Why are kasras flater in Hyderabad than in Būlāq?

In 1938 the 1342 Giza muṣḥaf was reset in Hyderabad:
the same text in lines as long as in Būlāq but slightly higher
although kasras and kasratain are not as steep as in the original.

While in Giza kasras are integrated into the descender of the main (letter) line,
in Hyderabad they are ‒ like the pause-sign-top-line, the Ḍamma-Fatḥa-Šadda-Ǧazm-line ‒
in a line of their own below the letters.
This is normal in type set/type printed maṣāḥif

It would be possible to inte­grate kasras into the letter line, see these words in the 1299 Būlāq print, but it is not worth it for signs as common as kasras and kas­ra­tain
So, what was done in Giza is getting rough proofs of the set text from Būlāq, and cutting the kasra line (either all of the line or the piece bet­ween two des­cen­ders) and paste it higher;
sometime a single kasra gets pasted into the tail of ح ع or kasra­tain descends below the descen­der line.

All of this was too com­pli­cated for the makers of the Hyder­abad muṣḥaf, so in order to get 12 lines into al­most the same size frame as in Giza, they had to make kasras and kas­ratain smaller, not short­er but flater ‒ and al­though there was enough place for a "steep" fatḥa in the ḍamma-line, they adapted the fatḥa to the same angle.

For those still unconvinced
let me repeat the facts:
Offset had only been used for maps, posters, postcards.
All over Cairo, no book publisher had offset equipment.
The 1343 muṣḥaf was the first offset printed book in Egypt.
So, the Amiriyya had to transport the material over the Nile forth and back again;
and they had to pay the Survey of Egypt for their services.
Why would they do that when they did not do something they could hardly do the traditional way?











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