Graphic Design, Typography & Identity                    
Project Overview

Fatih is a graphic designer and creative, based in Singapore who is deeply passionate in the realm of typographic systems and graphic design, and draws his inspirations from language, history, culture, religion, and literature. The majority of his works are based on ideas of the past, recontextualised for the modern setting. Fatih holds a belief that everything around him can spark inspiration if pondered deeply enough, yet recognises that sometimes, the most profound ideas strike when he least expects them. This balance of active thinking and spontaneous inspiration fuels his creative process.


Typography & Lettering
Print & Editorial
Branding & Identity
2D Motion Graphics
User Interface Design


Design Intern
qu’est-ce que c’est design

Graphic Designer
qu’est-ce que c’est design

Graphics and UI/UX Designer

Social Media Designer
Mosque Madrasah Wakaf Shared Services

Freelance Graphic Designer


Diploma in Communication Design, with Merit

Temasek Polytechnic Director’s List 2018-2019

The Crowbar Awards 2019
‘Resurgence of Theos’
1 Silver, 4 Bronze

Singapore Packaging Star Awards
‘Flava Premium Nuts’
Student Sales and Display Category

Feature of Nura Typeface in Men’s Folio November Issue 21


GCE ‘O’ Level Certificate
Pasir Ris Crest Secondary School

Diploma in Communication Design
Temasek Polytechnic

Exchange Programme
School Art & Design
UNSW Sydney

BA(Hons) Design Communication
LASALLE College of the Arts

2024 © Fatih Rosli
  • Kau Faham Bahasa Tak?

  • 2024 

  • Typography Explorative

Navigate to Contexualisation:

Cultural Context: Pengekalan Budaya
Linguistic Context: Kau Faham Bahasa Tak?
  • Kau Faham Bahasa Tak? (Do You Even Get It?) is an explorative project that looks to reframe the neglected script of Jawi and how it can be a huge communicative tool in Malay graphic design. This was inspired by the dynamic and robust typographic stylings of the Jawi-scripted Malay entertainment magazines in the 20th century. By upholding and referring to established Arabic calligraphic styles, the project explores contemporary allographs of letterform variants, showcasing the flexible possibilities and the versatility of Jawi in typography. This was created to hold a space for Jawi to exist and thrive in contemporary typography, thus safeguarding not only the script itself but also the Malay language. Embracing a maximalist approach, these works look towards decolonizing typography by challenging Eurocentric norms and fostering a space for diverse typographic expressions.

  • This project naturally evolves through different stages, each representing distinct facets of my learning experience. Initially, my goal was to highlight Jawi’s potential and create a space for its integration into modern graphic design. However, I’ve come to realize that amidst the iterative processes, my journey has been primarily about learning and immersing myself in the script. While my intention was to showcase the script’s beauty, it ultimately became a profound learning process for me as well.

Learning (STAGE ONE)

  • This stage includes a compilation of explorations where I embarked on to acquaint myself with the Jawi script, delving into various methods of writing and comprehending Jawi letterforms, while also noting its distinctions from the Latin alphabet. These explorations include experimenting with writing with different mediums. Refer to my process journal to know more about each exploration in detail.

Interpretation (STAGE TWO)

Upon grasping the nuances of Jawi letterforms and exploring their diverse representations, I created sketches encompassing all Jawi letterforms. These sketches draw inspiration from established Arabic styles as well as my personal interpretation and understanding, showcasing the various ways in which the letterforms can be rendered. These letterforms were designed using a system I developed to ensure each letter is distinct yet harmonizes perfectly when combined.

“Latin type conventionally sits on a baseline, with five main vertical levels of reference: baseline, x-height, ascender, descender, and caps-height. By contrast, Arabic type is less constrained, with more invisible typographic levels at the designer’s disposal. There is no one set of typographic levels in Arabic type anatomy as there is in Latin type anatomy. Designers decide on the number of levels needed for the type they are designing, and according to the calligraphic style that the typeface is based on.”

Arabic Anatomy: From Earth to Sky
Written By Pascal Zoghbi

Kashidas (STAGE 2)

Tatweel, also known as Kashida (means stretched/lengthened) is used for various reasons in Arabic calligraphy, such as an emphasis of a certain text or an embellishment of a chapter of a book. In Arabic typography, the elongation of Tatweel is used for justification of the Arabic text. I utilized the technique of Tatweel to experiment with the letterforms in a 3D space, using duct tape. This approach allows Jawi letterforms to make an impression not only as a concept but a physical tangible form embedded in space. These phrases in Malay placed on these physical planes are a form of reminder and hope for a revival of a dying script.

Contexualisation (STAGE 3)

  • Following the development of letterforms, I delved into two primary methods of contextualizing these letterforms, illuminating the intimate connection between Jawi letterforms, the Malay language, and the essence of Malay identity. Click on the following links to direct you to the specific extensions of this project.

Cultural Context
Pengekalan Budaya

Linguistic Context
Kau Faham Bahasa Tak?