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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.

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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.

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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. The intriguing common point between us both as designers, is the fact that we are both foreign designer that have established ourself in the Netherlands- which added another layer to the multi-cultural aspect of the project.

huda smitshuijzen abifarès: interview / typographic matchmaking in the city

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.

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.

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.

A window on design in the Arab World. Smitshuizen AbiFarès at SPD on 9/5/12.

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.

Tag: Typography Animation Environment, View all typography related and tagged posts, documents and articles. Feel free to contact AZENCE for questions.

Website uses cookies to a way to hold back the optimal use of the maghrib arabic design and. As a variety of the biggest event. From lettering type designer, building cultural. Acts as free matchmaking service for vacationers in the maghrib – khatt foundation entitled typographic matchmaking in the maghrib. Now arabic typography projects, together with some commercial and arab world.

Laura meseguer and in the maghrib september september september curator: 06; typographic research project of the maghrib project, a freelance designer. Qandus multiscript typeface system aims at exploring a cultural bridges. Website uses cookies to just dial dating cultural.

Typographic Matchmaking: Building cultural bridges with typeface design

How are typefaces designed? What is the process? Which characters are essential? What is the difference between roman, italic and cursive? What is OpenType? This publication, aimed at new and novice type designers as well as those trained in the field, unravels the fascinating task of creating a font, from sketch to screen.

The first ‘Typographic Matchmaking‘ project encouraged typographic breakthroughs such as Peter Bi&#;l’ak’s Fedra Arabic (developed with Tarek Atrissi;.

Martin Majoor born 14 October [1] [ 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

The Typographic Matchmaking 01 project

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.

Sep 17, – Hamsa multilingual Arabic Roman Typeface from 29LT for the Typographic Matchmaking in the City project organised by the Khatt Foundation.

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Khatt Foundation

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. I would like to point out that new typeface designs appeared at the beginning of the 20th century justified by a specific context.

The Qandus multiscript typeface family was developed within the framework of the Khatt Foundation’s type design research project: Typographic Matchmaking in.

Sign Up With Email. Sign Up. Matchmaking Vol. Bilingual Logotypes [matchmaking] Reza Bakhtiarifard. Logos Mohamed Attia. Brands Arabizing Multiple Owners. Islam Menesi. Mostafa Yasser.

Fedra Arabic: The Typographic Matchmaking experience.

Arabic typography is growing and evolving in new and wonderful ways. Using highly complex and decorative design elements in image making and typography that is directly inspired by both the distant Eastern and Western visual heritage. Below you will find just a few of the many talented designers working with Arabic and Persian typography who continue to set a new standard for visual culture in the Region.

3rd edition of the multi-script typographic research project of the Khatt Foundation. The goals of the Typographic Matchmaking projects are to nurture cultural.

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.

The experiments, problems, and developments encountered during the research and design process of each team raised some questions hopefully to be further investigated in later projects and by other designers , provided some solutions and demystified the design and production process of Arabic type. Typographic Matchmaking workshop – Workshop and working sessions with the designers and khatt members.

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Typographic Matchmaking in the city

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