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arifkarim

arifkarim

معطل
آج نیٹ گردی کرتے ہوئےایک گوگل گروپ پر سے گزر ہوا تو پتا چلا کہ وہاں ایک موصوف نوری نستعلیق لگیچرز کی کہانی بیان فرما رہے ہیں۔ گفتگو انگریزی میں‌ہے اور ایک شخص کے جوابات دیتے ہوئے تحریر کئے ہیں۔ اگر یہاں انگریزی میں تحریر پوسٹ کرنے کی اجازت نہ ہو تو "درست" زمرے میں اس دھاگے کو ٹرخا دیں :)

to start with there are no word spaces (or any other kind of spaces) in
nastaliq. Each alphabetic character has up to three forms; initial,
medial and terminal. You know you've reached the end of the word when
you get the terminal form.
Additionally nastaliq is cursive, like handwriting rather then printing.
So instead of alphabetic characters, what you used to get was more akin
to a far eastern font, each word is a single glyph.
Justification is a problem, because you can't subtly increase the
spacing. Instead the kashida glyph is used. This is a horizontal bar at
the height of the medial forms. Words are actually degenerated into two
parts, and a kashida can be inserted between them, more spacing requires
more kashidas. Effectively the words are stretched.
These two facts may explain why you have thousands of glyphs, rather
than the dozens more normally found in an alphabetic language like
english.
مزید نمائش کے لیے کلک کریں۔۔۔
when i was working on this, about 20 years back, we used two techniques;
first a dicitonary lookup. The only words that could be written in the
pleasing nastaliq form were those for which a word had been digitised.
Since we knew the characters forming all those words we knew when we
reached the end of a word. Of course typing the next character might
lengthen the word in which case we modified the preceding vharacter from
terminal to medial.
Words which we had no nastaliq form for were handled by spelling in
regular arabic, for this the keyboard had *lots* of letters. These were
custom keyboards and it was possible to add all the forms.
مزید نمائش کے لیے کلک کریں۔۔۔
this is how it was done in the bad old days, before desktop publishing.
Or at least that's how it was done with the monotype system. There were
no standards for any of this at the time.
My understanding is that native speakers prefer the 'look' when a single
calligrapher draws the entire font, because it is more uniform. So the
font we used was drawn by a single calligrapher who took extensive care
to make sure that the medial forms in the middle of words could be
broken at a consistent vertical height, for kashida insertion.
مزید نمائش کے لیے کلک کریں۔۔۔

:) technically speaking this was the most challenging 'language' we
worked on, and we dealt with quite a few. Harder than chinese or
japanese. (adding to the challenge was the fact that this was a mixed
language typesetting package, english & nastaliq, and the reading
directions are opposed...)
مزید نمائش کے لیے کلک کریں۔۔۔
 
جواب دینے کے لیے داخل ہوں یا شمولیت اختیار کریں۔
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