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GRAPHIQUE
CONTENTS Design Workshop | 1, 2 Dubai Design Workshop run by Tarek Atrissi.
Abu Dhabi Workshop | 3, 4 A Typography workshop held in Abu Dhabi
Nadine Chahine Interview | 5, 6 An interview with the lebanese Typographer Nadine Chahine.
Tarek Atrissi | 7, 8 A closer look at the Lebanese, Netherlands based Typographer
Wissam Shawkat | 9 – 12 A closer look at the famous works of Shawkat Pascal Zoghbi | 13, 14 A closer look at the Lebanese Typographer Kristyan Sarkis | 15 – 20 A closer look at the Lebanese Atypi Winner Khajag Apelian | 21, 22 A closer look at the beautiful series of his stamps and other works Nukat | 23, 24 A closer look at the Typography project run by the Khatt foundation
Index of Contributors Subscription Forthcoming Issue
WORKSHOP
ARABIC LETTERING WORKSHOP The complimentary “Arabic lettering� workshop was probably the most interesting aspect of our participation in the event. A one day workshop was held for two consecutive days with two different groups of design students, focused on the process of designing the Arabic word. Eleven typographic approaches to Arabic lettering were theoretically presented to the students, alongside a unique collection of successful visual examples that best represented these approaches.
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WORKSHOP The theory was followed by a practical typographic design assignment in which each participant selected an Arabic word and worked on exploring its structure and design possibilities by hand sketching it in different media and approaches. Three lettering approaches were more thoroughly examined: exploring the geometric structural possibilities of the word, experimenting with the fluidity and natural beauty of the quick hand written scribble, as well as adopting a logotype approach by manually sketching the written word. After a series of individual feedback, each workshop participant selected their most advanced sketch and finalized it by digitally tracing it and by making necessary design adjustments.
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INTERVIEW
FACE TO FACE An interview with Nadine Chahine
Nadine Chahine is an incredibly talented Lebanese type designer with a very special interest in Arabic typography. She taught Arabic type design as a visiting lecturer at the American University in Dubai and then joined Linotype, Germany, where she is now in charge of Sales Marketing and Arabic-related projects. As of September 2007 she is also a PhD candidate and her topic is legibility studies for the Arabic script. How Long Have You Been Designing Type? And How Did You Get Started? I started designing when I was 19. We had an Arabic typography class with the great calligrapher and art critic Samir Sayegh. We had an assignment to design a typographic composition of our names using one of his Kufi designs. I did not like the way the characters ended, they were too flowery for my taste and so asked if I could redesign those. He said
‘‘I discovered that instead of treating a cold, I had sent the patient into surgery!’’
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yes. Then I found that I did not like the final Nun and it occurs twice in my name, and again I asked if I could change it and got the same answer. Two weeks later, I had a brand new design and was completely hooked! As you can see, I am very finicky when it comes to type design. For my final year project in 2000, I was 21 by then, I designed two unattached Arabic fonts. I thought I was going to solve all the problems of Arabic typefaces. Then I went to Reading and learned a bit more about type design and I discovered that instead of treating a cold, I had sent the patient into surgery! The Arabic fonts that we worked with had a lot of problems and I blamed it on the script and the attachment to calligraphy. Thankfully, I realized in time that the script is actually flexible and dynamic enough to yield wonderful results and that the problem was just the lack of quality. I also came to understand the difference between emulating calligraphic styles via typefaces and the effect of the tool on letter forms. The first is a design concept, the second is basic to the script. The character dynamics are volatile and react so much with the neighbours that looking at isolated forms is practically useless. Also, you need a bit of complex programming to get going but it’s not so bad. The good news is, well, there’s many! First, thank you OpenType! We can do much better designs and it’s very liberating. Second, there’s a lot of very interesting styles and a lot that one can be inspired by. Third, it’s a lot of fun to play across the boundaries. All of my designs are hybrid styles and I find that the mix of different styles opens a lot of doors to new directions.
GRAPHIQUE
What’s your proudest type-related achievement? There’s 3 occasions that have been the highlights for me so far. First time was when I was still at Reading and had suddenly managed to make Koufiya Arabic look right. I was so happy I couldn’t fall asleep that night! It was so wonderful, to see on paper an image that I had in my head and had been struggling for months to able to “see”. The second was when Adrian Frutiger saw my first sketches for Frutiger Arabic. It
‘‘This work has a touch of genius.I just cried!’’ was before I joined Linotype. Bruno sent me an e-mail saying that AF loved the design and that he wrote on the printout: This work has a touch of genius. I just cried! The third is my recent TDC win with Palatino Arabic. It was the perfect ending for a wonderful project with Prof. Zapf. I’ve been very lucky to work with such great designers and I’ve learned a lot from these experiences. What do you enjoy most and least about designing type? I enjoy the beginning phases when it is rushed and crazy. I hate kerning Arabic. How do you design? I usually sketch one or two characters very quickly on paper. It’s usually a rough sketch but I just sit and stare at it for a while then I go and start working directly on screen. I don’t have any clean sketches except from the first few months at Reading and those were quite lousy… Which work of other type designers do you like? I admire the work of many Latin type designers, more than I can count here. I am influenced the most by the works of Frutiger and Zapf, and by the teachings (and designs of course) of Gerard Unger and Jean François Porchez. Working with Akira Kobayashi at Linotype has also been great. He’s a wonderful designer and type director. For Arabic, I am a big fan of Mamoun Sakkal and Tim Holloway. What are you working on now? My PhD! Last time I actually designed anything was November, and I am currently focussing on my research. I’m starting to miss it though, and I think I will start again in the summer.
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TAREK ATRISSI Graphic Designer, Typographer
Born in Beirut, Tarek Atrissi has worked and studied in Lebanon, the Netherlands, Qatar, Dubai and the United States. He holds a BA in Graphic Design with distinction from the American University of Beirut; a Masters of Arts in Interactive Multimedia from the Utrecht School of the Arts in Holland and an MFA in Design from the School of Visual Arts in New York where he studied under people like Steven Heller, Paula Scher and Stefan Sagmeister. Tarek holds as well a postgraduate certificate in Typeface Design from the type@cooper program of the Cooper Union New York.
Man & God Poster Design
60 x 80 cm The Netherlands, 2004
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Rajae El Mouhandiz Poster Design 84 x 112 cm The Netherlands, 2006
Rajae El Mouhandiz Poster Design 84 x 112 cm The Netherlands, 2006
Rajae El Mouhandiz Poster Design 84 x 112 cm The Netherlands, 2006
Amwaj Gathering Poster Design 84 x 112 cm USA, 2006
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WISSAM SHAWKAT Graphic Designer and Typographer
Passionate about calligraphy since early age. Originally from Iraq, now lives in Dubai, UAE. A civil engineer by practice. His degree in Civil Engineering, received from Basra University in 1996, complemented his artistic pursuits and offered him the skills necessary to excel at draftsmanship and design. His unique style borrows from the exquisite craftsmanship of traditional practitioners and the vibrancy of contemporary culture. A calligrapher and designer of logotypes with over 20 years experience. Worked for wellknown clients in branding design, advertising agencies and big corporations. In addition to the graphic applications of his calligraphic works, he has practiced calligraphy as an artform, producing fine art calligraphy pieces that are included in many private and public collections throughout the world. Participated in many local and international competitions and exhibitions and won many awards locally and internationally. Judge and a consultant for several local and international calligraphy functions and exhibitions. Wissam’s work has appeared in many books and publications featuring the art of calligraphy and logos.Selected pieces are part of important private collections across the world.
Barclays | Saudi Arabia Arabic Logo Design Wissam Shawkat
Al Qasba | Sharjah Arabic Logo Design Wissam Shawkat
Century | Switzerland Arabic Logo Design Wissam Shawkat
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Awards
Al Burda Prize, International Calligraphy Competition, Abu Dhabi, UAE, 2006, 2007 and 2008. Award for Jally Thuluth style, Al-Baraka Turk Bank Calligraphy, Istanbul, Turkey, 2005. Award, International Calligraphy Competition (IRCICA), Istanbul, Turkey, 2005. Visual & Audible Arabic calligraphy Exhibition, Sharjah, UAE, 2003. For more Awards and Information on Wissam Shawkat, Visit http:// wissamshawkat.com
GRAPHIQUE
Links | London Arabic Logo Design Wissam Shawkat
DKNY | New York Arabic Logo Design Wissam Shawkat
Limitless | Dubai Arabic Logo Design Wissam Shawkat
Jane Norman | UK Arabic Logo Design Wissam Shawkat
EthelAustin | UK Arabic Logo Design Wissam Shawkat
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GRAPHIQUE
Basmala Contemporary Arabic Design 86x50cm Wissam Shawkat
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PASCAL ZOGHBI Arabic Type Designer and Typographer
The founder of 29letters, an Arabic Type Design and Typography firm in Beirut. His design work ranges from creating new Arabic fonts, corporate identities and print publications. Since 2006, after his graduation from the Type & Media course at The Royal Academy of Arts in The Netherlands with a Master of Design, Pascal was involved in an impressive collection of new Arabic type design projects. Since 2006, Pascal took part of the Typographic Matchmaking and Typographic Matchmaking in the City projects organized by The Khatt Foundation. He has been teaching typography course at graphic design schools in Lebanon at American University of Beirut AUB, Lebanese American University LAU & Notre Dame University NDU since 2006. He frequently gives lectures and workshops about Arabic type and typography and he runs a blog about Arabic type and typography.
Thamaniya Corporate Identity Online Platform Pascal Zoghbi, 2010
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GRAPHIQUE He has created contemporary Arabic fonts for: Google web applications and Android mobile OS; Urban Places like: Mathaf Arab Modern Art Musuem in Doha, Ibn Battuta Mall in Dubai, Madinat Jumeirah in Dubai, Abu Dhabi Airport Terminal 3 in Abu Dhabi, Abu Dhabi Embassy in Washington; Middle Eastern Newspapers like: Emarat Al Youm in Dubai, AlWatan in Saudi Arabia & Al Rouiah in Kuwait; Art Events & Magazines like: ContempArabia & Alef Magazine; and several other companies. He developed Arabic corporate identities for: Art Reoriented, Oryx Magazine, Middle East International Film Festival MEIFF, Viceroy Hotel Group, Jabria Industrial, Rashid Family, Desert Adventures, ContempArabia, Foo Solutions, Focus Art Gallery and several others.
Droid Naskh Arabic Type Design
For use in Google and Android Pascal Zoghbi, 2010
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KRISTYAN SARKIS Graphic Designer, Typographer
Sarkis is a 26 year old Graphic Designer from Beirut. He holds a BA in Graphic Design with emphasis on Moving Image and Typography from Notre Dame University, Lebanon and a Master of Design in Type and Media from The Royal Academy of Art (KABK), The Netherlands. He is currently an independent Graphic and Type Designer based in The Hague, The Netherlands.
Thuraya Arabic display typeface Kristyan Sarkis, 2011
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GRAPHIQUE
Awards
Certificate of Excellence in Type Design, TDC2 2011, Type Directors Club Winning project: Thuraya Letter.2 Competition, 2011, ATypI, Association Typographique Internationale Selected project: Thuraya Clients
Mediamatic Mohtaraf Beirut Graphics RocĂo Martinavarro Typographies.fr Typotheque
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KRISTYAN SARKIS | COLVERT ARABIC
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KRISTYAN SARKIS | COLVERT ARABIC
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KHAJAG APELIAN Graphic Designer and Typographer
Khajag Apelian is an Armenian, born in UAE, with a Lebanese nationality, living in the Netherlands. In 2007, He graduated from Notre-Dame University with a BA in Graphic Design, emphasis on typography and moving image. Then in 2009, He completed Type and Media, and received my MA in type design from the Academy of Art in the Hague |KABK|. He has worked in Landor associates, Dubai for almost a year in 2008. and has completed various internships during his studies including JWT, Dubai, and Mohtaraf Beirut Graphics, Beirut. Apelian’s work was part of some publications including the ISTD monthly newsletter as well as the book Arabesque, Graphic Design from the Arab World and Persia ,Die Gestalten Verlag, 2008. Apelian currently works as a freelancer on various graphic design projects focusing more on typography and type design.
Stamps Iconic Design
Reform proposals for the Arabic script Khajag Apelian, 2007
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‘The Queens Favourite’ Celebrating ‘Thuraya’ Kristyan Sarkis, Poster Design by Khajag Apelian, 2010 22
PROJECTS
NUKAT
Project initiated by Khatt foundation, 2010 Designers: RenĂŠ Knip, Khajag Apelian, Jeroen van Erp, and Reza Abedini. Nuqat is a display typeface designed for the Typographic Matchmaking II project. The Nuqat project took as its starting point the idea of harmony, of a playful dance between the Latin and Arabic scripts and a unity between form and material that could be used to construct and create flat and 3d lettering. This lettering system draws on the rich Arabic calligraphic tradition and applies some of its design aspects and complex structures to Latin script. As a result, though based on a grid of dots (nuqat), it is flexible in its potential type design interpretations and endless possibilities for application in architectural and 3D lettering and public space.
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INDEX
INDEX OF CONTRIBUTORS Tarek Atrissi | Lebanon www.arabictypography.com
Nadine Chahine | Lebanon www.arabictype.com
Tarek Atrissi | Lebanon www.arabictypography.com
Wissam Shawkat | Lebanon www.wissamshawkat.com
Pascal Zoghbi | Lebanon www.29arabicletters.com
Kristyan Sarkis | Lebanon www.kristyansarkis.com
Khajag Apelian | Armenia www.debakir.com
Khatt | Type foundation www.khatt.com
Mourad Boutros | Dubai www.boutrosfonts.com
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