Typographic Matchmaking in the Maghrib IV (Amsterdam)

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

Kategorie: Communication Design

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.

Meanwhile, his interest in Arabic Typography and its modern development got him involved in the Typographic Matchmaking projects where he teamed up with Dutch type designers to collaborate on designing bilingual typefaces.

The type designer creates a main font family and then adds another font to compliment. One such family is Bourton , designed by Kimmy Kirkwood. Bourton is a san serif typeface with elements drawn from vintage san serifs of the s and 40s blended with a more modern aesthetic. It is also a layered typeface, meaning you can add or remove the outlines, inlines, and drop shadows from the type.

While this is true, one distinction would be that type families like Bourton have a much stronger contrast in the aesthetics of the typefaces and the weights and styles are much more limited than a super family. The typeface features a serif and san serif and is a layered typeface. Both the serif and san serif have some similarities, but the range of styles is based on the layering of elements, as opposed to the dozens of weights and styles that super families have.

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Verbal Fashion

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.

The end result of this project was 5 new bilingual font families (Arabic & Latin) created for urban public spaces. The project team included designers such as Max.

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. So your concern should be about a good match between the style, semantics, and intended impact of your text and the corresponding properties of the chosen typeface.

Khatt Foundation

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.

Building Cultural Bridges with Typeface Design Typographic Matchmaking presents the first government-funded design research project that aimed to support.

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.

Would a better Western understanding of Arabic typography lead to a better appreciation of the culture? In the Arab world, all the design schools have undergraduate programs that may offer Arabic Type Design as an elective course. For quality Arabic type design, students need to study abroad, often in graduate programs [in Europe or the US.

An Influx of New + Better Arabic Fonts Is Shaking Up the Typography World

How are typefaces designed? What is the process? Which characters are essential? What is the difference between roman, italic and cursive?

Typographic Matchmaking in the Maghrib, won a TDC Award of Excellence in It mixes multi-script typeface families based on Arabic.

There are a lot of places where Murals have proven to convey unification, history and culture inside a community. In Northern Ireland around 2. Most of those can be find in Belfast, with over wall paintings. Es ist eigentlich ganz einfach. Achtsamkeit bedeutet, dass man sich im hier und jetzt befindet d. Sehr simpel gehalten, funktioniert dennoch gut durch Farbwirkung und Texturen. Das ultimative Ziel entwickelte sich vorerst als illustrierter und animierter Kurzfilm, hierzu einige Beispiele zur Inspiration:.

Multi-script typography is about making strangers cohabit the same visual environment without any unpleasant incidents. Language combination can bring up several difficulties, specially when working with different scripts at the same time. It means matching letterforms which follow other kind rules, but not knowing the rule is no excuse when it comes to communication.

Typographic matchmaking

Thesis is a large typeface family designed by Luc as de Groot. The typefaces were designed between and to provide a modern humanist family. Each typeface is available in a variety of weights as well as in italic.

Typographic Matchmaking: Building cultural bridges with typeface design: Smitshuijzen AbiFares, Huda: Books –

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This book is the result of the Arabic Type Design Project, and includes ten fonts. Read more Read less. Kindle Cloud Reader Read instantly in your browser. Register a free business account.

Fedra Arabic: The Typographic Matchmaking experience.

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.

Consumers are embracing clothing and accessories adorned with fonts, typographic elements and bold statements, using their fashion-savvy as a way to speak.

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. Typographic Matchmaking is conceived to address the specific educational informational goal of presenting the process behind researching and designing an Arabic typeface within the strict limitations of the design brief.

The idea is to study and explore what collaboration between two designers from different design and cultural backgrounds can lead to and what are the issues that surface from such a unique design experiment. The discussions and results from this project should provide some concrete observations about the differences and shared principles between these two seemingly opposite scripts and cultures. The learning experience of the designers involved in this project can also provide insight to other designers interested or involved in similar design projects.

Judging from the way design is heading, the problems that design has to resolve in our multi-cultural societies will most likely increase and cross-cultural communication will become an essential part of everyday design practice for most.

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