Once

upon
a time

Riwaya
A B

C D E

F G H I

J J K L
! :
M N O

P Q Q R

S









T









U


Voices and textures
V W

X Y Z a 1 A story within a story within a story

b c )book setting (German
Die Erzhlungen aus
d e Tausendundeiner Nacht

f g h i
)magazine setting (English

j k l m narrative storytelling & reading

n o 2 Language support
3 Features and script relationship
p q r s 4 Vocalisation of Arabic text
5 Persian and English parallel setting
t u

)book setting (Arabic and English
v w x y
Calileh va Demneh
z * \ : , !
6 Cyrillic script
# . ? " ' ; / _ { } [ ] 7 Riwaya character set
8 Open Type features Latin
( ) - 9 Open Type features Arabic

& | ~








Dear
Reader,
Latin Cyrillic Arabic
Riwaya is a typeface for stories.

Many stories. Regular Riwaya

In many voices. Medium Riwaya
In many languages.
Bold Riwaya
Different stylistic voices, weights, and the script coverage for
extended Latin, Arabic and Cyrillic let Riwaya describe different
tones and expressions in different languages. This specimen Informal Riwaya
invites you to: Show elegance, or be casual; Be familiar and
contemporary, or informal and expressive; Speak languages
from Arabic to Zulu; Weave stories, create textures, contemplate Italic Riwaya
colour, engage the readers as if they were listeners.

Tell your story. Display Riwaya

 Im a storyteller. And I would like to tell you a few personal stories about what I like to call

{a story
the danger of the single story. I grew up on a university campus in eastern Nigeria. My
mother says that I started reading at the age of two, although I think four is probably close
to the truth. So I was an early reader, and what I read were British and American childrens
books. I was also an early writer, and when I began to write, at about the age of seven, sto-
ries in pencil with crayon illustrations that my poor mother was obligated to read, I wrote
exactly the kinds of stories I was reading: All my characters were white and blue-eyed, they
played in the snow, they ate a pples, and they talked a lot about the weather, how lovely
it was that the sun had come out. Now, this despite the fact that I lived in Nigeria. I had

[a story
never been outside Nige- Now, things changed when I discovered African books. [...] I
ria. We didnt have snow, realized that people like me, girls with skin the color of chocola-
we ate mangoes, and we te, whose kinky hair could not form ponytails, could also exist
never talked about the we- in literature. I started to write about things I recognized. Now,
within

ather, because there was I loved those American and British books I read. They stirred
no need to. My characters my imagination. They opened up new worlds for me. But the
also drank a lot of ginger unintended consequence was that I did not know that peop-
beer, because the charac- le like me could exist in literature. So what the discovery of

(a story
ters in the British books I African writers did for me was this: It saved me from having
read drank ginger beer. Ne- a single story of what books are. I come from a conventional,
ver mind that I had no idea middle-class Nigerian family. My father was a professor.
what ginger beer was. And My mother was an admin Then one Saturday, we went
within

for many years afterwards, istrator. And so we had, as to his village to visit, and his
I would have a desperate was the norm, live-in dome- mother showed us a beauti-
desire to taste ginger beer. stic help, who would often fully patterned basket made
But that is another story. come from nearby rural vil- of dyed raffia that his brother

)]}
1: Riwayas three voices in the Latin script
(Regular, Italic and Informal) let you differentiate
storylines and the tone of expression, but keep an
even colour across all styles.
What this demonstrates, lages. So, the year I turned had made. I was startled. It
I think, is how impressi- eight, we got a new house boy. had not occurred to me that
onable and vulnerable His name was Fide. The only anybody in his family could
we are in the face of a sto- thing my mother told us about actually make something. All
ry, particularly as child- him was that his family was I had heard about them was
ren. Because all I had read very poor. My mother sent how poor they were, so that it
were books in which cha- yams and rice, and our old clo- had become impossible for me
racters were foreign, I had thes, to his family. And when to see them as anything else
become convinced that I didnt finish my dinner, my but poor. Their poverty was
books by their very nature mother would say, Finish my single story of them. Ye-
had to have foreigners in your food! Dont you know? ars later, I thought about this
them and had to be about People like Fides family when I left Nigeria to go to
things with which I could have nothing. So I felt enor- university in the United Sta-
not personally identify. mous pity for Fides family. tes. I was nineteen. My Ame-
 Die erZhlUnGen aUs
taUsenDUnDeiner naCht

Die deutsche bersetzung

der Schriften von Antoine Galland

Sister,
Sister,relate
relatetotous
usaastory
storytotobeguile
beguile
the
thewaking
wakinghour
hourof ofour
ournight.
night.
Most
Mostwillingly,
willingly,answered
answeredShahrazd,
Shahrazd,
ififthis
thisvirtuous
virtuousKingKingpermit
permitme me
I Iwill
willtell
tellyou
youaastory.
story.

Titling styles, smallcaps and

Titling styles,
different smallcaps
stylistic and
voices come
different
togetherstylistic voices come
in a book.
together in a book.
 Die erZhlUnGen aUs taUsenDUnDeiner naCht Die erZhlUnGen aUs taUsenDUnDeiner naCht

Hier bemerkte Schehersad den Tagesanbruch und schwieg. Dinarsad sprach zu ihr: Jahre alt war, musste ich eine Reise unternehmen; ich empfahl ihn meiner Frau aufs an-
Oh wie schn und wundervoll ist deine Erzhlung, meine Schwester. Scheher- gelegentlichste, ihn und seine Mutter. Ein Jahr blieb ich aus. Whrend meiner Abwesen-
sad erwiderte: Was ist dies im Vergleich zu dem, was ich euch in der folgenden heit hatte meine Frau die Zauberkunst gelernt; sie nahm meinen Sohn und verzauberte
Nacht erzhlen werde, wenn mein Herr, der Knig, mich leben lsst; es wird noch ihn in ein Kalb, lie meinen Hirten kommen und bergab ihm das Kalb und sagte: Lass
weit wunderbarer, angenehmer und entzckender sein. Das Herz des Knigs ent- dieses Kalb mit den Stieren weiden. Dann verzauberte sie die Mutter in eine Kuh und
brannte vor Verlangen, die weitere Erzhlung zu hren, und beschloss bei sich: Bei bergab sie ebenfalls den Hirten. Als ich nun bei der Rckkehr meine Frau nach dem Sohn
Gott, ich lasse sie nicht umbringen, bis ich das Ende der Geschichte vernommen, und seiner Mutter fragte, sagte sie mir, die Mutter sei gestorben und der Sohn vor zwei
und gehrt habe, was aus dem Kaufmann geworden, dann erst will ich sie, nach Monaten davongelaufen; sie aber habe seither nichts mehr von ihm gehrt. Als ich diese
meiner Gewohnheit, gleich den brigen Frauen tten lassen. Worte vernahm, entbrannte mein Herz ber meinen Sohn und bekmmerte sich um die
Er ging hierauf seinen Regierungsgeschften nach und traf ihren Vater, den Mutter. Ich stellte ein ganzes Jahr Nachforschungen nach meinem Sohn an.
Vezier, der darber sehr erstaunt war. Bis zur Nacht blieb er im Divan, ging dann Nun kam das groe Fest Gottes, ich schickte zum Hirten hin und lie ihm sagen, er
wieder in seinen Palast zurck, begab sich zu Bette, und nachdem er mit Schehersad mge mir eine fette Kuh bringen, damit ich das Fest feiern knne. Er brachte mir meine
eine Weile geschlafen hatte, sprach Dinarsad: Ich beschwre dich bei Gott, meine verzauberte Frau. Als ich sie nun binden lie und sie schlachten wollte, weinte und seufz-
Schwester, wenn du nicht schlfst, so erzhle uns eine deiner schnen Erzhlun- te sie Mbu, Mbu! und die Trnen liefen ihr ber die Wangen herunter: ich war darber
gen, damit wir den brigen Teil der Nacht dabei durchwachen. Jene sagte: Es erstaunt, blieb gerhrt vor ihr stehen und sagte dem Hirten: Bringe mir eine andere.
macht mir Vergngen und Ehre, und erzhlte: Da sagte meines Oheims Tochter: Schlachte nur diese, denn er hat keine bessere und kei-
ne fettere, wir wollen sie daher am Festtage verzehren. Ich ging wieder auf sie zu, um sie
Man behauptet, Oh glckseliger Knig, dass, als der Geist den Kaufmann tten wollte, zu schlachten, aber sie schrie wieder: Mbu, Mbu!. Ich blieb vor ihr stehen und sagte
der erste Alte mit der Gazelle auf jenen zuging und ihm Hnde und Fe ksste, und also hierauf zum Hirten: Schlachte du sie, statt meiner.
sprach: Oh du Krone der Knige der Geister, wenn ich dir erzhle, was mir mit dieser Ga- Er schlachtete sie und zog ihr die Haut ab, aber da fand er weder Fleisch noch Fett, es
zelle widerfahren, und du meine Erzhlung noch wunderbarer findest, als das, was dir war nichts an ihr als Haut und Knochen. Ich bereute es, sie geschlachtet zu haben, und
mit dem Kaufmann begegnet, wirst du mir zuliebe ihm ein Drittel seiner Schuld verzei- sagte zu dem Hirten: Nimm du sie, oder gib sie wem du willst, und suche mir ein fettes
hen. Recht gern, entgegnete der Geist. Und der Alte erzhlte: Kalb heraus. Er nahm die Kuh und ging fort; ich wei nicht, was er mit ihr getan; dann
kam er wieder und brachte mir meinen Sohn, die Seele meines Herzens, in der Gestalt
eines fetten Kalbes. Als mein Sohn mich sah, zerriss er das Seil, das an seinem Kopf be-
Geschichte des ersten Greises mit der Gazelle festigt war, sprang auf mich zu und legte seinen Kopf auf meine Fe. Ich wunderte mich
darber, war gerhrt und bemitleidete durch eine geheime gttliche Kraft mein eigenes
Wisse, Oh Geist, dass diese Gazelle die Tochter meines Oheims ist; sie ist mein Blut und Blut. Mein Innerstes kam in Bewegung, als ich die Trnen des Kalbes, meines Sohnes sah,
von Kindheit an meine Frau, denn sie war erst zehn Jahre alt, als ich sie heiratete, und wie sie ber seine Wangen herabflossen und wie es dabei mit seinen Vorderfen die Erde
ist folglich erst bei mir mannbar geworden. Ich lebte dreiig Jahre mit ihr, ohne mit ei- scharrte; ich lie es nun los und sprach zu dem Hirten: Lass dieses Kalb bei der Herde
nem Kinde beglckt zu werden; doch hatte ich whrend dieser ganzen Zeit ihr immer viel und verpflege es gut und bring mir ein anderes!
Gutes erzeigt und sie geehrt. Aber ich kaufte noch eine Sklavin, die mir einen Knaben ge- Da schrie meines Oheims Tochter, diese Gazelle hier: Schlachte kein anderes als
bar, schn wie der Mond. Jetzt wurde meine erste Frau eiferschtig. Als mein Sohn zwlf dieses Kalb! Ich erzrnte mich und sagte: Ich habe dir schon gehorcht, als ich die Kuh

56 57
 narrative
storytelling & reading

2/4 (2016) UK Edition 8.50

MyMyfriend,
friend,only
onlywriting
writinghas
hasthe
thepower
power Chimamanda Ngozi
Adichie, author of Americanah,
We met Rafik Schami, the last
literary wanderer, and spoke
New discovery! The Turnip
Princess and other tales by

totomove
moveaavoice
voicethrough
throughtime,
time, on the danger of a single story. with him about oral traditions. Franz Xaver von Schnwerth.

and
andmake
makeititas
asimmortal
immortalasasthe
thegods.
gods.
Rafik
RafikSchami,
Schami,Damascus
DamascusNights
Nights

Stories matter.
Many stories matter.
Titling styles, small caps and
Chimamanda Ngozi Adichie
Titling styles,
different small caps
stylistic and
voices come
different
togetherstylistic voices come
in a book.
together in a book.
 12 narrative narrative 13

THE FREEDOM TO PUBLISH

An interview with Rafik Schami
by Luke Neima & Gabriela Schaaf I tell my stories live, to an audience.
These arent readings, but recitations.

R afik Schami is passionate about storytelling. His repertoire includes

pretty much everything other than traditional book readings. When
he gets on the stage generally in front of a large audience he speaks
narratiVe Do you mean the structure
of your work as a whole, or on the syn-
tactical level?
The oral tradition also keeps me in touch
with the Arabic way of telling stories.
Its like the patterns in a carpet the pat-
terns come one after another, its flat.
freely for what he calls story time. Born in Syria, Schami has been living rs Its not the skeleton, but the nerve In the European tradition, which focu-
in exile in Germany for more than 40 years. He has received numerous system thats affected, the capillaries ses on psychology, writers are creating
and the blood pulsing through them. sculptures. The Arabic tradition doesnt
literary prizes, including the Nelly Sachs Prize, which promotes under- The skeleton isnt whats interesting, focus on psychology. Its the adventures
standing between peoples, in 2006. its the skin, the nails, the texture of it. of a hero that explains how they feel
And that all comes from a melding of theres no inner monologue. That pat-
the Arabic culture, which emphasize the tern-technique is something I try to re-
narratiVe One of your novels is called The ability of literature to open eyes and oral tradition, with the German langua- produce my writing.
The Honest Liar does your experien- create possibilities for the future is its ge and the European tradition.
ce with different cultures affect your central function. It cannot be a political narratiVe Do you think translation
concern with the relativity of truth in programme, it cannot cause a revoluti- narratiVe How does the oral tradition affects your work differently, because
fiction? on that is what inexperienced authors affect your work? of your proximity to the oral tradition?
think. At the moment, a lot of my friends
rs The Honest Liar was written when are making the mistake of writing very rs Im very close to the oral tradition. rs Yes. The big problem for transla-
the wall came down and the Eastern quickly about the Arab Spring. They In Germany, I tell my stories live, to an tions is that they often take away that
Bloc collapsed. What used to be truth are preaching I thinks this prose will audience. These arent readings, but oral tradition. The result is prim and
became lies and what used to be lies turn out to be very flat. I have to take a recitations. Theyre so popular that they proper, but without the drive of the ori-
became truth heroes became villains step back, get some perspective, and in a make me independent of my publisher ginal. I cant influence how English or
and villains heroes. That made me aware couple years I might have an idea about after a hundred sessions, the whole Japanese readers read my works, but I
of the relativity of these concepts. what to write. book is there. can in Germany.
 Mdra Elunia? Trzej szczliwcy? Md
2: Language specific letters and
ra Magosia? Frrot et Surette? L'ill
diacritics let you tell your stories
in more than 196 languages, in
all styles and weights.
Hulduflk? lfar? skubuska, yrnirs
Fra og dri? Bjrnemanden? De tre
hndvrkssvende? Das tapfere Schnei
derlein? abi krl? Gsepigen ved brn
den? selfllet? Bkakirly s Vashenr
A fur
Heute back ich, morgen brau ich, bermorgen hol ich mir der Knigin ihr Kind
Ach, wie gut, dass niemand wei, dass ich Rumpelstilzchen hei. m hege
Hamupipke? Ht hs svbok? A hrom
iparoslegny? Az rdg meg az regany
A griffmadr? Cinderella? Ers Jank? J
e Maria? O caador habilidoso? O lobo e
sete crianas? Frau Holle? Os doze irm
Schneewittchen? Irmozinho e Irmzin
O gnio da garrafa? Die Schne und das
Biest? Rapunzel? O ano saltador ? Dorn
schen? Joo-Ourio? Rotkppchen? Os
artesos? Hans im Glck? Der Wolf und
 3: Change the script of your story,
but keep the tone of voice.

1 1 3 1 2 1 3+4

Sieben
Doppelgnger
2 2 2 1 3 1 4

Calligraphic references modulation, corners and terminals can Stylistic characteristics 1 calligraphic terminal 3 high contrast
be found across the scripts. Script specific features, such as serifs and of Riwaya Regular 2 corner of stroke movement 4 undulation
undulation, are introduced to create not similar shapes, but a similar
result for the reader.The relationship of the script proportions is based
on comfortable reading size, and matching colour on the page.

8 8 6 10 6+8 10 5 9

Eine Hand
voller Sterne
7 9 5 6+8 9 5 6+8

The informal style is based on casual and contemporary handwriting Stylistic characteristics 5 uninterrupted stroke 8 casual strokes
habits, rather than traditional calligraphy and offers a differentiating of Riwaya Informal 6 handwritten construction 9 soft in- and outstrokes
tone. Handwriting features such as uninterrupted strokes, softer letter 7 rounded shapes 10 slight slant
shapes and a slight slant connect the different scripts.




4: Recite Arabic poetry



with full vocalisation,
including ligatures

Al Mutanabbi





The heart knows better of its illness

5: Riwaya covers the Persian

character set across all styles,
with working ligatures and
vocalisation.

The Little Black Fish

to face death as I shall it doesnt The little black fish was happy to have
matter. What does matter is the influ- ... ... reached the sea and said, Id like to travel
. ence that my life or death will have on the ! around first, then Ill come join your
: lives of others... group. Id like to be with you the next
The little black fish wasnt able to pursue : . time you pull down the fishermans net.
. these thoughts. A heron dived down, . Youll get your wish soon, answered
! : swooped up the fish, and carried it off. ! one of the fish. Now go explore. But if
Caught in the herons long beak, the little : you swim to the surface, watch out for
fish kicked and waved but couldnt get ! the heron who isnt afraid of anyone
free. The heron had grabbed the fish's . these days. She doesnt stop bothering us
: . waist so tightly that its life was ebbing . till shes caught four or five fish a day.
. away. After all, how long can a little The black fish then left the group of sea
: fish stay alive out of water? If only . fish and began swimming. A little later
the heron would swallow me this very the fish came to the surface of the sea. A
. instant, thought the fish, then the . warm sun was shining. The little black
! : water and moisture inside her stomach fish enjoyed feeling the suns bright rays
would prevent my death at least for a few on its back. Calm and happy, the fish was
minutes. swimming on the surface of the sea and
The fish addressed the heron with this thinking, Death could come upon me
thought in mind. Why dont you swallow . very easily now. But as long as Im able
me alive? Im one of those fish whose to live, I shouldnt go out to meet death.
body becomes full of poison after death. . Of course, if someday I should be forced
 A LITERARY GUIDE
for the two thousand year old bestseller

shahraZD PUblishinG

The classic fables of Kalla wa Dimna
by Ibn al-Muqaffa
The colour of Latin and Arabic
The colour
text worksof individually
Latin and Arabic
as well
text
asworks individually as well
in combination.
as in combination.
 is a collection of Castilian tales
, Calileh va Demneh, in Persian
from 1251 translated by the order of Alfonso X while he was still a prince.
This is the most literary work associated with Alfonso X. Its narration co-
mes from the Eastern literature, as it translates the Arabic text Kalila :
wa-Dimna which is a translation by the Arabic Ibn al-Muqaffa to Arabic in
:
the 8th century. It originates from the Hindu Panchatantra (300 AD). In the
:
year 570 it was translated to Pahlavi and later to Syriac.
It is linked with the wisdom manuals of the princes education through :
the eastern method of questions and answers between the king and a phi-
losopher that leads to exemplary tales or exempla told by and featuring
animals: an ox, an lion and two jackals called Calila and Dimna, who tell
the majority of the tales.
This structure is used in Don Juan Manuels Tales of Count Lucanor.
The French fabulist Jean de La Fontaine acknowledged his indebtedness
to the work in the introduction to his Second Fables:


This is a second book of fables that I present to the public
I have to acknowledge that the greatest part is inspired
from Pilpay, an Indian Sage.

This story has arrived to us through two manuscripts named as A and B. In :
the last part of the first one (from the first third of the 15th century) it is
said that the book was translated from Arabic to Latin, later it was Roma- ...
nised by order of don Alfonso in 1261. .
However, as the Spanish version is very near the Arabic one, a trans-
lation to Latin can be discarded. The fact that Alfonso is called infante

(he was crowned in 1252) dates the composition to 1251, which would make

the book the first prose-fiction work written in the Iberian Peninsula. The
main structure of the work is the narrative frame (the conversation bet-
ween the king Dabshalem and the alguacil-philosopher Burduben). It has
three parts clearly differentiated: The introduction by Al-Muqaffa, an
apology of knowledge and its practice nature.

:
:
:






:

: :



: : :
: :
:



:

6: The script coverage of Riwaya also covers Cyrillic
with two styles: nest Latin within Cyrillic text,
story within story, just like dolls.

. . -, -
1888 . -
.
-
, . .
-

, :
, -
, .
, , -
, ,
, .
,
, , Renaissance 1975 -
- , , Scheherazade and Other
- , . Stories,
, -,
. , , .
, Konvergencie 1971
- Collegium Musicum.
, -
. (, ,
, )
. , - ,
, . , ,
- -, 2005 .
. : ?, -
-. . -
, .
. -
- Deep Purple . ( )
,
Prelude: Happiness/Im So Glad, ( ).
. 1968
Shades of Deep Purple. 2014 .
.
Riwaya Regular Latin Riwaya Regular Arabic

ABCDEFGHIJKLMNOPQRSTUVWXYZ
][
abcdefghijklmnopqrstuvwxyz
)(
Riwaya Regular Cyrillic Riwaya Regular Arabic numerals

Riwaya Regular complete character set

Riwaya Regular non-lining numerals

}{0123456789
Riwaya Regular complete character set
Riwaya Regular ligatures
ABCDEFG
HIJJKLMNO
PQQRSTUVW

XYZabcdefg
hijklmnopqr
stuvwxyz
^|&*\:,!#.?"';//_{}[]()-
0123456789 0123456789 0123456789 01234567890123456789
Riwaya Regular Smallcaps

ABCDEFGHI

JJKLMNOPQQR
STUVWXYZ

7: How many characters
?do you need for a story
!The more the merrier
Language specific substitutions

Romanian/
ar ar Moldovan

cella cella Catalan

All caps spacing

MRCHEN MRCHEN
Smallcaps

Erzhler
Titling case
Erzhler Warum hast du
Q J
Proportional lining figures
QJ
so kleine hrchen
0123456789
Tabular figures
0123456789
und uglein?
0123456789
Numerators/Denominators
0123456789
Und berbiss?
0123456789/0123456789 01234567890123456789
Superior figures

x0123456789 x0123456789
Fractions

1/2 3/4 5/1000 1/2 3/4 5/1000 Rckfrage des Bsen Wolfes an das Rotkppchen

8: Riwayas Open Type features

give you options such as titling case
versions of capital umlauts.
9: Open Type features such as raised teeth, Arabic punctuation
contextual alternates and a wide range of
ligatures fabricate a natural texture for Arabic text.
.! .!
Contextual alternates

Hijra date
Shifting dots
Raised teeth for

differentiation
Stylistic Sets

ss01: shorter alef with mark

above for tighter line spacing
ss02 (Regular): alternative

final heh and teh-Marbuta
ss02 & ss03 (Informal):

alternative medial heh
Persian numerals
Ali Baba and the shifting dots a sequel to the famous story

Standard ligatures for Arabic and Persian
(only one example per base structure depicted here)

Discretional ligature

 A B

Dankeschn
C D E

F G H I

J J K L
I would like to thank: Gerry Leonidas, Fiona Ross, Gerard Unger, ! :
Victor Gaultney, James Mosley, Michael Twyman. M N O

And all the visiting lecturers: Paul Barnes, Antonio Cavedoni,
P Q Q R
Ewan Clayton, Kalapi Gajjar-Bordawekar, Frank Griehammer,

Riccardo Olocco, Toshi Omagari, Michele Patan,
S T U
Rainer Erich Scheichelbauer, Loc Sander.

V W
For their advice and feedback on the Arabic and Cyrillic script:
Azza Alameddine, Mohamad Dakak, Borna Izadpanah,
Thomas Milo, Victoria Sarapina, Onur Yazcgil, Diyala Zada. X Y Z a

I am very fortunate to have shared this experience with my b c
classmates: Jawaher Alali, Shani Avni, Kostas Bartsokas,
Zenab Bastawala, Mohamad Dakak, Lisa Dres, d e
Pathum Egodawatta, Manuel von Gebhardi, Tanya George,
Gor Jihanian, Calvin Kwok, Matthias Pauwels, Robert Pratley. f g h i

Last but not least, I want to thank my family for their continuing j k l m
love and support.
n o

p q r s
The texts are either original or blended Images in this specimen are obtained
from the following sources: from the following sources: t u
The danger of a single story Die Erzhlungen aus Tausendundeiner Nacht
by Chimamanda Ngozi Adichie (www.ted.com) Queen Shand Bibi on horseback v w x y
Tausendundeine Nacht (gutenberg.spiegel.de) unknown, 1780; Rijksmuseum
The freedom to publish Kalla wa Dimna
an interview with Rafik Schami (review31.co.uk) Painted manuscript depicting animals z * \ : , !
Author Rafik Schami on German oddities unknown; Aga Khan Museum
and his love of Damascus (www.dw.com) The Battle Between the Owls and Crows
The Little Black Fish by Samad Behrangi Folio 167r of the Anvar-e Soheyli (Lights of Canopus) # . ? " ' ; / _ { } [ ]
(www.iranchamber.com) Iran, 1593; AKM289
by Al Mutanabbi (www.adab.com) Image courtesy of the Aga Khan Museum, Toronto.
Kalla wa Dimna (www.1001arabianights.com) Narrative
( ) -
Articles on Calileh va Demneh Misty Mountains
(wikipedia.com) Thomas Seidl, 2010 & | ~
Articles on and The Little Black Fish
(wikipedia.com) drawn by author
inspired by by Samad Behrangi
Shahrazd
Submitted in partial fulfillment of the La Sultane Bleue A costume sketch
requirements for the Master of Arts Lon Bakst, 1910
in Typeface Design, University of Reading, 2016
Designed by Katharina Seidl


 The End