{"id":224,"date":"2024-05-19T07:00:34","date_gmt":"2024-05-19T07:00:34","guid":{"rendered":"http:\/\/qtypography.com\/blog\/?p=224"},"modified":"2024-12-15T19:20:11","modified_gmt":"2024-12-15T19:20:11","slug":"the-daily-tribune-interview-with-qassim-haider","status":"publish","type":"post","link":"https:\/\/qtypography.com\/blog\/2024\/05\/19\/the-daily-tribune-interview-with-qassim-haider\/","title":{"rendered":"Arabic calligraphy stages a quiet revolution in the digital age"},"content":{"rendered":"\n

Blending tradition with digital artistic innovation, Beyond pixels: Qassim Haider embraces resurgence of Arabic calligraphy in digital world<\/p>\n\n\n\n

\"The<\/a><\/figure>\n\n\n\n

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The Daily Tribune | May 19, 2024
by: Mohammed Darwish<\/strong><\/p>\n\n\n\n

In this era of digital omnipresence, where every finger stroke is a symphony of 1s and 0s, one might think the ancient art of Arabic calligraphy has been relegated to historic obscurity.<\/p>\n\n\n\n

However, scratch the surface, and you\u2019ll find a quiet revolution underway \u2014 a rekindled reverence for the mighty pen and handcrafted paper, driven by a desire to connect with the tangible and timeless.<\/p>\n\n\n\n

Qassim Haider, a renowned Bahraini calligraphy artist and brand designer with over 15 years of experience, believes there need not be a dichotomy between antiquity and modernity. He asserts, \u201cWe can embrace both the venerable allure of Arabic calligraphy and the undeniable benefits of modern technology.<\/p>\n\n\n\n

By integrating the elegance of Arabic calligraphy into our digital content and allowing it to inform Arabic brand identities, we can honour the rich legacy of the Arabic script whilst harnessing the convenience and speed afforded by digital tools.\u201d<\/p>\n\n\n\n

Reflecting on his beginnings, he stated to The Daily Tribune, \u201cThe availability of voluminous references on the art of calligraphy in our home library sparked my interest in the Arabic letter from a young age.<\/p>\n\n\n\n

While my peers were playing football, I was practising calligraphy, inspired by my older brother\u2019s work in mosques and mesmerised by the grandiose mystique of Islamic ornaments.\u201d<\/p>\n\n\n\n

Parallel to his penmanship pursuits, Haider harboured a deep fascination with programming and computers from an early age.<\/p>\n\n\n\n

This dual passion led to a pivotal moment in 2003.<\/p>\n\n\n\n

He recalled, \u201cWhen the war in Iraq ignited and everyone was tuning in to Al Arabiya for the news, my attention was captivated not by the unfolding events but by the channel\u2019s logo.<\/p>\n\n\n\n

Its ingenuity, a departure from traditional Arabic calligraphy, left me in wonderment.\u201d<\/p>\n\n\n\n

Haider draws inspiration from nature, translating its essence into abstract shapes that transcend language.<\/p>\n\n\n\n

His intricate and meticulously crafted artworks speak a universal language of beauty.<\/p>\n\n\n\n

\"Fonts<\/a><\/figure>\n\n\n\n

Beyond his professional work in typefaces and fonts for prestigious clients such as Albaraka Bank and Tara Cosmetics, and a hefty r\u00e9sum\u00e9 replete with international acclaim and solo exhibitions, Haider developed a programme for Square Kufic script in 2012, driven by a personal need to create on the go.<\/p>\n\n\n\n

This online tool, equipped with all the necessary resources for artistic calligraphy, has become invaluable to thousands of users worldwide.<\/p>\n\n\n\n

Haider\u2019s style has evolved significantly over the years. He reflects, \u201cMy style, both in traditional calligraphy and fonts, isn\u2019t defined by uniformity as much as it used to be, but rather by a harmonious, integrative relationship of variables.\u201d<\/p>\n\n\n\n

Inspiration<\/p>\n\n\n\n

Drawing inspiration from Syrian graphic artist Mouneer Al-Shaarani, Haider cultivated a style marked by recurring motifs that \u201charks back to my initial fascination with the Sufis, whose extensive writings and rich ceremonial practices I studied in my quest for divine connection.\u201d<\/p>\n\n\n\n

Haider observes that in Islamic culture, \u201cArabic calligraphy is as central as painting is to Western culture.\u201d However, he warns that without a dedicated local institution, the art form risks \u201closing its distinct identity\u201d when amalgamated with other visual arts.<\/p>\n\n\n\n

Haider emphasises the responsibility of the artistic vanguard to \u201cenrich the cultural arena with advanced creative works that compete with mass-produced, unsophisticated products,\u201d and to provide workshops and lectures to develop awareness in this field.<\/p>\n\n\n\n

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