Typographic Matchmaking: Building Cultural Bridges with Typeface Design

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.

Typographic Matchmaking in the Maghrib 3.0

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‘Typographic Matchmaking in the City’ is a documentary about an urban typographic research project investigating new approaches for bilingual lettering 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 You can read the story of Jan de Bruin , one of the scholars.

The Lutfia Rabbani Foundation relies on the generosity and contributions from organisations and individuals. Khatt Foundation. Support us The Lutfia Rabbani Foundation relies on the generosity and contributions from organisations and individuals. Would you like to get involved? Click here.

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 book. Read reviews from world’s largest community for readers. This book is the result of the Arabic Type Design Project, and inc.

Eye, the international review of graphic design, is a quarterly printed magazine about graphic design and visual culture. Designers and typographers visiting Middle Eastern and Gulf states are often overwhelmed by the sheer beauty of Arabic scripts. Simple street signs, posters and newspapers present a level of calligraphy that we simply do not experience in the day-to-day typographical hubbub of western cities.

But as the opportunities to design in Arabic slowly begin to expand, some fairly fundamental issues arise. While both cultures write numerals in a similar way, virtually everything else is different. At the most basic level, they write in different directions. There are few shared typographic measurements and equivalents such as x-heights. In Arabic, letters can be stretched or adapted with multiple ligatures, so the popular digital Arabic font Noori Nastaliq contains more than 20, characters, as opposed to a normal character set of less than in a Latin typeface.

There are multiple versions of Arabic letters — depending on whether they are placed at the beginning, middle or end of words — so an Arabic font might only be truly judged once nearly finished. So any projects encouraging crossover and increased understanding of Arabic letterforms have to be applauded.

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JavaScript seems to be disabled in your browser. You must have JavaScript enabled in your browser to utilize the functionality of this website. These essays frame and contextualize the research and designs presented by the five teams participating in the Typographic Matchmaking in the City project.

A division of UnderConsideration, celebrating the reality that print is not dead by showcasing the most compelling printed projects.

The Typographic Matchmaking projects were initiated by the Khatt Foundation as a means to bring about cultural dialogue through collaborative design projects. The goal was to investigate alternatives to the Arabic fonts available on the market and to propose through specific themes new design solutions. The projects have proven to be highly inspirational for the participating designers; they brought together designers from different cultural and professional backgrounds to intensely collaborate on creating coherent products with groundbreaking results.

These projects show 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. Typographic Matchmaking v1. The research explored the bilingual and dual-script needs of contemporary design in the Arab world and Middle East for publications and new-media. The aim was to create good Arabic fonts that would set a benchmark for future developments in the field.

Khatt Foundation

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Type design pages for Huda Smitshuijzen AbiFarès. Typographic Matchmaking. Type design information compiled and maintained by Luc Devroye.

Enter your mobile number or email address below and we’ll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer – no Kindle device required. This book is the result of the Arabic Type Design Project, and includes ten fonts. Read more Read less.

She holds degrees in graphic design from Yale University School of Art and Rhode Island School of Design, and specializes in bilingual typographic research and design. She is currently pursuing a PhD at Leiden University while working between Europe and the Middle East as a typography and design consultant. To get the free app, enter mobile phone number.

Cása Árabe

The foundation started with the goal of “modernising the image of Arabic design by making it contemporary and innovative, particularly in the field of bilingual typography,” referring to typography that works with both Arabic and Latin scripts together. One of the initiatives to this end is “Typographic Matchmaking“, which pairs designers of different backgrounds together.

Its other activities include coordinating and sponsoring projects, organizing conferences and forums, and publishing books and content on Arabic typography and design. Khatt Books is an independent publishing house that was established in From Wikipedia, the free encyclopedia. The New York Times.

Casa Árabe, with the cooperation of the Khatt Foundation, is presenting several days of typesetting research seminars titled “Typographic Matchmaking in the.

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.

Typographic Matchmaking I Free Fonts

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?

PDF | On Oct 10, , Fadi Shayya published shayya Typographic Matchmaking (scan) | Find, read and cite all the research you need.

This book is the result of the Arabic Type Design Project, and includes ten fonts. She holds degrees in graphic design from Yale University School of Art and Rhode Island School of Design, and specializes in bilingual typographic research and design. She is currently pursuing a PhD at Leiden University while working between Europe and the Middle East as a typography and design consultant.

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Typographic Matchmaking 2.0 part 3