�
�
̐
ꜣ
̐
THÊ G LÖBÅL HÝB RIÐ
ꜣ
the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄
WHERE THERE IS DIVERSITY IN OUR WORLD, THERE IS HARMONY.
� ῀
̐
ꜣ
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.
� ῀
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
̐
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 .
ꜣ
C ARL SAGAN
n o 06
the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄
⁄ peɪdʒ ⁄
01
introduction
§
� ῀
̐
“Last year’s words belong to last year’s language. This year words await another voice.” — T. S . E L I OT
ꜣ
n o 07
⁄ peɪdʒ ⁄
OF CONTENTS
§ introduction
⁄ ˈteɪbəl ˈʌv TABLE ˈkɑ:nˌtɛnt ⁄ _
01
ORGANIZED BY T Y P O TA L K S
01
INTRODUC TION
02
ORIGINS OF WRITING SYSTEMS
03
ANATOMY OF GLOBAL LANGUAGE
04
T YPE AS A GLOBAL IDENTIT Y
05
DIGITAL EFFEC TS ON T YPOGRAPHY
06
INTERT WINING ARABIC & LATIN
07
LEARNING FROM EACH OTHER
p ages 0 6-0 9
p ages 10 -13
� ῀
p ages 14-2 1
p ages 2 2 -2 5
̐
p ages 2 6 -33
p ages 32 -33
p ages 34-39
ꜣ
the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄
n o 08
⁄ peɪdʒ ⁄
01
introduction
§
� ῀
̐
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
ꜣ
n o 09
⁄ peɪdʒ ⁄
01
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.
§ introduction
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
01
� ῀
̐ 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.
ꜣ
But despite this, specific styles and attitudes still exist.
n o 10
the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄
⁄ peɪdʒ ⁄
origins
§
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.
̐ A
B
C
2 0 0 0 B C
1 0 0 0 B C
5 0 0 B C
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.
ꜣ
EGYPT
A
02
02
Throughout history, the world's languages evolved through various writing systems of ideographic symbols.
4 0 0 B C
E
3 0 0 B C
F
JORDAN
8 0 0 A D
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
D E
SUMERIA
The Greeks adopted the alphabet from the Phoenicians. Their most notable change was introducing vowel letters to the system.
D
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.
C
B
n o 11 ⁄ peɪdʒ ⁄
GREECE FRANCE
02
§
�
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̐
F
ꜣ
n o 12
the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄
LETTERS OF THE WORLD 02
origins
§
country
⁄ peɪdʒ ⁄
� ῀
̐
system
ꜣ
n o 13
⁄ peɪdʒ ⁄
02
§ origins
� ῀
̐
ꜣ
n o 14
the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄
anatomy
§
⁄ ˈmān strōk ⁄
03
⁄ peɪdʒ ⁄
⁄ ˈkrȯs-ˌbär ⁄
� ῀ ⁄ ˈstem ⁄
̐
⁄ ˈlüp ⁄
⁄ ˈbōl ⁄
ꜣ
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
⁄ ˈtāl ⁄
⁄ ˈjəŋ(k)-chər ⁄ n o 15 ⁄ peɪdʒ ⁄
03
§
�
῀
̐
WEAVING A NET OF SYMBOLS
ꜣ
n o 16
the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄
03
⁄ peɪdʒ ⁄
03
Different typographic styles have been influencing each other ever since the beginning of the first alphabets.
Chaque communauté humaine possède un langage.
anatomy
§
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.
n o 17
⁄ peɪdʒ ⁄
LATIN
Θ
N
V
S
F
Z
L
U
W
I
Y
Q
G
A
O
03
§ anatomy
Ξ
J
C
M
ь
ъ й
Λ
ч
E
P
X
э
л
Ψ
B
T
Y
ш
ы
я
и
H
K
з
ю
д
Ω
ж
щ
CYRILLIC
ф
г
п
� ῀
̐
GREEK
ꜣ
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.
n o 18
the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄
⁄ peɪdʒ ⁄
CHARACTER ANATOMY 03
anatomy
§
� ῀
̐
ꜣ
n o 19
⁄ peɪdʒ ⁄
cyrilic
MERGING CHARACTERS
§ anatomy
� arabic
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.
03
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
⁄əˈnætəmɪ'⁄
῀
̐ JOINT ARABIC
ꜣ DETACHED ARABIC
LATIN
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 ⁄
03
anatomy
§
῀
DIACRITIC MARKS
̐
ꜣ
n o 20
⁄ peɪdʒ ⁄
n o 21
⁄ peɪdʒ ⁄
⁄ ˈdaɪ.əˈkrɪtɨk ⁄
`
Grave acccent silent vowel sound falling tone
ˆ
Circumflex once pronounced vowels rising-falling tones
¯
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.
03
§ 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.
̐
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.
ꜣ
⁄ nación ⁄ n o 22
the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄
04
global identity
§
⁄ peɪdʒ ⁄
⁄īˈdentitē⁄
TYPE AND GLOBAL IDENTITY
04
� ῀
Studies of typography should be based on its users and their environment.
̐
him ⁄
ꜣ
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.
⁄ rithim ⁄
S
Ξ
и
ы
ю
¥
¥
ø
Ѣ
л
ь
э
Љ
Љ
V
Ω
Ѵ
щ
ж
ђ
ђ
Ħ
Ὼ
ἇ
ẹ
ϡ
ϡ
Ä
Θ
ẹ
Σ
Σ
я
ъ
ß
n o 23
⁄ peɪdʒ ⁄
⁄ qlobal ⁄
Δ
ß
04
§
⁄ t ungumál ⁄ ⁄словы ⁄
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.
� ῀
̐
ꜣ
⁄miljø ⁄
�
04
§
N E W YO RK
῀ NEWS GOTHIC
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
BODONI
BASKERVILLE
C A S LO N
GARAMOND
⁄ g lōbəl ˈhīˌbrid ⁄
KNOCKOUT
M E TA
FUTURA
GILL SANS
TIMES ROMAN
COURIER
H E LV E T I C A
UNIVERS
OPTIMA
OCR-A
AVANT GARDE
MRS. EAVES
GOTHAM
MUSEO
ꜣ JENSON
global identity the global hybrid
n o 24 ⁄ peɪdʒ ⁄
LATIN TYPEFACE ORIGIN
⁄ NO R T H A M E R I C A ⁄ ⁄ EUR OP E ⁄
GERMANY
UK
CALIFORNIA FR ANCE
̐ S PA I N
n o 25
⁄ peɪdʒ ⁄
04
§ global identity
� ῀
̐
ꜣ
the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄
05
digital effects
§
� ῀
̐
ꜣ
n o 26
⁄ peɪdʒ ⁄
n o 27
⁄ peɪdʒ ⁄
05
§ digital effects
� ῀
̐
ꜣ
�
῀
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.
digital effects the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄ ⁄ peɪdʒ ⁄
n o 28
LANGUAGES OF THE INTERNET
05
§
̐
ꜣ
INTERNET USERS BY LANGUAGE (MIN PEOPLE)
ENGLISH
CHINESE
536
SPANISH
509
164
PORTUGUESE
99
GER M AN
82
75
AR ABIC
65
FRENCH
59
RUSSIAN
59
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
n o 29 ⁄ peɪdʒ ⁄
05
§
�
῀
̐
ꜣ
INDONESIAN
KORE AN
39
39
05
§
ꜣ
̐
�
⁄ RAISE ⁄ ⁄ DO T ⁄
⁄ I RO N S TAF F ⁄
5
in one's calligraphy.
⁄ g lōbəl ˈhīˌbrid ⁄
would ensure the beauty
writing this character
believed that practicing
Traditionally, it was
practicing this character.
common strokes while
explain how to write
Eight Principles of Yong
and permanence. The
means forever, eternity,
character for Yong, thtat
found in the Chinese
writing, all of which are
strokes in Chinese
There are eight common
digital effects the global hybrid
n o 30 ⁄ peɪdʒ ⁄
EIGHT PRINCIPLES OF YONG
1
῀ 2
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 ⁄
3
⁄ W A V E ⁄
n o 31
⁄ peɪdʒ ⁄
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.
05
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.
�
§ digital effects
῀
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.
̐
ꜣ
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.
the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄
n o 32
⁄ peɪdʒ ⁄
05
digital effects
§
� ῀
⁄ˈglōbəl _ THE web⁄
GLOBAL WEB
̐
ꜣ
2005 2006 2007 2008 2009
20
2010 2011
150
2012
100
2013 millions
50
0
n o 33
⁄ peɪdʒ ⁄
growth since 201o
05
chinese
§ digital effects
arabic
�
40 0
450
῀
cyrillic
25
0
30
0
350
̐
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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the global hybrid ⁄ g lōbəl ˈhīˌbrid ⁄
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DISAPPEARING LANGUAGES 07
SAFE
37.3% LOW RISK
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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.
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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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⁄ˈkɒləˌ COLOPHON fɒn ⁄
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ID Number Course
TYPOGRAPHY 4 ARIEL GREY
Semester
SPRING 2013
Typefaces
GRANJON FF KIEVIT REX BOLD
Paper
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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