The award-winning design studio, 29Letters (29LT), is pleased to announce that we have completely redesigned our website to give font lovers a vastly improved user experience. Continue reading “29Letters Upgraded Site”
Madrid on 28Oct at 7:00PM
28 Octubre 19:00 h Madrid
Cordoba 29Oct at 7:30PM
29 Octubre 19:30 h Cordoba
De la caligrafía árabe a la tipografía contemporánea.
Conferencia del diseñador de tipografías Pascal Zoghbi (Beirut).
Since most documentation and references about the Arabic script stem from the calligraphic methodology, this article will tackle the problem of allocating typographic terms to Arabic type and typography.
بينما نجد معظم الوثائق والمراجع التي تتناول جذور الخط الطباعي العربي من ناحية المنهجية الطباعية، تعالج هذه المقالة مشاكل تحديد صفات الحرف والخط الطباعي العربي.
29LT Kaff is a contemporary typeface family designed by Pascal Zoghbi of 29Letters (29LT) and Ian Party of Swiss Typefaces, in which the Arabic and Latin letterforms were created simultaneously. Its name is taken from an Arabic word meaning ‘adequate, sufficient, necessary and essential’. Kaff’s family of eight weights (Thin, Ultra Light, Light, Regular, Medium, Bold, Semi Bold and Black) is designed to be the suitable typeface that answers the need of designers and publishers in most of their typographic projects. Continue reading “29LT KAFF : AN ADEQUATE MULTILINGUAL TYPEFACE”
Reza Abedini designs vibrant posters with 29LT fonts
A Collaborative approach between a graphic designer and a type designer
29LT multilingual typefaces were offered to the renowned Iranian graphic designer, Reza Abedini, for him to explore their potential and create compelling typographic posters.
مسابقة حروف لتصميم الخطوط تقدّمها نقاط و٢٩ حرف
First annual edition, November 12, 2014
المسابقة السنوية الأولى, 12 نوفمبر 2014
29LT Zeyn is an elegant, contemporary Arabic and Latin typeface. Each weight contains 900-plus glyphs covering the Arabic, Persian, Urdu, and Western European languages. The Arabic set contains an extensive set of ligatures in addition to short and long stylistic sets to give the font an added elegant appeal and feel.
Zeyn «زين» is an Arabic word meaning beautiful, graceful, and elegant.
Graffiti: Changing Language, Changing Worlds اللغة تتحول، العالم يتغير
Designers: Pascal Zoghbi and DUAL
Mural Painting: DUAL
Wall Size: 10 feet x 156 feet
Swatch Corporate Typeface (Swatch CT) is a contemporary multilingual typeface covering all Western and Middle Eastern languages used in countries where Swatch™ is present. Swatch CT will be used from all Swatch branches, dealers, resellers and manufactures.
Experienced type designers as well as beginners can submit their Arabic and Latin type designs to an experienced and diverse international and regional jury. The winning fonts will be exhibited and will be presented with choice of being published by 29LT type foundry.
٢٩حرف ونقاط يطلقون «حروف»، أول مسابقة تصميم خطوط عربية ولاتينية التي ستعلن نتائجها خلال مؤتمر نقاط للإبداع السنوي في دولة الكويت
المسابقة مفتوحة لمصممي خطوط محترفين ومبتدئين بتقييم من لجنة حكم مكونة من محترفين عالمين ومحليين
الخطوط الرابحة ستعرض لجمهور المؤتمر كما وستحظى بفرصة إختيار نشرها من قبل ٢٩حرف
Noor Type is a simplified, hybrid Kufi/Naskh type family in three weights, light, regular, and bold. Its contemporary outlines reflect the new branding strategy for the Noor Bank in the United Arab Emirates (UAE) developed by Wolff Olins, the brand consultancy, in Dubai.
MIA type is a contemporary, bilingual Arabic and Latin type-family based on the Eastern Kufic calligraphic style drawn in four weights: Light, Regular, Bold, and Black.
29LT Makina is a revival of an Arabic, Persian and Latin typewriter. “Makina” in Arabic means ‘machine’, which is inspired from the translation of a typewriter from English to Arabic. The type-family contains 3 weights (Light, Regular & Bold) with each containing ligatures, stylistic sets and contextual alternates. Continue reading “29LT Makina : Multilingual Typewriter Typeface”
29LT Arapix is a 12 pixel high multilingual Latin-Arabic pixel font with incredible capabilities.
Continue reading “29LT Arapix : Multilingual Pixel Font”
Azer in Arabic means friendly, ready to assist and lend a hand. This multilingual typeface combines simple lines with careful detailing to create a serious but approachable look. 29LT Azer fonts are unique! Continue reading “29LT Azer : Multilingual Typeface”
UA Neo B, originally known as UA Beiruti Modern, and UA Neo N, originally known as UA Neo-Nashki, belong to the first set of type revivals of Unified Arabic first introduced by Nasri Khattar in the 1950s. They belong to the Unified Arabic™ type system that contains a library of eight typefaces, including both print (detached) and cursive (connected) styles. After over 60 years, Mr. Khattar’s daughter, Camille, has entrusted 29Letters with the revival of her father’s fonts to keep them in line with his vision and design approach. Continue reading “UA Neo Fonts”
Last August in Beirut, I had the opportunity to meet with Camille Khattar Hedrick, the daughter of Nasri Khattar, the creator of a library of fonts based on Unified Arabic.
29LT Massira is a simplified spontaneous handwriting set of fonts based on the casual writings of the Lebanese people and the Ruqaa Arabic calligraphic style. The type-family does not have weights but different styles based on different writing tools. The four styles are: PEN, TIPPEX, LIPSTICK and SPRAY.
Alongside Ben Wittner and Sascha Thoma from eps51, I have giving a bilingual poster design workshop for design students at Weißensee Kunsthochschule Berlin KHB, in Berlin, Germany. The workshop was part of the Right to Left event that took place in Berlin all through November until December.
Continue reading “Right To Left workshop with eps51”
Khajag Apelian and I were the last workshop leaders in the 4th phase of the Khatt Foundation Arabic Type Design Workshop Series 2012 that took place at Tashkeel, Dubai. You can read more about the workshop process and the leaders at the Khatt Foundation website.
The talk and workshop I gave at NUQAT Design Conference, Kuwait 2012, revolved around the topic of reviving traditional Arabic script into contemporary Arabic typefaces, patterns/arabesques and design applications for our everyday life. The traditional is not lost but being redefined.