Kufic was the first stylized script used for the Koranic text. After fourteen centuries, it is now starting a movement towards modernity. Due to the existence of more artistic, more elaborate and more readable styles such as Nasta’ligh or Naskh, Kufic is used less. However, its ornamental dimension, visible in all styles of Kufic, can be used in the creation of a new word art, as a basic writing. They include: Kufic style, word art of part of Surah “Al-Layl” (The night), 18th century.
The graphic use of naskh
This writing, very readable, has a very strong presence in advertising graphics, especially since it is the only traditional and artistic word art that has perfectly adapted to modern typography by taking the form of a “writing of hurry”.
Graphic land use (tholth)
The sol is a high writing who’s “alif” (H) extends over seven points. Thus, it is significantly higher than scriptures such as naskh, nasta’ligh and rogh’a. It is a static and rhythmic writing whose repetition creates hatching in the general movement, caused by the height of the letters. This height and this droop generate an effect of grandeur and majesty. This effect is particularly noticeable when this word art adorns religious buildings. Soil word art, whose most important use in Iran concerns inscriptions and wall tablets, has a strong spiritual charge; this is why it is often used for writing the Koranic text. It is also used in the newspaper industry, for magazines, book covers, headlines, design of stamps, posters, etc.
The graphic use of nasta’ligh writing
The nasta’ligh, justly called the “Bride of Islamic word art” is a word art specifically composed by Iranians, in which have can see the taste and Persian culture, and due to the close cultural relationship it has with Iranian soul, it is still the most appreciated, used and adopted by Iranians. The modern era has not diminished the attachment to Nasta’ligh writing which has retained a prominent place in today’s Iranian industry and graphic arts. Then there is the use of the Custom Word Art also.
The graphic use of shekasteh writing
What characterizes this writing is its harmony, perfect according to the calligraphic rules. The lines, words and sentences written with this writing are sometimes attached to each other, which creates unique, more complete and perfect sets. Likewise, the stretched and curved hatching occurs around the smaller letters, with the graphic result that the words form more conspicuous and visible spots. This placement of the words causes gray spots to the end of each line, which goes up, until the gaze descends again to the page, at the beginning of the next line.
Due to these characteristics and its emotional and harmonic charge, this quasi-poetic writing can be commonly used in the decoration, layout and cover of literary, poetic, mystical works, as well as advertisements and posters of a social nature, united, spiritual or mystical.
The graphic use of the mo’allâ script
Mo’allâ word art is the product of the inspirations, creativities and imaginations of calligraphers and was composed from a set of scriptures, and a mixture of different calligraphic styles, none of which had a direct influence or primary. This writing has the softness and refinement of Nasta’ligh and the strength of Naskh and soils. The shape and final movements of the letters are fine and sharp, which sets it apart from other scripts. It can be widely used in posters and headlines.
