Discover how designers play with dimension and space to create mindbending optical illusions that leap off the page—and wall, and screen. Enter your email to download this article from HOW magazine. This informative guide includes type combinations with highly detailed, visual examples to help inspire your next design project. From the Introduction to Type Teams Choosing a typeface is a bit like deciding what music to listen to. Typefaces are chosen for specific reasons too: Continuing with the music analogy, most people like at least two or three musical styles; maybe some Bluegrass or Art Punk with a few show tunes thrown in for good measure. So to the big question: There are plenty of established principles and tricks that can help you make a decision and many of them are explained in this book, but putting together typefaces in perfect combination is ultimately as subjective as it is scientific, as personal as it is informed, and as debated as it is agreed upon. With legibility taking second place over style, a solid partner is needed for any accompanying text, and Akzidenz Grotesk fits the bill given its late nineteenth-century origins.


All of the features are fully editable on the back-end, and the post types are unique, allowing you to create anything from gallery posts to quotes. If you need more help, see the. The responsive theme is fully editable and has custom post types and formats that allow you to add variety to your website. Create different membership levels and take payments for added functionality.

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Typographic Matchmaking in the City was a design research project investigating new approaches for bilingual lettering in public space. The project brought together Dutch and Middle Eastern designers who collaborated on designing new bilingual typefaces conceived for.

Massira in Regular, Ballpoint, and Spray. In the early s, Huda Smitshuijzen-AbiFares was met with a difficult design brief in her hometown of Beirut. After years of civil war, a downtown area of the city was being rebuilt and she was asked to consult on Arabic typography for new signage. And in other Arab countries, if you have knowledge of this? It is somewhat understood better in some countries than in others. However, I feel that with the growing number of universities and art schools that are offering design education in the region, the understanding of design as a profession is improving.

There is still however a lack of understanding of the potential of design, its social and economic relevance. Would you say there is a definitive Arab visual language? Yes, I think the visual language of geometrical and complex arabesques and Arabic lettering can be considered a common Arab visual heritage.

However, it is difficult to say that all Arab designers use such language in their work. The Arab world consists of several very different nations with common but also divergent histories and heritage. I can say that there is a growing nostalgic retro-style, a return to Arabic lettering and vernacular arts old movie posters and such. There is also a preoccupation with uncovering older crafts and reinvigorating them with a contemporary design aesthetic, and modern materials and production technologies.


Mystic Blue Signs is one of those companies, and New Orleans is a particularly receptive community, with cultural and architectural traditions that embrace a synthesis of past and present. This presentation is a slide show of our work in New Orleans, from logo design and sign writing to hand-carving and classic gold leaf work, with descriptions of how the flexibility of hand-lettering allows us to reflect the character of our city while maneuvering effectively in challenging design circumstances.

The paper explores the material and tactile dimensions of typography, considering the manner in which the processes of manual punchcutting have informed the historical development of typographic forms, the development of letters in architectural and environmental contexts, and the current revival of interest in letterpress. These concerns are linked by tactile values absent from current digital working methods.

Since , he has taken part in the Typographic Matchmaking 01 and 02 projects organized by the Khatt Foundation. He teaches typography at Notre Dame University and also at Lebanese American University and runs a blog about Arabic s:

The ongoing challenge November 25, You hear it all the time in the discussions about web or digital design with the Arabic language. I don’t like the Arabic fonts or Arabic typography used in general. No one is satisfied with the font their designer used on the web site! Why are you using that classical, less stylish font for Arabic though the font used for the English is so fancy?! Why are you using only regular and bold faces for Arabic – why don’t you use light, thin, black, italic or narrow typefaces for Arabic?

Why does the Arabic text appear much smaller in size than the Latin-based text though it has the same format attributes? These are some of the many issues always discussed in design circles when it comes to Arabic graphic design. If you find it, you are hampered with the technical challenges you face if you decide to use it. So what’s the problem? Why are there only a few trusted and faithful fonts for Arabic?

Why is it so difficult to find a variety of Arabic fonts with different faces to suit different contextual and design uses like you can find for the range of Latin-based languages? Well, there are three main issues with the Arabic language and Arabic typography that make it a really challenging language to put on paper or screen with a richness in design.

Curious as it is, considered one of the richest languages in the world in terms of expressiveness and number of words. Arabic Script is Complex For us – Arabic native speakers – we discover Arabic is really a complex language only when we start to study other Latin languages like English or German.

Archive: type design

Previous Next We are surrounded by letters; they become part of our landscape and our very lives. Typography is an everyday, widely used thing. We all possess our own culture and respond in the appropriate way to its various forms and styles.

Outcomes of the Typographic Matchmaking project Once the fonts and book were ). The book also highlighted the previous work of the designers and their achievements to date was proposed. the book design could be Once the fonts were ready according to the set brief.

These essays frame and contextualize the research and designs presented by the five teams participating in the Typographic Matchmaking in the City project. They briefly shed light on the function and role of text in architectural spaces, discussing specific historical and contemporary examples from cities like Beirut, Dubai, Muscat, Cairo, Rotterdam and Amsterdam, and addressing the various roles of monumental typography in public space.

In addition, the book presents the research projects of the 5 teams in a fully illustrated sketchbook style that visually explains the design process leading to the final results of public art propositions and typefaces. This book, like the design research project that preceded it, provides concrete observations on differences as well as shared principles between the Latin and Arabic scripts, and on cultural and architectural conventions for the use of typographic design in three-dimensional urban space in different cities and cultural contexts.

It raises thoughtful questions and provides useful tools that designers can use in creating new works for interventions in their own cities.

Type design in Palestine

Summary of changes[ edit ] We approached this update to Wikimedia’s default typography with the following requirements in mind: Typefaces must be legible and beautiful at all sizes. Type as an element must help differentiate the interface such as site navigation from article content. A consistent visual experience across desktop and mobile devices. All typefaces we use must be already usable or made available on all platforms where Wikimedia projects are present.

Any selections must degrade gracefully across devices and platforms Mac OS X, Windows, Linux, and mobile operating systems.

‘Typographic Matchmaking in the City’ is the result of a Khatt Foundation research project on the differences and synergies between Latin and Arabic scripts, and on applying typographic design to three dimensional urban spaces.

Martin Majoor Baarn , 14 October [14] is a Dutch type designer and graphic designer. Biography Martin Majoor has been designing type since the mid s. For the production of digital typefaces for laser printers he followed a short education at Bitstream in Boston. After working at Vredenburg Music Centre in Utrecht , Majoor started as independent typedesigner and book typographer.

Since then he designed a few big type families and numerous books and book covers. Several of his book designs where awarded a Best Books prize.

Typographic Matchmaking

Program Type Connection is a typographic dating game that helps you learn how to pair typefaces. It was designed and developed by Aura Seltzer for her mfa thesis project at mica. Website snippets of the live site Type Connection features well-known, workhorse typefaces and portrays each as a character searching for love. You decide what kind of match to look for by choosing among several strategies for combining typefaces.

Your goal is to send the correct couple on a date.

Typography is the art and technique of arranging type to make written language legible, readable, and appealing when displayed. The arrangement of type involves selecting typefaces, point sizes, line lengths, line-spacing (), and letter-spacing (tracking), and adjusting the space between pairs of letters (kerning).The term typography is also applied to the style, arrangement, and appearance of.

In the images below, the part of the character being discussed is in red, or circled in red. A few extra terms, such as baseline and x-height, are included to help understand and describe the letter anatomy. Baseline The baseline is the invisible line on which characters sit. While the baseline may differ from typeface to typeface, it is consistent within a typeface. Note that this is the same as extending above the x-height. Serif fonts are distinguishable by the extra stroke at the ends of the character, known as a serif.

Bars are horizontal or diagonal lines of a letter, also known as arms, and are open on at least one side. Understanding its laws and inner workings is essential for producing quality designs. Using correct nomenclature is vital to communication, especially technical communication. Since letters are the foundation of all typographic communication, letter nomenclature is a logical place to begin to build your typographic vocabulary.

The terminology of type is not difficult.

Typography Journal