Enter your mobile number or email address below and we’ll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer – no Kindle device required. To get the free app, enter your mobile phone number. Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? This book is the result of the Arabic Type Design Project, and includes ten fonts. Read more Read less. The Learning Store. Shop books, stationery, devices and other learning essentials. Click here to access the store.
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‘Typographic Matchmaking in the City’ is a documentary about an urban typographic research project investigating new approaches for bilingual lettering and.
Preview of Fedra Arabic and its common characteristic with its Latin counterpart. Last year, I have been involved in the Typographic Matchmaking project initiated by the Khtt foundation. The idea behind the project was innovative and aimed at developing new modern Arabic typefaces that respond to the market need, that work in harmony with Latin typography, and that solves many of the current stylistic problematic issues with many of the current available arabic typefaces around.
As a designer primarily involved in my design studio- Tarek Atrissi Design www. Graphic language, I was interested in being part of this process. Sample usage of Fedra Arabic applied on signage Design. The intriguing common point between us both as designers, is the fact that we are both foreign designer that have established ourself in the Netherlands- which added another layer to the multi-cultural aspect of the project. I learned the most from collaborating with Peter, and following closely how he approached this project, on all levels conceptual, design and technical aspects.
Character set Fedra Arabic Regular and Bold. The project seemed from the start very interesting: It targets on many levels some of the main issues and problems of Arabic Type Today. On one hand, it promises with a result a set of new arabic typefaces, which would be due to the collaborative nature of the project different that what is available.
The Khatt Foundation has initiated several projects over the last 10 years aimed at addressing the bilingual and dual-script needs of contemporary design in the Arab world. Their current project, Typographic Matchmaking in the Maghreb, works on creating four tri-script font families that bring the script traditions of Arabic, Tifinagh and Latin together. These three script traditions represent the Arab, Berber and European culture and the Typographic Matchmaking project nurtures this cultural dialogue through design research and collaboration.
The Typographic Matchmaking in the Maghreb project explores the diversity of the Maghreb culture and at the same time works to find common grounds between the Arab, Berber and European cultures. The project is an unique and creative initiative that improves the dialogue and understanding between the European and Arab world.
The Typographic Matchmaking in the City project is a design research project investigating new approaches for bilingual lettering and poetic narrative for public.
Now we are looking at pairing typefaces — definitely a difficult task that requires a balance of knowledge, eye experience, and boldness. One of the most common questions we have encountered over the past fifteen years as professional type designers is about combining typefaces. How can you successfully pair fonts? What general guidelines can be applied to find the right match? What are the pitfalls? Starting is often the hardest part. The first useful steps toward a happy typographic match are to define clear goals, to analyse the content being designed, and to understand its structure, function, and audience.
Appropriate font selection read our article here also plays an important role in this initial process. This sets the stage by choosing the right fonts for the content in question. Our subconscious mind will feel something very different from what was intended because these intangible associations we have with lettershapes are conditioned by our common visual heritage.
Enter your mobile number or email address below and we’ll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer – no Kindle device required. This book is the result of the Arabic Type Design Project, and includes ten fonts. Read more Read less.
– Buy Typographic Matchmaking: Building Cultural Bridges with Typeface Design book online at best prices in India on Read Typographic.
My first discoveries One of the first impressions I got of the Typographic Matchmaking, was an image of a huge three-dimensional shape with letters that I did not manage to read. The shape proved to be a mixture of both Latin and Arabic words, translating each other and forming a common text. As a matter of fact, it was a construction of the type font StoryLine, and one of the outcomes of the Typographic Matchmaking 2.
The project The first initiative to the Typographic Matchmaking took place in , the second in There is a lot to say about the project. The Typographic Matchmaking 1. The Typographic Matchmaking 2. Here, the focus is to bring the marriage between Arabic and Latin writing cultures to the three-dimensional city. Each team also deals with a different subject. It is inspiring to me that they immediately move away from the original classical type and experiment with both language types, starting from scratch.
Backgrounds I find it interesting to mention, that one of the reasons argued for the Typographic Matchmaking is, that because of the poor matches between the Arabic and Latin fonts, most bilingual design projects in the Middle East start in English before getting translated. Too often, the street sign you meet in the Middle East are written in a way that forces the Arabic language to adjust to the Latin language.
Typographic Matchmaking: Building cultural bridges with typeface design
Building Cultural Bridges with Typeface Design Typographic Matchmaking presents the first government-funded design research project that aimed to support cultural integration within society though design collaboration. This intercultural project brought together five teams of Arab and Dutch type designers to create a fully integrated Arabic extension to five existing and established Latin font families.
The five projects discussed in this book pose questions about the aesthetic and technical issues concerning the creation of Arabic fonts as companions to Latin ones, and thus still addresses contemporary and global communication needs. The resulting five Arabic typefaces were widely used throughout the Arab world, charting a new trend in Arabic type design. Eventually, all these fonts were further developed and became part of the collection of established font foundries.
Another font combinations from history, images, is catey hill, utah by the typographic matchmaking: khattfoundation esavmarrakech mb6 avec huda.
This book is the result of the Arabic Type Design Project, and includes ten fonts. She holds degrees in graphic design from Yale University School of Art and Rhode Island School of Design, and specializes in bilingual typographic research and design. She is currently pursuing a PhD at Leiden University while working between Europe and the Middle East as a typography and design consultant. Convert currency. Add to Basket. Condition: Good.
Satisfaction Guaranteed! Book is in Used-Good condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain limited notes and highlighting.
huda smitshuijzen abifarès: interview / typographic matchmaking in the city
As the world moves forward towards a more international design society, the need for fonts that can support multi-scripts becomes imperative. Technology is now capable of supporting many scripts on one and the same device, and across a range of computer platforms. However, the design of such large and international font families is still in its infancy.
This book goes beyond presenting this unique intercultural project, to demystify the design process behind creating Arabic digital fonts. The five projects discussed in this book, pose questions around the aesthetic and technical issues of creating Arabic fonts as companions to Latin ones, thus addressing modern communication needs in the Arab world. This book serves as both a concise guide and a source of inspiration for modern Arabic type designs.
Latin counterpart. Last year, I have been involved in the Typographic Matchmaking project initiated by the Khtt foundation. The idea behind the project was.
The Typographic Matchmaking projects were initiated by the Khatt Foundation as a means to bring about cultural dialogue through collaborative design projects. The goal was to investigate alternatives to the Arabic fonts available on the market and to propose through specific themes new design solutions. The projects have proven to be highly inspirational for the participating designers; they brought together designers from different cultural and professional backgrounds to intensely collaborate on creating coherent products with groundbreaking results.
These projects show the important role that design can play in initiating cultural change, assimilation and integration—by simply using our daily basic communication mode: the written word. Typographic Matchmaking v1. The research explored the bilingual and dual-script needs of contemporary design in the Arab world and Middle East for publications and new-media. The aim was to create good Arabic fonts that would set a benchmark for future developments in the field.
Five renowned Dutch designers were invited, each matched with an Arab designer. Five new Arabic fonts in two weights were designed and developed, and the process was documented in the book Typographic Matchmaking BIS Publishers, Amsterdam, Typographic Matchmaking in the City Building on the successes of the first project, Typographic Matchmaking in the City set out to design both the Arabic and Latin alphabets simultaneously.
The film, directed by Jan de Bruin, was shot on several locations in Amsterdam, Dubai, Sharjah, Pingjum Friesland , and Doha, following the design teams while they traveled, worked together, and presented their work.
Typographic Matchmaking in the City
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FPO For Print Only , is a division of UnderConsideration , celebrating the reality that print is not dead by showcasing the most compelling printed projects. FPO uses Fonts. Contact us by e-mail. UnderConsideration is a graphic design firm generating its own projects, initiatives, and content while taking on limited client work. Flaunt: Designing effective, compelling and memorable portfolios of creative work. Varnishes — Binding — Typography Too many to list about Philip Attar Business Cards.
The foundation started with the goal of “modernising the image of Arabic design by making it contemporary and innovative, particularly in the field of bilingual typography,” referring to typography that works with both Arabic and Latin scripts together. One of the initiatives to this end is “Typographic Matchmaking“, which pairs designers of different backgrounds together. Its other activities include coordinating and sponsoring projects, organizing conferences and forums, and publishing books and content on Arabic typography and design.
Khatt Books is an independent publishing house that was established in From Wikipedia, the free encyclopedia.
Tmmc at de bruin and jobs worldwide. Author of the city project typographic style. Typographic matchmaking in type and book offers a highly illustrated account.
Make social videos in an instant: use custom templates to tell the right story for your business. The film documents the working process of the project, yet also contextualizes the cultural histories and realities of the North African identity and social fabric. Film maker and video artist Jan de Bruin is well-known for his minute observing eye, wherein he can distill meaning in the tiniest or most mundane details.
This audiovisual production investigates how lettering features in specific environments and its importance as a primary cultural identifier. The history of the various scripts investigated and their interactions through the ages, their visual qualities and characteristics will be examined through the ways in which the various designers work within these writing and design traditions.
The film will cover how do the designers move in and outside these different geographical, sociopolitical, design and writing spaces. Through interviews and testimonials the goals of the project and the motivation of the designers is made clear and the cultural implications of the fonts produced is explained. The film is becomes a meta-text on how the filmic medium is equipped or not to capture the media of writing and type design.
How can the disciplines of the cinematic and the typographic written enforce each other within a filmic scenario, and produce an added value to design practice and education.