Syrian - British seminar on Latin Typography, Arabic calligraphy and challenges facing modernization
Syria, Education, 2/21/2003

In collaboration of the British Council in Damascus and the Faculty of Fine Arts and Damascus University a seminar was held on February 17 and 18 at the Damascus fine arts faculty under the title "Type as image." Renowned British designer Paul Khera participated with Syrian designers in running the seminar which was on the sideline of an exhibition held on February 2nd through 18 on contemporary illustration from London.

In the first day of the seminar, designer Khera, a lecturer at the UK royal Academy in London lectured on the development of Latin fonts in illustration, while two other Syrian calligraphers Ahmad Mufti and Yasser Abbar, respectively lectured on "the history of Arabic calligraphy " and "Arabic typography." Highlighting this event Patrick Brazier, Director of the British Council in Damascus said in a statement to Arabic News (ArabicNews.com) that one of the purposes of the British Council is to use art and culture as means of developing a dialogue between Britain and Syria and bringing people together.

"We always try to choose areas of mutual interest and originality and so we decided to develop links in the area of graphic design, " he elaborated.

Brazier added that this particular project had two components: Firstly, an exhibition called "picture this" which is an exhibition of some of the latest trends in graphic design in the UK. The second component, he added, involved bringing a British graphic designer to Syria, Paul Khera. His particular interest is calligraphy and the design of modern type fonts for letters and languages.

He continued that Khera worked in this area with many different cultures and languages including Cyrillic from Russia, Punjabi from India and Japanese, and he has a fascination to learn more about Arabic scripts and calligraphy.

Brazier indicated that Khera's program involved a seminar series with Syrian experts in Arabic calligraphy, hosted by the Faculty of Fine Arts at the University of Damascus and a series of meetings with local Syrian artists, film makers, calligraphers and designers.

He explained that the purpose of this event was to share knowledge and experience, identify areas of similarity, and areas of difference and to learn from each other's work and experience. The quality of the discussion was exceptional and generated much interest and healthy debate.

Links were established between Paul and a number of experts in Syria, which will be followed up in the future.

In his statement to Arabic News. Designer Paul Khera said that his workshop in Damascus was to show how a calligrapher in Europe draws in Latin typography and that he displayed ways of drawing in Latin and the process of drawing so as to help modern Arab topographers to improve for prints, advertising and the Internet. He in this regard indicated the strong traditional pressure in the Arabic culture. The change, he continued will be actually a slow process to make. It takes time, but is very important to be made.

He noted the importance of his meeting and exchanged views with other Syrian calligraphers including among others Yasser Abbar who spent long time in research in Syria and came up with a completely new way of drawing Arabic. However, it is not hard to see the traditions in his work, introduced together with some Latin spaces in Arabic hands. A combination of a perfect balance.

Khera added that he is in Syria at the invitation of the British Council and the visit is a well-organized research trip during which he had met with a lot of Syrian designers and helped them to integrate Latin and Arabic. He commented that it seems a requirement that a design should be in two languages.

He added that for him the workshop was an opportunity in getting the right balance as he helps the Syrian designers to make the Latin letter to maintain the balance with the already existing Arab typography.

Khera also indicated his experience with the Syrian designer Ahmad Mufti noting that he had learned from him the tradition and the history, adding that it is important to appreciate the things that came before you because it is something which in the real sense is still alive. He said as an outside observer: "I feel strong appreciation on the way I view the letters and different styles."

About the response he had with the Syrian students he met, designer Khera said "I like the fact that the Syrian students are very interested in learning and very open minded to sharing and exchanging ideas, noting that this process of exchange will continue as learning develops for more and better understanding."

On his assessment on the move of typography, Khera said that the movement of Typography is going from Arabic towards Latin and "what I am hoping that the moves will be towards Arabic. So both people go to the Middle, making an effort to one side." He continued that for Latin such a move is also good because new ideas will enrich it. The Western culture is thrived and sustained by new ideas, Khera said that he talked in his presentation about the age of machine and technology, while people actually wanted more humanity, noting that the skill is to have them both, machine and humanity, combined altogether.

He said that one of the benefits he gets is mingling into the popular culture and be indirect contacts with the masses.

He indicated that in Arabic typography will help because the development will start to happen at an international scale, so Syria's contribution will be popular and widely known as it joins the track, adding that when development happens at bigger scales the outcome will be greater.

He recommended that Arabic typography needs to be supported, and the west has to come and make a better appreciation on that. He said that there are many skilled typographers in Europe that can help in that regard, noting the importance of his visit as a sort of a bridge in this regard.

He said that in Britain, he is mostly a graphic designer. He works on books with artists, also with architects and in the study of languages. Designer Khera also has a design studio working in this area for 15 years. "I have worked in Russian, Punjabi and Indian," he explained. However, both the exhibition and the seminar were an opportunity for both the Syrian art students, designers to learn from the advanced British experience in Latin typography and for the British graphic designer to become acquainted with Arabic calligraphy in a lasting take and give process.

Previous Stories:
  Syrian- American educational exchanges under the Fulbright program   (1/25/2003)
  International English and French translation college at Damascus University discussed   (1/24/2003)
  Egyptian Caligraphy exhibits attract French tourists   (12/3/2001)
  Arabic calligraphy, an inspiration   (12/7/2000)
  Al-Kofa, where al-Mutanabi, al-Kindi and Jaber bin Hayan were born   (10/27/2000)
  Princess Lalla Hasna dedicates Islamic calligraphy exhibition in Marrakesh   (5/1/2000)
  Arab language as calligraphy art   (7/1/1998)
  Al-Wasseti: Miniatures mark an age of cultural prosperity   (6/23/1998)
  Nuha's exhibition   (10/21/1997)

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