Take theĮoACAyI love New York' logo that became part of a bigger culturalĮlement, and has inspired countless knock-offs. It isn't always easy to predict how someĭesign elements become iconic and become part of our culture. "Every designer has their own intuition as to what is good or The field is still in an inchoate state, and according to ChahineĪnd Atrissi who are working on a book titled Right to Left: Typographicĭialogues on Arabic Literature, one can only look back 10-15 years from Helvetica can cross the boundaries between headlineĪnd text.
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You see it in software and emails as well as in big logos like GAP andĪmerican Airlines. You can use Helvetica for text and headline, which is why When ArabicĬalligraphic styles were developed, they were developed for specific "In Arabic, the situation is a bit more complex. Like the English type Helvetica, Chahine mentioned that she designed theĪrabic companion to the iconic Neue Helvetica typeface. When asked whether a single Arabic typeface will rise to ubiquity "This translates into a brighter future in the development of
In terms of software and support," said Chahine.Ītrissi expects more experimentation as people get trained. We are witnessing liberation with new designs. Of the rise in the Arabic typeface Chahine and Atrissi said theįuture is bright: "Arabic font is getting cleaner and more modern. Many or of good standard, until recently. In the West designing the English typeface, but in the Arabic world, not Kuwait, said that the Arabic typeface has come of age. It is veryĪnother student print-based designer Farah Behbehani, also from Know of only ten Arabic fonts compared to English - too few. To use and complement branding for new business, publications, etc. Graphic design student Danah Behbehani had travelled from Kuwait toĪttend the workshop. Once you understand the skeletal system, you can dress itĭifferently - sometimes conservative, sometimes modern," said "Everything we do is based on this calligraphic skeletal You have to look at the styles, theĬharacteristics of each and how you can interpret them," "To design good typefaces, it is important to Through the workshop Chahine and Atrissi taught approaches toĪrabic typography. Her credit including the best-selling Frutiger Arabic and Koufiya. Quality typographic products and services. His work has beenĮxhibited at the Guggenheim Museum in New York.Ĭhahine works at Linotype, Germany, a global provider of superior Universities and design seminars across the world. To expand the letters they have sketched into a system and furtherĪttrisi has a design studio (in the Netherlands.Īn author and a lecturer, he is a frequent guest speaker at several Now some of these students at the workshop may be able Typeface is an integral ingredient, there is new interest
"Companies in the Gulf have more budgets for branding. The co-host of the workshop, type designer Nadine Chahine, added: Reaffirm the Arab identity on a corporate level," Atrissi told Gulf It is signage or a logo - you need a unique typographic voice.Ĭompanies are searching for unique typefaces. Something was clear from Atrissi's recent workshop titledĪrabesque, Identity and Arabic Typography, organised by Nuqat DesignĬonference 2012, where students were sketching forms of Arabic This fact is singlehandedly encouraging type designers and graphicĭesign students in the Middle East to do something about it. That blatantly shouts out - there is high demand for Arabic fonts, less It wasn't so much an observation as it was a declaration. Retrieved from ĭubai "There aren't enough Arabic typefaces," said APA style: Arabic typeface catches the fancy of designers.Arabic typeface catches the fancy of designers." Retrieved from
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