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Reservation is required. RSVP: khatt. The Typographic Matchmaking in the City project is a design research project investigating new approaches for bilingual lettering and poetic narrative for public space. The project have proven to be highly inspirational for the participating designers; it brought together designers from different cultural backgrounds to intensely collaborate, over a period of 2 years, on creating coherent products with groundbreaking results.
This project shows the important role that design can play in initiating cultural change, assimilation and integration—by simply using our daily basic communication mode: the written word.
Typographic Matchmaking in the City: propositions for a pluralist public space: : Fares, Abi: Fremdsprachige Bücher.
With this he meant the typical Indian sense of wellbeing felt when confronted with a moving crowd of people or animals so dense that it has become a sum of undistinguishable features. He also found this term applied to the Indian decorative aesthetic where the eye will linger on — and loose itself in complex patterns and signs that often form the visual result of Indian religious architecture, will it be Mughal — will it be Hindu.
Keep it clean! I have never been very sensitive to modernist advice when it comes to the readability of type. Once being informed by museum staff that nothing is legible except Univers 45, I was prompted to say that this observation put all graphic communication before in purgatory and made the writing by hand of letters in the past as well as in the future a pointless activity.
From very early on the notion of type being merely text or also functioned as image was decided by me to be in favour of the latter. This was obviously way before any formal education took place. The concept of visual complexity countless balls, candles, chocolates within an archetypal form a pine tree had entered into my unconscious at the age of kindergarten. It would have produced an utterly different kind of architectural heritage and no ornament! Less is more is no longer.
Typographic Matchmaking in the City: propositions for a pluralist public space
Tmmc at de bruin and jobs worldwide. Author of the city project typographic style. Typographic matchmaking in type and book offers a highly illustrated account of mixer.
Typographic Matchmaking in the city. “Typography in a built environment is a way to visually portray the story of a city, its history. We have lost.
We have lost this relationship between typography, material and architectural space. Knowing someone else is knowing his language, seeing his language. The film tracks a year-long collaboration between five teams — comprising 15 Dutch and Middle-Eastern graphic designers, architects and typographers — as they seek to create truly-dual Arabic and Latin script types to be used in public spaces.
English is the ubiquitous hallmark of internationalism and multiculturalism in the Middle East, seen alongside its indigenous sister script everywhere, from shop and traffic signage to street furniture. The difference is that the Latin script has been evolved a lot and has been studied more. The Latin type faces that you see are quite developed and structured. Unlike the Arabic ones which have not significantly developed from calligraphy, so it is hard to make the Arabic script work as a font.
A dialogue between cultures and between design mediums, the complexity of the undertaking becomes apparent to the viewer via the varied approaches demanded from the teams — digital, sculptural, geometric and collaborative. The conceptual implications of linguistic harmony are met with practical considerations of formality.
Typographic Matchmaking in the City Public Presentation
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Watch video typographic matchmaking in in the city a design for bilingual, dropdown. Propositions for tupographic real estate website zillow. Just like the.
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.
In Praise of the Word: Political Graphics in and through the ‘Arab Street’ of the ’60s and ’70s
A few weeks ago my wife and I spent some time in Cedar City, Utah. On the walk to our hotel after seeing The Tempest , part of the Shakespearean festival held each year in that city, I walked by this restaurant and enjoyed the typography of the logo. Any of those three san serifs would look good with Copperplate, which has seen a bit of a revival of late. I feel like it fell out of style from to about , but I am starting to see it more frequently again.
It was designed by Frederick Goudy, one of the first prolific American type designers, in the early s.
Having started his career studying under some of the best typographic minds in the world, Khajag Apelian not only is a talented type and graphic designer, unsurprisingly, but also counts Disney as a client, as well as a number of local and not-for-profit organizations throughout the Middle East. Arek was my first original typeface, and it was in Armenian, which is why it is very dear to me.
I later developed a Latin counterpart in order to make it available through Rosetta, a multi-script type foundry. In this project, five teams were commissioned to explore bilingual type for usage in public spaces. Arek is a dual-script Latin-Armenian typeface family in four weights, with matching cursive styles. Large preview. So, that was the first project I worked on that could be considered close to designing type. The outcome is nothing to be proud of, but the process was a lot of fun.
Then, I started to work more and more with letters, although I never knew I could develop this interest, let alone study it later on. That did it for me — two years later, I was there! Typographic Matchmaking 2.
Typographic Matchmaking Building Cultural Bridges With Typeface Design
Typographic Match-making in the City – an essential resource. TMMC Cover, Typographic Matchmaking in the City Propositions for a Pluralist Public Space.
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