You are here


  • Dr Titus Nemeth dives into the Arabic typography evolution

    As the blurb says without any false modesty, this is the first in-depth account of the evolution of Arabic type in the twentieth century” writes Dr. Titus Nemeth on his book Arabic Type-Making in the Machine Age: The influence of Technology on the Form of Arabic Type 1908–1993, which is going to be published by the Dutch publisher Brill next month. 

    “Crucially, it is the first comprehensive study of the subject that is based on original archival research, documenting a wealth of previously unpublished and largely unknown evidence about the evolution of this field. Taking the characteristics of various type-making and typesetting technologies as its starting point, Arabic Type-Making in the Machine Age seeks to understand how typographic forms emerged under the impetus of limitations and constraints of machinery. It narrates how the predominantly, Western manufacturers sought to provide typographic tools for the Arabic script, and investigates their various motivations, approaches, and solutions” he adds.

    Dr Titus Nemeth is an independent type designer and typographer with expertise in Arabic script culture. His internationally recognised practice spans commercial and cultural work, and his interests and activities extend to academic research and teaching in higher education. 

    His original type designs have won multiple renowned awards and are widely used for complex cross-cultural visual communications. Titus holds a PhD in Typography & Graphic Communication from the University of Reading, UK, an MA in Typeface Design from the same institution, and a diploma in Graphic Design from Die Graphische in Vienna, Austria. He has taught type design and typography at schools in Austria, France, Morocco, Qatar and the UK. Titus is a member of the ATypI, the TDC New York, the typographische gesellschaft austria and Design Austria.

    Arabic is the third most widely used script in the world, and gave rise to one of the richest manuscript cultures of mankind. Its representation in type has engaged printers, engineers, businesses and designers since the 16th century, and today most digital devices render Arabic type. Yet the evolution of the printed form of Arabic, and its development from metal to pixels, has not been charted before. 

    Arabic Type-Making in the Machine Age provides the first comprehensive account of this history using previously undocumented archival sources. In this richly illustrated volume, Titus Nemeth narrates the evolution of Arabic type under the influence of changing technologies from the perspective of a practitioner, combining historical research with applied design considerations.

  • Nate Harris’s graphic Spectrum skateboards are nostalgic and brilliant

    While others are investing in the digial technology Nate Harris brings his talent in full bloom with nostalgia and old-school inspiration. The Philadelphia based visual artist who has previously worked with Target, Saxbys, and Lotus incorporates, used skateboards into the printing technique for Spectrum.

    "There wasn't one specific influence for this graphic," he explains to the Creators. "It was more about the actual process. It's conceptual and ties back to skateboarding. I hope to have struck a good balance between having it be conceptual but not overly so."

    Inspired by “the type-heavy, iconic graphics of Zero Skateboards, who often opted for simple black-and-red colorways, as well as the design-heavy boards from Habitat, which often employed repeating patterns and iconography, rather than logo or character-based themes” Harris’s designs are a skateboarder’s object of desire

    Check more here

  • “50 Books | 50 Covers” for 2016 just in by AIGA and Design Observer

    Book designers and publishers entered nearly 700 book and cover designs from more than 23 countries. 

    The jury—consisting of Gail Anderson, Michael Carabetta, and Jessica Helfand — recognized submissions that successfully demonstrate design excellence in book and cover design.

    "AIGA and Design Observer are committed to finding the most effective means of bringing book design to the attention of designers and the public. Michael Carabetta, who has previously juried the competition, noted after a full day of reviewing entries that the final books selected were excellent 'not only in design—[but] in production; in paper, mixing coated and uncoated… People are getting into the real, physical qualities of the book.' Online, the selections become a part of a permanent, accessible, and historic collection of notable graphic design—the AIGA Design Archives—additionally, each piece is published on Design Observer.

    The books, which are exemplars of the craft and effect of good design, will become part of the AIGA collection at the Rare Book and Manuscript Library at Columbia University’s Butler Library and at  at Yale University's Robert Haas Arts Library.


    Check the brilliant work here.

  • Kendrick Lamar’s DAMN. type installation took London by storm

    Kendrick Lamar is the most important figure in rap, claims Interview magazine but that’s merely an understatement for many. 

    Following a very basic, in terms of design, cover of Lamar’s latest best-selling album, DAMN., which bares a four-letter word and a period set on top of a photo of Lamar with the requisite parental advisory labeling in Times, Lamar celebrated the vinyl edition of his album with a type installation.

    “Lamar has partnered with independent record shop Rough Trade East and live music venue Juju’s bar and stage, for a UK exclusive installation and snapchat filter” reports It’s Nice That. 

    The type design has been transformed into a 10ft 3D sculpture outside Juju’s bar, with a smaller 5ft installation inside Rough Trade. 

    The area of Truman Brewery will include more Damn. artwork including a 10ft banner, vinyl stickers and readograph lettering outside the store. Also a snapchat filter, placing the album’s title in situ is available to use in the surrounding area reports INT.

  • All the reasons to be a part of Typetersburg this August

    What a time to be a typophile. On the 5-14th of August in Saint Petersburg will be held the second international type design festival Typetersburg, the annual international event for professional graphic designers and those in the know.

    The festival’s program is rife with events including exhibitions and workshops of renowned international designers. Two conference days are visited by 500+ designers all around the world, so that they have an opportunity to communicate, exchange experience and discuss of modern type design and technologies for a very typographic final act of the city’s famous white nights.

    From Goran Soderstrom, the founder of Letters from Sweden who has designed custom typefaces for companies such as Cadillac, Ableton, VSCO, Acne Studios, Tele2 and Nordea and his retail fonts are used worldwide through Philipp Neumeyer –a typographer, type and graphic designer par excellence who when is not busy designing type or writing super sophisticated texts about himself,  with the singular strategy of repeating his own name over and over again, keeps starting new projects to be finished some fine day in the far future; Additionaly, calligrapher Pokras Lampas who is actively experiencing different directions of modern calligraphy by applying and combining his knowledge of street culture, design and typography of different nations and generations whilst working on a self-developed "Calligrafuturism" style and Vincent De Boer, a typographic artist and a teacher of letter making from Netherlands,  Typetersburg’s line-up of ultra-inspiring people is destined to satisfy each one of us.

    With three workshops on experimental calligraphy and Glyphs 2 as well as several exhibitions, Typetersburg is the event that every typophile should attend for a better type in a better world this August.