The Global Hybrid

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THÊ G LÖBÅL HÝB RIÐ

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the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄

WHERE THERE IS DIVERSITY IN OUR WORLD, THERE IS HARMONY.

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LOOK AGAIN AT THAT DOT. THAT’S HERE. THAT’S HOME. THAT’S US. ON IT EVERYONE YOU LOVE, EVERYONE YOU KNOW, EVERYONE YOU EVER HEARD OF EVERY HUMAN WHO EVER WAS. LIVED

OUT THEIR LIVES.

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THOUSANDS OF CONFIDENT IDEOLOGIES, ECONOMIC DOC TRINES, EVERY CREATOR AND DESTROYER OF CIVILIZ ATION, EVERY KING AND PEASANT, EVERY MOTHER AND FATHER , HOPEFUL CHILD, INVENTOR , EXPLORER , EVERY TEACHER OF MOR ALS, EVERY CORRUPT

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POLITICIAN, EVERY SUPERSTAR , EVERY SUPREME LEADER , EVERY SAINT AND SINNER IN THE HISTORY OF OUR SPECIES . ..

LIVED

THERE.

ON A MOTE OF DUST SUSPENDED IN A SUNBEAM .

THE EARTH IS A VERY SMALL STAGE IN A VAST COSMIC ARENA .

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C ARL SAGAN

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01

introduction

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“Last year’s words belong to last year’s language. This year words await another voice.”

— T. S . E L I OT

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OF CONTENTS

§ introduction

⁄ ˈteɪbəl ˈʌv TABLE ˈkɑ:nˌtɛnt ⁄ _

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ORGANIZED BY T Y P O TA L K S

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INTRODUC TION

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ORIGINS OF WRITING SYSTEMS

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ANATOMY OF GLOBAL LANGUAGE

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T YPE AS A GLOBAL IDENTIT Y

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DIGITAL EFFEC TS ON T YPOGRAPHY

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INTERT WINING ARABIC & LATIN

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LEARNING FROM EACH OTHER

p ages 0 6-0 9

p ages 10 -13

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p ages 14-2 1

p ages 2 2 -2 5

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p ages 2 6 -33

p ages 32 -33

p ages 34-39

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the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄

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01

introduction

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Language is like a cracked kettle on which we tap rhythms to dance to, while we make music that will melt the stars.

—GUSTAVE FLAUBERT

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In today’s global culture, a plurality of typographic approaches exist which designers use to communicate.

specific colors and ideologies.

Il fut un temps où le design suisse est facilement reconnaissable car il était propre et assez neutre.

Ίσως αυτό είναι που ο σχεδιασμός είναι όλα σχετικά.

Gran parte de lo que se espera de los diseñadores gráficos es que se apliquen ciertas estilos gráficos de productos de impresión clientes.

Globalization applies to typography and type design, but it has become more difficult to tell where styles belong.

Compared to even ten years ago, there are more books on design published, there are more design conferences, and more magazines, and designers have websites to show their work.

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Because of the digital era, as well as cultural globalization, we have a universal design language of universal codes of colors, icons.

This language is independent from

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̐ Subsequently there is a lot of design cross pollination going on, Maar ondanks dit specifieke stijlen en attitudes nog steeds en bestaan​​.

Pero a pesar de esto, todavía existent estilos y actitudes específicas.

a blurring of boundaries.

We see a fair amount of designs that are a direct result of particular tricks that are easily generated by the software.

Perhaps it has something to do with the fact that we spend a great deal of time looking at each others work.

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But despite this, specific styles and attitudes still exist.

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origins

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Chaque communauté humaine possède un langage.

El desarrollo de los sistemas de escritura ha sido esporádica, irregular y lenta.

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Ancient writing systems developed in a variety forms, from Egypt as well as the Middle East, and they now serve as ancestors of the systems in use today. Writing systems are distinguished from other symbolic communication systems in that you must understand the corresponding spoken language in orer to comprehend the text.

The development of writing systems, and the process which they've supplanted traditional oral communication systems, has been sporadic, slow and uneven. Once they've been established, systems change more slowly than their spoken counterparts, and most often preserve the features and expressions which are no longer current in the spoken language. The great benefit of writing systems is their ability to maintain a persistent record of information expressed in a language that can be retrieved independently of the initial act of its formulation.

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The Phoenician alphabet was the Proto-Canaanite alphabet continued into the Iron Age and is the predecessor of a range of alphabets, including Latin.

The original Sumerian writing system derives from clay tokens used to represent commodities.

Writing was very important in maintaining the Egyptian empire, and literacy was concentrated among an educated elite of scribes.

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EGYPT

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Throughout history, the world's languages evolved through various writing systems of ideographic symbols.

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JORDAN

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Braille was based on a tactile military code called night writing, developed by Charles Barbier in response to Napoleon's demand for a means for soldiers to communicate silently at night.

origins

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SUMERIA

The Greeks adopted the alphabet from the Phoenicians.

Their most notable change was introducing vowel letters to the system.

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S PA I N

Classical Arabic is one of the Semitic languages, and therefore is similar in pronunciation to Assyrian, Hebrew, Akkadian, Aramaic, and Amharic.

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B

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GREECE FRANCE

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LETTERS OF THE WORLD 02

origins

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country

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system

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02

§ origins

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anatomy

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The evolution of language began at the time of hominid ancestors millions years ago, and gradually developing into what we think of as modern language.

There has been a much later and more recent rise of language, perhaps as recent as 40,000 years ago. Famous theorists have proposed that we have a language instinct, an innate set of neural pathways that have evolved to comprehend the unique attributes of language such as syntax and grammar. But nobody disagrees about the great importance of language to human experience. More than any other attribute, language is likely to have played a key role in driving genetic and cultural human evolution.

anatomy

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WEAVING A NET OF SYMBOLS

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Different typographic styles have been influencing each other ever since the beginning of the first alphabets.

Chaque communauté humaine possède un langage.

anatomy

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El desarrollo de los sistemas de escritura ha sido esporádica, irregular y lenta.

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Typography is a system that bridges language with concrete letterforms. The act of writing illustrates symbolic action of language. The process of edifying internal ideas constitutes fast deliberate action.

The hierarchical pattern of connections corresponds to dimensions of the world system.

The Greek alphabet has been used to write the Greek language from the 8 th century. It was derived from the earlier Phoenician alphabet, and was in turn the ancestor of European and Middle Eastern scripts, including the modern Cyrillic and Latin alphabets used today.

The Latin alphabet, along with various ancient scripts, adopted from an archaic form of the Greek alphabet brought to Italy by Greek colonists in the late 8 th century BC. The Cyrillic script replaced the Glagolitic alphabet, which was devised in the 9 th century for writing Old Church Slavonic. Latin, Greek and Cyrillic have letterforms in common but all have developed their own unique forms.

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LATIN

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N

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S

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Z

L

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Q

G

A

O

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CYRILLIC

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GREEK

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The Latin, Cyrillic and Greek writing systems all derived from the same predessor, the Phoenician alphabet.

As a result, all three share common letterform characteristics.

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CHARACTER ANATOMY 03

anatomy

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cyrilic

MERGING CHARACTERS

§ anatomy

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These drastic differences in characters, on the other hand, are currently narrowing due to digital communications, as certain writing systems are evolving in order to keep track with modern technology. A detached Arabic alphabet, for example, was mimicked after the Latin alphabet so Arabic could be used in mobile applications.

The differences in the detached alphabet versus joint Arabic alphabet are shown below.

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latin

Despite the drastic variance in characters and letter forms across the globe, each has its own set of structural elements to define their distinct shapes. As shown on the left, the construction of a Latin and Chinese form involves completely different strokes.

devangari

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̐ JOINT ARABIC

ꜣ DETACHED ARABIC

LATIN

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PRINCIPALE UTILISATION EL PRINCIPAL USO DE MAR-DE DIACRITICAL MARKS NES DIACRITIQUES DANS LE CAS DIACRÍTICAS EN EL ALINDE THE LATIN-DERIVED RIVÉ L'ALPHABET LATFABETO LATINO DERIVADO EST LE CHANGEMENT LA ES ALPHABET CAMBIAR ELCHANGE VALORDE DEL THE SOUND VALUE OF À LEUR DE SON DE LA LETTRE SONIDO DE LETTER TO WHICH QUELLE LATHE CARTA A LA QUE SE � THEY ARE ADDED. the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄

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anatomy

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DIACRITIC MARKS

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⁄ ˈdaɪ.əˈkrɪtɨk ⁄

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Grave acccent silent vowel sound falling tone

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Circumflex once pronounced vowels rising-falling tones

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Tilde Nasal vowels

In French, a regular “e” has the sound heard in English “let” while “é” is close to those found in English “laid”. In Ancient Greek, where the acute accent originated, it was believed to have been invented to indicate a rising vowel.

When writing a ballad one might write “he steppèd up to her” to show the “e” in “stepped' is to be pronounced. In Ancient Greek, it was believed to have indicated a falling tone on the vowel.

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§ anatomy

´

Acute acccent longer vowel sound

Diacritic marks effect pronunciation depending on the language being used, but some have common traits.

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The circumflex marks a place where the vowel was once followed by “s” which has been dropped out in prounciation. In Ancient Greek, it was believed to have indicate a rising-falling tone on the vowel sound.

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In Spanish, the tilde was used over “n” as “ñ” to indicate a sound like an “ny” such as in “cañon”, adapted into English as “canyon”. In Portuguese, it was used to indicate that the vowels “a” or “o” were nasalized. This trick was adapted into a newer Latin-letter transcription which was then eventually invented later for other languages.

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04

global identity

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TYPE AND GLOBAL IDENTITY

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Studies of typography should be based on its users and their environment.

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The phenomenon of language is understood as humankind’s distinguishing characteristics. All humans, regardless of native language, are born with basic cognitive rulebook for organizing language. Symbols themselves are devoid of meaning. It is within users, contexts, and environments that symbols assume any significance. Language is tied to its context, but it is not a static entity. Meaning is subject to change over time as new users in different environments do employ the same symbols. Symbols and language are never just passive reflections of users or realities; rather, they are actively used by humans in constructing and manipulating reality.

Language is not just a reflection of reality, it's an integral part in creating the world around us. Words, symbols and images are used to communicate national identity. Visual symbols are by nature abstract, but they are not arbitrary. The vocal idiosyncrasies of a language can be linked to the visual appearance of its vernacular typeface. Latin-based languages such as French and Italian focus on a progressive syllable-by-syllable rhythm that promotes logical and linear thought. The German language is rooted more in imagination and classic narrative. Although letterforms frequently have origins in physical entities like rivers, tools, and celestial objects, they should be understood as unique symbols. Just as Chinese ideograms only faintly represent the trees, mountains, and human anatomy from which they originated, letters have evolved extensively over time so that it is no longer appropriate to make such associations.

While letterforms are abstract, typography is a powerful medium that is capable of expressing emotions, ideas, and experiences. Typographic literacy varies among cultures and individuals, but people are able to quickly and consistently make judgments about the personality and emotional effect of a typeface. Owing in part to the rise of desktop publishing, typesetting has become an everyday activity for millions of people. Individuals should be understood as intelligent consumers of type. While people consistently agree upon the meaning or rhetorical effect of a given typeface, never can a typeface achieve a meaning that is universally accepted or interpreted. ⁄ tipografía ⁄ As visual meaning is dependent upon its context, any study of typography should be based in its users and environments.

Letterforms are inspired by the world surrounding us.

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Globalization is a process characterized by the existence of economic, political, cultural, linguistic and environmental interconnections and current existing borders and boundaries that are irrelevant.

The increase in globalization has large effects on language, and both positive and negative. With globalization allowing languages and each culture to spread on a global scale, it also leads to the extinction of several other languages and cultures.

Languages serve as important symbols of group belonging. Knowledge of one or several languages enables us to perceive new horizons, to think globally. Languages are, then, the very lifeline of globalization.Without language, there would be no ⁄ s ímbolo ⁄ globalization; vice versa, without globalization, there would be no world languages.

Rhetors can achieve different ends by using the same symbol set in various environments to appeal to different audiences. The turbulent history of blackletter illustrates the adaptability of typefaces as well as the creative and constructive role of the individuals and institutions who use type. Latin was linked to the Roman Catholic Church and its political and social oppression. Proponents of the Reformation enlisted blackletter as well as German language as symbols of struggles against the church. The Nazi party the embraced blackletter as the visual representation of Germany. Since the fall of the Berlin Wall, graphic designers have exhumed blackletter and exploring ways to capture modern Germany’s ideals of democracy.

global identity

Without language, there would be no globalization; without globalization, there would be no world languages.

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N E W YO RK

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TRADE GOTHIC

GOUDY OLD ST YLE

FRANKLIN GOTHIC

AVANT GARDE

AT F G A R A M O N D

AKZIDENZ GROTESK

CENTURY OLD STYLE

CLARENDON

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BASKERVILLE

C A S LO N

GARAMOND

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KNOCKOUT

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GOTHAM

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global identity the global hybrid

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LATIN TYPEFACE ORIGIN

⁄ NO R T H A M E R I C A ⁄ ⁄ EUR OP E ⁄

GERMANY

UK

CALIFORNIA FR ANCE

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§ global identity

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the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄

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digital effects

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§ digital effects

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 Uno de cada diez usuarios de Internet son de ha bla española, esta cifra está aumentando

Despite increasing presence of other languages on the Internet, English and the Latin alphabet remain dominant.

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LANGUAGES OF THE INTERNET

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INTERNET USERS BY LANGUAGE (MIN PEOPLE)

ENGLISH

CHINESE

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SPANISH

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PORTUGUESE

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GER M AN

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75

AR ABIC

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FRENCH

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RUSSIAN

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Internet di Indonesia merupakan media komunikasi yang relatif baru.

Первый скрипты кириллицы не были введены в Интернет до мая 2010.

La France a la deuxième plus grande é conomie en Europe, mais ont été parmi les plus lents ad aoptants de l'Internet.

‫ةيطسوأ قرشلاو ةيبرغلا تاكرشلا‬.

‫نم نواعتلا ببسب مويلا يملاعلا تالاصتالا قوس يف‬

‫اريثأت رثكألا تاغللا نم ةدحاو ةيبرعلا ةغللا‬

digital effects

JAPANESE

Deutsch war einer der ersten Anwender des Internet, obwohl Nutzung wird in den letzten Jahren übertroffen wird.

Portugal representa um mercado dinâmico e em crescimento da Internet na Europa com os usuários a ser continuum mais ativo e engajado online

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INDONESIAN

KORE AN

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in one's calligraphy.

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would ensure the beauty

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explain how to write

Eight Principles of Yong

and permanence. The

means forever, eternity,

character for Yong, thtat

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strokes in Chinese

There are eight common

digital effects the global hybrid

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EIGHT PRINCIPLES OF YONG

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8

⁄ SLAN T ⁄ 4 7

6

⁄ H O O K ⁄

⁄ I R O N S T A FF ⁄ ⁄ S H O R T S LA N T ⁄

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⁄ W A V E ⁄

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Japanese society can easily be seen through its letterforms. The characters show the complex society's extremes, from the mayhem of Akihabara to the ancient zen ritual of calligraphy. In order to create consistency in a language that has three alphabets used for various purposes is a feat and shows the influence of type choices.

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Japanese characters are written left to right, but that is only a contemporary development from their original arrangement of up to down. Today, the Japanese have embraced the globalized nature of modern letter forms in order to make the language easier to apply in modern technology. This is reflection of how people communicate today. To the majority of young Japanese, calligraphy is now an irrelevant hobby, practiced by only a few.

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Japanese has dramatically changed in the last two generations in the following ways: 1.

Amove towards computer generated type

2.

The gradual move towards left to right typography as opposed to up and down, right to left movement

Left to right layout appeared in Japanese in the 19 th century language dictionaries, after publishers decided that it was difficult to compile a German or Dutch word written horizontally and its Japanese translation written in a vertical format.

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With such a large number of characters, clarity is extremely important in Japanese. There are a lot of signage that uses Roman characters, whether that be with English words or Romanized Japanese words. The cultural significance of cuteness in Japan is a complex issue, but indeed it gives rise to this particular aesthetic that we do not share.

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digital effects

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⁄ˈglōbəl _ THE web⁄

GLOBAL WEB

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2005 2006 2007 2008 2009

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2010 2011

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2012

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2013 millions

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growth since 201o

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chinese

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arabic

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450

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cyrillic

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One of the major effects of globalization is a variety of writing systems now increasing their presence online, creating a more diverse spectrum of type on the Internet, with the some emphasis on the Chinese language.

At the outset of the digital age, it was only the Latin alphabet was that was present on the web. Because of the number of Internet users that China is adding each year, however, it is now English that will soon be replaced by Chinese as the most popular language seen online. China has elaborate policies to support the growth of the Chinese language. Mixing foreign words in Chinese language publications, without a Chinese language translation, for example, has been banned. Other countries, however, are embracing mixing of writing systems in digital media, and as a result other writing systems are also steadily increasing on the Internet.

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‫تنكمتعلا تالاصتالا قوس يف اريثأت تاغللا رثكأ نم ةدحاو حبصتل ةيبرعلا تنكم‬ ‫‪the global‬‬ ‫حبصتل ةيب‬ ‫ ‪ hybrid‬نم ةدحاو‬ ‫‪n o 34‬ببسب مويلا يملاعلا تالاصتالا قوس يف اريثأت تاغللا رثكأ‬ ‫‪ˈhīˌbrid‬‬ ‫‪⁄ g lōbəl‬‬ ‫‪ ⁄‬‬ ‫تاكرشلا نم نواع‬ ‫ةيبرغلا‬ ‫قرشلاو‬ ‫‪ ⁄ peɪdʒ ⁄‬ءاوس ‪،‬طسوألا قرشلا نم ةيطفنلا ةرفطلا عم ‪.‬ةيطسوأ‬ ‫نأ اهنأش نم يتلا ةيراجتلا ةمالعلا تايوه قلخل دارأ ةيلحملاو تايسنجلا ةددعتملا تاكرش‬ ‫ةكرحلا نع كلذ رفسأ ‪.‬ةيبرغلا مهتيوه ىلع ظافحلا عم ةيبرعلا ةغللاب نيثدحتملا دش‬ ‫‪،‬راعشلا ميماصت يف اعم ترهظ يبرعلا فرحلا لاكشأو ةينيتاللا يتلا ةلاسرلا لاكشأ ي‬ ‫دق ةيبرعلا ةيدجبألا طيسبت ‪.‬يبرعلاو يبرغلا نيملاعلا تاباطخ فاطملا ةياهن يف‬ ‫ءاشنإ قيرط نع ‪.‬مويلا نيممصملاو نوعباطلا نم ديدعلا ىلع ريثأتلا متي يتلا ةكرح ت‬ ‫عم لماعتلا دنع عم لمعلل طسبأو اقفاوت رثكأ ةيبرعلا ةغللا تحبصأ​​ ‪،‬ةلصفنم ةيدج‬ ‫فورحلا عم ةيبرعلا ةيدجبألا جمدو ‪،‬كلذ عمو ‪.‬ةينيتاللا ىلإ ةدنتسملا رتويبمكلا ةمظ‬ ‫ول امك لعافتت نأ بجي يبرعلا طخلاو ةينيتاللا ‪.‬ةدقعم ةيلمع وه ةينيتاللا ةيئاجهل‬ ‫يتلا لكاشملا لح يف ةدعاسم ةيبرعلا ةيدجبألا طيسبتل ةكرح نإف ‪.‬اعم نيتفاقث‬ ‫‪06‬‬ ‫‪،‬لاثملا ليبس ىلع ‪.‬طسوألا قرشلا يف ةبعصلا ةعابطلا عم يجولونكتلا مدقتلا تلع‬ ‫§ ‬ ‫فتاوهلا لوأ ن‬ ‫‪،‬ةيبرعلا فرحم اهيدل سيل ةيبرعلا ةغللاب ةقطانلا نادلبلا يف ةلاقنلا‬ ‫تاملكلا نع ريبعتلل ةينيتاللا ةيدجبألا مادختساب كلذو ةلاقنلا فتاوهلا يمدختس‬ ‫ديرب قيرط نع ةيبرعلا فورحلا لك تسيل ةقباطم نوكت نأ نكمي ‪،‬كلذ عمو ‪.‬ةيبرعلا‬ ‫نم ةينيتاللا فورحلا نيب يف ةينيتاللا ماقرألا مادختسا مت كلذل ‪،‬ةينيتاللا ينور‬ ‫دمتعي نيجه ةغل ىلإ كلذ ىدأو ‪.‬حيحص لكشب ةيبرعلا ةملكلا نع ريبعت‬ ‫‪ is‬ىلع‬ ‫دويقلا‬ ‫‪Arabic‬‬ ‫‪one of the most influential languages‬‬ ‫رودت‪in‬ةلصفنم ةيبرعلا ةيدجبألال ببسلا ‪.‬ةداعلا تحبصأ يتلا ةيجولونكت‬ ‫لعج لوح‬ ‫‪today’s‬‬ ‫‪global communications market due to the‬‬ ‫ةيبرعلا ةغللاب نيثدحتملا نم ديدعلا ‪.‬يبرع ريغ روهمجل ملعتلل لهسأ ةغ‬ ‫‪ of Western and Middle Eastern‬نأ دقتعيو‬ ‫‪collaborations‬‬ ‫يعولا ‪.‬ةيفاقثلا ديلاقتلا نم اهديرجتو ةغللا "بيرغت" قئال ريغ لكشب ن‬ ‫‪With the oil boom of the Middle East,‬يفاقثلا‬ ‫‪businesses.‬‬ ‫تاكرشلا تلعج ‪.‬ةينيتاللاو ةيبرعلا ةيئاجهلا فورحلا نم جمد دنع ةريبك ةي‬ ‫ةريبكلا‬ ‫‪both multinational‬‬ ‫‪and local companies want to‬‬ ‫نايحألا ضعب يف يتأي ‪،‬ةيبرعلا ةغللا يف اهتاجتنم نع نالعإلا دنع ةريبك‬ ‫‪ that would appeal to Arabic speakers‬نع‬ ‫جراخ ‪create‬‬ ‫‪brands‬‬ ‫‪ while‬ريغ ةروص‬ ‫‪ keeping‬ةمئالم‬ ‫‪ their Western identity.‬ايفاقث‬ ‫‪latin & arabic‬‬

‫‪THE MERGING‬‬ ‫& ‪OF WESTERN‬‬ ‫‪ARAB WORLDS‬‬

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‫‪This resulted in an important movement where‬‬ ‫‪Latin and Arabic letterforms began to be combined‬‬ ‫‪in design, ultimately bridging Western and Arab‬‬ ‫‪typography. By creating a detached alphabet, Arabic‬‬ ‫‪has become more compatible with Latin-based‬‬ ‫‪computer systems; the merging of the alphabets,‬‬ ‫‪however, has been a complex process.‬‬

‫‪Simplifying the Arabic alphabet‬‬ ‫‪has ignited a movement‬‬ ‫‪that is influencing designers.‬‬

‫‪Simplifying the Arabic alphabet was originally‬‬ ‫‪meant to make technological advances in typogra‬‬‫‪phy easier in the Middle East. Mobile phones in‬‬ ‫‪Arab countries did not initially have an Arabic‬‬ ‫‪typeface, so the Latin alphabet was used to express‬‬ ‫‪Arabic words. Latin numerals were used in between‬‬ ‫‪letters in order to express Arabic. This created a‬‬ ‫‪hybrid language based on technological limitations‬‬ ‫‪that became habit.‬‬ ‫”‪Some Arabic speakers believe “Westernizing‬‬ ‫‪the language is stripping it of its cultural tradition.‬‬ ‫‪Cultural awareness is of great importance when‬‬ ‫‪merging of Arabic and Latin alphabets. Many Large‬‬ ‫‪corporations have made huge mistakes when‬‬ ‫‪advertising their products in Arabic, sometimes‬‬ ‫‪coming off as culturally inappropriate.‬‬

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‫‪Detached Arabic typography‬‬ ‫‪is intended to make the‬‬ ‫‪Arabic language easier to learn.‬‬

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n o 35

⁄ peɪdʒ ⁄

02

§ latin & arabic

� 1

1

2 2

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1

3

2 3

3

1

1 1

3

2

2

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n o 36

the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄

⁄ peɪdʒ ⁄

DISAPPEARING LANGUAGES 07

SAFE

37.3% LOW RISK

S E V E R E LY

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ENDANGERED

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MEDIUM RISK

AT RISK

62.7

learning

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With the extinction of a language, an entire culture is lost. Studying various languages increases our knowledge and understanding of how humans communicate and store information.

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The graphic indicates the languages that are in danger of extintion per continent.

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By 2100, more than half of the 7,000 languages spoken on Earth — many not yet recorded — may disappear, taking away a wealth of important culture.

Language defines a culture, through the people who speak it as well as what it allows speakers to say. Endangered languages have rich cultures with stories, songs, and histories that are passed on to the younger generations, but no written forms.

This has occurred throughout human history.

The rate at which languages are vanishing around the world has dramatically increased in recent years due the globalized systems with connecting communication forums.

n o 37

⁄ peɪdʒ ⁄

⁄ ASIA ⁄

⁄ NORTH AMERICA ⁄ 07

§ learning

⁄ AFRICA ⁄

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⁄ S O U T H AME RICA ⁄

⁄ SOUTH PACIFIC ⁄

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n o 38

the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄

07

learning

§

� ῀

⁄ peɪdʒ ⁄

07

The beauty of typography has no borders, and we can learn a lot from each other as designers.

Tendances typographiques de diverses origines influencent de plus en plus l'un l'autre.

Tipografi bir kültürlerarası bir olaydır.

As the world becomes progressively global, typographic trends of Asian, Latin and Arabic origin increasingly influence one another.

We see multilingual typography characterize the appearance of institutions, universities, trade fairs, transportation hubs, web portals and urban landscapes. The coexistence of information originating from various cultures challenge principles of communication on very fundatmental level.

Contemporary typography is increasingly becoming a transcultural affair. The growing demand for multilingual design strategies and approaches follows the proliferation of multilingual media.

Defining the new foundations of visual communication today is our challenge as designers.

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Pero a pesar de esto, davía existent estilos y les actitudes específicas.

Fagurfræði hönnun er sterklega tengd laginu eyðublöð bréf.

The rise of international identities highlights the changing economic and political realities of a globalized world. Some see their interest in an international national identity that is defined by its neutrality.

International projects require an extensive amount of knowledge about various unfamiliar writing systems from around the world.

The aesthetics and structure of designs can be strongly related to the shape and legibility of letterforms. Learning about international writing systems help graphic designers create more engaging design work.

Working with multiple languages in design projects can be challenging. But by studying the specifics of the language that you are teamed to work with will help anticipate the user needs and avoid misunderstandings.

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n o 39

⁄ peɪdʒ ⁄

07

§ learning

� ῀

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the global hybrid / g lōbəl ˈhīˌbrid /

§

⁄ˈkɒləˌ COLOPHON fɒn ⁄

�

Name

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ID Number Course

TYPOGRAPHY 4 ARIEL GREY

Semester

SPRING 2013

Typefaces

GRANJON FF KIEVIT REX BOLD

Paper

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02594374

Professor

Photography

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KRISTIN RIGER

Printer

COURTESY OF FLICKR.COM MOAB ENTRADA RAG BRIGHT 190 EPSON ST YLUS PRO 3880

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