Akaya is now part of Google Fonts catalog. It has been a long way since we started the project in 2015, but it is now available under the Open Font License. In its website you (https://fonts.google.com/specimen/Akaya) you will be able to type your own text in different sizes and check how it looks in Akaya as well as to try combinations and pairings with other fonts in the same catalogue. ...
Continue ReadingHarri tipografia bezero baten enkargu bitxi baten ondorioz jaio zen, behintzat kontzeptualki. Haren eskaera zera izan zen: “gure logoa euskal munduarekin lotura garbia izatea nahi dugu, baina harategietan eta sagardotegietan erabiltzen den euskal tipografia hori erabili gabe” – euskal grafiaren estiloari erreferentzia eginez. Euskal Herriko paisaia bisualari erreparatuz gero, badago zalantzik gabe bisitariei nabarmen gertatuko zaien kontu bat, haiek tipografiaren ezagutza izan ala ez: eskualde osoan zehar letreroetan, seinaletan, karteletan eta nonahi ikus daiteken tipografia bitxia. Oso letra lodiak dira, harrian zizelkatua daudenen ezaugarriak neurriz gorako moduan aplikatzen direlarik, trazuak konkaboak bihurtuz eta haien muturretan izkina zorrotzak sortuz era bitxi batean. Zenbait kasuetan itxura baldar eta landugabea dute, aintzinako argin bat eginda balira bezala. Horregaik, ez da harritzekoa maiz ...
Continue ReadingHay algo en el paisaje visual del País Vasco que no pasa desapercibido a sus visitantes independientemente de su conocimiento sobre tipografía: el peculiar estilo de rotulación vasco usado en placas de calles, señales, carteles o letreros en todo el territorio. Es un tipo de letra extremadamente pesado realizado en lo que parece ser un diseño glífico muy exagerado, dando lugar a astas cóncavas que producen vertices y terminales muy agudos y formas de letra a veces inusuales. Dichas formas tienen un aspecto rústico y tosco, lo que les confiere un cierto aire primitivo y manual. No es pues de extrañar que se empleen con frecuencia en tiendas de alimentación, restaurantes, sidrerías y otros casos en los que ...
Continue ReadingThere is something about the visual landscape of the Basque Country that will not go unnoticed to the eyes of its visitors regardless of their knowledge of typography: the peculiar lettering style spread all over the region on street plates, signs, posters and fascias. They display extremely heavy letters in a sort of overemphasised glyphic style with characteristic concave stems that produce very sharp terminals and awkward letter forms. Those shapes look certainly rough, unrefined and overdone, conveying a sort of primitiveness rooted way back in time. This seems to make it a convenient choice for food shops, restaurants, cider houses and other cases in which projecting the idea of authenticity, tradition and "Basqueness" is intended. Harri, as ...
Continue ReadingAmsterdam was our last stage in the Typographic Matchmaking in the Maghrib project. Four intense days were the final sprint that eventually resulted in the presentation of the whole project in the FramerFramed space on the 10th of September. It was a time for fine tuning, giving and taking feedback from every member of the teams and also to exchange our ideas about our work, research and design processes. The images below show some instances of the three typefaces in use. Qandus, Tubqal and Elixir have diverse personalities and each one solves the issue of harmonizing the three scripts –Latin, Arabic and Tifinagh— in a distinctive way. I was lucky enough to be part of two teams –Tubqal and Qandus—, so I had the chance to be involved in ...
Continue ReadingMontalba-le-Château welcomed us with a warm and sunny weather. The castle looked like the right place to isolate ourselves from any distraction and to focus in our porjects. This has been probably the most intense and productive of our workshops. Four days of hard work resulted in the consolidation of the three projects, which was the main goal of this meeting. There is still a lot of work ahead but the main guidelines of our projects are already set. Qandus, Tubqal and Al-Zahra, the three type families, have completely different approaches and are devised for different purposes. Qandus is a display font based in the work of the Moroccan calligrapher Al-Qandusi. Tubqal is a rational sans for long texts based on the ...
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