However, the editor thought it gave the newspaper too much of a Persian feel. “I started prototyping with Adobe Arabic, of John Hudson, formatted by Fiona Ross. “ Pascal Zoghbi, from Lebanon, collaborated with Lucas in the completion of the alphabet, and to create the formats It was Pascal also who created the star font for this project Imarat Headlines, a display font with tons of personality and good angles. This was the perfect font for that young Emirati culture of the Starbucks generation. I thought this would be the ideal font for an target audience of readers 20 to 40 year olds. “That is how we arrived at TheMix Arabic, the Arabic version of Lucas de Groot’s TheMix. #Emarat elyoum how to#The idea was how to make the Latin and Arabic alphabets coexist without noise. I also stationed myself at the door of the American University of Dubai, where, at the time, there was an interesting projet trying to match great European typographers with young Arab typographers from the Middle East. “ I went to the University of Reading, in the UK, and studied all I could about the development of non-Latin alphabets. Since I cannot speak nor read Arabic, the great challenge was to give this, the first tabloid daily in the Middle East a unique voice, with western sounds, but without alienating it from its genetic code. “So, I would say that typography was the real protagonist here. The challenge was to give this newspaper a distinctive look in a market where four or five Arabic fonts are used and reused. “ Well, the real challenge was not dealing with architecture nor navigation, or even with a rather mediocre photo editing. Here Al gives us a fascinating behind the scenes about type selection: The front page is, indeed, the last page of the section, by western standards. Of course, the first challenge-and one and I have faced myself-is the fact that reading is done from right to left. I asked Al Trivino to bring us up to date on the challenges of working with the design of newspaper in Arabic. What I don’t see is the more art directed touches that we see on the entertainment prototype pages here. It is obvious, however, that what Al created has served as a good foundation for the overall architecture of the pages: good sense of hierarchy, big headlines for lead stories, a major Center of Visual Impact per page. However, we all know that the prototype-an exercise on what could be, done with plenty of time to contemplate, and with one foot in reality and three feet up in the air-can be quite different from what appears daily, as editors and designers face the reality of deadlines. To be sure, during this week of August 17 while I have been working out of Dubai, I have not seen many real pages that come to the level of designed of the prototype pages Al has sent me. #Emarat elyoum series#Thanks to designer Al Trivino, who worked on the design concept for Emarat Al Youm, we show you here a series of prototype pages of that daily published here in Dubai.
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