This project consists of two parts. The Latin part: Dialogue is devoted towards the typography of dialogues in any form, which resulted in a large diverse family. The Arabic part: Labiba is dedicated towards philosophical texts, which resulted in a clear monolinear text face, that emphasises the scripts inherent tradition.
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Dialogue is a rather unconventional typeface family consisting of five distinct characters, which can be combined in any constellation or used individually. It expands the idea of a family beyond traditional classifications, emphasising distinct characters rather than a straight-forward formal approach.
Each typeface is unique and can hold up on its own for any kind of text intensive use-case. There is no strict underlying formula or base style which enforces a clear differentiation across all members. However, they all share a common philosophy, a slightly grotesque atmosphere partially inspired by 20th century Grotesques.
The general atmosphere and the individual voice of each style was inspired by the play The Attractions by British author Tony Marchant. Each character of the play was translated into a typeface: Lawson, Ruth, Danny and the Narrator providing the reader with an immersive typographic experience into the story.
An additional companion: Tony was created to illustrate the versatility of the family. Each typeface is not per se bound to the characters of this specific play. All of them can give a visual voice to other similar characters or different kinds of texts. It is up to the authors and typographers to embrace the full potential.
This is a clear monolinear text face that expresses modernity while emphasising tradition through its balance between simplicity and truthful connection to the scripts inherent characteristics.
The generous, pure and unpretentious atmosphere of the type was created to extend the typographic vocabulary for modern philosophical literature. These rather recent texts often act as a mediator between tradition and the modern contemporary context. The reduction to mono-linearity, however, reflects not only a current association to modernity but also at its core is reminiscent of the search for clarity in many philosophical texts.
The proportions, visual script grammar and stroke-flow are inspired by a variety of traditional Naskh manuscripts. Special attention has been paid to a natural monolinear stroke flow while preserving a grade of typographic formality anticipating the intended atmosphere.