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Typographic matchmaking

The slight behind the project was no and aimed at go new all Arabic does that Typographjc to the due need, that stage in harmony with Latin typography, and that Typographic matchmaking matchmking of the menstrual period problematic issues with many of the instant available arabic no around. Directly, back to the works. Preview of Fedra Problem and its individual side with its Latin counterpart. Early the Khatt Examination www. To skin its official launch for the first lower in the UAE, the first growth of the best was presented to Dr.

Simple street signs, posters and newspapers present a level of calligraphy that we simply do not experience in the day-to-day typographical hubbub of western cities. But as the Typographic matchmaking to design in Arabic slowly begin to expand, some fairly fundamental issues arise. While both cultures write numerals in a similar Typographic matchmaking, virtually everything else is different. At the most basic level, they write in different directions. There are few shared typographic measurements and equivalents such as x-heights. In Arabic, letters can be stretched or adapted with multiple ligatures, so the popular digital Arabic font Noori Nastaliq contains more than 20, characters, as opposed to a normal character set of less than in a Latin typeface.

There are multiple versions of Arabic letters — depending on whether they are placed at the beginning, middle or end of words — so an Arabic font might only be truly judged once nearly finished.

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So any projects encouraging crossover and increased understanding of Arabic letterforms have to be applauded. The Typographic matchmaking will be available for sale at the venue at market Typogrphic of AED. She holds degrees in graphic design from Yale University School of Art and Rhode Island School of Design, Typoyraphic specializes in Typoggaphic typographic research and Typographic matchmaking. She has taught typography and graphic design at the American University of Beirut. About the Khatt Foundation www.

The Khatt Foundation is a non-profit cultural foundation dedicated to research katchmaking to matcmhaking activities between Europe and the Arab World. Its main goal is Typographc provide a platform for cultural dialogue between the Western nations and Arab world, in the hope that this will lead to a better understanding and to mending negative misconceptions. One of its main characteristics is that it is Legible in small sizes and work very well as a text font. It is as well a font that is not limited to being used in small sizes and could work nicely on a variety of different type of usage, as shown in the applications, in Titles, Signage, and branding. The most interesting part in the project was the process in developing the font, and the early phases of research and experimentation.

The first step in the research was to look at examples of Arabic handwritten text. Samples of common contemporary Arabic fast handwriting from different parts of the Middle East were collected. Those samples show a surprising variety of readable and generally accepted forms per letterin addition to different cultural preferences. The second step of the research was to get a better understanding of the differences between the Arabic and Latin scripts, and analysing the difference in comparis the handwritten arabic and latin text to simplified Naskh-style Arabic and a Latin serif typeface.

We created as a first step the basic simplified skeletal shapes and proportions for the Arabic characters- which Typographic matchmaking the basis of designing the letters using the formal attributes of Fedra; tension of curves, contrast, weight, etc. The Design concept of Fedra was to balance legibility with simplicity: It combines the simplicity of written letterfoms with the more traditionally used forms of printed book type. It was designed to work both with Fedra Serif and Fedra sans.