Building on the work that began in Massira, they sought to harmonize Seria’s treatment of strokes with the conventional proportions and structures of Arabic characters. Right after his graduation he was invited to participate in the Khatt Foundation’s first Arabic type design research project, Typographic Matchmaking, which paired him with Martin Majoor to create an Arabic complement to Majoor’s Seria. The design was Zoghbi’s form of activism the project consolidated his belief that letterforms can express a clear message and that “letters can start a revolution or stem from it, speak out the suffering and struggle of a nation.” Massira marked the beginning of his journey (or massira in Arabic) into designing Arabic fonts that are visually expressive, exploring various techniques and tools of writing (pen, spray paint, brush, lipstick…) and creating unexpected font families. For his final project he designed the Massira font family based on the Ruqaa style used for informal writing on demonstration banners and petitions in Beirut at the time. Since there was no such course available in Lebanon, he enrolled in the Type & Media masters program at the Royal Academy of Art in the Hague (KABK), graduating in 2006. Zoghbi felt the need to further develop his type design skills professionally.
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