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. First, asking two type designers who have never worked together to design a typeface was highly unusual— usually type design is an extremely individual and solitary endeavor. Second, matching two designers from different cultural backgrounds and in most cases living in different countries posed other small complications; like traveling to meet face to face, or communicating remotely through telephone and email. Third, the expertise of the selected designers within one team was diverse; ranging from highly advanced technical knowledge, to design experience, to mastery of the Arabic language and script. This latter condition created an interesting balance of expertise within each team and lead to productive inter-dependencies between the partners whereby each had new things to learn from this experimental project.
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.
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.
Contemporary Arabic typography for an open and crosscultural public space. She is the founder and director of Khatt Foundation, a non-profit organization that promotes design development and research through projects that have proven to be truly innovative. The foundation strives to advance design in the Arab World and the Middle East by building cross-cultural creative networks between East and West.
The goal is to support design research projects that help revive and renovate design and crafts in the Arab World in partnership with local industries and designers. The foundation has also established an extensive online resource, the Khatt Online Community, collecting information about contemporary design in the Middle East.
The topic of the talk at SPD will focus on the role of writing and the contemporary representation of Arabic lettering in the built environment. The symbolic role of Arabic typography as the connector between city, building, and visual culture will be discussed. Case studies of public art projects and proposals for new alternative public space that respond to contemporary needs and create places of rest and pleasure will be presented in detail. Huda Smitshuijzen AbiFares strongly believes that typography and text can represent a means of creating alternative, engaged and interactive public space.
Arabic lettering in particular possess a strong narrative power. Trying to revive a tradition of her ancestors, she will introduce monumental writing and new innovative trends in the use of script in and on buildings. The conference entitled Generated databased publishing emphasizing design will deal with the interaction between graphics and programming. Since , SPD has been offering professionally oriented pathways to boost your potential and support your continuous learning.
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She specializes in book design and all sorts of typography projects, from of Qandus Latin, as part of the Typographic Matchmaking in the Maghrib project, but.
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. A new typeface? At the moment she is busy with new font releases and the design of Qandus Latin, as part of the Typographic Matchmaking in the Maghrib project, but always interested in freelance projects involving her lettering and custom type skills. She is currently living in The Hague, working at her studio, Marina Chaccur Designs, and serving as a board member for Association Typographique Internationale.
Before finishing his degree he started to work as a graphic designer at Surf Portugal magazine, where he stayed there as art director during the next seven years. In he founded his design studio Secretonix that produced a wide range of design projects from editorial to corporate design. After having commissioned one typeface for Adobe called Strumpf and after publishing some of his early work in other foundries, in he creates the Feliciano Type Foundry and starts to publish his own designs and creating custom typefaces for clients around the world.
He is a member of ATypI since Feliciano’s typefaces have been used by a wide range of clients around the world, from big corporations to renowned international publications such as Newsweek, The Sunday Times or Elle Magazine.
Typographic Matchmaking: Building cultural bridges with typeface design
Laura meseguer and in the maghrib september september september curator: 06; typographic research project of the maghrib project, a freelance designer.
Framer Framed supports this project and the presentation of the research The goals of the Typographic Matchmaking projects are to nurture.
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. 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.
Create Make social videos in an instant: use custom templates to tell the right story for your business.
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.
The Typographic Matchmaking in the City project is a design research project investigating new approaches for bilingual lettering and poetic narrative for .
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.
At its third edition, a group of European researchers from Holland, Spain and France and Arab researchers from Morocco, Tunisia and Lebanon will be researching and developing different families of typesetting fonts, combining Arabic, Berber and Latin languages. During the closing event, a public presentation of the preliminary design concept of the tri-script family of fonts will be given by the teams of designers.
huda smitshuijzen abifarès: interview / typographic matchmaking in the city
How are typefaces designed? What is the process? Which characters are essential? What is the difference between roman, italic and cursive?
The cooperative project Typographic Matchmaking was an initiative of the Khatt Foundation. The objective of the Khatt Foundation is to initiate dialogue between.
Martin Majoor born 14 October  [ failed verification ] is a Dutch type designer and graphic designer. Majoor was born in in the town of Baarn , in the Dutch province of Utrecht. He graduated in He also researched fonts for laser printing for Bitstream. In , Majoor became a graphic designer for the Muziekcentrum Vredenburg , where he designed concert programmes. Frustration with limited availability of professional fonts on the institution’s Macintosh computers led him to develop his own font, Scala.
Scala expanded to a superfamily providing both serif and sans-serif faces with FF Scala Sans , released in Both have sold well since their introduction. FF Scala Sans was expanded with new weights and condensed versions in The family was supplemented with decorative capitals FF Scala Jewels in Several index symbols were also added [ when? For this he created a new typeface named Telefont, with digitization assistance by Fred Smeijers.
Telefont List was designed for computer-generated listings, while Telefont Text provides small caps and text figures for use in the directory’s introductory material.
A window on design in the Arab World. Smitshuizen AbiFarès at SPD on 9/5/12.
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.
A great example of the kind of projects she initiates is Typographic Matchmaking in the City. The series of films make visible not only the design process, the.
Long queues leading up to the exposition area, attention in the national press of the Netherlands, heated comments on weblogs about the loss or the very enrichment of culture: seldom has there been so much ado about Five new Arabic fonts led to a symposium discussing contemporary Arabic visual culture in Amsterdam on 24 August. And to El Hema: an exposition in the shape of a shop organised by Mediamatic. An exposition of t-shirts, price tags, chocolates and plastic bags.
But the real point was the font. The interesting thing about the new fonts is not only how they were received, but also how they were conceived.
Fedra Arabic: The Typographic Matchmaking experience.
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 Typographic Matchmaking in the City project is a design research project investigating new approaches for bilingual lettering and poetic narrative for public.
Drop me a line! Qandus, a triscript typeface family. A Typographic Maghribi Trialogue This multiscript typeface system aims at exploring a conceptual relationship between 3 different writing systems: Arabic, Latin and Tifinagh rather than a purely visual one. It started off as an homage to the work of the brilliant calligrapher Al-Qasim al-Qandusi d. The Arabic as the starting point Based on the work of the calligrapher Al-Qandusi, we extracted 3 different textures.
His work is specifically unique because he used wider pens to write this style, normally almost scrictly written in a thin pen. With each pen thickness the duality of solid and fluid forms take a different expression. The concept is to design 3 styles that go beyond the difference in weight and highlight the mixture of solid and fluid forms differently depending on the intended texture, overall character and available space.
They all involve mixing solid and fluid constructions, highly stylised letterforms, rotations in the pen, sudden changes of contrast, but in different degrees. The Regular is the most humble with variations that are not too drastic. The Dark is the one that involves drawing the most with a highly stylised interpretation of the calligrapher’s work and of the Maghribi style in general. Above are some of the key characteristics of this type system.
Vertical connections, stacking letters, swashes, specific connections, ligatures, contextual alternates, elongated letterforms, unorthodox connections to name a few. This exploration was complemented with the research on Latin printing types and manuscripts that could share some of the most relevant features of the Arabic calligraphy: the rotation of the pen.
Typographic Matchmaking in the Maghrib 3.0
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
Buy Typographic Matchmaking: Building Cultural Bridges with Typeface Design Bilingual by Abifares, Huda Smitschuijzen (ISBN: ) from.
Euskal Herriko paisaia bisualari erreparatuz gero, badago zalantzik gabe bisitariei nabarmen gertatuko zaien kontu bat, haiek tipografiaren ezagutza izan ala ez: eskualde osoan zehar letreroetan, seinaletan, karteletan eta nonahi ikus daiteken tipografia bitxia. Oso letra lodiak dira, harrian zizelkatua daudenen ezaugarriak neurriz gorako moduan aplikatzen direlarik, trazuak konkaboak bihurtuz eta haien muturretan izkina zorrotzak sortuz era bitxi batean.
Zenbait kasuetan itxura baldar eta landugabea dute, aintzinako argin bat eginda balira bezala. Horregaik, ez da harritzekoa maiz janari dendetan, jatetxeetan, sagardotegietan edo antzeko zerbitzuetan erabili izatea tradizioa, benetakotasuna eta euskaltasuna bezalako kontzeptuak helaraztea denean helburua. Harri tipografiaren proiektua bezero baten enkargu bitxi batekin jaio zen, behintzat kontzeptualki.
There is something about the visual landscape of the Basque Country that will not go unnoticed to the eyes of its visitors regardless of their knowledge of typography: the peculiar lettering style spread all over the region on street plates, signs, posters and fascias. They display extremely heavy letters in a sort of overemphasised glyphic style with characteristic concave stems that produce very sharp terminals and awkward letter forms.
Those shapes look certainly rough, unrefined and overdone, conveying a sort of primitiveness rooted way back in time. This seems to make it a convenient choice for food shops, restaurants, cider houses and other cases in which projecting the idea of authenticity, tradition and “Basqueness” is intended.