Nonchalance – or at least its suggestion – is the common thread running through the restaurant’s presence on social media. The restaurant’s identity was designed by one of its founders, Grigory Samgin, and the logo is from Yuri Ostromentsky, who is a co-designer of both Xprmntal and Loos. Entering the restaurant, guests see the logo set in Loos (not available via Fontstand). On its social media, Depot uses a mix of Georgian and English and two styles from the Xprmntal 02 family, Bold, and Italic. See the original version of this post on Fonts In Use, contributed by Clara Sancho.ĭepo is a restaurant in Tbilisi, the capital of Georgia, with a constantly changing menu, regular music nights, and film screenings. But what about Arabic typewriters? Sure, they exist, but “since the days of typewriters, engineers and designers who worked on creating the Arabic typewriter found out that they needed to have three of four different widths.” That is the same concept used for the typeface of the Bahrain Pavilion: a monospaced Latin plus a multi-width Arabic. The Latin part is a true monospaced, but there is no such thing as monospaced Arabic so far ( although designer Eli Heuer is developing one). For the design, from signage to website and publication, an understated typography was chosen with a custom version of Zoghbi’s retail typeface 29LT Baseet, named 29LT Zawi (meaning “angular/corner”).Īt first glance, both Baseet and Zawi are monospaced typefaces – with the same width for each character. From my end, I always use the 29LT fonts since it gives me the opportunity to put the fonts into action, instead of only creating them.”Īn example of their collaboration is the visual identity for the Bahrain Pavilion at the 2020 World Expo in Dubai, themed “Density Weaves Opportunities.” The eye-catcher of the project was a pavilion by architect Christian Kerez, pairing an enigmatic facade with a dramatic interior. “Clara often has first access to all new 29LT releases,” Zoghbi explains, “And I’m always happy to see her choose one of them for her projects. When Arabic is involved, those collaborations often make use of Zoghbi’s 29LT type library. Graphic designer Clara Sancho and type designer Pascal Zoghbi ( 29LT) are two independent designers who often collaborate, depending on the scale and nature of a project. Otherwise, you’re looking at the form without understanding how it will be experienced.”ĭensity Weaves Opportunities, Bahrain Pavilion at Expo Dubai Sarah Chehab of waiwai writes, “I think it’s crucial to have someone native on both the client and design team. The removal of technical constraints makes it more important than ever to understand all writing systems and languages in a project. Maria Nicholas designed a book in which her native script – Greek – is visually dominant, with English subtly in second place. The boost in options allows for multi-color typography. CSTM Type designed a type family over live-streamed sessions and got advice from a native designer for the Georgian set. There are collaborations between graphic designers and type designers, for instance, but also radically-open design processes. Users and designers of type are meeting more easily than ever. There is still a long way to go before equality between writing systems in the (design) world is achieved, but the following projects are living proof that things are moving forward.
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