Waleed Abodouh was born and raised in Saudi Arabia, but moved to Egypt for university, where he studied graphic design. That is where his journey as a lettering artist really began. The way he works with Arabic letters is never what you would expect — he plays with them, does whatever he wants, just lets his imagination take over. He shapes the letters, stretches them, or mixes them with illustrated elements like flowers and ornamental details. And every time, he creates something totally fresh.

He describes his work as a mix of energy and solitude. Why is that? And how did his creative path actually start? What projects is he most proud of? And who — or what — has influenced his unique style? Let’s find out.

— Waleed, you were born and raised in Saudi Arabia, then moved to Egypt for university. Could you start by telling me a bit about your family? Who are your parents, and are they involved in art at all?

— I grew up in a warm and loving home in Jeddah, known as the Bride of the Red Sea, in the Kingdom of Saudi Arabia. My parents were not involved in the arts — my late father worked in accounting and financial management, while my mother is a homemaker. However, creativity was always present in our household. My mother, in particular, had refined taste and a keen eye for detail, whether in home decoration or the smallest of projects. She often assisted me with my school art assignments.

At school, we would decorate our notebooks with artistic touches, and my mother would help me with that. She would sometimes laugh at my difficulty distinguishing colours, as I often mixed them up and called them by the wrong names. She also collaborated with me on school projects, such as drawing the solar system or creating the periodic table, always approaching these tasks with creativity and artistry.

— When did you first realise you wanted to be a designer and lettering artist? Do you have any childhood stories or experiences that hinted at your future path?

— To be honest, I was an active child who loved school activities and always made sure to participate. I used to help decorate the classroom, take part in school radio broadcasts, and design artistic awareness posters for various school events. Back then, I used Microsoft Word and PowerPoint to create my designs, as I hadn’t yet been introduced to Photoshop.

During primary school, I learned the basics of Arabic calligraphy as a core subject, studying scripts like Naskh and Thuluth. I enjoyed it. In middle school, I began exploring Photoshop and learning how to use it, marking the beginning of my journey into the world of design. I started designing most of the school’s announcements and posters under my teachers' supervision. I even entered several inter-school design competitions in Jeddah and won a number of awards.

My passion for drawing began in my second year of middle school when there was a mural project specifically for the third-year students. I was deeply inspired by their work and their ability to paint on large surfaces. Wanting to be part of that experience, I helped them prepare the paint and tools just to be near the process.

By the third year, I participated in a wider range of school projects, such as designing brochures and reports. I was genuinely passionate about these activities, perhaps because they provided a nice break from regular classes! (laughs)

In high school, I got into graffiti art, which is when my real connection with letters began. I started with English lettering, as it was more popular at the time, and created several pieces, some of which I even designed during class.

— When would you say your journey as a designer officially began?

— My early creative experiences in school motivated me to move to Egypt and enrol in the Faculty of Applied Arts. My passion for design began to grow and take clearer shape during this time. After three years of academic study and gaining a deeper understanding of the field, I found myself truly happy, despite the intense workload and demanding projects that often kept me up late while everyone else at home was asleep.

During my studies, I started creating imaginary projects and sharing them on social media. This allowed me to experiment, showcase my work, and introduce myself to the design community, as well as connect with others who shared similar interests. Over time, I became certain that I wanted to pursue a professional career in design. I also participated in several challenges and competitions during university, which played a significant role in sharpening my skills and building my experience.

— Do you remember your first client?

— My first client was actually a relative who owned a co-working space project called “ROKN.” It was one of the most enjoyable experiences for me because I was given complete creative freedom to come up with ideas and execute them in my own way. When I shared the project on social media, it received great feedback from fellow designers, and even one of my university professors shared it as well. Those were truly joyful moments.

— How would you describe your creative style? How can we recognise a piece as distinctly yours?

— Honestly, I can’t confidently say that I have fully developed a fixed personal style yet. I am still in a phase of experimentation and continuous learning, always eager to explore new approaches to composition and visual expression. However, what has begun to set my work apart is the way I treat letters, whether through shaping them or combining them with illustrated elements like flowers or ornamental details.

My work often embodies a sense of energy and playfulness, and I tend to use bold, diverse colours that reflect an emotional and expressive tone. People have started to recognise my designs by the energy they radiate and the way the letters feel emotionally charged and connected to fine visual details.

As for influences, I would say that the Egyptian designer Akram William has had a significant impact on me. I am a big admirer of his work — his bold, expressive design style constantly inspires me and teaches me a great deal.

— I truly believe that an artist's work and their personality are closely connected — that each artwork is like a portrait of its creator. Could you explain, in your own words, how your work reflects who you are?

— My work reflects my personality, which is a blend of energy and solitude. By nature, I am an active person who enjoys learning and experimenting. However, I also have a side that craves solitude, reflection, and deep focus. This duality is likely why I chose to start my career as a freelance designer after graduating, rather than immediately entering a full-time position. I wanted the opportunity to explore various fields and pursue what truly sparked my interest.

I experimented with different areas, such as digital animation and photography, which helped broaden my visual perspective. After a period of exploration and reflection, I realised that my true passion lies in Arabic calligraphy. It feels like the most authentic medium for expressing myself. In addition, I also enjoy working on visual identity design projects.

Another significant aspect of my personality is shaped by my love for animated shows like Family Guy and The Simpsons. These shows have greatly influenced my visual imagination and have affected my approach to humour and simplicity in design. I believe this influence is evident in my work, whether through playful details or in a style that seeks to balance seriousness with a sense of fun.

— Can you recall any turning points in your career? Perhaps a specific period, event, or person that significantly boosted your recognition?

— I consider my participation in the Hibrayer challenge in 2022 a real turning point in my journey. The challenge runs for thirty days and involves designing a new Arabic word every single day throughout the month of February. It was an intense and creatively rich experience, but more importantly, it was a valuable opportunity to explore my capabilities and commit to a daily project that allowed me to showcase my style to the world.

Through this challenge, my work started gaining significant visibility, especially on Instagram. I was surprised by the amount of engagement from people across different countries. I began noticing that some were following my posts closely, waiting for each day’s design and sharing it with others. In just thirty days, I managed to build a dedicated and enthusiastic following, which played a major role in establishing my name in the field of Arabic lettering at the start of my career.

— Are there any collaborations you are particularly proud of?

— Sure! One of the most notable was working with ASUS on the "Wow the World" campaign in Egypt. This was one of the first major commercial projects I participated in, and it taught me a great deal about collaborating with an international team and executing a visual concept with wide-reaching impact.

Another collaboration I highly value was with the agency Leo Burnett on the Safe Hajj Mat project during the COVID-19 pandemic. This experience was unique and meaningful, carrying a strong humanitarian dimension, and it stands out as one of the most fulfilling projects I have ever worked on.

— How has your lettering style evolved since you began? Could you compare one of your earliest works with something you have recently created?

— At first, my exploration of Arabic lettering was more like a series of experiments. I was trying to understand the shapes of the letters, experimenting with different tools and techniques, and focusing primarily on aesthetics without a solid grasp of the foundational rules or design principles. Each idea I liked felt like a separate experiment, with no clear direction or unified vision.

However, as time went on — especially after university and with consistent daily practice — I began to develop a deeper understanding of composition, visual balance, and design fundamentals. My style evolved gradually, and this growth is reflected in the quality of the work I create today.

I also participated in several key courses that significantly enhanced my skills, such as Wael Marcos's course on Domestika and a lettering course with Mahmoud Hassan and Abu Al-Hassan. These experiences greatly influenced my understanding of letter structure, how they connect, and how to achieve visual balance in Arabic type design.

There is a stark contrast between my early work and my more recent projects in terms of stylistic maturity, project diversity, and a much stronger awareness of composition and letterform. It has been a visible journey of growth over the years.

— I noticed you held a lecture titled "Basics of Arabic Lettering." What are some of the most common mistakes people make when they start exploring Arabic lettering?

— At the beginning of my journey, I focused more on the visual appeal of letterforms rather than their function or balance within a composition. Often, I broke the rules without fully understanding them. This is a common issue beginners face when diving into Arabic lettering — they tend to experiment before establishing a strong foundation.

It is important to note that Arabic script is fundamentally different from Latin script, a distinction many overlook. Each Arabic letter has a unique structure, specific connections, and a defined position within a word. Ignoring these rules can lead to compositions that appear weak or visually incoherent.

One of the most frequent mistakes involves the connections between letters. Sometimes these connections are awkward or broken, requiring careful adjustments to achieve a harmonious and natural look within the design.

That is why I always advise beginners to be patient and prioritise learning the fundamentals and rules first. Once they have built a solid foundation, they can confidently develop their own unique style, even if that eventually involves bending the rules, but with intention and clarity.

— Could you tell me about this sticker?

— This sticker is part of a personal project titled “Cairo Randoms.” The goal of this project is to document and illustrate everyday phrases and expressions commonly heard on the streets of Egypt, particularly those that are humorous or culturally significant.

The phrase featured on the sticker, “2allak fein?” which translates to “Did he tell you where?” is a popular expression in Egypt. It is often used when someone asks for directions to a place we don't know how to guide them to. In response, we might sarcastically say, “2allak fein?” as a playful way to dodge the question.

In the sticker design, I aimed to visually capture this sense of chaos. I illustrated a group of people pointing in different directions, with a car in the middle of the scene, suggesting that everything is moving without order. My goal was to reflect the essence of the phrase in a humorous yet realistic way. humorous yet realistic way.

— I also love your workspace. Could you describe what is there and why it is meaningful or useful to you?

— Thank you! That space was very meaningful to me because it genuinely reflected who I am. I have always loved the colour yellow, which is evident in the photo; it is a cheerful colour that sparks my creativity and helps me think more freely.

I used to hang many of my favourite works on the wall, and having that visual reminder provided constant motivation to keep creating, experimenting, and challenging myself. That room felt like my "joy corner," as most of my projects were born there.

Recently, however, I moved to a new and larger space. I needed a change to break out of my routine and open up a wider environment that would foster more creativity and fresh inspiration.

— Every designer and lettering artist has their own sources of inspiration. It is essential to continuously feed your visual imagination. How do you do this? Are there any particular lettering artists who inspire you?

— Inspiration is a fundamental part of my daily life, and I always strive to feed my visual imagination from diverse sources. Sometimes, I find inspiration in the simplest details — a vintage sign, handwriting on a wall, or even a scene from an old cartoon or drama series. These elements often feel visually rich and spontaneous, immediately capturing my attention.

During my early days, I drew significant artistic influence from Mohieddin El Labbad, Ibrahim Hamdi, and Akram William. Each artist has a distinct and powerful style that fascinated me, particularly the boldness and variety found in their compositions. Their work encouraged me to explore further and ultimately find my Style.

I also make it a point to regularly browse platforms like Pinterest and Behance, which provide a constant stream of fresh and inspiring content. These platforms help me stay connected with contemporary design trends and open new horizons for me, whether in layout, colour usage, or even in the formation and expression of ideas.