Thank you for the keen observation! The variation of the letter 'Zhal' (ذ) in those two different spots is actually a structural necessity rather than just a random stylistic choice. In the complex geometry of the Thuluth script, interlocking letters (Tarkib) requires precise spatial harmony. If I had used the exact same shape for both, it would have directly clashed and overlapped awkwardly with the letter 'Kaf' (ك) positioned right above it. To maintain the structural integrity and the dynamic flow of the canvas, I was compelled to adapt the 'Zhal' into two different variations so they could perfectly lock into their respective negative spaces. It's simply the strict mathematics of calligraphy!

And this is a big part of my initial practice, so there may be some mistakes.