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. One type design received the TDC award for excellence in Typeface design, and for four of the Dutch type designers this project was the start of a continued work in Arabic type design and font production.
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.
Nov 8, – Download this new font only at Julius Csurgo Fonts. Typographic Matchmaking Poster by Jim Godfrey Design, LLC. “Jim Godfrey created the.
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. So adding a variety of new Arabic fonts, within the very limited typefaces available in the market today, seemed great.
It also focuses on developing Arabic Text fonts, which would work in small sizes.
The Typographic Matchmaking 01 project
How are typefaces designed? What is the process? Which characters are essential? What is the difference between roman, italic and cursive?
The final typefaces will be delivered soon, so stay tuned for the release of the book and the fonts in The Typographic Matchmaking in the.
There is a wonderful article on typography. Check it out. The type designer creates a main font family and then adds another font to compliment. I especially like the contrast between the heavy block serifs of the Ultra Italic with the curvilinear forms within the letters. What can you pair with Ultra Italic?
Most light weight san serifs and many serifs. A few months ago I finished designing a logo for an organization called Sardonyx. There are usually two ways to go when choosing […]. Note: This is the third entry in a three-part series about techniques for matching typefaces. In romance, this can often lead to what is commonly called analysis paralysis: you end up doing nothing.
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EF Stop Hand Lettering, Fonts, Typography, Design, Letterpresses, Handwriting, Wedding Typographic Matchmaking Poster by Jim Godfrey Design, LLC.
Implications – Typography, often used by advertisers as an engine for customer engagement, is now being incorporated into fashion. Consumers are embracing clothing and accessories adorned with fonts, typographic elements and bold statements, using their fashion-savvy as a way to speak out and express themselves. Free speech has never been more stylish. Fashion Marketing Hip Fashion. Jeremy Gutsche Keynote Speaker.
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.
Typographic Matchmaking Poster by Jim Godfrey Design, LLC. t w o // free fonts, a family post from the blog RyleeBlake, written by Rylee Blake Greening on.
Kufam is a Arabic-Latin bilingual typeface intended for contemporary information design such as signage and wayfinding systems. Kufam Arabic is inspired by 7th-century Kufi inscriptions. The dark, condensed shapes of this early Kufi script also served as an inspiration for Kufam’s Latin lowercase, as where the Latin capitals find their roots in lettering as frequently seen in signage and shop lettering in Amsterdam at the beginning of the twentieth century.
All these inspirations from sources in different periods in history of the Arabic and Latin world cumulate in a contemporary, legible and aesthetically rich design for use across different media. Kufam was conceived within the framework of The typographic matchmaking 2. Several design teams were given the task to design a new font family and simultaneously develop the Arabic and Latin character set.
It was the projects brief that he fonts would have to function within the Western Amsterdam and Eastern Dubai modern urban. These efforts resulated in an 5 weight family with an Arabic and Latin roman and italic characterset.
Fedra Arabic: The Typographic Matchmaking experience.
Words by Angela Riechers. What role might type play in working toward a better Western understanding of the Arabic-speaking world? After all, text carries culture embedded in the shapes of its letterforms and words. We turned to Dr. A specialist in bilingual typographic research and design, she holds degrees from Leiden University, Yale, and the Rhode Island School of Design.
If Arabic scripts were routinely included in type design programs, students would almost necessarily need to know something about Arabic culture before they could produce effective and aesthetically-pleasing type families.
Buy Typographic Matchmaking: Building Cultural Bridges with Typeface Design by Abifares, Huda Smitschuijzen online on at best prices.
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 Lutfia Rabbani Foundation granted two travel scholarships to the project for the period You can read the story of Jan de Bruin , one of the scholars.
The Lutfia Rabbani Foundation relies on the generosity and contributions from organisations and individuals. Khatt Foundation.
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Introducing Editor, a wedge-serif typeface for Editorial use. More info. HomeNews Browse through all the newly published Indian fonts in past 90 days.
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.