Thank you to Italian curator Valeria Ceregini, for including me in JournAll, her online art programme. JournALL offers its social media as a platform to showcase emerging and established artists across the world who may be struggling to promote themselves due to the rise of COVID-19. ‘In conversation with…’ is a video chat to connect artists at any stage of their career to talk about their experience and research. These interviews and performances want to give the resources to perform and react creatively at this crisis.
Typodarium is a 365 day tear-off calendar with a fresh font for every day by 244 Designers from 33 countries. It includes three of my fonts: Madagascar (Tuesday 7 April), Planetarium (Monday 20 July) and Breach (Saturday 24 October). Typodarium 2020 is compiled by Lars Harmsen and Raban Ruddigkeit and published by Verlag Hermann Schmidt. It shows a bi-scriptual font family every Sunday in addition to typedesign from all over the world. There are differences between Arabic and Hebrew, Japanese and Latin, but visually also many similarities. Communication overcomes boundaries and communication needs writing. Typodarium 2020 celebrates the colorful diversity of typefaces.
In March I received an email from Edo Smitshuijzen who proposed to include some of my typefaces in his publication on Mashrabiya Fonts. I was delighted to receive a copy of the beautifully produced book in the post today, generously highlighting eight of my fonts and even 3D vase renderings of a papercut.
Mashrabiyas are an iconic element of Arabic architecture. Providing shade, air circulation and privacy, all at the same time. This book showcases a number of font designs that can be used to produce Mashrabiya screens, including some possible applications. It aims to fill in a peculiar gap and thus enrich the Arabic visual culture with this new category of fonts.
The 216-page full colour paperback can be ordered through Khatt Books, publishers on design and visual culture of the Middle East and North Africa.