huda smitshuijzen abifarès: interview / typographic matchmaking in the city

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. Convert currency. Add to Basket. Condition: Good. Includes CD. Customers purchasing more than one item from us may be entitled to a shipping discount. Seller Inventory mon

The Typographic Matchmaking 01 project

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.

(One typeface designer says a serif font is a classy, well-dressed woman find the book “Typographic Matchmaking: Building Cultural Bridges with Type Design​.

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. Originally released by FontFont , it is now [ when? To create a varied range of fonts of different thicknesses and levels of condensation, Thesis was developed using multiple master technology, in which weights were created by ‘averaging’ and extending the trend between a thick and thin design to create a smooth, continuous trend in styles from thin to very bold.

The fonts also include a large number of stylistic alternate characters. The family is a font superfamily , since it includes both serif and sans-serif designs. A humanist sans-serif font family, somewhat similar to Syntax and Frutiger It included fonts in 8 weights and 2 widths, with complementary italic fonts. A distinctive figure is the ‘Q’ with the detached tail, somewhat similar to that on Dwiggins’ Metro ; an alternate is provided for when this is unsuitable.

Kufam Typeface

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.

The Storyline typeface, designed with Max Kisman for the Typographic Matchmaking in the City project, curated by Huda Smitshuijzen AbiFares, The Khatt.

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.

ISBN 13: 9789063691240

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So adding a variety of new Arabic fonts, within the very limited typefaces available in the market today, seemed great. On the other hand, the project addresses the.

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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Matchmaker Free Font

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Tubqal Pro is a multi-script typeface based on its previous Tubqal typeface commissioned by the Khatt Foundation as part of the Typographic Matchmaking in.

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?

Fedra Arabic: The Typographic Matchmaking experience.

Matchmaker, a modern calligraphy typeface, was inspired by the various works of modern day calligraphers. Its tall, quirky, and juxtaposed letterforms provide a Matchmaker is a modern calligraphy typeface created by Angie Baldelomar and published by Fonted House.

15 Lebanese designers and visual artists were invited to use the Khatt Arabic fonts (developed within the framework of the Typographic Matchmaking Project),​.

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If you are a seller for this product, would you like to suggest updates through seller support? This book is the result of the Arabic Type Design Project, and includes ten fonts. Read more Read less. Kindle Cloud Reader Read instantly in your browser. Register a free business account. 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. Tell the Publisher!

CSGO Font Tutorial


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