This award, which not seems arbitrary to consider of regional concern, was omitted some time ago in a local academic report devoted to the state of typography in the region, and was introduced as lecture at the Typographic Congress of Valencia. This often happens with Zootype, a font designed by this writer and awarded in Germany in 1997. International Digital Type Design Contest, organized by Linotype, Frankfurt am Main, 1997. Zootype Regular, alphabet with air, land and water fauna. This is not the case for our brief Latin American contemporary history of typography –strictly understood in relation to type design– as yet has the advantage of a fledgling production, which could allow typographic researchers on this novel regional discipline extend details in a few pages, without need to restrict the wealth of information.īut even having that advantage, and despite that essays and historical writings in this field are not yet particularly abundant, it often happens that some data are omitted by some authors, presumably by oblivion, if not by a biased and restrictive vision about the typographical phenomenon in the region, which excludes from their consideration those developments that do not match their aesthetic and stylistic preconceptions, even when could have meant a remarkable typographical event. The development of typography history in the Old Europe accumulates almost six centuries, and is marked in such a multiplicity of vicissitudes, discoveries, inspirations, confusions and intrigues from the very beginning – it suffices to recall the painful dispute between Francesco Griffo and Aldus Manutius about copyrights of alphabets masterfully cut by the first one and wisely used by the second at the legendary incunabula published by famed Venetian scholar– 2 which is scarcely affordable summarize it in a succinct monograph. That was very clear for the powerful and despotic emperor Qin Shi Huangdi when unifying China by fire and sword: once the highest office assumed –which made him master of the world–, in 213 BC ordered to burn all the historical books of the ancient subjected feuds, so the history began with him.
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Download a set today and see the possibilities it offers.Īll these and more can be on Creative Market, your go-to site for amazing handcrafted content. This display font would be perfect for creative headings thanks to its solid geometric structure and heavy letterforms.ĭid you enjoy these beautiful Arabic fonts? Whether you want something authentic to tell your story, or you need it for a big event, these typefaces have got you covered. With heavy influences from the Ruq’ah script, this display font contains a solid structure and comes in 2 styles (Normal and Oblique) for you to choose from.Īrabic for ‘fluent’ or ‘freed’, it’s a typeface that looks clean and is available in 3 practical styles (Bold, Regular, and Light) for print or digital projects. Laced with astronomy and natural science themes, this display font has rounded letterforms that make it suitable for both corporate or personal creative pursuits. This upgraded version from Protype is narrower and features a grunge, rough style that will be amazing on vintage posters, branding projects, or ads.Īs a word that means ‘amber’ in Arabic, this display font from Mostafa El Abasiry was inspired by the folk tales of One Thousand and One Nights, giving them that gorgeous, spontaneous look that will pair well with illustrations. Need a versatile font that can remain readable when used whether as headers or regular text? This one can do both – thanks to its bold yet solid geometric composition that remains legible no matter how you apply it.
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