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Fedra Arabic: The Typographic Matchmaking experience.
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.
Typographic Matchmaking book. Read reviews from world’s largest community for readers. This book is the result of the Arabic Type Design Project, and inc.
Courses and seminars. Typographic Matchmaking in the Maghrib 3. Check schedules of public events. For the occasion, the Foundation, with headquarters in Amsterdam, has selected a group of ten typesetting designers, who will be visiting Granada and Cordoba from November 27 to December 3, and Barcelona on December Further information on these event days and the schedule of events in Cordoba and Granada.
End of Typographic Matchmaking in the Maghrib 3. The event includes the public presentation of the preliminary design concept of the tri-script family of fonts.
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.
Typographic Matchmaking Shots. Inspirational designs, illustrations, and graphic elements from the world’s best designers. r & ر monogram typography.
The goals of the Typographic Matchmaking projects are to nurture cultural dialogue and help develop indigenous design skills. In its third edition entitled Typographic Matchmaking in the Maghrib , a group of European Dutch, Spanish, French and Arab Lebanese, Moroccan, Tunisian designers will research and develop tri-script font families that combine Arabic, Tifinagh and Latin scripts harmoniously. Both the Maghribi and the Tifinagh scripts have not been fully explored in contemporary digital fonts, though they harbor a wealth of aesthetic variety and expressive potential.
The film documents the working process of the project, yet also The project consists of a team of 2 curators, 7 designers and 1 film maker, of mixed origins and nationalities European, Arab and North African. In the Maghreb, the confluence of native cultures with different colonial periods has produced an extraordinarily diverse heritage.
The history of this region and the Andalus could be told in more The Qandus multiscript typeface family was also selected as one of the Jury’s choice, and described by Alice Savoie as: “This collaborative work is an ambitious and lively attempt at Op vrijdag 8 september jl. Het boek werd geheel belangeloos gemaakt en de inkomsten van het boek worden gebruikt voor het organiseren
Welcome to Type Connection, a typographic dating game.
The design of Radar is an homage to 20th-century grotesque typefaces and a product of that particular historical context. At the beginning of the 20th century, the world industrial expansion was at its peak and great advances took place in the field of technology. Among them, and in the context of the 20s, there was radio technology, an immaterial and at the same time global media and a phenomenon that contributed to the consolidation of the mass society as a whole.
His authorship is attributed to the German type designer and master punch cutter Carl Winkow. Richard Gans Type Foundry created its own typeface for advertising use, which had a clean, modern and geometric drawing.
Kufam is a Arabic-Latin bilingual typeface originally commissioned by Khatt Foundation as part of the Typographic Matchmaking project. Kufam Arabic is.
The Typographic Matchmaking in the City project is a design research project investigating new approaches for bilingual lettering and poetic narrative for public space. The project have proven to be highly inspirational for the participating designers; it brought together designers from different cultural backgrounds to intensely collaborate, over a period of 2 years, on creating coherent products with groundbreaking results.
This project shows 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. Shot on several locations in Amsterdam, Dubai UAE , Sharjah UAE , Pingjum Friesland , and Doha Qatar , Typographic Matchmaking in the City: the Film follows the 5 teams of Dutch and Arab designers that participated in the project over a period of 18 months while they were traveling, working together, and presenting their work in progress to culturally and professionally diverse audiences.
The film makes visible not only the design process, the struggles and challenges of the designers, but also addresses the larger topics of bringing two cultures into a dialogue through design.
of the publication report of the “Typographic Matchmaking in the City” project. These teams created proposals for multi-lingual, multi-script typographic.
Typographic Matchmaking project detail of book cover -. The Khatt Foundation selected and invited five renown Dutch designers and matched each one of them with an established and upcoming Arab designer. The main thrust of the project is to address the modernisation of Arabic text faces that can provide design solutions for legible Arabic fonts that answer the contemporary design needs in the Arab world namely for publications and new digital media applications.
The Typographic Matchmaking project was first discussed with a number of Dutch designers during the ATypI conference in Prague in September of , and developed accordingly into a project with a defined and practical design brief. Five renowned Dutch designers were invited and each was teamed-up with an established or upcoming Arab designer. The initial challenges of this project were slightly humbling.
Laura Meseguer is a freelance graphic and type designer based in Barcelona. She works for both commercial commissions and personal projects. She specializes in book design and all sorts of typography projects, from lettering for monograms and logotypes to custom typefaces. In —, she took a year off from her regular work to study type design at the post-graduate course Type]Media at the Royal Academy of Arts in The Hague, the Netherlands. She gives lectures and workshops all around the world.
She is the author of TypoMag.
The Qandus multiscript typeface family was developed within the framework of the Khatt Foundation’s type design research project: Typographic Matchmaking in.
These essays frame and contextualize the research and designs presented by the five teams participating in the Typographic Matchmaking in the City project. They briefly shed light on the function and role of text in architectural spaces, discussing specific historical and contemporary examples from cities like Beirut, Dubai, Muscat, Cairo, Rotterdam and Amsterdam, and addressing the various roles of monumental typography in public space.
In addition, the book presents the research projects of the 5 teams in a fully illustrated sketchbook style that visually explains the design process leading to the final results of public art propositions and typefaces. This book, like the design research project that preceded it, provides concrete observations on differences as well as shared principles between the Latin and Arabic scripts, and on cultural and architectural conventions for the use of typographic design in three-dimensional urban space in different cities and cultural contexts.
It raises thoughtful questions and provides useful tools that designers can use in creating new works for interventions in their own cities.