5 of the finest type pairing tools

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.

Fedra Arabic: The Typographic Matchmaking experience.

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.

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

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. On the similarities and differences between methods of writing, calligraphy, drawing, and type design; shared characteristics, common elements and considerations when sketching typographical characters.

On approaches to sketching, proportion and structure, consistency, optical correction, planning and workflow. On digitising the sketches, principles of drawing with digital outlines, fundamental and complementary characters, sequences and derivations. On basic methods to control and adjust spacing: sidebearings and kerning, the importance of counterform, numerals and vertical spaces.

huda smitshuijzen abifarès: interview / typographic matchmaking in the city

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.

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.

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.

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

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Typographic Matchmaking in the City. For the Khatt Foundation in Amsterdam, we developed the concept and the graphic design of the publication report of the​.

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 is conceived to address the specific educational informational goal of presenting the process behind researching and designing an Arabic typeface within the strict limitations of the design brief.

The idea is to study and explore what collaboration between two designers from different design and cultural backgrounds can lead to and what are the issues that surface from such a unique design experiment. The discussions and results from this project should provide some concrete observations about the differences and shared principles between these two seemingly opposite scripts and cultures. The learning experience of the designers involved in this project can also provide insight to other designers interested or involved in similar design projects.

Judging from the way design is heading, the problems that design has to resolve in our multi-cultural societies will most likely increase and cross-cultural communication will become an essential part of everyday design practice for most. This documentation intends to go beyond the mere visual presentation of the final refined product the matching Arabic fonts in order to outline what will hopefully become lasting lessons in multi-cultural design collaborations.

Khatt Foundation

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.

It is also a layered typeface, meaning you can add or remove the outlines, inlines, and drop shadows from the type. As far as matchmaking goes, it comes with a.

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. Language combination can bring up several difficulties, specially when working with different scripts at the same time. It means matching letterforms which follow other kind rules, but not knowing the rule is no excuse when it comes to communication.

Designers should get to know the scripts they are working with beforehand in order to avoid unfortunate misinterpretations. In projects that require the use of distinct writing systems, it is important to consider the special parameters that are specific to each of them.

Typographic Matchmaking

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.

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.

Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Typographic Matchmaking: Building cultural bridges with typeface design by Huda Smitshuijzen Abifares ,.

Huda Smitshuijzen Abifares. This book is the result of the Arabic Type Design Project, and includes ten fonts.

Typographic Matchmaking in the Maghrib IV (Amsterdam)

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.

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.

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Typographic Matchmaking 2.0 part 1