Jan de Bruin

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Expecting to immediately start drawing letters, we were surprised to find that our first course was in Python programming. Though unexpected, it was an appropriate way to begin the semester, as we quickly learned that in type design you need to understand a wide range of different tools, adapting to and preferably making them your own. Understanding as many tools as possible gives one that added flexibility. Over the course of the first semester each week was filled with a variety of physical and mental exercises, using tools which spanned the analogue and digital realm: The week began on Monday with Just van Rossum , who taught us Python through an educational program he developed called Drawbot. This application visualizes the Python language, and was a good way for us to understand the abstract nature of programming through a concrete, aesthetic representation of it on screen. The fundamentals learned from Drawbot later helped us to understand the logic of scripting in FontLab. Tuesday morning was spent with Paul van der Laan , in which we were given an assignment to revive a past typeface. We first chose a book printed before , and after identifying its typeface began the process of creating a digital revival of it. Since most of us had very little past experience with type design, it was a valuable exercise to acquaint ourselves with part of the process, using an existing typeface as a starting point.

Creative Bloq

A window on design in the Arab World. 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.

Typographic Matchmaking Poster – amazing letterpress piece. Fun typography in book of poetry / layout / design / illustration Find this Pin and more on illustration by persephone. Designspiration is the hub for discovering great art, design, architecture, photography, typography and web inspiration.

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. The paper will conclude with a consideration of letterpress in design education and the use of metal type as an instrument of haptic learning.

In the early days, this important port town attracted engravers from France, seeking a better life in the New World. This Type in 20 presentation would provide a highly visual look at marvelous typographic engraved specimens from this very special, Crescent City, collection. We check and read our e-mails with iPhones, read newspapers from iPads and establish communication with wireless networks.

Our environment, living conditions have changed and change rapidly in progress. This digital evolution is experienced by Generation Y, whose lives are interlined 15 hours per day with media and communication technologies.

Type Teams: Psychedelic, Sophisticated, Sci-Fi

Glossary of typography M-Z Typography is, quite simply, the art and technique of arranging type. It’s central to the skills of a designer and is about much more than making the words legible. Your choice of typeface and how you make it work with your layout, grid, colour scheme, design theme and so on will make the difference between a good, bad and great design. There are lots of typography tutorials around to help you master the discipline.

But good typography is often down to creative intuition. Once you’re comfortable with the basics, visit some typography resources to investigate font families and discover some font pairings that are made for each other.

Goals of this project: 1. To create a logo system that unifies the 2 sub-brands under the umbrella of the parent brand Research Square. 2. To convey the message that Research Square is a modern and innovative company. 3.

Monday, May 21, Organizations and brands have logos and fonts to show their respective identities. BI, CI give an easily identified image for an organization or company, and it can affect the perception of the entire country as well. It is because The country also functions as a brand. The national symbol as national CI is explained as an official sign that shows illustration, graphic letter, etc. The National CI contains the essential elements of national identity, such as values and beliefs that have arisen over many years.

Many nations borrow their identity patterns, colors, etc. Each country has a different cultural background. They apply different cultural differences and reflect them. We will research the Sweden-Sans and the Korean government official font as representative cases and examine the identity of each country reflected in typography. Sweden Sans Sweden Sans is a sans serif typeface that can be used in both analogue and digital formats. Their starting point was the Swedish flag, the yellow Scandinavian cross against a blue background that has been used since the It is also inspired by signs from the 40s and 50s.

Takeaways from ATypI 2016

He is currently a professor at Snodfart. We invite you to join alumni of these clubs and other Ivy Circle alumni to attend this event. We will also be meeting for drinks prior to the event The Ivy Circle purchased a block of 20 tickets, which it is pleased to offer to Ivy Circle alumni at a discount — first come first serve – as the event is expected to sell out quickly. To reserve your discounted John Adams ticket please contact john.

CoffeeCompany opened its first specialty coffeehouse in and currently has 32 locations in Amsterdam, Den Haag, Utrecht, Groningen, Rotterdam and Delft.

One example is Typographic Matchmaking in the City, a research project () conducted by the designer Huda AbiFares, focusing on the narrative possibilities of the Latin and Arabic scripts within the urban environment, with the written word as a point .

Wael, thanks for being here for TypeThursday. Thank you for having me. I grew up in Lebanon speaking Arabic and French. By the time I was 13, English was introduced as a third language. I went to a french school then I went to Notre Dame University, which was a graphic design program that is mostly in English. So I was brought up to think in multiple languages and to resolve polyglot design problems. That still frames my practice today. I then got involved with the Khatt Foundation on a project called Typographic Matchmaking.

It questioned the idea of multi-script typography as a metaphor for different cultures coming together to create something new. But I think it was the first time that I saw myself as part of a bigger conversation and I realized there are more interesting questions to be asked. Lebanon is an old land and has long been a crossway for empires that conquered and ruled it. All this contributed to a creating a heterogeneous sense of national identity.

The positive side to this is how the Lebanese people can easily learn and absorb other cultures and languages, adopt, adapt and change. It very much sounds to me like a mosaic of all these different aspects of time and place and identity and religion all coming together that create this kind of tension of identity.

Lara Assouad

Curtir Added by on abril 23, A5comb essay on peer pressure acts as a morale booster Support for a5 paper Obama live sizes. Spending full days in the library Hebrew typography has been my hobby and profession for years. A weekly, curated wallpaper by talented creatives from around the globe.

This BigVesta Arabic font is a beta version developed within the framework of the research project ‘Typographic Matchmaking v’ initiated and organized by the Khatt Foundation.

September 23, This slideshow requires JavaScript. Photos by Alessia Mazzarella. ATypI Warsaw was my fourth time attending the conference since , and my second as a speaker. Here I cherry-pick a few of my favorite presentations: I enjoyed her open and concrete approach to a subject that can often appear incredibly tedious. In terms of more hands-on type design projects, Laura Meseguer, Kristyan Sarkis and Juan Luis Blanco presented their multilingual type family, produced as part of the Typographic Matchmaking in the Maghreb project.

Named Qandus, the family includes Latin, Maghribi and Tifinagh.

Arabic Typography: A Mosaic of Cultures

July 9, Designing tools and content for mobile devices. Designing and developing content for these devices requires a new set of skill and understandings. Forget what you know about print design or ever even desktop web design for that matter. These new devices require lean and effective design that is wrapped in the latest delivery method. In addition to knowing what technologies are available, it is equally important to understand what technology is appropriate.

In addition to iPhone, Android phone, webOS devices, Windows-based phones, and RIM devices, The proliferation of tablets such as the iPad have added a new exciting layer to mobile media.

It was originally published as part of the first Typographic Matchmaking project, organized by the Khatt Foundation. The quality of this Majoor–Zoghbi collaboration was so high that FontFont chose the design to be its first Arabic typeface release. FF Seria Arabic is a young, crisp type based on the Nasekh style.

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. A trend in recent years has been to treat cities, regions or countries as a product, turning them into brands.

To do so, they adopt the same marketing tools as any other brand, such as a logo or their own typography. We are surrounded by letters; they become part of our landscape and our very lives. In fact, you are looking at it right now as you read this text. In addition, anyone can sense that typefaces communicate with us, understand their meanings and even identify with them.

The Swiss Adrian Frutiger, one of the most highly regarded and influential typeface designers of the twentieth century, compared the shape of typographic letters with architecture, roads or vehicle design. He found eloquent parallels, for instance, between enclosed spaces and the thick lines of a Gothic lettering and the robustness and vertical stylization of medieval cathedrals. For him, the functionality of a shoe for walking on paths and mountains resembled the flexibility, reliability and comfort of a typeface like Excelsior for reading long texts.

In other words, the form of letters is dependent on economic, social and cultural factors, but also functional ones, because we should never forget that typography is a tool, a vehicle for transmitting thoughts and, often, for evoking feelings and sensations. Local and identificatory typefaces A trend in recent years has been to treat cities, regions or countries as a product, turning them into brands.

Decorated Fonts

Instead, go for something softer, like You can use a slightly darker color for titles like for example. Since these values are considered a de facto standard in practice, they’re not necessarily ordained by law. Lorem ipsum dolor sit amet, consectetur adipisicing elit. Odio iste voluptates saepe ipsa magni repellendus explicabo numquam expedita dolore eveniet accusantium iure sit consequatur?

Dolore minus vel blanditiis velit deserunt!

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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. Many terms have simple or obvious terms. Parts of a character: There are different apex types such as rounded, pointed, hallow, flat and extended.

Logo and typography design for Jeem TV; the new branding for Al Jazeera Children Channel

Home Inventories Courses Reference Pre-prints E-publics In the news Islamic manuscripts reference library This part of the Islamic manuscripts site contains many out of print publications which are nowadays often difficult to find. The section is continually being expanded. This section also contains recent publications some of which may still be in print. These have usually been included with the permission of the owners of the copyright, sometimes with mention of the websites where such publications can be purchased.

This section of the site also contains older catalogues of Islamic manuscripts, which are now out-of-print, and a great number of other relevant publications. Downloading of files must be in accordance with the relevant laws in the country of the downloader.

Pouya Ahmadi is a Chicago-based typographer and art director. He is an Assistant Professor of Graphic Design at the University of Illinois at Chicago—School of Design—and an editorial board member of Neshan magazine focusing on contemporary graphic design and the visual arts.

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?

A Typographic Maghribi Trialogue


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