Interview with Hala Al Afsaa – Fight For Kindness 2024 Guest
- TypeCampus
- 3 giorni fa
- Tempo di lettura: 7 min
Hala Al Afsaa is a Syrian multidisciplinary designer who transitioned from an architecture degree to a career in visual communication and graphic design, earning her master’s degree from Sunway Universityin Malaysia. She has a deep interest in Arabic typography, illustration, and exploratory research projects that delve into the collective elements that make us human. Hala is also one of the co-founders of the Syrian Design Archive, a non-profit documentary project dedicated to archiving Arabic typography and graphic design in Syria.
Can you share a bit about your journey into graphic design and the role of typography in your work?
As a self-taught designer, I’ve always enjoyed experimenting with shapes and forms. My journey began with branding and visual identities, and I naturally gravitated toward creating for social organisations and NGOs. For me, this gave design greater value and made it more rewarding — it felt like being part of something bigger. Working with international clients has often meant designing in a universal language, which in today’s world is predominantly English. However, when I travelled to Malaysia to pursue my master’s in visual communications and media, I was exposed to a variety of linguistic backgrounds, such as Chinese, Tamil, and Javanese. This experience made me revisit my own language and approach Arabic script from a fresh perspective. It allowed me to dissect the elements, patterns, and forms that define the aesthetics of Arabic design. As one of the three co-founders of the Syrian Design Archive, our daily archival practices have significantly contributed to my journey in learning Arabic lettering.
It’s fascinating to explore historical printing methods and design outcomes that were created using limited yet innovative techniques that despite being from the past, remain relevant and trendy today. The process of recreating typographic aesthetics using modern technology is always an exciting and enjoyable journey of practice and discovery. It’s a blend of learning from the past and innovating for the present.
"Syria lacked proper documentation of its graphic design history. Designers were often taught to admire and emulate Western work and visuals, without recognising or acknowledging the contributions of Syrian designers — their work, journeys, and impact on the graphic design world. This realisation led to the creation of the Syrian Design Archive when Kinda invited Sally and me to collaborate on establishing a robust digital archive."
What inspired you to co-found the Syrian Design Archive together with Kinda Ghannoum and Sally Alassafen, and how do you see it shaping global recognition of Syrian design? Could you share examples of unique artifacts that showcase its rich heritage?
What motivated us to start was the wave of online archives that began appearing, which inspired Kinda to centre her MA thesis around the topic. She identified a significant gap in existing archives — Syria lacked proper documentation of its graphic design history. Designers were often taught to admire and emulate Western work and visuals, without recognising or acknowledging the contributions of Syrian designers — their work, journeys, and impact on the graphic design world. This realisation led to the creation of the Syrian Design Archive when Kinda invited Sally and me to collaborate on establishing a robust digital archive. Our goal was to preserve credits, highlight these designers, and share their visual legacy. Many Syrian designers featured in our archive have gained both local and international recognition. They have worked with global clients, organised exhibitions abroad, and pursued studies in various countries. Some have relocated and built careers in diverse international settings. While the works of several Syrian designers are acknowledged to some extent worldwide, our objective is to comprehensively document and credit all the designers we can identify.
This archival endeavour felt urgent given the impact of the war and conflict in Syria since 2011, which has endangered much of this cultural data. Amid widespread destruction, many materials have become scarce or lost. By archiving these works, we aim to preserve this unique legacy, ensuring that future generations of designers, educators, and researchers can access, appreciate, and feel represented by it.
Personally, I am particularly captivated by the posters and stop screens created by Abdulkader Arnaout. His work incorporates a rich variety of design methods, patterns, lettering, illustrations, and characters. The vibrant colours and abstraction in his designs are truly remarkable. The techniques he employs throughout his work are remarkable, with strong and well-balanced symbolism that allows his designs to be internationally recognised and understood as a universal visual language.
What has been the most rewarding project you've worked on so far, and why is that so?
It would be the Syrian design archive's first zine publication, we collaborated with Waraq a publishing organizationin Bierut, Lebanon, to create the first zine centered around our archival practices in Syria, daily struggles, limitations, accomplishments, and interesting encounters. It was an opportunity to evoke critical thinking, embrace our experience and try and evoke conversations throughout texts that were revised and curated by Hussien Nakhaland later designed by Kawakeb studio.
In this publication, we talked several times about situations and experiences that led us to be more empathetic and kind to others, put ourselves in their shoes, and at the same time question the ethics and integrity behind the business of archiving typography and knowledge itself.
This project will always be special to me because it was very uncomfortable initially. After all, in this project I had to share my visual database and tell a story through text that described the context of an existing visual in the world, instead of designing which is the exact opposite (visualizing a story/ experience), and that too drove me to develop a new appreciation for writers, storytellers and realize how things fall in place, and out of place giving us a new perspective when collaborations are done.
"If you are going through a particular experience, you are not alone. Try to visualise it and put it out there — you’d be surprised by how many people would appreciate it, relate to it, and share their own experiences as well."
How do you use typography to evoke emotions and convey the essence of a brand or a message?
Typography is like play dough — fluid and versatile to work with, yet it comes with limitations that can be challenging. At its core, typography is a visual form that conveys a statement, message, or opinion. As such, the design process should depend heavily on the intended feeling or experience, the target audience, and the seriousness of the message. In my work, I use both Arabic and English type.
Focusing more on Arabic script, I aim to match the energy of the client or brand in my lettering, especially for commissioned projects. Arabic script offers a variety of styles to explore. I either base my design on a specific script and develop it into my unique style or take a more experimental approach, first determining factors like fluidity, rigidity, contrast, style, and mediums — all of which influence the final outcome. I always ensure that my exploration is rooted in thorough research about the client or brand to keep my work aligned with their identity. While exploration often sparks creativity, it can sometimes carry me away, so revisiting the brand’s essence is an essential part of my process.
How do you stay inspired and keep your work fresh and innovative?
I keep a database for fun, where I collect pictures of things I come across daily or weekly that inspire me. These might be works by other designers, old archives, signage, an Instagram account, or even something as simple as a blob of paint on a wall around the corner. I organise them into categories based on how they are represented — random forms, fun packaging, colour combinations, and so on.
This database becomes incredibly useful when I feel stuck or need offline inspiration. It keeps my creative process unique, as it stems from my personal walks, daily observations, and preferences.
What advice would you give to aspiring designers who want to incorporate empathy and kindness into their work and career?
I would say that if you are going through a particular experience, you are not alone. Try to visualise it and put it out there — you’d be surprised by how many people would appreciate it, relate to it, and share their own experiences as well.
I think the best advice is to always remind ourselves that to truly stand out as individuals, it’s important to embrace being human first.
How do you envision the role of empathy and kindness in the future of the design industry?
I believe design, at its core, is a kind, non-violent, and empathetic tool of expression. It allows us to engage with the minds and inner worlds of designers and artists, where these visuals are created. Design enables us to reflect shared similarities and embrace differences, celebrating the contrasts in styles, mediums, and methods.
By fostering connections, design has the power to create communities around shared causes or personal experiences. I believe this is why people are drawn to and follow brands, artists, and designers who elevate their work to convey a meaningful message.
This interview is part of the Now More Than Ever 2024 Fight for Kindness Annual book
Download the e-version of the book for completely free and sign-up for the newly launched Typecampus Newsletter!
Get the printed version, published and distributed by The Printing Office, an imprint of Lazy Dog Press.
The extended deadline for the Fight For Kindness 2025 Call for entries is this Sunday!
Fight For Kindness is a global initiative that promotes the extended values of kindness through typographic posters. To participate, designers are invited to submit artwork by June 15, 2025 that contains an inspirational headline/message for a more empathic, inclusive and positive world.
Let’s start changing this world together by doing our small part and promoting the values of kindness, respect, community and humanity together.
To participate and get more information
A project by Typecampus / Sponsored by Zetafonts
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