Pashto desktop publishing and typesetting services

Adelphi specialises in Pashto desktop publishing (DTP) and translation.
As Pashto script flows from right-to-left, the document’s layout will need to be flipped so that the pagination is in order and the text reads correctly.

Pashto desktop publishing service

Adelphi has its own in-house desktop publishing studio providing Pashto desktop publishing (DTP). All our Pashto desktop publishing is handled in-house and carried out by our own experienced typesetters. Adelphi Translations has been producing Pashto desktop publishing for over 20 years. We produce all kinds of Pashto desktop publishing materials including corporate brochures, packaging, business cards, posters and manuals, not just in Pashto but also in over 100 other languages.

Adelphi offers a complete Pashto desktop publishing and typesetting localisation service to its customers.

Language information:

The Pashto alphabet is derived from the Arabic alphabet and there are 45 letters in total with 4 diacritic marks.


We work for companies and organisations such as Disney, Vidal Sassoon, and Jaguar Land Rover, to list a few. Plus international aid agencies such as Amnesty International, Refugee Action, UNICEF and the Refugee Council as well as many translation agencies and publishing companies all over the world.

Our Pashto DTP and typesetting services include:

  • Pashto Document Translations
  • Pashto Proofreading
  • Pashto Desktop publishing and typesetting using all major publishing software
  • Desktop publishing into over 100 languages
  • DTP QA quality assurance checking of documents
  • Localisation of graphics in documents
  • Dedicated project manager
  • Fast turnaround
  • Print ready PDFs set to your specifications
  • 100% work carried out in-house by our own DTP studio

Desktop publishing tips for designing materials in English that will be translated into other languages

In some designs the pages are simply filled with text, leaving no room for text expansion. Most languages (with some notable exceptions) run longer than English and some of them run much longer. This causes the localised versions to have to make some sort of compromise: either text becomes smaller or a condensed font is used, or some material is completely cut out for brevity. Neither scenario is ideal, so it is much better to consider this aspect of the task at the design stage.

Overuse of text formatting features like coloured text, bold text and italic text etc. can slow down the localisation process, as the formatting needs to be applied to the precise word or phrase in translation that is equivalent to the English. Sometimes, this does not work at all if the target language has a dramatically different word order.

Embedded, non-editable text in images require extra attention and can slow things down dramatically, especially when over the main part of the image. Where possible, the text should be made available for editing in InDesign. If not, we will require all of the PSD files to work with.

Avoid designing paragraphs or “word clouds” with mixed font sizes that look good in English but have no chance of being replicated in the target language: quite often they do not have the same impact when localised and can often be “lost in translation”. Furthermore, due to word order difference, keywords in English at the beginning of a sentence might end up in the middle or at the end of the sentence when translated.

One of the most frequent issues we encounter is the incorrect and inconsistent usage of style sheets, in particular where one style has been used but in some instances, bold text, italics or even different fonts have been changed manually. This can cause the most significant delays of all and is the biggest source of small typos we encounter during internal QA.

Sending the artwork to be typeset BEFORE it is signed off by the client is never a good idea, and neither are new design changes after we have already started the work. We can do nothing in situations like these where significant changes are requested mid-project but start again and present new figures for the work, delaying work and incurring further costs for the client.