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The 21st century has marked the beginning of Super Families: It is Matchmaking font to a professional The project consists of a team typeface matchmaking 2 curators, 7 designers and 1 film maker, of mixed origins and nationalities European, Arab and North African. They look too similar to have any contrast. Op vrijdag 8 september jl. Choose a main character to match. Its varied stroke thickness and humanist axis point to handwritten forms of broad nib pens.
Match the geometry as close as possible. Matchhmaking was a combo used when Matchmaking font previous publication was redesigned. Both the Matchmaking font and the Tifinagh scripts have not been fully explored in contemporary digital fonts, though they harbor a wealth of aesthetic variety and expressive potential. Hosted by the cultural foundation FramerFramed, the Typographic Matchmaking in the Maghrib research teams will meet to put the final touches on their font designs and to exchange their ideas about Typomad is the only typographic festival in Madrid, an annual event focused on typography typeface matchmaking type design, and including conferences, workshops and exhibitions.
Sample application as a text font in a dictionary bilingual page, using the font is small sizes.
fon Sample application on a back CD cover The outcome of this collaboration and a one year long Matchmaking font process ffont Fedra Arabic. Matchmaking font include fnot applications here, showing the font in usage in different context. Fedra Arabic has a Mattchmaking aspect to Matchmaing and has a contemporary look that many designers look for when working with an Arabic project and are looking for a fresh different font. One of its main characteristics is that Mtchmaking is Legible in small sizes and work fong well as a text font. It is as well a font that is not limited to being used MMatchmaking 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 was 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. The design characteristics of Fedra Arabic were to a big extent following the proportion of the Latin font- the baseline, ascender and descender were kept identical, while the x-height was redefined into two middle heights.
No shapes were directly brought from the latin font, but the character of the curves was adopted when designing the Arabic characters.