The Typographic Matchmaking 01 project

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.

Khatt Foundation

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.

In the same way the choice of a certain typeface can tell a different story based on its history or visual Carvalho Bernau,Typographic Matchmaking in the city.

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. Might that have played a part in the scarcity of well-crafted Arabic typefaces up until now?

In many places, designers bought fonts that came from somewhere else; it was a system, and the system was expensive, so they just bought the machine and all the typefaces that came with it.

Typographic Matchmaking in the Maghrib IV (Amsterdam)

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.

A typographic dating game that helps you learn how to pair typefaces.

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.

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. Sample usage of Fedra Arabic applied on signage Design.

Mar 21, – The Storyline font Arabic Typographic Matchmaking in the City project”, curated by Huda Smitshuijzen AbiFares,

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. This second edition, not only presents the design process of the original project, it also showcases in additional colored pages, a select selection of samples of the way the fonts have been used by designers from around the world.

Kufam Typeface

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Typographic Matchmaking Poster by Jim Godfrey Design, LLC. “Jim Godfrey created The BEST handwritten fonts free to use for print and design. Get the list of.

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.

Do they match? Excessive use of fonts is not a sign of good design if there is no structural need for variety. In communication design, type has the task of serving the content and delivering information in an engaging, not confusing, way.

Typographic Matchmaking I Free Fonts

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.

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​.

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.

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.

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.

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

Verbal Fashion

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.

Found some new typography to share with you all! Looking at them inspires me to look at fonts/words differently than the good old Times New Roman font we.

Our retail library offers fonts for text and display use, in visual styles ranging from traditional to experimental. Thanks for reporting. News Fonts. Discover the foundry Discover the foundry. View all projects View all projects. Browse all fonts Browse all fonts. Guide and Alpinist More info. New fonts: Title and Inbox More info. Introducing Editor, a wedge-serif typeface for Editorial use More info.

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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. Teams of Dutch and Arabic typographers worked on designing modern Arabic fonts that can be combined with Western fonts without either of the two dominating. A difficult challenge due to the distance and the differences in background and experience among the designers.

As well as the different writing traditions. Nadine Chahine, one of the participating typographers, explains: “Graphic design is improving in the Middle East, but many of the projects are done in Latin script. The Arabic fonts are ugly and cannot be compared to the Latin ones. The beautiful things we have are in museums, but the things that regular people see on the street are so ugly!

You want Latin and Arabic script on the same page without the two conflicting. The dream of a typographer who grew up during the Lebanese civil war: Please, no more conflict.

Typographic Matchmaking in the city

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