Fedra Arabic: The Typographic Matchmaking experience.

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Welcome to Type Connection, a typographic dating game.

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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.

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?

Typographic matchmaking

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.

Typographic Matchmaking Poster by Jim Godfrey Design, LLC. “Jim Godfrey Futura specimen booklet from Bauer Alphabets Inc. Displays entire font family.

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.

Typographic Matchmaking I Free Fonts

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.

Perfect font combinations Typography Fonts, Lettering, Photoshop Tutorial, Adobe Photoshop, Typographic Matchmaking Poster by Jim Godfrey Design, LLC.

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. The basic idea is thus to create new fonts that work both in Latin and Arabic, and especially to find types that create harmony between the different language structures.

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

Finding the right font for a creative project can be hard enough; finding the perfect fonts to go with it can be a nightmare, especially if you have hundreds or even thousands of fonts at your disposal. Where do you even start? If your computer’s stuffed to the gills with free fonts and you’re overwhelmed by choice, there are thankfully plenty of online tools to help you narrow things down to some winning combinations.

We’ve picked out five great sites that’ll not only help you make excellent font pairing choices, but in some cases teach you how to make better decisions about type pairing by understanding what makes some fonts work better with others. Read on for some essential typographic matchmaking.

I’ve used 16 English fonts to write the word “white” and compared it with the Arabic equivalent. All font links used in this project for general use.

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. Featured Examples. The Leena Parvin tee collection is a cheeky mix of typographic shirts that blend humor and font fun. Although leggings seem to be giving way to jeggings, the Black Milk SS11 collection shows that they are still alive and kicking. Their crazy use of different prints and materials will surely have hipsters… MORE. The Plastique Avant Garde necklace is perfect for any typography enthusiast, stylista or artist. As one of this season’s essential pieces, the shiny acrylic necklace is not the first of its kind.

Regardless,… MORE.

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.

Nov 8, – Download this new font only at Julius Csurgo Fonts. Typographic Matchmaking Poster by Jim Godfrey Design, LLC. “Jim Godfrey created the.

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. The over-reaching goal of this project was to set an example and to propose working methods, standards, and conventions for creating professionally designed and produced Arabic fonts.

Thesis (typeface)

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.

at this point, the designer wrote the book ‘arabic typography’ (), examining the complexity of arabic typeface on a structured and theoretical.

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 2.0 part 3


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