮲فسلامهمه﮲نإالأءاه﮲فسلا ٣

Figure 5 Surah Baqarah in a basicEgyptian style

1 1

1 1


٤

لوأ

﮳بر﮲نمzwnjىدهىلعكئ ه لوأوم

zwnjzwnjzwnj٥﮲نوǇحǇل﮲فملامهكئ


المهر﮲ذ﮲ن﮴تملمأمه﮴تر﮲ذ﮲نأءمه﮵يلعءاوساو

ؤ﮵ي

﮳بول﮴قىلعهللام﮴ت﮲خzwnj٦﮲نو﮲نم لعوzwnjمهعمسىلعومه

ى

سا﮲نلا﮲نموzwnjzwnj٧م﮵ي﮲ظع﮳با﮲ذعمهلوzwnj﮴ةو﮶ش﮲غمهرص﮳بأ

ؤم﮳بمهامور﮲خاءلامو﮵يلا﮳بوهللا﮳با﮲نمالو﮴ق﮵ي﮲نم


ي يامواو﮲نما﮲ن﮵ي﮲ذلاوهللا﮲نوعد﮲خ﮵ امومهس﮲ف﮲نأالإ﮲نوعد﮲خ﮵

رع﮶ش﮵ي

﮳بول﮴ق﮵ي﮲ف٩﮲نو ه رمم


zwnjzwnjا﮲ض

م﮵يلأ﮳با﮲ذعمهلو١﮲نو﮳ب﮲ذك﮵ياو﮲ناكام﮳ب مهلل﮵ي﮴قا﮲ذإوzwnj٠

١﮲نوǇحǇلصم﮲نح﮲نام﮲نإاولا﮴ق﮲ضرألا﮵ي﮲فاودس﮲ف﮴تال ١zwnj



ؤ﮲نأاولا﮴قسا﮲نلا﮲نماامكاو﮲نمامهلل﮵ي﮴ق



Figure 6 Surah Baqarah in a slightly differentvowelization style with more character stacking


generally fixed OpenType allows for far more flexi-bility of aeligsthetic sets within Arabic-script providingmore culturally authentic possibilities

In ConTEXt MkIV we have something calledfontfeatures Using fontfeatures we can define addand subtract sets of OpenType lookups mdash called fea-tures to create myriads of output possibilities

In the case of Qurʾanic typography we willillustrate a default feature set and see what happenswhen we

bull subtract and add featuresbull stretch glyphs using alternates

32 Layering

Arabic script is mostly consonantal The vowelsare generally not letters2 And the consonants arecharacterized by ambiguity given a letter shapeit may represent two or more actual letters Onedisambiguates by means of identity marks mostly inthe form of dots

In historical texts including the Qurʾan some-times only the consonantal layer is represented in thetext sometimes only either the vowel or the identity-marks layer Sometimes the two layers clash andwe have to adjust the shape of the consonant or themutual positions of characters belonging to the twodiacritics layers

33 Paragraph optimization

Given that Arabic script in general does not accepthyphenation getting even color in a paragraph willuse alternate glyph substitution or stretched glyphsubstitution The first involves an entirely differentshape eg

ك versusڪzwnjzwnjwhereas the latter involves a stretch of the existingcharacter eg

دمحلا versus دمحلاOne can also combine this with changes in aeligstheticseg

دمحلا versus دمǇحǇلاGetting all of this under control is still in the

experimental stages of implementation The plethoraof possibilities for optimization plus the good jobthat the current paragraph builder does leads us tofocus on a line-by-line optimization after the initialparagraph is optimized by TEX We illustrate thisby showing some real-life samples from the Qurʾanfrom Surahrsquos Fatih ah and Baqarah

2 There are three consonants that sometimes function asvowels as well analogous to the letter lsquoyrsquo in English

4 AEligsthetics and layering

41 Fontfeatures default

Given a font it should have a default aeligsthetic be-havior To that end we define a default fontfeatureset

definefontfeature[husayni-default]

[analyze=yes mode=node language=dflt

script=arab ccmp=yes init=yes medi=yes

fina=yes rlig=yes calt=yes salt=yes

anum=yes ss01=yes ss60=yes

js16=yes kern=yes curs=yes mark=yes

mkmk=yes tlig=yes

colorscheme=husaynidefault]

For illustration we have shown excerpts from thelist of dozens of possible features Features to bedisabled can be commented out or lsquoyesrsquo changed tolsquonorsquo

Also note the colorscheme key at the end Thisrefers to a mechanism for the coloring of the variouslayers of the text as we mentioned earlier

42 Subtracting aeligsthetics

Letrsquos get a barebones minimalist Arabic-script im-plementation by subtracting features Thus the keycommand here is subff



[script=arabdlig=yesss01=yes





ss38=yesss41=yesss42=yesss43=yes]

subfffirst_order

Our ConTEXt input text typed in Arabic (omittedin other examples)

9




ss10=yes




subfffirst_order

نيملاعلانيملاعلا crlf

خيتاولرجفنيسدجهتم






And the result

9




ss10=yes




subfffirst_order


خيتاول






43 Default aeligsthetics

Letrsquos show the default aeligsthetics


Idris Samawi Hamid


The result

10



crlf خيتاول

















11










tures







js16=yesjs05=yes]


12




js16=yesjs05=yes]












12




js16=yesjs05=yes]
















addffconsonant

13




addffconsonant



خيتاول









addffidentity

14

input font-gdsmkiv





addffidentity




48 The Vowels Layer



48 The vowels layer








addffvowel

15

input font-gdsmkiv





addffvowel



خيتاول

49 Full Layering


49 Full layering




16



input font-gdsmkiv















51 Surah Fatih ah




52 Surah Baqarah


6 Conclusion



17




zwnjzwnjzwnj رلا

١م﮵يح


م﮵يح ٣


كا﮵يإود

﮲ن س



رص





19



zwnjzwnj رلا

م﮵يح ١


zwnjzwnj رلا

٣م﮵يح


﮲ن س


٦م﮵ي﮴ق﮴ت



مه﮵يلع




20


س﮳ب


١م﮵يح


رلا




٥﮲ن﮵يع﮴ت


سمzwjلاطا


طا


1050492ر﮵ي﮲غ




1 1

1 1


٤

ىلعكئلوأ





ال

ؤ﮵ي


ىلعهللا



مهرص﮳بأ





رع﮶ش﮵ي



zwnjzwnjا﮲ض










1 1

1 1


٤

لوأ





ؤ﮵ي


ى





رع﮶ش﮵ي



zwnjzwnjا﮲ض










The result

10



crlf خيتاول

















11










tures







js16=yesjs05=yes]


12




js16=yesjs05=yes]












12




js16=yesjs05=yes]
















addffconsonant

13




addffconsonant



خيتاول









addffidentity

14

input font-gdsmkiv





addffidentity




48 The Vowels Layer



48 The vowels layer








addffvowel

15

input font-gdsmkiv





addffvowel



خيتاول

49 Full Layering


49 Full layering




16



input font-gdsmkiv















51 Surah Fatih ah




52 Surah Baqarah


6 Conclusion



17




zwnjzwnjzwnj رلا

١م﮵يح


م﮵يح ٣


كا﮵يإود

﮲ن س



رص





19



zwnjzwnj رلا

م﮵يح ١


zwnjzwnj رلا

٣م﮵يح


﮲ن س


٦م﮵ي﮴ق﮴ت



مه﮵يلع




20


س﮳ب


١م﮵يح


رلا




٥﮲ن﮵يع﮴ت


سمzwjلاطا


طا


1050492ر﮵ي﮲غ




1 1

1 1


٤

ىلعكئلوأ





ال

ؤ﮵ي


ىلعهللا



مهرص﮳بأ





رع﮶ش﮵ي



zwnjzwnjا﮲ض










1 1

1 1


٤

لوأ





ؤ﮵ي


ى





رع﮶ش﮵ي



zwnjzwnjا﮲ض














addffvowel

15

input font-gdsmkiv





addffvowel



خيتاول

49 Full Layering


49 Full layering




16



input font-gdsmkiv















51 Surah Fatih ah




52 Surah Baqarah


6 Conclusion



17




zwnjzwnjzwnj رلا

١م﮵يح


م﮵يح ٣


كا﮵يإود

﮲ن س



رص





19



zwnjzwnj رلا

م﮵يح ١


zwnjzwnj رلا

٣م﮵يح


﮲ن س


٦م﮵ي﮴ق﮴ت



مه﮵يلع




20


س﮳ب


١م﮵يح


رلا




٥﮲ن﮵يع﮴ت


سمzwjلاطا


طا


1050492ر﮵ي﮲غ




1 1

1 1


٤

ىلعكئلوأ





ال

ؤ﮵ي


ىلعهللا



مهرص﮳بأ





رع﮶ش﮵ي



zwnjzwnjا﮲ض










1 1

1 1


٤

لوأ





ؤ﮵ي


ى





رع﮶ش﮵ي



zwnjzwnjا﮲ض











zwnjzwnjzwnj رلا

١م﮵يح


م﮵يح ٣


كا﮵يإود

﮲ن س



رص





19



zwnjzwnj رلا

م﮵يح ١


zwnjzwnj رلا

٣م﮵يح


﮲ن س


٦م﮵ي﮴ق﮴ت



مه﮵يلع




20


س﮳ب


١م﮵يح


رلا




٥﮲ن﮵يع﮴ت


سمzwjلاطا


طا


1050492ر﮵ي﮲غ




1 1

1 1


٤

ىلعكئلوأ





ال

ؤ﮵ي


ىلعهللا



مهرص﮳بأ





رع﮶ش﮵ي



zwnjzwnjا﮲ض










1 1

1 1


٤

لوأ





ؤ﮵ي


ى





رع﮶ش﮵ي



zwnjzwnjا﮲ض










20


س﮳ب


١م﮵يح


رلا




٥﮲ن﮵يع﮴ت


سمzwjلاطا


طا


1050492ر﮵ي﮲غ




1 1

1 1


٤

ىلعكئلوأ





ال

ؤ﮵ي


ىلعهللا



مهرص﮳بأ





رع﮶ش﮵ي



zwnjzwnjا﮲ض










1 1

1 1


٤

لوأ





ؤ﮵ي


ى





رع﮶ش﮵ي



zwnjzwnjا﮲ض









tugboat, volume 31 (2010), no. 2 197 - tex · tugboat, volume 31 (2010), no. 2 197 qur anic...

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