Matchmaker Free Font
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. Eventually, all these fonts were further developed and became part of the collection of established font foundries. One type design received the TDC award for excellence in Typeface design, and for four of the Dutch type designers this project was the start of a continued work in Arabic type design and font production. This second edition, not only presents the design process of the original project, it also showcases in additional colored pages, a select selection of samples of the way the fonts have been used by designers from around the world.
Typographic Matchmaking: Building cultural bridges with typeface design
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.
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.
GitHub is home to over 50 million developers working together to host and review code, manage projects, and build software together. If nothing happens, download GitHub Desktop and try again. If nothing happens, download Xcode and try again. If nothing happens, download the GitHub extension for Visual Studio and try again. The Arabic design is contemporary, starting with Naskh and introducing influences of Diwani. With the readability of Naskh and beauty of Diwani, Lemonada can be used in both large and small sizes.
It has wide and open counters that improve readability at smaller text sizes, while its more subtle details make it a great display face at larger sizes. Lemonada currently spans four weights Light, Regular, SemiBold and Bold and has a wide character set that supports the Arabic, Farsi and Urdu languages.
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.
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 use.
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. See all free Kindle reading apps. Tell the Publisher! I’d like to read this book on Kindle Don’t have a Kindle? Customer reviews.
Laura Meseguer is a freelance graphic and type designer based in Barcelona. She works for both commercial commissions and personal projects. She specializes in book design and all sorts of typography projects, from lettering for monograms and logotypes to custom typefaces. In —, she took a year off from her regular work to study type design at the post-graduate course Type]Media at the Royal Academy of Arts in The Hague, the Netherlands.
15 Lebanese designers and visual artists were invited to use the Khatt Arabic fonts (developed within the framework of the Typographic Matchmaking Project),.
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?
Typographic Matchmaking in the City: Propositions for a Pluralist Public Space
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.
The Hipster Script Pro Font. The Hipster Script font by Alejandro Paul (Publisher: Typographic Matchmaking Poster by Jim Godfrey Design, LLC. “Jim Godfrey.
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The end result of this project was 5 new bilingual font families (Arabic & Latin) created for urban public spaces. The project team included designers such as Max.
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Graphic identity guidelines
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.
About Matchmaking Font. PLEASE READ THIS CAREFULLY: By installing or using this font, you are agree to the Product Usage Agreement.
Join our community and connect with the other regional actors exchanging on interregional cooperation. When you register, you will have access to additional services including the platform helpdesk and the possibility to contact your peers in the platform community. It should only be used when the 4-colour process is not available. Under mm length, use small size block in 1 colour without the slogan.
The EU emblem shall be placed too. Do not use out of this case. Only the first letters of the programmme title ‘Interreg Europe’ are capitalised when it is written in the text. The Interreg Europe colour palette consists of seven unique colours. Graphic identity guidelines Interreg Europe brand The core Interreg Europe brand is made of three components: The logo block Reference to European Union and European Regional Development Fund should always accompany the logo block, except for small size use.
The slogan Programme slogan ‘Sharing solutions for better regional policies’ should be used when possible.
The Typographic Matchmaking 01 project
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.
Bourton is a san serif typeface with elements drawn from vintage san serifs of the As far as matchmaking goes, it comes with a script typeface in two weights.
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.