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”
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.
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.
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”
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.
The Arabic Graffiti workshop was part of the White Wall graffiti and street art event that was held at Beirut Art Center and all over the walls of Beirut. French graffiti artist Zepha-Vincent Abadie Hafez and I gave the workshop together to 15 young Lebanese designers and artists.
An elegant contemporary Arabic and Latin type characterize the new corporate identity of Shawati’ Magazine, Abu Dhabi. The new design and layout of the magazine was complemented by the creation of a unique Arabic and Latin Display type.
Selected Arabic Logos created by 29ArabicLetters in the year 2011.
Continue reading “Arabic Logos from 29 Letters for 2011”
Mathaf Arab Museum of Modern Art opened its doors to contemporary Arab art lovers in December 2010 in Doha, Qatar. The museum hosts exhibitions, programs and events that explore and celebrate art by Arab artists. It is an inspiring space for dialogue and scholarship about modern and contemporary art in the region and the Arab diaspora. Continue reading “Mathaf Corporate Arabic–Latin Font”
Art Reoriented, a curatorial and art consulting practice specializing in contemporary art from the Middle East, was founded by Till Fellrath and Sam Bardaouil.
The text was written by Huda AbiFares for the 2nd issue of the Oryx Magazine in its new look.
Al Maha (Oryx) Logotype
The Elegant Lightness of Arabic Calligraphy
When Agency Fish was commissioned to re-design Qatar Airways’ Oryx (Al Maha) in -flight magazine, for the logotype the company collaborated with talented Arab designers, including Pascal Zoghbi, to propose an expressive logotype that exuded modern elegance and youthful dynamism, combined with a unique Arabian travel mood.
Continue reading “Al Maha (Oryx) Arabic Logo”
The Latest Arabic Logotypes , Arabic/English Logotypes & English Logotypes created by 29letters.
Aylat Rashid is a new cartoon series that will be showing in Ramadan. It is the second 3D cartoon after Freej and it could be even better! I was asked by ToonWorks (the producing animation company of the program) to created the logotype. Below is a brief look on the design process from sketching to final 3D visual.
The two final options for the logotype that will be used in the 3D cartoon program.
Continue reading “Logotype for Aylat Rashid (Rashid Family) new 3D Cartoon”
Creating Arabic adaptations for existing Latin logotype is not a matter a copy pasting (chopped-up & collage) letter parts from the Latin to create the Arabic, but a real understand of both Latin and Arabic script and the ability to work professionally with both of them. The Arabic adaptation should be drawn from scratch keeping in mind the proportions and characteristics of the Latin logotype.
Mike, LAU Byblos — Sketches for Chaos Arabic logotype adaptation.