Author of several books and articles on multilingual communication and contemporary design in the Middle East , Huda is a researcher, a graphic designer, a typographer and a curator. Originally from Beirut, she lives and works in Amsterdam. She holds a degree in graphic design from Yale University School of Art and Rhode Island School of Design, and she specialized in bilingual typographic research and design. After her studies she moved back to Beirut where she was practicing and teaching graphic design. During this decade she realized how much arab designers look to the West for inspiration and standars of excellance while forgetting about their own arab cultural heritage to conceive new desings. In she decided to found the Khtt Foundation. The arabic word Khatt unfolds several layers of knowladge around calligraphy; It represents words, letters, constructions, designs and it also implies research. While the western typography is based on a fix structure, almost impossible to be manipulated, the arabic fonts are closer to caligraphy.
Typographic Matchmaking in the City: propositions for a pluralist public space
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. The foundation strives to advance design in the Arab World and the Middle East by building cross-cultural creative networks between East and West. The goal is to support design research projects that help revive and renovate design and crafts in the Arab World in partnership with local industries and designers.
The foundation has also established an extensive online resource, the Khatt Online Community, collecting information about contemporary design in the Middle East. The topic of the talk at SPD will focus on the role of writing and the contemporary representation of Arabic lettering in the built environment.
#AGI member Huda AbiFarès (Netherlands) is founding director of @khttnet, dedicated to advancing Arabic typography and design research in.
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. It pairs really well with most any san serif. Kudos to whoever designed the logo. As I walked by the window, I also noticed some interesting typography created with chalk, coupling cursive text with a san serif.
I thought it was pretty well done.
AbiFarès, Huda Smitshuijzen 1965-
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Typography is an everyday, widely used thing. One example is Typographic Matchmaking in the City, a research project () conducted by the.
The Typographic Matchmaking in the City project is a design research project investigating new approaches for bilingual lettering and poetic narrative for public spaces. The project has proven to be highly inspirational for the participating designers; and has 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—simply by using our daily basic mode of communication: the written word.
Shot on several locations in Amsterdam, Dubai UAE , Sharjah UAE , Pingjum Friesland , and Doha Qatar ,Typographic Matchmaking in the City : the Film follows the 5 teams of Dutch and Arab designers that participated in the project over a period of 18 months while they were traveling, working together and presenting their work in progress to culturally and professionally diverse audiences.
The film makes visible not only the design process, the struggles and challenges of the designers, but also addresses the larger topics of bringing two cultures into a dialogue through design. The personalities of the designers show through their collaborative process, discussions, interactions and the final design outcomes. The film presents a very humane and personal portrait of the process of creation and creativity.
The Publication: The Typographic Matchmaking in the City book offers a highly illustrated account of the project and the design research of each of the 5 teams. This forms the heart of the book, and in a sketchbook style it presents the design process and end results of each team.
Design is the method of putting form and content together. Design, just as art, has multiple definitions; there is no single definition. Design can be art. Design can be aesthetics.
The Typographic Matchmaking in the City project is a design research project investigating new approaches for bilingual lettering and poetic narrative for .
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Font: The Sourcebook
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.
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. When placed within the context of public and architectural space, the complexity is magnified. The distinctive and experimental outcomes that the five teams reach demonstrate the innovation inherent within the project. Typographic Matchmaking in the City is available to buy here.
huda smitshuijzen abifarès: interview / typographic matchmaking in the city
Publication Timeline. Through specific anecdotes, they elucidate the problematics and implications of designing for ‘public space’ and multicultural communities. These essays frame and contextualize the research and designs presented by the five teams participating in the ‘Typographic Matchmaking in the City project.
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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. Helvetica is doing its 7th comeback in contemporary typography and now is in fact older than most serif type used today.