Designing for the Arab World: What We Learned in the Process
Designing a brand from scratch is never an easy task — especially when its final destination is a setting radically different from our own, both geographically and culturally.
This is a summary of the project and the challenges we faced in one of the international assignments we worked on at Poncho studio.
Project Context and Challenges
In 2022, we were commissioned to develop the naming, branding, and packaging design for a new brand of diapers and baby products, whose primary market was, initially, the United Arab Emirates and Saudi Arabia.
The project presented multiple challenges — not only from a design perspective but also in terms of language and culture. For example:
How do you create a brand that works across completely different alphabets, with opposite writing directions, and in a context where visual, social, and cultural references are so different?
How do you find a suitable name for a product in a region with its own commercial codes and cultural sensitivities?
How do you create a visual identity that is globally recognizable, using a language universal enough to adapt to different cultural contexts?
Research and Technical Aspects
Before making any design decisions, we conducted research from two key angles: cultural context and the technical aspects of the language.
The first part of the analysis focused on understanding the cultural particularities of Arab societies — the influence of Islam, the differences between countries (which are more liberal, which more conservative), and potential visual restrictions. We aimed to identify which types of imagery, symbols, or graphic styles might be considered inappropriate or carry different connotations than they would in Western contexts. The goal was to minimize any potential cultural clashes.
The second phase focused on the technical aspects of the Arabic language: How is it written? What are its distinctive features? How does it differ from the Latin alphabet? We also explored possible layout systems that would allow both languages to coexist on the same packaging or medium in a clear and harmonious way.
Key Features of the Arabic Alphabet
The Arabic alphabet consists of 28 consonants, and each letter can take up to four different forms depending on its position within a word: initial, medial, final, or isolated. This formal flexibility adds a unique level of complexity to typographic design.
In the example below, you can see how a specific character changes shape based on its position in the word.
It’s very important to correctly set the writing direction in Adobe Illustrator in order to design text in Arabic. This setting determines not only the direction of the text, but also how the characters are connected, ensuring that each individual letter takes on the correct form based on its position in the word.
In the following example, you can see a properly configured Arabic text box, where the writing flows from right to left and the glyphs of each character adapt accurately to their contextual forms.
At the same time, Arabic writing is bidirectional: numbers are written from left to right, while words are written from right to left. This characteristic directly impacts content organization and layout structure.
As mentioned earlier, the Arabic alphabet is composed of consonants, which means that the remaining sounds are indicated by diacritical marks.
Diacritical Marks
The Arabic diacritical marks, called harakat, are symbols placed above or below letters to indicate vowel sounds and their length. The system includes three components: the letter shape, the i‘jam (dots that differentiate letters), and the tashkil (marks that indicate vowels and intonation).
The use of these marks depends on the context. They are usually essential in religious or educational texts, while in more everyday applications they are often omitted. Some key examples are:
- tḥah
(ــَـ) A small diagonal line placed above a letter to create a short “a” sound. - Kasrah
(ــِـ) A small diagonal line placed below a letter to create a short “i” sound. - Dammah
(ــُـ) A small loop placed above a letter to create a short “u” sound. - Sukuun
(ــْـ) Indicates the absence of a vowel sound (no vowel to pronounce). - Shaddah
(شدّةّ) Placed above a letter and always accompanied by one of the vowel marks mentioned above; it indicates a doubled consonant.
These marks not only affect pronunciation but also meaning. Therefore, understanding their logic was key. In summary, diacritical marks in the Arabic language can be described as:
- Markers that emphasize the sound within a word.
- Signs that can help define the meaning of a word.
- Signs that can change the meaning of a word.
The tashkil is optional for representing the missing vowels and the length of consonants.
Typographic Anatomy
Unlike the Latin alphabet, Arabic does not have a fixed system of baseline, x-height, or ascenders and descenders. Its structure is more closely tied to calligraphic tradition than to modern typographic systems, so understanding its fundamentals was essential for making informed design decisions.
Kashida: Justification and Visual Flexibility
The kashida, also known as tatweel, is a visual device that allows letters to be extended in order to justify text without altering the spacing between words. This makes Arabic writing more flexible than Latin scripts, as it enables uniform alignment on both the left and right while maintaining the visual harmony of the text without sacrificing legibility.
It can be used for emphasis, readability, aesthetics, or justification. Historically, the kashida has also been used in the recitation of the Qur’an (Tajweed), and its use continues to carry cultural and aesthetic significance.
This technique can be useful in bilingual designs, as it allows adjusting the length of Arabic lines to better balance them with their Latin counterparts. However, it should be applied carefully, since some fonts or software may produce visually unbalanced results.
Layouts for Bilingual Design
From the beginning of the project, it was clear that much of the information needed to be presented simultaneously in English and Arabic. Therefore, different layout systems were explored to enable a smooth and organized reading experience.
Designer Rand Abdel Baki, in her article Bilingual Design Layout Systems: Cases from Beirut (2013), categorizes several types of bilingual layouts designed for the coexistence of Arabic with a Western language.
In the image, we see six bilingual layout systems: axial system, mirror system, bilateral system, complementary system, and random or multiple system.
In this project, we applied four of these systems:
Axial System: Places both languages on either side of a vertical axis. Arabic is positioned to the left of the axis, and English to the right. This arrangement creates a clear and harmonious separation.
Mirror System: Each layout functions as a mirror image, remaining separate from each other. This layout system is used in packaging design, road signage, brochures, and more. It consists of two parts with equal visual weight, each containing only one writing system exclusively.
Bilateral System: Both texts are centered along the same axis. This system is useful for signs, posters, and elements with brief text. In this project, we used this layout type for graphic information elements within the packaging.
Random or Multi-System: This is a combination of the previously mentioned layout types. It is perhaps the most flexible system because it allows different types of bilingual information layouts to be used simultaneously.
As we saw earlier, understanding the basic logic of Arabic writing and the arrangement of bilingual information was fundamental to successfully carrying out the project and making clear decisions throughout the process.
The Project
The project development began with the creation of a flowchart that helped define the scope of tasks and organize each stage. This framework was key to determining design timelines, development phases, and costs.
The process was structured into six stages:
Stage 1: Research and brainstorming
Stage 2: Naming development
Stage 3: Visual identity design
Stage 4: Graphic applications
Stage 5: Packaging and product design
Stage 6: Product manufacturing
Naming
The next step after the research was to define the brand name. The client wanted a name that evoked tenderness, without a specific meaning, but that referenced the world of early childhood. After brainstorming over 30 options, evaluating different types of names and concepts, we settled on “Kim & Kimmy”: a compound name, easy to remember, with a diminutive to evoke tenderness, and — most importantly — without problematic connotations for Arab culture, and with a phonetic Arabic translation relatively close to the English name.
Once the name was approved both linguistically and legally, a translator collaborated to validate the Arabic written version of the name, which allowed us to proceed with the logo design.
“Kim & Kimmy” doesn’t tell a complex story, but it aims to evoke an immediate emotion: closeness, sweetness, and familiarity. In multicultural contexts, that emotional connection can be more powerful than any literal meaning.
Designing a Logo in the Latin Alphabet and Its Arabic Equivalent
Designing a logo that works both in the Latin and Arabic alphabets involved avoiding what some authors call ICIS (Initials only, Caps only, Italics, and Serifs). In other words, avoiding logos made up solely of initials, all uppercase letters, italics, or serif fonts, since these features don’t have clear visual equivalents in Arabic.
Latin alphabet logos that best adapt visually to Arabic are those that combine uppercase and lowercase letters, use sans-serif typefaces, are not italicized, and have uniform strokes. For these reasons, we designed a logo based on a geometric sans-serif font with integrated Arabic glyphs: Madani Arabic, designed by Nur Syamsi of Namela Type. This choice allowed us to maintain visual consistency throughout the entire graphic system.
Graphic Identity
The graphic identity needed to be visually appealing and global, avoiding localisms or stereotypes associated with the product category. With these guidelines in mind, the brand was designed in both languages along with its applications according to the context of use.
In terms of color, a primary palette was defined for the identity and general communications, and a secondary palette applied to the products. This allowed color to serve as an identifying element for diaper models and sizes, making them easier to recognize on the shelf. Patterns were also designed and used as a central graphic element on the packaging and products.
For the packs, beyond the general graphics, essential user information was designed, including ingredients, features, precautions, and usage instructions.
The system was completed with the design of distribution boxes and other complementary pieces within the brand’s visual ecosystem.
Product Design
One of the key aspects of the project was the development of the packaging system. We designed six presentations, one for each size, taking into account the manufacturer’s specifications: each package had to contain a different number of units and fit various age ranges, which involved size variations.
To make size identification easier and help the product stand out on shelves against competitors, each presentation was assigned a specific color within the secondary palette. As a unifying visual element, all packs share the same graphic pattern and a consistent layout, adapted to the size of each package.
Additionally, sample packs were designed for promotional activities, along with a graphic system for the wet wipes packaging.
Product Manufacturing
The final stage of the project was the industrial production of the products in China. For this, the final print files were prepared according to the factory’s technical specifications, taking into account materials, ink types, and printing methods.
To ensure accurate color reproduction, the Pantone system was used as the standard reference. One of the main challenges was coordinating approvals remotely: photos and updates were received directly from the production line to validate colors, requiring real-time responses despite a 12-hour time difference. This quality control process extended over several days.
Currently, the products’ main markets are the United Arab Emirates and Saudi Arabia, with a presence also in Uzbekistan, Russia, Romania, India, the United Kingdom, South Africa, the United States, and Italy.
This project, which lasted approximately seven months, was one of the most challenging and rewarding we’ve had the opportunity to undertake. It pushed us beyond the familiar, encouraging us to research, question our own frames of reference, and work with respect for another language and a different worldview. From creating a name that worked in both languages to adjusting colors in real time from the other side of the planet, each stage involved learning something new, solving problems, and preserving the essence of a brand designed to connect with people — no matter where they are.
Kim & Kimmy is not just the result of a design process; it is also an experience of growth, intercultural dialogue, and teamwork.
Complete project available at:
This article was originally published on https://carbonetipografia.ar/blog/
Books and Digital Publications:
Al Radaideh, E. The Arabic Designer’s Handbook. 2020. https://issuu.com/schoolofartanddesign/docs/thearabicdesignershandbook. Accessed 10/02/2022.
Abdel Baki, Randa. “Bilingual Design Layout System: Cases from Beirut.” Visible Language, vol. 47, no. 1, 2013. https://journals.uc.edu/index.php/vl/issue/view/452/84. Accessed 10/02/2022.
Boutros, M. Arabic for Designers. Mark Batty; Enfield: Publishers Group Worldwide, 2006.
Shihabeldin, L. Building a Contemporary Arab Brand. Landor Associates, 2014. https://issuu.com/jasimelixir/docs/lshihabeldin_arab_10feb2014. Accessed 11/02/2022.
Articles and Interviews:
Kanaan, Maya. “Adapting Latin Logos into Arabic: Interview with Mamoun Sakkal.” American University of Culture and Education, Beirut, Lebanon, 2006. https://www.researchgate.net/publication/334440730_Adapting_Latin_Logos_into_Arabic_Interview_with_Mamoun_Sakkal. Accessed 15/02/2022.
Sakkal, M. “Examples of Justification in Arabic Typefaces.” Sakkal Design, 2017. https://www.sakkal.com/. Accessed 15/02/2022.
