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.
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Youth community gardens have the potential to positively influence dietary behaviors and enhance environmental awareness and appreciation. However, actual data supporting youth gardening and its influence are limited. The purpose of this study was to explore the effects of community gardens on youth dietary behaviors, values and beliefs, and cooking and gardening behaviors.
Paul, Minnesota and compared those involved in a youth garden program with those uninvolved in order to investigate whether the gardening program influenced their habits, beliefs, and values. Findings indicate that youth garden program participants were more willing to eat nutritious food and try ethnic and unfamiliar food than those not in the program.
typography to portray Baghdad through enchanting colours in contrast to the city’s typically bleak representation. Finally, the design_atelier’s installations are all about being playful. Kharoof () questions the originality of underground.
In the interview she gives detailed insight into the Typographic Matchmaking Project which was recently presented with a symposium, film screeening and book launch in Amsterdam. How did this project come up? This project is a follow up on Typographic Matchmaking 1. The sequel required a different approach and imagining new ways of creating type, by this addressing the larger global role of typography within contemporary culture.
The megalomaniac urban developments in the Arabian Gulf states were impressive for the accompanying optimistic belief in the infallibility of the future. However, the speed at which it was all taking place was unsettling: I felt that contemporary cities needed to bring back that approach to lettering and maybe to take this a step further to respond to the communication needs in multicultural urban environments.
It seemed the right moment to create a design research project that attempts to propose a thoughtful point of view for future urban environments and cities that we will feel safe and comfortable living in. Which were the main obstacles you had to overcome? There were challenges rather than obstacles. The third challenge was how to design typefaces or lettering that enhance placemaking in an already visually congested urban public space. The commitment of the participants was crucial in overcoming all the challenges and the end results I am relieved to say are actually highly innovative and unique.
How did you chose the artists, designers and architects involved?
Typography in China
Bauhaus was established as a school for art and design in by the architect Walter Gropius. The school was originally located in Weimar, Germany but due to conflicts with the National Socialists it was moved to Dessau in and later to Berlin in , where it was closed in The Bauhaus was the most influential modernist art school of the 20th century.
We met the Amsterdam-based expert for bilingual typographic research and design—whose project Typographic Matchmaking in the City is featured in Gestalten’s Arabesque 2: Graphic Design from the Arab World and Persia—to talk about the relationships between Arab and Latin typography.
As one of the most sought after awards, the restaurant industry arrived semi-formally in anticipation to white gloved staff. Live music, Laurel and Hardy followed by Marilyn Monroe impersonators brought some humor to what could have otherwise been a teeth grinding evening. The dinner menu read like a gourmet restaurant as you would expect from the California Restaurant Association. A delicate salad of maple infused smoked duck with apricot chipotle salsa, shaved fennel and crisp escarole.
Dessert of chocolate batons with Grand Marnier mascarpone mouse and fresh berry coulis were created by the Newport Harbor High School ProStart Culinary team, which won the state ProStart competition in March and placed fourth out of 31 states at the National ProStart Invitational. ProStart is a culinary program developed by the National Restaurant Association Education Foundation to recruit and retain a skilled workforce with over 35, students enrolled nationwide in high school.
In the California ProStart Competition, high school juniors and seniors compete demonstrating culinary and management skills. The experience touched him so much he vowed to always remember the plight of the hungry. The nation was in the depths of the Great Depression, businesses were failing, and it was a difficult time to try his idea. During one day period, 10, ate free before Clifford could open an emergency cafeteria a few blocks away to feed, for pennies, the two million guests who came during the next two years.
After World War II, Clifford founded Meals for Millions, a non-profit organization that delivers food to millions of starving and malnourished people throughout the world. Clifford retired in , selling to his children, Edmond, Jean, and Don.
First Brno TypeTalks
FontFont caught up with Mike at his home in Brooklyn. We toured his neighborhood, studio space, and dropped in to the city to see his office at MoMA. What have you been drawing lately and what projects are you in the middle of?
Inner city locative media: The Media Portrait of the Liberties project by Valentina Nisi:: The Media Portrait of the Liberties is a modular collection of anecdotal stories drawn from a disadvantaged Dublin inner city neighbourhood called the Liberties. The narratives are displayed as short video clips on a location-aware handheld computer.
The National Library bought the collection with the help of two private collectors, couple Dr. David and Jemima Jeselsohn. The collector and custodian, Jack Lunzer had always hoped the collection would be sold as a unit, but the price was too high and twice before the collection was divided it could not garner a sale at auction. Every one of these books is crying its own tears. The Bomberg Talmud is from to and one of 14 sets surviving, and Daniel Bomberg, a Christian from Venice printed the first complete sets of Babylonian Talmuds.
Lunzer first discovered the set in during an exhibit at the Victoria and Albert museum celebrating the th anniversary of Jews returning to Britain however, Westminster was unwilling to sell the Talmud set. Lunzer was able to purchase the copy of the charter, and he offered it up as a trade to which Westminster Abbey agreed.
Type study: Typographic hierarchy
His Arabic type foundry is called 29letters. At ATypI in St. Petersburg, he ran a workshop on the Arabic Kufi script. Speaker at ATypI in Dublin on the topic of political resistance and expression through graffiti in Lebanon and Palestine.
Single in the City Matchmaking is a division of Single in the City Dating, a leader of singles events, speed dating, singles dances and mixers in the GTA. Meet the Business Owner. Laura B. Business Owner Laura Bilotta is a dating coach, matchmaker and the co-founder of successful dating website Single in the City dot ca. Laura established.
By Todd Reisz Soccer pitch in Yiti, Oman During a trip to Oman I learned something about the consequences of Dubai’s development appetite, namely that it extends beyond its own borders. My traveling partner and I had been enjoying the drive-and-camp-where-you-may freedom Oman provides. Our guidebook described a beach and lagoon in a town named Yiti, about an hour’s drive outside Muscat.
Darkness had long since fallen, and we inched our way into the town in search of the open beach. Just outside the town where you could smell the fading scents of dinner and hear the last fits of children’s laughter before bedtime, we found where the horizon opened to the sea. The beach showed no sign of inhabitation, none of the usual late night strollers, fishing boats and shacks.
The ground felt harder than a beach should, but still we were happy enough to stop, eat something and pull out the sleeping bags. The next morning we awoke to find we were somewhere quite different than we’d expected. The beach and lagoon no longer existed. The ground had been packed hard, and the water’s edge had been crafted into a solidified, flamboyantly curvaceous form. Rocks, presumably from the overlooking mountains, had been gathered and fitted together to define a hard edge, making it impossible for us to touch the water.
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Welcome to Typeset In The Future: The opening credits for Alien are nothing short of a typographic masterpiece. However, after a detailed comparison with Helvetica Black, I tend to agree with Susan. Thank you for the correction!
aback abacus abaft abandon abandonment abandoned abase abasement abash abashment abate abatement abatis abattis abattoir abbacy abbatial abbess abbey abbot abbreviate.
Blog Menu Type study: Typographic hierarchy This is part of a series of guest posts on web typography. On the web, a large chunk of our content is text. A clear understanding of hierarchy results in more beautiful, meaningful, and communicative designs that better serve their audience. The only thing communicating hierarchy is the order in which the text is presented.
Notice that when we have at least two graphic devices working, we no longer need have to have our most important piece of information on top in order for it be read first. The increased size shows the reader where to begin reading.
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In this copy the decorative colored initials were hand-lettered separately by a scribe. Typography, type-founding and typeface design began as closely related crafts in mid th-century Europe with the introduction of movable type printing at the junction of the medieval era and the Renaissance. The scribal letter known as textur or textualis, produced by the strong gothic spirit of blackletter from the hands of German area scribes, served as the model for the first text types.
A second typeface of about characters designed for the line Bible c.
And just like Latin letterforms and Western typography, Arabic and Iranian type design has evolved from a deep understanding and a thorough knowledge of calligraphic penmanship. Arabic calligraphy is a series of elegantly constructed strokes put together to form .
There are four traditional types of printing: Click the link for more information. The term typographer is today virtually synonymous with a master printer skilled in the techniques of type and paper stock selection, ornamentation, and composition. Before the development of typography, related arts flourished for centuries. Scribes in ancient Egypt and the Middle East perfected the craft of writing on papyrus scrolls and clay tablets. Hellenistic and Roman makers of books developed the art, which reached a peak of aesthetic perfection in the exquisite illuminated manuscripts manuscript, a handwritten work as distinguished from printing.
The oldest manuscripts, those found in Egyptian tombs, were written on papyrus; the earliest dates from c. The first European typographers imitated these manuscripts, but the introduction of metal types in the 15th cent. Crisp and uncompromising, metal types imposed new standards of composition. A highly conservative art, modern typography adheres closely to tradition. Since legibility is of the utmost importance, the forms that print most legibly are retained. Now created on computers, new typographic styles type faces continue to develop, to suit myriad uses in the design of advertisements, posters, newspapers, greeting cards, almanacs, and fine books.
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Latin fonts seek Arabic counterparts for an intimate design revolution.. Retrieved Nov 20 from https: For years, art directors, graphic designers and the writers and editors who occasionally poke their noses into the debate have been engaged in huge philosophical brawls over tiny technical details. For ages, they have been willing to throw down over the merits of serif versus sans-serif typefaces. For ages, they have been willing to throw down over the merits of serif versus sans-serif typefaces – whether or not letters should carry little decorative flourishes, or serifs, like the rightward kick on a lowercase a, the leftward angle on a lowercase d or the miniscule hat that caps a capital letter such as J.
Some find serif typefaces timeless, elegant and easy on the eyes for sustained reading.
United States: San Diego (Ca) Mangaung, South Africa: Hermosillo, Mexico.
The origin of the Arabic script goes back to the first alphabets which were created by the Phoenicians. The Phoenicians were living on the costal area of Lebanon, Palestine and Syria. Since the Phoenicians were business traders sailing the Mediterranean, the alphabet influenced all the Mediterranean nations. The location of the middle-east being in the center of the ancient world between the east and the west also played a part in the spreading of the alphabet. So that is why the Phoenician alphabet is the mother of the Latin as well as the Arabic script.
In BC, the early Phoenician alphabet consisting of 22 consonants without capitals written from right to left was born in the city of Byblos on the coastal side of Lebanon. In BC, the Nabatean script was born in the city of Petra north of the Red Sea present day Jordan and spread all over the middle-east. In AD, the Syriac alphabet 22 letters was created in Mesopotamia developing also from the Aramaic.
Mid of the first century, the early Arabic alphabet was created in Kufa Iraq. The old kufi Archaic Kufi contisted of around 17 lettersforms without diacritic dots or accents.