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  • 1. El hema Arabic design 10$
  • 2. Contents04 Editorial06 Advertising design EL HEMA , the Arabic fictive version of the famous Dutch HEMA depatement Store. EL HEMA originally a, idea of Me- diamatic was organized this year through cosmoplis incollaboration with the brand hotel and we were glad at Tarek Atrissi Design to be commissioned for the design of the design to be com- missioned for the design of the main graphic and information design work in- voleved in the project.EL HEMA designs was a huge success the lines soon strete- ched around the block .The visitors could buy the designs The creativity about HEMA have many original idea ,no ar- tistic profession has been courted more intensively by advertising in preceding decades as that of visual artist.18 Projects 36 Print 54 Gallery Blog Tarek Atrissi: Pro- The pantone Matching Event Art dubai 2009, posal routes for MTV System of color ,the leading contemporary Arabia is Identity and accuracy of Pantone and internationnal El Ghad design . Mul- color is critical in gra- Gallery to go to the saqat project by khatt phic design tools of event Dubai Art for the foundation design . print . third edition.26 Photography 40 Software 60 Professional advice The work about the Creative Suite CS4: arabic artist photogra- Photoshop,Illustrator,I 20 ways ti avoid creative block,Use the phier Toufic Arman ndesign,Flash,Dream following 20 tips to avoid and get and a the concept, the weaweaver and Fire through a tough designers block. vision and philosophy works. by this artist.34 Type design 48 Interview 64 Books The new arabic type by Interview with the ara- Bifan magazine it is bic designer Yousef Ik- « Visual narratives from Arabic» by Tarek design by Kassis Ma- freis,he is a graphic Atrissi and«Graphic design from the riem , Bifan arabic designer and anima- Arab world »,Arabesque investigates The arial type, it is inspired tion industry, he is from book collects of recent innovative and by the latin Arial type. Jordon. groundbreaking design work . Contents 03
  • 3. EditorialWelcome The graphics professionals are always looking to preserve a certain spiritual free- dom and a special aesthetic sensibility and the evolution of new technologies for crea- ting, now the designer is expected to be about news of his domain. In particular, graphic Arabic is known to maintain and deepen its knowledge to affirm its identity and existence despite the obstacles that face and obstructing movement. It must also acquire the domain specific language to enter the world of graphic design and more about its methods and tools. The graphic designer Arabic must be open to the Gra- phic Arts and informed on new trends and the latest graphics tools and creative com- munication methods to be able to achieve its mission, Hence the mission of actors in the Arab graphic design is not limited to the simple design, but any expression of Arab culture, a culture renewed and adapted to the new. The role of Arab graphic designer is not so simple but it is important . This is the main vehicle of our new ma- gazine " Bifan ", with mediation between modernity and originality to a new vision of art in particular and Arab art world in general. We thank the whole team for their par- ticipation so that our publication is born. Editor by KASSIS Mariemwelcome to Bifan magazine ,the newmagazine for Arabic graphic designersin our space of the universe and all gra-phics to the art and visual communica-tion Bifani is your new magazine invitesyou to join this world, our team is madeto ensure a good reading on areas andsubjects of interes.Gallery, Projects , ad-vertising design, Print,Books, Advice,Software...The Group of Khatt foundation(www.khatt.com)Tarek atrissiMariam Al Dabbaghkassis MariemHuda Abi farés04 Editorial
  • 4. 9
  • 5. Advertising designEl Hema Arabic DesignHema becomes El Hema HEMA stores are official suppliers of tatouages of work on design my bicycle lamps. HEMA annually brings Arabist.HEMA and design are closely lin- together designers for a contest but this ked we know. Mediamatic designers year, the mark was doubled by another have presented their project El Hema in design. Mediamatic is a very interesting Dutch Design Contest 2007 in the cate- creative located at the foot of the provi- gory visual id. Apparently it has rained. sional location of the Museum of Modern The metamorphosis of the contemporary Art in the city Stedelijk Museum CS Post. Hema to an Arabic modern . Taking a Many facilities and conferences on des- step further in developing its ign and new media are developed.At the brand,Hema seems to be smoothly intro- moment, this Mediamatic El Hema, an ducing its new simplified logo on the exercise in style on the opening of a store products. The Arabic version of the new HEMA North Africa. The exhibition would logo was designed based on the primary then look like a shop whose display pos- El - Hema, originally designed by Tarek ters and play on the Arabic typography Atrissi .The difference is minor but gives and a staging capable of creating a vi- the shop a more updated image. The lo- sual id célèblres close to the shops. Ani- gotype drops the blue underline and lays mations are organized works henna down on a bright square with edges.El HEMA logo was designed by TarekAtrissi using The Mix Arabic from theKhatt set of fonts.It was designed byLucas de Groot and Mouneer Al-Shaa-rani with the support of Pascal Zoghbi.T-shirts very fashion about EL HEMA.06 Advertising design
  • 6. Khatt FoundationThe Khatt Foundation was created in with the Western perception of typogra-2004 in Amsterdam as a non-profit cul- phy. For Khatter foundation, typographytural foundation dedicated to design re- should serve as a cultural bridge bet-search and development through ween Europe and the Middle East. Toprojects and programs that focus on re- promote the book and typo) chart in thejuvenating (from within the culture) the Arab world, has revolutionized the worldapplied arts traditions of the Arab world of typography to 5 asking to join Dutchand the Middle East. The word khatt not designers to 5 designers to create Arabonly refers to writing, script, lettering, cal- Arabic characters with "a key Dutch inligraphy, and typographic style. It also order not westernize of Arabic typogphy,means line, as in a trace on a page… a but to make it more contemporary, talkline of thinking… a direction. The story about Arab culture, the Khatter Foundtionstarts with AbiFarès Huda Smitshuijzen, and the Dutch company Mediamatica young Lebanese woman married to a have appealed to 5 young graphic des-Dutchman, author of the book "Typogra- igners, four Lebanese and a one Kuwaitiphic matchmaking." In a spirit of cultural . In Holland, they have a very false idea Posters advertising the store with newexchange and abolition of prejudices of Arabs, and for this reason that Khatter logo Arabized El Hema, is a key Arab.about the Arab community, the represen- Foundation and organized an exhibitiontative of Khatter Foundation (Khatter or in Holland for the book launch and im-calligraphy in Arabic),a nonprofit orga- plementation of these typefaces . It wasnization working to develop and improve at that time that we intervene in this ad- The Khatt Kufi & Kaffiya Symposium oncommunication (Fwith a design that is venture. Arabic Visual Culture. Advertising design 07
  • 7. Advertising designEL HEMA MODESHOWEl Hema could not have opened itsdoors without an official Arabesquefashion show displaying some of theavailable merchandise at the exhibit. Themodels, which included the five El Hemagraphic design , strutted down the cat-walk wearing burkas and turquoiseropes around their heads as spectators,photographers and TV. Upon reachingthe end of the stage, a strategically pla-ced fan blew their burkas up revealingmodels wearing t-shirts with Arabic pick-up lines designed by intern Abrar Al-Mu-sallam, Arabic “I AMsterdam” t-shirtscreated by intern Wael Morcos, and achosen selection from the Morecultfashion label designed by Farida Nounaand Thomas van Gelder. The crowdcheered and applauded after each burkagracefully flew up. Choreographer Mar-tin Butler said he developed the conceptfor the show after returning from a tripto Istanbul two weeks ago. While on va-cation he said he saw someone step onthe bottom of a woman’s burka. Whenshe took a step forward it caused herburka to rise in the front revealing herpair of fashionable Jimmy Choopumps.“I wanted the [El Hema] show tobe more quirky, for it to be a full unvei-ling.”The concept worked well as the daynot only marked the unveiling of a newbook, exhibit and clothing line, but alsoa glimpse into modern Arab culture.Long queues leading up to the expositionarea, attention in the national press ofthe Netherlands, heated comments onweblogs about the loss or the very en-richment of culture: seldom has therebeen so much ado about typography.Five new Arabic fonts led to a symposiumdiscussing contemporary.08 Advertising design
  • 8. An exposition of t-shirts, price tags, cho- the more popular items were the choco-colates and plastic bags. But the real late bars, embroidered kitchen towels,point was the font.After the fashion show, underwear and hamsa tank tops. Insidethe excited crowd hurried inside Media- the muggy exhibit room, attendee Karenmatic’s exhibition room to experience Voors stood at the end of the long check-what an Arab version of a Hema store out line waiting to pay for a hamsa tanklooked like. Exhibit-goers were not allo- top and an Arabic book. She said shewed to buy any of the merchandise until had been anticipating the opening of theSaturday, but were welcomed to stay for exhibit and had even marked the date ondrinks and music outside the exhibit her calendar. "It’s a fun way of combi-room. "In Lebanon, nobody stands in line ning both cultures," she said. "People canfor t-shirts," graphic design intern Khajag either take it for granted or go on andApelian said. "We didn’t expect this to think about it." Karen Mulder who boughthappen with El Hema—it’s exciting!" In- kitchen towels and a box of hagelslagside parents and children ransacked the decorated with Arab patterns and des-store as they searched for their favorite t- igns said it would be nice if the realshirts, djellabas, socks, bottles of wine, Hema would provide Arabesque pro-books and even Halal sausages. Organi- ducts such as these. Both ladies agreedzers eventually had to limit the number the designers did an excellent job of ma-of t-shirts and which items customers king the store look like a real Hemacould buy in order to keep the exhibit store. Interns Apelian and Morcos saidlooking like an exhibit. Organizers said they were extremely happy . Advertising design 09
  • 9. Advertising designA concentrate of creativity Sticker pointing towards towards the Kaaba in Mecca on the celling of the el hema show-room in amsterdam. the ins- cription reads al qibla, which is used to indicate the direction that should be faced when a Muslim prays.The project had gotten quite a bit of while the t-shirts are really nice (al-media attention as HEMA had been so though the my favorite one does notstupid to threaten to sue mediamatic for even have text on it) my favorite part oftrademark infringement some 4 weeks the whole installation is the little arrow onback (which is more of less the best free the celing in one of the corners that indi-publicity you can get). the whole thing is cates the direction of the Kaaba in Meccareally well executed (much respect to the (’qibla’). makes me almost want to havewhole team that worked on it over the one for my flat…. The Khatter Founda-last two months). they did not sell any- tion and the company Mediamatic provi-thing on the opening night on friday ded them this opportunity. A dream that,and when they finally started selling the for these 5 hopes the Middle East, hasmerchandise they almost got run over by become a reality. Through this award,thehordes of dutch people who acted as if t- doors were opened for young peopleshirts with arabic script are something who have found jobs upon their return tothat that never existed before: just try to the fold. Like what, intercultural ex-image the opposite scenario: arabs changes are always very positive.Hemagoing crazy over t-shirts with latin script didn’t see it that way, however. Largeon it (hint: does not really happen unless posters outside the exhibition waived allyou are taling about expensive brand responsibility for the project, emphasi-names). today when i passed by media- zing that Hema had no part in it. Thematic there was a linestretching almost posters also said that Hema followed El100 m outside of the shop. El hema Hema .10 Advertising design
  • 10. The interesting thing about the new fontsis not only how they were received, butalso how they were conceived. Teams ofDutch and Arabic typographers workedon designing modern Arabic fonts thatcan be combined with Western fonts wi-thout either of the two dominating. A dif-ficult challenge among the designers. Aswell as the different writing traditions.Nadine Chahine, one of the participa-ting typographers, explains: "Graphicdesign is improving in the Middle East,but many of the projects are done inLatin script. The beautiful things we haveare in museums, but the things that re-gular people see on the street are sougly! You want Latin and Arabic script onthe same page . The dream of a typographer who grew up during the Lebanese civil war: Please, no more conflict."The cooperative project Typographic Matchmaking was an initia- tive of the Khatt Foundation. The objec- tive of the Khatt Foundation is to initiate dialogue between the Arabic world and the Western world, and to contribute to an Arabic identity. The foundation hopes this will initiate cultural change. Huda Smitshuijzen AbiFarès of the Khatt Foun- dation: "The font was a logical starting point. Script is an identifying part of the culture." Identity is one word that was fre- quently repeated during the symposium. Not always in the same meaning, howe- ver. While visionaries talked about fin- ding and communicating ones cultural identity, others were discussing the des- ign of a good corporate identity. Advertising design 11
  • 11. Advertising designEl Hema productsEl Hema choclateThe EL HEMA exhibition will open at theMediamatic exhibition space. It is a tem-porary shop where the new Arabic type-faces are used in the styling of theexhibition and in the products, such asArabic chocolate letters and several otherproducts. The products of El Hema in anidentical with labels translated intoDutch, English and articles.." Arabic inthe new fonts created. "They wanted tomake the expo as true as possible,theplace resembles true supermarket Hema.So we began to study lighting, shelving,tiling, infrastructure in general, and any-thing that characterizes the supermarketHema.They have proposed to customersitems that had inscriptions in Arabic,chocolates Arabic letters . A concentrate of creativity Chocolate let- However, with the exhibit less than 20 ters reflect a cultural aspect of dutch tra- days away, it would be quite costly and ditions and creating the first chocolate time consuming to make molds for all 19 letters to include them in the exhibition letters, Baeiras said. It took him one and was a must. Bernardo worked on the a half days to create one mold with a kit molds of the typeface Fedra Bold and re- that cost about 50 euros. Negotiations vealed the first results on the koopavond are still being made. Similarly, measures ,The idea directly coincides with the or- are also being taken to produce a do-it- ganizers’ concept of creating an Arabic yourself stamp kit designed by graphic version of the Netherlands’ Hema chain design intern Maria Hakim.this is the first stores to publicize the release of five new Arab chocoladeletters in the Nether- Arabic fonts. By creating products with lands. In recent months, the Mediamatic Arab inspired culture, El Hema organi- molds for the letters in the Fablab, pro- zers hope to expose locals to Arab cul- duction area of the EL HEMA made. To- ture through script design. The proposal gether with the corporate Chocolateria to create chocolate Arab letters was ins- Jordino Amsterdam. A new Arabic font is pired by the traditional chocolate letters used in the design of the various choco- available at Hema stores during Christ- ladeletters, it is one of the new digital mas time. “Kids usually receive their ini- Arabic fonts that this summer led to the El tials for Christmas,” Gaeiras said. The Hema formed, El Hema is an imaginary plan is to produce molds for all 19 Arab Hema. The Mediamatic is a expres- shapes of the 29-letter Arab alphabet. sions of Dutch and Arab culture .12 Advertising design
  • 12. Advertising designAnother ProductMost of the items were very interestingto work on: Graphic and Typographicsolution for wine labels, chocolatepackaging, water bottles, Duo umbrellas(with fairuz’s famous rain song), impor-ted food, and much more; all with an in-tercultural twist. The focus remained onmaking a balance between the initial ElHema identity and drawing a parallelline with the real HEMA look- that haschanged a lot over the last year with theintroduction of a revised look andfeel.Images and impressions from theactual El Hema Exhibition & store in Rot-terdam. Above: Images of several itemsof the new the new collection, mostly ty-pographic design solutions for intercul-tural concepts and ideas.El Hema project seems to always comewith its own challenges and problematicissues. Amsterdam’s mediamaric exhibi-tion was faced by an initial unpleasantreaction from the Dutch Hema depart-ment store. This year, the difficulties werefaced by the fact that many organizationsand parties were involved in the project,and not all of them shared necessarilythe same vision on some key issues forthe El Hema brand, particularly that theconcept has moved from its initial“home”. Not to mention of course an in-credible short deadline, by which an en-tire department store had to bedesigned!Above: Images of several itemsof the new El Hema collection, mostly ty-pographic design solutions for intercul-turl concepts and ideas.14 Adversting design
  • 13. El Hema, the Arabic fictive (yet real) ver- Arabic logo of El Hema, working thesion of the famous Dutch HEMA depart- Arabic lettering version El Hema, thement store, is back again this year, with Arabic fictive (yet real) version of the fa-an exhibition (or rather a store) in Rotter- mous Dutch HEMA department store, isdam. El Hema, originally an idea of Me- back again this year, with an exhibitiondiamatic, was organized this year (or rather a store) in Rotterdam. Elthrough cosmopolis, in collaboration Hema, originally an idea of Mediamatic,with the brand hotel, and we were glad was organized this year through cosmo-at Tarek Atrissi Design to be commissio- polis, in collaboration with the brandned for the design of the main graphic hotel, and we were glad at Tarek Atrissiand information design work involved in Design to be commissioned for the des-the project.The first El Hema project in ign of the main graphic and informationAmsterdam organized by Mediamaric design work involved in the project.Thetook an incredible press attention and first El Hema project in Amsterdam orga-was a big success: It was simply very un- nized by Mediamaric took an incredibleconventional to see a brand that is so press attention and was a big success: ItDutch, HEMA, taking a small twist and was simply very unconventional to see a Water bottle packaging for the El Hemabecoming in an Arabic form. A simple brand that is so Dutch, HEMA, taking a Oasis Desert water.idea that reflects much more on the small twist and becoming in an Arabichighly debated cross cultural integration form. A simple idea that reflects muchand communication in the Netherlands., more on the highly debated cross cultu-we designed at Tarek Atrissi Design the ral integration and communication . Adversting Design 15
  • 14. Advertising designBuraqas and Djellabas El Hema designs was a huge suc- cess the lines soon stretched around the block. The visitors could buy the designs if they wished, and by the time a closing down sale celebrated the end of the exhi- bit, tens of thousands had come to see what all the fuss was about. Theshow in- cluded a whole range oftextiles featuring Arab text, Velthoven himself which said: “I can’t read this”, to underpants for men wanting to try their luck with: “Hey, swee- tie!”. The designers also used burqas and djellabas as inspiration, and Leba- nese wines were presented in classy bot- tles.‘Mother brand’ also provided inspiration. The el hema designers used- burqas and djellabas as inspiration to Islam society.Vascular about El Hema Describe the materials and techniques ged or without henna tattoos. Hema you will need to produce your design. Product, and then appeared on your re- Latex gloves and silicone-screen printing tina household gloves with tattoos. It was ink. Zeefdrukkerij that the gloves can be a ghost. printed.Paperboard for packaging, cello- phane, printing inks and printing. Fin- ding a printing that the gloves can be printed. The creativity about HEMA have many original idea ,no artistic profession has been courted more intensively by ad- vertising in preceding decades as that of visual artist. What to do if the dishes must be done and you want the beautiful henna tattoos on your hands not fade? (You will not, of course, they hide in ordi- nary household gloves) Do you not the dishes or you use Vascular-i-Maatjes for ultimate protection and elegant. The de- coration is a simple means to an oerhol- lands product with a deep-rooted ArabVascular about EL HEMA product, it is tradition.By the name a double meaninginspireted to henna tattoos. to be given cultural - (and physical) brid16 Adversting design
  • 15. ProjectsBlog Tarek AtrissiProposal routes for MTV Arabia ‘s identity MTV Arabia have launched two amatter of fact. We were invited to put weeks ago, creating a buzz in the Arab a proposal for the logo and visual iden- world, particularly Dubai, as the new tity of the channel, and we proposed an youth oriented and long awaited chan- exciting, youthful and rich Arabic solution nel that will compete with existing Music for a corporate Identity system,but we Channels in the Middle East. For more never won that Pitch; the project was than 8 month, we have been working at awarded to a Dubai based agency. The i Design on supporting with the concep- logo created for MTV Arabia consisted of tualizing, design nd production of some the classic MTV logo, filled with Arabic of their Motion Graphics (as well as a isolated letters that form the word “ara- custom Arabic Typefaces font, see pre- bia”. While the concept of the logo has vious Post)- and I will summarize in this potential, I found its execution to be very post the design process of our work, and poor. The Arabic letters in the logo were some of our comments on the visual from the widely used Bassima Font- a identity created for it.Unfortunately, we calligraphic digital font that fails in my were not behind the logo and visual opinion to create a unique look, and that identity branding created for the MTV in itself is a poor handwritten calligraphy Arabia Channel. We are not a big fan of imitation. That said, our most criticism .the identity created was that it did not in-clude, beyond the logo and the brands-trapline, a clear and elaborate identitymanual that explains the usage of themulti-version very colorful logo, and thedefinition of a unique visual languageand graphic elements. And as users ofthis identity, at a later stage, we found itvery difficult as designers to understandthe visual brand, or how to expand itwhile working on several projects for thechannel.Back to our work involvement;Loosing the Pitch did not stop MTV Ara-bia from commissioning us at TarekAtrissi Design to create the identity of fiveShows of MTV- from logo, look and feeland motion graphics design and pro-duction- as well as design a series ofBumpers for the channel.The project waschallenging on many levels. On onehand, the five shows were very differentin style and content; On the other hand,18 Projects
  • 16. we were wondering what the bigger pic-ture of MTV is if they will just be impor-ting international Lack of elaborate briefsand a vague vision of the entire channeldid make things more difficult- and even-tually we approached the branding ofevery show as a separate project, tryingto base our process on the informationgiven to us about each specific show,and our understanding of both the Ara-bic culture and the Europe Culture. Weapproached most of the shows not spe-cifically with a visible Arabic style, be-cause we certainly did not want to havean imposed obvious “Arabic” visual lan-guage, and kept our consideration andunderstanding of the geography and cul-ture behind MTV Arabia on a deeper lessvisible layer. Each show’s look and feelrepresented the actual music genre orcontent nature present in the program:“Alternative Nation” visualized its grungeand rock nature; “World Chart Express”visualized the adventurous and travel as-pect of the international music showca-sed in the program; and “IntroducingBlocks” used a kitsch style to visualize the“gossipy” aspect of the program. Theonly show which truly looked Arabic in itsopening sequence and identity is “PureArabia” and hence the typographic ap-proach seemed the most appropriate. hefinal outcome was a series of flat andabstract short animations, starting withpatterns inspired from an arabesqueconcept- yet very modern- that builds upthe MTV logo. On the bigger picture, thesuccess of logos MTV Arabia as a chan-nel is to be judged . In the future, seeingMTV channel ,if it will be able to be asinfluential in Arabia both in music andcultur it has been in the West... Projects 19
  • 17. ProjectsEl «Ghad»Type DesignSince I started my Design Studio- TarekAtrissi Design, we have been more andmore involved in designing Arabic Type-faces- which resulted from our focus inour work on Typography and on creatingmodern Arabic Graphic Design. TheLack of variety of Arabic typefaces madeus develop our own fonts for some pro-jects, particularly corporate identity pro-jects. Eventually We started putting moreeffort in making our own fonts, and ondelivering custom Arabic fonts for a va-riety of our clients. The Challenges arealways many- but I always enjoyed theprocess of Type Design- and jugglingDesign and technology; And Type Designis one of the studio’s main focuses today.Several of our fonts will be soon availa-ble for sale, since I have launched a newtypographic Design in the office, focusedonly on type design.I am presenting herean overview on some of the Typefacesdeveloped over the last six year. The fontcomes in two weights, bold and regular,and was designed Particularly for screenusage. This font (shown Above) wasbased on a previous font developed forAl-Ghad newspaper, which was used forthe masthead and for the headlines ofthe newspaper, back in 2004.AnotherFont developed in 2004 was the Spirit ofDoha Typeface, developed for the AsianGames 2006, that will launch in aroundtwo weeks in Doh Qatar. With the ope-ning ceremony approaching, it is sogreat to see the typeface in use everyw-here in and outside Qatar, promoting theevent.This year I completed the type fa-mily for Amwaj Islands in Bahrain, thatneeded a three weights font for use asthe main Arabic font in their corporateidentity. By Tarek Atrissi20 Projects
  • 18. Student work from VCU QatarGraphics in the evironment The notion of “local Design” was the main field of investigation in the typogra- phy course. Through a variety of experi- mental assignments, the students were focused on creating typographic and graphic pieces that were a true reflection of their own visual environment: The Task was to simply see if it was possible to create a graphic design language that belongs to their own surrounding, a vi- sual language that is unique to the loca- tion where the design work was produced, and that couldn’t be develo- ped elsewhere. Students were asked to explore the rich environmental graphic language that surrounds them: Signs, neon letters, big Arabic and English Pos- tings, wall graffiti .They started by taking photos of a corner, a street, an angle that has a cluster of signs with a lot of bilin- gual typography, particularly Arabic [type, handwritten lettering, Calligraphy .The end result is a series pieces develo- ped by every student, documenting the specific environment they chose.Below are some examples of the work develo- ped by the students: fo example shown below is a complete series of pieces de- veloped by student Dana Ahdab. the first piece started with a collage of a specific corner that she decided to document, and she developed that collage graphi- cally and typographically into further compositions, with focus on type, ima- gery and interesting graphics. The last being made only out of type found in the images yet independent from the photos or the previous compositions. Note how interesting for example composition is; a balanced combination of imagery and type, giving a good feel of the street lan- guage of that specific area in Doha City. Projects 21
  • 19. ProjectsProject MulsaqThe khatt Design collection of wall stickersProject mulsaq is a competition for ara-bic designers , about the home , or thearabic home .Homes and their interiorshave become a reflection of the perso-nality of Arabic house ,site web the siteweb about khatter fondation, their ow-ners ; an eclectic mix of international andlocal products , found objects and sou-venirs, and memorabilia from aroundthe world . Expressing one is identitythrough design commodities is a com-mon occurrence in the materialistic cul-ture of consumerism.In contemporarydesign and visual communication ,em-bracing global design trends and self-conscriously mixing them with local :thevisual culture is done with the aim of as-serting one is cultural identity in the bigmelting pot of world cultures.The homespace is seen as a way stake a uniquesense of place tha can be set apart fromthe greater equalizing and transient pu-blic spaces. In the age of global nomadiclifesdtyles , the temporary home that isalso a portrait of the life and experiencesof its owners is a secure and stable areain an otherwise stressful living enviro-ment. The designers whose work has for-med this special collection haveoriginated from all over the world ran-ging from aras who have lived in Europeand the Middle East to Europeans whohave traveled and lived in the ArabWorld ; From countries like Egypt , Leba-non ,Jordan , Iraq ,Kuwait, experiencesway of life and specific national socialnorms. Though the work is inspired bytraditional Arabic calligraphy and Islamicand Arabic symbols and customs are re-visited with a resolute and atypicalcontemporary look good humour andsomtimes thought provoking visual puns.22 Projects
  • 20. ProjectsWinner of Projects MulsaqThe Khatt Foundation and the trend-set-ting company Mosaiques, in collabora-tion with Dubai-based design galleryTraffic, are launching for the first time awall stickers collection reflecting the mul-tifaceted Middle Eastern identity. Wallstickers are the latest innovation incontemporary interior design. They de-mocratise art by bringing it into ordinarypeople’s living spaces. They help consu-mers create a personalized sense ofplace.This design competition will there-fore provide a platform for talented KhattNetwork members to reach out to wideraudiences within and outside the designworld of Dubai, the Middle East andbeyond.The reputation of Traffic as ‘muststop shop’ for individuals and architectu-ral/design firms, and its location near theup-market Mall of the Emirates makes itthe perfect partner for the launch of thisculturally sensitive and sought-after des-ign product. A couple of months ago TheKhatt Foundation and the trend-settingcompany Mosaiques, in collaborationwith Dubai-based design gallery Trafficorganized a competition to design limi-ted edition vinyl stickers under the theme‘Reinvent our space, bring the middleeast home’.My submission, entitled Ifwalls had ears… eyes & mouths, was se-lected by the jury to be among the 20 fi-nalists of the competition. Inspired by thefamous, rather middle-eastern proverb ifwalls had ears I elaborated the conceptwith an analogy to the famous 3 wisemonkeys’ saying: see no evil, hear noevil, speak no evil. The idea focuses onthe fact that walls are better off notseeing, hearing or speaking about whathappens in the room or anywhere else.Away from evil, away from gossips.24 Projects
  • 21. PhotographyToufic ARAMANBiographyA trained painter and award winningphotographer, Toufic Araman spends histime between Dubai and New York. Hedoes advertising and conceptual photo-graphy. He has displayed his talentthrough major advertising campaigns.His conceptual work was shown at theNoorderlicht Festival, The Netherlandsand Brecht Forum, New York. He is theMiddle East official photographer forStarwood hotels. He also teaches photo-graphy at the American University inDubai. Aramans work is distinguished byhis propensity for story-telling, lightingwhich plays a character and images thatoften have a sense of humor. He studiedat the International Center of Photogra-phy. He is a member of the Middle EastProfessional photographers in Dubai - We are too involved in our emotions,MEPP . beliefs and human conditions to portray objectivity in its finest forms. I dont buildPhotolosophy my creativity on a persons influence; ho-I dont define myself as anything more wever, I admire the pioneers, as they de-than an observer; I dont give solutions, I fine the concept of uniquenesssimply reflect. My work takes the viewer (individuality) to me. They dared to dothrough the journey of my thoughts, to- the different against the mainstream,wards the exact feeling or moral I try to thus becoming the first in history. It isreflect. I want to be labeled as an effec- when you are able to view the worldtive communicator, and let that be from all sides and perspectives that youthrough photography, painting or film. acquire that gentle touch of art, which re-Photography is modern and fast. Photo- flects your deep belonging to humanitygraphy reflects the fragility of objects; it in general. Photographs are not real.combines different elements to produce They reflect the reality of the person be-one masterpiece. The reason I favor hind the lens. Photography is very sub-photography is because of its stillness. It jective and it is very subjective, and socould gather all the elements of a 10 mi- the frame will reflect only what I havenute film in one single frame. One shot, chosen to capture.We are too involved inand the message is there: crystal clear. our emotions, beliefs and human condi-Photographs are not real. They reflect the tions to portray objectivity in its finestreality of the person behind the lens. forms.I dont build my creativity.26 Photography
  • 22. He ended up interviewing me at onepoint.I was so taken by the level of depthand knowledge Araman showed duringour 2 hour interview, that I actually star-ted spilling out my personal sentimentsabout art, photography, politics, and life.I kept answering his questions, and withno recollection of time, I found myselfbeing interviewed by my subject. Ara-man, an intelligent artist, the way I woulddescribe him. Talking to him, I couldnthelp but wonder about the resemblancebetween him and Socrates: they bothreached their versions of truth by ques-tioning everything else around them. Ihave always admired Socrates; conse-quently, my admiration of Araman wasinevitable. It didnt matter where he wasfrom, and what belief system he follo-wed. We talked and talked about somany aspects of life, without noticing thatthe bridges of cultures were connectedwithout human intervention, without sillyattempts and forced opinions. he bestthing about being an artist, or involvedin art like I am, is the common groundyou find with others who share the pas-sion. Life, for a moment, becomes a se-ries of questions and answers: humanityis what matters.I enjoyed every second Ispent talking to this young great talent,and I found it to be refreshing that somepeople still maintain that strong beliefsystem of the human being, and his abi-lity to reform the world. Toufic, you are aphotographer, a painter, a designer,would you simply call yourself an artist,and congregate all of these talents toge-ther? I wont define myself as anythingmore than an observer; I dont give solu-tions, I simply reflect... I send subtle mes-sages in order to change someone. Photography 27
  • 23. PhotographyQuestioning Life, Art & PhotographyHe ended up interviewing me at one tioning everything else around them. I ries of questions and answers: humanitypoint. I was so taken by the level of depth have always admired Socrates; conse- is what matters.I enjoyed every second Iand knowledge Araman showed during quently, my admiration of Araman was spent talking to this young great talent,our 2 hour interview, that I actually star- inevitable.It didnt matter where he was and I found it to be refreshing that someted spilling out my personal sentiments from, and what belief system he follo- people still maintain that strong beliefabout art, photography, politics, and life. wed. We talked and talked about so system of the human being, and his abi-I kept answering his questions, and with many aspects of life, without noticing that lity to reform the world. Toufic, you are ano recollection of time, I found myself the bridges of cultures were connected photographer, a painter, a designer,being interviewed by my subject. Ara- without human intervention, without silly would you simply call yourself an artist,man, an intelligent artist, the way I would attempts and forced opinions.The best and congregate all of these talents toge-describe him. Talking to him, I couldnt thing about being an artist, or involved ther? I simply reflect... I send subtle mes-help but wonder about the resemblance in art like I am, is the common ground sages, as I believe that, in order tobetween him and Socrates: they both you find with others who share the pas- change someone, you need to slowlyreached their versions of truth by ques sion. Life, for a moment, becomes a work on sending the desired message.28 Photography
  • 24. thoughts, towards the exact feeling or stress on the important factors that play a Thus, for me photographic realism is anmoral I try to reflect. I want to be labeled role in making an Artist. We see in your issue of controversy, it doesnt hold a spe-as an effective communicator, and let last work, a lot of symbolism is involved. cific meaning. I believe photographs re-that be through photography, art, pain- Do you believe photography is ultimately flect the reality of the person behind theting or film making. The medium is not the strongest form of modern art in ex- lens. Photography is very subjective, as aimportant, what matters is the pressing social moralities and senti- capture. We are too involved in ourpurpose.Why Photography? Photogra- ments? Of course I dont. How can I emotions, beliefs and human conditionsphy is modern and fast. I think I favor it make such a strong assumption about to portray objectivity in its finest forms.sometimes for its production ease, the one form of media? Again, I say it There have been many excellent photo-possibilities of using different media, the doesnt matter what medium you use, as graphers throughout the evolvement ofclarity of the lenses, and my passion for long as you know what to do with it. this form of art, which of them has hadlight and glass. Photography reflects fra- Symbolism is not restricted to any form. the greatest influence on you? There aregility of the objects; it combines the diffe- Its just like a weapon, it can kill, and it many that influence a person through hisrent elements to produce one can protect.Its a matter of choice. In spite life. Influencing people affect your life formasterpiece. Do you believe that people of that, the reason I might favor photo- a period of time, and then you move onare born artists? Or do they become ar- graphy is because of its stillness. It could developing yourself. For example, for atists with time? In the sense, can art and gather all the elements in a 10 minute period of time, my father was my rolecreativity be nurtured and cultivated? To film in one single frame. One shot, and model, however as I grew older, otherbe able to answer your question, I would the message is there: crystal clear. Are people triggered me and I moved fromneed to define the word Artist. However, you into photographic realism? Do you one phase to the other, with different per-to a greater extent, does it really matter? look to describe reality with your photo- ceptions. Having said that, I dont buildI dont think so. Whether you are born graphs, or simply enjoy the artistic free- my creativity on a persons influence; ho-one, or become one, what matters is dom of subject and photography wever, I admire the pioneers, as they de-your will to do something about that gift. manipulation?Photographs are not real. fine the concept of uniqueness to me. Photography 29
  • 25. PhotographyThey dared to do the different against he your vision in their desired fields. Photo- Lebanese, I was born in Egypt, but livedmainstream, thus becoming the first in graphy here is winning its well-deserved 10 years of my early childhood in Leba-history. An example of that is Jheronimus reputation as an effective form of art and non, until the war broke out, a traumaticBosch, who changed the way people loo- media, and with time, it will become a experience, which affects me still. I haveked at art, with his screaming painting pillar of the modern city.Many argue that seen what a child cant tolerate, and thatand his vivid imagination.t I admire the- photography has not been defined yet in left me with memories of loss and pain.nonconformist Many artists complain the country, and some confuse that artis- We moved to Egypt, familiar with theabout the hardships of making a living; tic aspect with the commercial one; do country I tried to fit in. But the truth wasis providing the food on the table a pos- you agree? Yes I do agree. A lot of that I have always been an outsider, asible thing for you?Can photography be confusion does exist, but thats why we minority, a foreigner in my home.I wasIn Dubai, yes you can survive as a pho- are here isnt that right? There are a lot of the Egyptian in Lebanon, and the Leba-tographer only. However, my definition perceptions that should be changed, and nese in Egypt. So to answer your ques-of a decent living status might be diffe- it is my duty as an artist as well as others tion, it is when you are able to view therent from others. Still, Dubai is a city that to contribute to this community by defi- world from all sides and perspectives thatallows such professions as photography ning the art, and distinguishing it. Toufic, you acquire that gentle touch of art, toto prosper without the need for other re- why do you think you are an artist now? answer your question reflects your deepsources.In your opinion, and from your Let me tell you this of : I am originally belonging to humanity in general.30 Photography
  • 26. Type DesignBifan Arabic Arial TypeThe Design concept of Bifan TypeToday you can create characters for useon computers, there is no single method,each creator develops know-how of itsown, a few sketches on paper or moredirectly on the screen. From the Latin po-lice can create a police Arabic as thestructure and morphology of the Latin, itis well known that the Arabic writing isdifferent from the Latin script, it is underone form and character are linked, wewill suggest to reproduce the font in LatinArabic character, the study on the mor-phology of the font "Arial" will help us tocreate our new font Arabic. (Latinizedcharacters Arabs), with a simplifiacationthe structure of writing Arabic.The treat-ment of curves is softer and more com-plete than in most industrial style sansserif, the axes of the letters are vertical.The police "Arial" is extremely versatile, isa character that is used with success intext reports, presentations, magazines,posters in newspapers ... It is essential toknow the morphological structure of"Arial" to create our new Arab characterto facilitate the Latinized letters Arabs.With minimum ascender and descenderof heights and large x-height, are to betranslated naturally in the Arab style Bi-fani, "Arial" is a sans serif could work bet-ter with Arabic, and it actually did.Thedesign features.The design of Arabic Bi-fani can be summarized as follows:1.Contrast: Bifani Arabic is a robust andsimple Kufi characters, with monolinearstroke (from a low modulation thick andthin)giving a character of the contempo-rary and functional look. 2. Opennessand overall color: Arabic is Bifani gene-rous open windows that match the colorand the overall effect of its Latin counter-part.3. Proportions: In order to achieve32 Type Design
  • 27. the great characteristics x-height of the It is an aspect of the design type that is ,world). And enrich the typothéque Ara-Latin without compromising the integrity not often applied to Arabic, but it is bic, the basics of Arabic and Latin areof the Arabic script, the height of the highly necessary.5. And the rate base: very different, but a Latinized the Arabicbody in the Arabic version was pushed Some horizontal loop in the connections letters can give us a very good result withas high as possible within the acceptable between certain characters, a feature ins- the characteristic of the simplicity oflevel of normalcy Kufi for design conven- pired by the more rounded Arabic Arial.the creation of this policy was ations. The descenders are short and to scripts. This feature of the design helps good experience for me. The most diffi-match the proportion of the Latin version, to create the same tone of gray and avoi- cult part was handling the issue, thatmaking position. 4. Strokes and details: ding the pitfalls of dark ink. the same Arabic is drawn from scrata betterthe thinning of blows before the very eco- tone of gray and avoiding the pitfalls of rhythm and break the rigidity world). en-nomic comcommon in Arabic characters, dark ink. making Arabic Bifani more ap- rich the typothéque Arabic, the basics ofwhere little work optical adjustment is propriate for continuous playback as Arabic and Latin are very different, but amade by a majority of models available. textface.Deleting Arabic Arial type sevira Latinized the Arabic letters can give us aThis feature helps to achieve arial fonts. to communicate more with the designers very good result with the characteristic . Type Design 33
  • 28. PrintThe pantone Matching SysthemAlways show your true colorsThe accuracy of color is critical in design.Because what you see on your monitor isnever what will appear on a printedsheet, designers need a standardizedcolor key. It can be very frustrating to seethe logo you worked hard to create lookdeep blue on the clients letterhead, blue-greenish on his business card, and lightblue on his very expensive envelopes. Away to prevent this is by using a standar-dized color , such as the PANTONE MAT-CHING SYSTEM. Though PANTONE isnot the only color standardization system,it is the most widely used and the one thatmost printers understand. Aside frombeing able to have consistency, PAN-TONE Colors allow you to use colors thatcannot be mixed in CMYK. Guides through a color There are several types of swatch guides that catalog the colors of the PANTONE Library. Some are narrow swatch books made of strips bound on one end with printed rectangular samples showing the different PANTONE Colors. The strips can then be opened or spread out in a fan- like manner. There are also binders with chips (rectangular swatches) that can be torn out and sent to a client with a proof, so that the client knows how his colors will look when printed.Some of the PAN- TONE Colors can be reproduced by mixing CMYK inks while others must be pre-mixed inks. Pantone has guides for their spot colors (called "Solid" or pre- mixed ink colors by Pantone) and guides which show the Process colors. Samples in the process guides are therefore colors achievable through mixing CMYK (or36 Print
  • 29. "process") inks. A special guide also ated U = uncoated and M = matte. shing software will see the color as twoshows you the spot color and how it will These three are the most important PAN- different colors and this will cause thelook printed in CMYK along with CMYK TONE Library abbreviations. You may, production of one extra plate, and the-values. This way, if spot colors, which are however, encounter the abbreviation CV refore the expense of extra money.an added expense at print time, cannot followed by C, U or M. CV stands forbe used, close colors may be mixed in Computer Video, which is the electronicprocess.Same Colour, Different Looks. representation of the PANTONE Colors.The type of paper used, will affect the Now discontinued, but still seen in oldappearance of colors. In separate swatch versions of software, CV merely meantor chip books, Pantone shows you how that the color was an on-screen simula-their colors look on coated, uncoated, tion.There are also specialty guides forand matte paper. Therefore you have the tints, metallic and pastel colors. Onenumber of the color (for example, PAN- note of warning: If you use a color with aTONE Red 032) followed by a suffix, certain suffix, dont use it again with ano-which indicates on what stock your PAN- ther suffix in the same publication, unlessTONE Color is meant to be printed. If there is an actual need for that, such asyou want PANTONE Red 032 on shiny when you use a color on a 4-colourpaper, then you would specify the color glossy magazine with an insert printedin this manner: PANTONE 032 C, where on bond paper. In this case you would beC stands for "coated". You then have U, using the same color both on coated andwhich stands for "uncoated", and then M, matte paper. If you use two different suf-which stands for "matte". You get:C = co fixes in the same publication, Print 37
  • 30. SoftwareCreative suite CS4This software trial is a fully functionalversion of Adobe® Creative Suite® 4Design Premium edition in a DVD set.Every feature and aspect of the productThe six different editions of Creative Suite4 is available since October 2008 in theUnited States. Each suite includes a set ofsoftware to meet the needs of specifictrades. Both suites Design (Standard andPremium) are intended to start their crea-tive projects focusing on paper (But this isa sampling of the many innovations pro-posed by the Creative Suite 3. Indeed, allthe software component have been des-igned to be compatible with both Win-dows XP with Windows Vista and toexploit the strengths, which is incompa-tible with Vista until the last . Premium version allows you to increase content for mobile terminals . This "revi- the production on the Web or on mobile sion" of the Adobe Creative Suite also led terminals. In this suite comprising inclu- to a huge gain in performance, espe- ding Photoshop and Illustrator, the cen- cially for Mac users who benefit most tral tool is the InDesign desktop from the new Intel processors used by publishing software. The latter is not in- Apple through a direct method of execu- cluded in both suites "Web" (Standard tion instead of Emulation, due for pre- and Premium) addressed themselves to vious versions to the use of lines of code designers of websites and rely mainly on created for Apple processors. Moreover, Dreamweaver .For trades of the video, Adobe has done a great job of homoge- following "Production" is a platform for nization, for all software, including those post-production that manages the flow who were already in the Creative Suite 2, from capture to distribution, through edi- including to propose a similar interface ting and creating special effects. Finally, especially for software from the acquisi- "Master Collection", which brings toge- tion as Macromedia Flash, which was ther all the twelve software, is the most deemed to have an interface separately. comprehensive suite offered by Adobe. Adobe has also worked for the establish- Among the new software offered by the ment of a cross-reference format of each publisher, it should be noted Photoshop of its software. The native Photoshop for- Extended, an enhanced version of Photo- mat (. Psd) is now supported in Flash, Fi- shop offers 3D processing functions, reworks and Dreamweaver and the video and image analysis for the world launch of Device Central, which creates.38 Software
  • 31. Photoshop CS4Photoshop Creative Suite is most widely layers perfectly colors and shades andused application: Revolutionary features this extends to your depth of field, auto-of painting and compositing 3D.Now matically correcting the vignetting andpaint directly on 3D models, dress 2D distortion lens:Modification of propertiesimages of 3D forms, convert curves and 3D objects .Enhance, brighteningtransfer grading 3D objects, give inten- and manipulate 3D images using a sim-sity to layers and text, get exceptional plified interface without dialog boxes.print quality with the new rendering en- Adjust the lighting, nets and materials.gine for raytracing and export your work Orient objects and easily move the ca-in formats 3D currents.Panel mera with axes and a 3D projection ho-Masks:Create and quickly correct your rizontal plane: Fluid rotation of themasks since the new panel masks. It of- working area.With a simple click, rotatefers all the tools needed to create masks your work area and view your work in aand pixelated editable vector, to adjust non-destructive in terms desired - the for-their density and contour of their pro- gotten torticollis!ouplesse pan andgressive, selection of things not conti- zoom:Navigate easily to any part of theguous, and so on.Preserve sharpness image using new tools to zoom and panwhen automatically optimized merging ultra-flexible. pixel and operate easily touch the zoom factor is greater with the new grid of pixels. Scale adapted content: Use the revolutionary new function to scale intel- ligently to automatically redial a picture as you resize, preserving the essential parts. Get away from a perfect image, without expanding operations cropping and editing.Display Options files:Handle multiple files easily opened with the pre- sentation by the tab or for multiple docu- ments.pixel and operate easily touch the zoom factor is greater with the new grid of pixels. Scale adapted content: Use the revolutionary new function to scale intel- ligently to automatically redial a picture as you resize, preserving the essential parts. Get away from a perfect opera- tions cropping and editing. Software 39
  • 32. SoftwareAdobe Illustrator CS4 Explore new avenues with vector dra- and display control to speed up rende- wing tool par excellencen-Work Plans ring. Shape tool-spot: Use a brush that multiple: Create files containing up to produces a perfect vector, even if the 100 work plans of various sizes, which traits overlap. Draw as on paper using can be stacked, juxtaposed or superim- the tools Form spot, and Rounding gum.- posed. You can also save, export and Graduated: Speaking on the degraded print them separately or together. Fi- directly at the object. Set the angle of the nally, you can save all or part of them gradient, its position and size elliptical. as a PDF file of several pages.-Transpa- Add and change colors to the aid of sli- rency gradients: Set the opacity of diffe- ders, you immediately see the result.-In- rent colors of a gradient. Reveal the tegration and dissemination .Overview objects and images underlying layers of separations: Avoid unpleasant sur- and use, break and melted to create prises such as unexpected spot colors, rich mixtures of textures and colors.- missed the overlays, unwanted or white Changes in appearance in one panel: and black in the CMYK text files and im- Change the characteristics of an object ported. Elegant style graphics:Combine directly in the Appearance control panel styles to produce original effects and and avoid opening the signs of subs- apply them without changing the appea- tance, or contour effects. rance of an object.humbnails and an extensive library ofpredefined styles.-Simpler masks clip-ping: Handle easily masks only viewingarea capped objects. Use the insulationand the Modify the mask for a Mastersaccrue predefined styles.40 Software
  • 33. Adobe Indesign CS4Upstream control dynamics:Perform a , which update automatically when the of rotation and x and y, you can quicklyupstream as your creation. With the contents of a document is changed or magnetize the edge of an object or itscontinuous control upstream, the poten- moved. Milestones -commentés - Align, center horizontal or vertical on other ob-tial production problems are reported in space, rotate and resize quickly one or jects in the layout. Display key attributesreal time. You can quickly access the mis- more objects with dynamic benchmarks. of your feed production such as scale,take, correct it directly and continue your Thanks to the dynamic benchmarks, ob- rotation and resolution.-Export to Adobework.-customizable:Use this panel to ject dimensions, angles of rotation and x Flash CS4 Professional (XFL). Export do-search, sort and manage all the files im- and y, you can quickly magnetize the cuments to the XFL format and then openported from your document. Display key edge of an object or its center horizontal them in Adobe Flash CS4 Professionalattributes of your feed production such as or vertical on other objects in the layout. who faithfully keep the InDesign layoutscale, rotation and resolution.-Export to -Creating interactive documents with ex- of origin.Adobe Flash CS4 Professional (XFL). Ex- port SWF files:Turn your layout dynamic Rotation of planche:Rotate temporarilyport documents to the XFL format and SWF files without going through the des- for a plate without having to turn yourthen open them in Adobe Flash CS4 Pro- ign environment of Adobe Flash ®. screen and pull full editing features to 90fessional who faithfully keep the InDe- Create digital documents complete with and 180 degrees to include non-hori-sign layout of origin. Use Flash to add interactive buttons, hyperlinks and zontal elements in your models.-Crea-interactions, animations and navigation unique page transitions, to be read in ting interactive documents with exportfeatures sophisticated models for a com- Adobe Flash Player.Compass commen- SWF files:Turn your layout dynamic SWFplex reading attractive. Cross-Refe- ted :Align, space, rotate and resize files without going through the designrences. Simplify writing, production and quickly one or more objects with dyna- environment of Adobe Flash ®.management of long documents through mic benchmarks. Thanks to the dynamiccross-references, both flexible benchmarks, object dimensions, angles Software 41
  • 34. SoftwareFlash CS4 Animation-based objects: Exercise tight create kaleidoscope effects and use of control over the various attributes of ani- funds with the tool Deco, spray or sym- mation using the animation-based ob- bols at random from a defined area jects, which can apply to objects through the brush tool sprayer. interpolations, not keyframes. Easily Support for metadata (XMP): Add your change movements with Bezier handles. metadata to SWF files from the new Inverse kinematics with the tool Segment panel XMP Assign quickly tags to im- . Create animation effects chain with a se- prove collaboration and content for mo- ries of related objects or misrepresenting bile terminals.Presetting movement. Start quickly to a single tool Segment. 3D a project quickly through the integrated transformation: Animate 2D objects in animations for any object. Choose from 3D space with new tools rotation and a dozen presets or create and save your translation 3D, which can create anima- own animations. To save time, share pre- tions on the axes x, y and z. Apply local sets with your colleagues.Support for the or global changes to any object. Proce- H.264 standard: Encode the contents in dural modeling tools decoration with any file format recognized by Adobe brush and spray.Turn any symbol instant Flash Player with Adobe Media Encoder, design tool. a tool Adobe video software which now etadata to SWF files from the new panel XMP Assign quickly tags to improve col- . laboration and content for mobile termi- nals.Presetting movement. Start a project quickly through the integrated anima- tions for any object. Choose from42 Software
  • 35. Dreamweaver CS4With the new Live View mode Dream- geover work area.Dynamic objectsweaver CS4, you design web pages in Adobe PhotoshopYou can insert a docu-real navigation while maintaining direct ment in Dreamweaver Photoshop PSD toaccess to the code. The code changes create an image. The dynamic objectsare immediately visible on the screen. are closely related to the source file. YouIndicators code frameworks for Ajax and can modify the source and update yourJavaScript.Create more effective JavaS- image in Dreamweaver without openingcript code through better care of basic Photoshop.Subversion:You can updatedata types and main JavaScript objects. your site and save the changes directly The dynamic objects are closely relatedImplement Civil extensive programming from Dreamweaver. Through its integra- to the source file. You can modify theDreamweaver CS4 incorporating current tion with the Subversion software system, source and update your image inJavaScript frameworks, including jQuery, open source version management, Dreamweaver without opening Photo-Prototype and Spry.New User Interface:A Dreamweaver CS4 streamlines opera- shop.Integration with Subversion:Younew common user interface allows you tions archiving extraction.Methods advi- can update your site and save theto work more quickly and efficiently in sed CSS:Apply methods advised CSS changes directly from Dreamweaver.the various components of Adobe Crea- without writing any code. Create rules in Through its integration with the Subver-tive Suite ® 4. Go quickly from one en- the CSS Properties panel and get clear sion software system, open source ver-vironment to another work with the new indications on the as Display key . sion sociation properties and styles. Software 43
  • 36. SoftwareFire works CS4 Create your prototype Adobe ® AIR ™ Gain speed and efficiency through opti- directly in Adobe Fireworks ® and de- mized performance since the opening ploy instantly to the HTML and CSS, and saving files to intensive manipulation Adobe Flex ® or SWF Easily convert your . of bitmap and vector images through model. Export-PDF: Generate, from your updating of symbols.Integration with compositions Fireworks, PDF documents Adobe Kuler:Fireworks go for the latest protected and faithful to the original fa- color themes of Adobe Kuler web service: cilitating communication with customers. test them and apply them to your web Protect your work password - passwords creations. Design color harmonies for can be assigned separate to the consul- your personal use or to be transferred to tation and other tasks (print, copy or add Kuler.Typography-sophisticated: Sign ty- comments).Exporting CSS: Design your pographical creations of emergency with full web pages within a powerful graphi- the functions of composition engine op- cal environment and then, a simple click, timized text Adobe.Import or copy and export layout with CSS style sheets out- paste the double-byte characters from Il- side. Integrate, in the foreground and lustrator (CS3 or CS4) and Photoshop background images, including new types (CS3 or CS4) without compromising of installment.. Performance Tuned: quality.Integration with Adobe ConnectNow:Gather client and creative in a meetingonline in real time with full screen sha-ring, all platforms combined in the coun-tries implementing the Adobe ConnectNow.44 Software
  • 37. InterviewYousef IkhereisQ. Could you tell us a bitabout yourself (age, location,country, and education in CG)and your background in CG?My name is Yousef Ikhreis, I’m 30 yearsold, and I live and work in Amman, Jor-dan. I’ve been involved in the graphicdesign and animation industry for 10years; I now work as an Art Director inJAID Productions with 70 employees andthis is a subsidiary of ITG Solutions, oneof the leading companies in design, ani-mation and e-learning in the region. Iam self-taught artist, and this is my storyof how I got involved in thisbusiness:Going back to the beginningsof the eighties, when I was a child, I wasafraid to go to the bathroom alone andalways looking for my mom or wakingher up to be around with me, because Iused to see strange faces and creaturesin the corners, and was always very upset spent the later days like a fugitive with Q. Can you tell our readerswhen my mother and brothers would not this word “Softimage”, it was like the what’s the actual work of thebelieve me and stare at me with strange holy sword that will empower me to Art Director and what qualifi-faces with a hectic smile, sometimes I create my creatures and will enforce the cation is necessary for this job?would run naked to get them to watch disbelievers to bow to that little child vi-them, pointing with my little fingers, but sions. By Softimage I will recreate myno one see….so they couldn’t believe. worlds. At the time Softimage was unk-Later in 1995, when I was watching TV nown and not available in Jordan, I star-programs with boredom feeling, moving ted investigating about computerfrom one channel to another I watched graphics and someone told me that therethe last minutes of behind the scenes is a good software called Photoshop,program, and they were talking about with flicker speed I purchased a bookthe making of “Alien” character (H.R. about Photoshop, I read it three times (itGeiger) and while watching it with great was hard at the beginning), then I startedenthusiasm I kept telling myself (ha, you learning Illustrator, CorelDraw, Macro-can do that!! it’s easy, you are a grown media Flash, Premier to help me in myup now to watch such things, you always presentations, After Effects, 3Ds Max,see these creatures,but don’t tell Maya, Digital Fusion,ZBrush, Softimageanyone…they will start joking on you XSI…etc, also learned script writing,again), I waited for the next episode, and screen play, storyboard….etc. Until nowit was about “ Jurassic Park”where they I spend a lot of time, effort and moneymentioned “Softimage”, a word which spent the later days like a fugitive with46 Interview
  • 38. Actually, There are different Art Directingtypes, the actual work of the Art Directoris depending on the nature of the type;Printing Art Director, Multimedia Art Di-rector, Life Shot Art Director, e-learningArt Director, Architectural Art Director,games Art Director, Cartoon Art Direc-tor….etc. so every Art Directing type hasits own consistent workflow that is built toguarantee, achieve and reach the hi-ghest levels, and each workflow has itsown specialty such as; the targets, theproduction pipeline, the Soft tools, theHard tools, the resources… My responsi-bilities in JAID Productions are:Direct thedesign and production of graphics andanimations. Formulating concepts andsupervise workers engaged in executinglayout designs for art work and copy tobe presented by visual communicationsmedia. Review illustrative material and ting this word ” Yesterday we had philo- IMr. Marc Peti reflect that.6- Who canconfers with client regarding background sophers. Today we have directors”. guarantee that Softimage will be down ininformation, objectives, presentation ap- Q. What’s your comment on the near future?proaches, styles, techniques, and related the Autodesk acquires Soft-production factors. Formulate basic mage?layout design concept and conduct re-search to select and secure suitable illus- t was like a shock or bad Joke, and Itrative material. Assign and direct staff asked myself: for god sake why is themembers to develop design concepts fate of Softimage to be dealt like that?into art. Review, approve, and present (He) doesn’t deserve that …then after ac-final layouts for approval. Mentoring, cepting the fact, I thanked mytraining, career directing and performing god...why?1- Crying can’t turn anythingevaluations for the Art teams. For the Art back.2- No one can blame Autodesk be-Director qualifications, I will consider his cause they are a successful company 3-philosophy, personality, vision, creativity, Autodesk is the most powerful companyeducated and cultivated as the most im- that is able to understand and undertakeportant qualifications. Those simple des- Softimage.4- Autodesk has excellentcriptions will lead him to present the most knowledge and experience in the CG in-unique and innovative results, those are dustry. 5- Softimage has a solid historyspiritual resources for the real talent, and very powerful to compete so...Softi-which will give him the ability to visualize mage will stay alive and healthy, becausethe ideas and visions everybody loves the power. Interview 47
  • 39. Interview7- By looking at the last two versions of this is the fact. Facts are the strongestMaya (Autodesk) we will notice very good words. 10- Hatred waves are increasingenhancements, such as the n cloths, n for Autodesk, EA, Adobe, Microsoft... butparticles, selection tools, UV folding, ani- these things are always happening formmation layer, speed…, all of that should the beginning and changing naturally,be considered as a confident points. 8- look at ZBrush for example, they are theAs we remember, when Adobe acquired innovative of Digital sculpting technique,Macromedia everybody thought that all and everybody thought that it will be do-Macromedia products will be distorted or minating on the digital modeling indus-metamorphosed, on the contrary Flash try, but look around you now, newhas great features with Action script 3, Mudbox, Silo, Modo created their ownbones, Animation tracks…9- If you are a displacements,… even Softimage orwealthy rich man and start to bankrupt, Maya after three or four releases will beand you have a Rolls-Royce car that you able sculpt as we do in ZBrush, on thelove very very much, but you have to sell other hand for the last release of ZBrushit, and you got two buyers, rich arro- it’s revealing their pure vision by workinggance man whoknows how to deal with three steps ahead. Everything is chan-such a car and strange man who has no ging whether Autodesk or Adobe or anylicense to drive, for whom will you sell the else, but now it will be faster.This is acar? Of course to the rich man because NEW ERA, and I agree with Mr. Kim Da-with him it will stay clean and live, I know vidson President and CEO of Side Effectsyou will feel that your pride is heart but Software.48 Interview
  • 40. InterviewQ. You provide lots of services to theclients and one of these is “Pipelinesand Software Consulting”,please tellus in detail what exactly is this andhow much this service is in demand?There is an old say, describing the pro-blem is half the solution, everybody inthis industry knows that most of the was-ted time is lost in the management andthe project planning, the leftover time willbe divided to the production phases withkilling deadline, including the extra re-quests, and how hard to modify andchange the pipeline or the plan. My ser-vices is to present common languagebetween all sides and save the precioustime, all I need is a ful list of the projectrequirements, available infrastructureand resources, human skills, software,hardware resources…hen I start studyingthe project requirements and targets, re-searching, planning to produce the re-commended reasonable pipeline,recommendations for software based onthe project demands, deadlines for theproduction phases and more… alsogood knowledge in choosing the rightsoftware’s could affect positively on thepipeline, deadline,and performance,be-cause of the variation of the procedura-lism in the software’s workflow and thevariation in the strong features in thesesoftware’s.Someone could ask; what arethe differences in my services that otherstudios could not offer? When the man-ger loses one hour from the project timeit will be discounted from every leveldown, my pipeline is to built and basethe pipeline from down up of the pyra-mid, on the contrary of other pipelinesthis will afford more time for allquality,and less stress. Thank you for thischance to talk with you and Good luckfor all.50 Interview
  • 41. GalleryEvent Art DubaiIntroductory starements The Arabic world has always apprecia- Art Dubai, a DIFC subsidiary, has been ted art in all its forms and in recent very successful. The DIFC has a signifi- months there has been a resurgence of cant art collection of its own, and has interest in contemporary art, not only in long considered the collection, display Dubai, but across the region. This, I be- and promotion of regional and contem- lieve, is due in part to the growing reco- porary art as integral to our vision. WeThe honorary Patron of Art Dubai His gnition of some excellent artists that we firmly believe that Dubai can become aHighness Sheikh Mohammed Bin Rashid have among us as well as the awareness truly global centre for art and that theAl Maktoum ,Vice President and Prime generated amongst the art-loving public DIFC can play an integral role in thatMinister of UAE, Rule of Dubai. Visiting through visiting art galleries as well as process. Indeed. The DIFC art strategy isthe art fair in March 2007 with John the efforts of the Dubai International Fi- to establish itself as both an internationalMartin Fair Director. nancial Centre through initiatives such as and regional presence collecting, dis- Art Dubai and its own collection. Since playing and promoting artists from this the inception of the DIFC in late 2004, region and across the world.Art Dubai is we have had a clear desire to promote very important to us. It is an expression of the arts of the region in theregion and the cultural philosophy of the DIFC and the world. As DIFC bridges the East and as such is themed to promote Dubai andArt Dubai was the first international the West and serves as the gateway to the DIFC in all its aspects as a hub for artcontemporary event Art fair in the Mid- the financial world to people in forty-two a meeting point of the Occident and thedle East. countries, we additionally aim to be the Orient. Selected from over 300 applica- gateway for art. Selected from over 300 tions, the participating. Of the arts gal- applications, the participating galleries , leries were chosen by an international52 Gallery
  • 42. As the DIFC brings together and pro- local and regional art. Works bought atmotes financial union across the globe, Art Dubai or as a result of it benefit theArt Dubai and other art initiatives of buyers who may have acquired works ofDIFC aim to promote cultural understan- art forpleasure or as an investment.Du-ding through art. Art is an international ring the inaugural Gulf Art Fair, we recei-language that appeals equally to diverse ved 9,000 visitors over the three days it The gallery sources the most unique andpeople. Art Dubai is not just a display of ran. We are pleased that some1,500 of captivating Australian artworks fromart pieces that is held for a couple of them came from overseas.We had works across the vast landscape, includingdays once a year. It is an on-going pro- from 41 galleries and collective sales du- contemporary oil painted landscapes,ex-cess that takes place throughout the year ring the event had stood at US $9-11 pressionistic portraits and intriguing pho-in an ever-expanding cycle. For exam- million, a significant figure for a first-time tographic compositions.In recent yearsple, the planning of the next event be- event of its kind in the Arab World. Art Indigenous art has grown in popularitygins right after the current one is over. Dubai 2008 is already double the size in Australia and is gaining recognitionThat includes a marketing and promo- with seventy international galleries worldwide in Europe, America and Asia.tional campaign which aims to introduce confirming participation. We are payingthe public to Art Dubai and what is new special attention to the galleries and ar-in it. What art means and what is avai- tists from the region, South and Centrallable in the market and who is new and Asia and the Far East to ensure tha thiswhich work is in demand. It also high- truly global event serves as an importantlights trends and fashions increasing the showcase for contemporary art to thevisibility of both local and regional art. world.local and regional art. WorksWorks bought at Art Dubai or as a result bought at Art Dubai . Gallery 53
  • 43. GalleryParticipating GalleryLeading contemporary Gallery to go to Art for the third edition Taking place from March 19-21 2009,over 65 carefully selected galleries willgather in the beach resort of Madinat Ju-meirah for the third edition of Art Dubai.Emphasis will be placed on galleries re-presenting artists from the Middle East,South and Central Asia and the Far East,showing along side established artistsfrom the West. The participating gallerieswere chosen by an international selectioncommittee that considered the merits ofeach individual exhibition proposal tocreate an innovative and diverse event,appealing to new and experienced col-lectors alike.“The quality and strength ofthe applications from galleries round theworld offers continued proof of the gro-wing importance of Dubai as a new artmarket centre.” said John Martin, Co-founder and Director of Art Dubai. “In aneconomic downturn, the best galleriesstill require a global presence and musttake advantage of the opportunities thatArt Dubai offers them to engage with thechanging face of the regional and inter-national collecting community.” Accom-panied by the Abraaj Capital Art Prizethe critically acclaimed Global Art Forumas well as a comprehensive programmeof projects, films, performance, eventsand tours, Art Dubai provides visitors anunrivalled vantage point onto the shiftingglobal art scene.” said Martin. “The qua-lity of the event and the tightly selectedgroup of galleries reaffirms Dubai’s re-putation as one of the most in the world,”An exclusive selection of more than 60 ofthe world’s leading contemporary galle-ries from more than 30 countries will ga-ther in Dubai next March for the thirdinstallment of the Art Dubai 2009contemporary art fair.54 Gallery
  • 44. Trends in the Art Dubai 2009 gallery se- A These galleries include: Agial Art Gal- Located beside the beach at the stunninglection include: Over a third of the galle- lery, Galerie Janine Rubeiz, Sfeir-Semler Madinat Jume iand Silk Road Galleryries are returning to Art Dubai in 2009, (Beirut), Anant Art Gallery (New Delhi), (Tehran)rah resort, Art Dubai presents aincluding , Bodhi Art (Mumbai), White Atassi Gallery (Damascus), B21, The unique opportunity for international andCube (London) and The Third Line Third Line, Elementa (Dubai), Bodhi, regional art lovers to experience the vi-(Dubai). Galleries new to Art Dubai 09 Chemould Prescott Road, Project 88, brancy of the region’s thriving culturalinclude BREENSPACE (Sydney), Almine Sakshi Gallery (Mumbai), Dirimart, Ga- scene. Quotes from participating galle-Rech Gallery (Brussels), Galerie Emma- leri Artist (Istanbul), Galerie El Marsa (La ries about Art Dubai: “Being a contem-nuel Perrotin (Paris), Max Protetch, (New Marsa, Tunisia), Art Dubai is helping fos- porary art gallery from India, Dubai isYork), Fredric Snitzer Gallery (Miami) ter the UAE’s reputation as a meeting close enough to be a hub for marketsGoff + Rosenthal (New York) and Ele- place for the international art world. In around the area. As the fair has gainedmenta. A strong selection of US and Eu- the last two years, the art fair has witnes- significant status from the moment it wasropean galleries pioneering exhibitions sed robust growth in thenumber of art conceived, it has become relevant forof Middle Eastern and Asian aritists in- collectors, artists, dealers, curators, critics galleries from within India to be part of .clude Albion, BISCHOFF/WEISS, Rossi & and art enthusiasts Selected from over . . In order to develop the growing inte-Rossi, Green Cardamom, Aicon Gallery, 300 applications, the participating galle- rest of persons from the Middle East asBitforms Gallery, Goff + Rosenthal, Frey ries were chosen by an international se- well as expat Arabs in Indian contempo-Norris Gallery and Salon 94. Mongst the lection committee . With the added of rary art, our participation at Art Dubaiinternational participants there is strong the newly opened Museum Art Dubai is gained particular significance. It’s apresence of the most important galleries seeking more than 5000 visitors from wonderful platform to reach collectorsfrom the Middle East, North Africa and overseas, doubling the number of inter- and curators from the Middle East. TheSouth Asia (MENASA), Tunisia region. national visitors from Art Dubai 2008. fair is meticulously managed”. Gallery 55
  • 45. GalleryParticipating GalleryLeading contemporary Gallery to go to Art for the third editionDUBAI.- Taking place from March 19-212009, over 65 carefully selected gallerieswill gather in the beach resort of MadinatJumeirah for the third edition of Art Dubai.Emphasis will be placed on galleries repre-senting artists from the Middle East, Southand Central Asia and the Far East, showingalong side established artists from the West.Selected from over 300 applications, theparticipating galleries were chosen by aninternational selection committee that consi-dered the merits of each individual exhibi-tion proposal to create an innovative anddiverse event, appealing to new and expe-rienced collectors alike.“The quality andstrength of the applications from galleriesround the world offers continued proof ofthe growing importance of Dubai as a newart market centre.” said John Martin, Co-founder and Director of Art Dubai. “In aneconomic downturn, the best galleries stillrequire a global presence and must take ad-vantage of the opportunities that Art Dubaioffers them to engage with the changingface of the regional and international col-lecting community.” Accompanied by theAbraaj Capital Art Prize the critically acclai-med Global Art Forum as well as a com-prehensive programme of projects, films,performance, events and tours, Art Dubaiprovides visitors an unrivalled vantage pointonto the shifting global art scene.” saidMartin. “The quality of the event and thetightly selected group of galleries reaffirmsDubai’s reputation as one of the most exci-ting and stimulating new centers for art inthe world,” he added. An exclusive selec-tion of more than 60 of the world’s leadingcontemporary galleries from more than 30countries will gather in Dubai next Marchfor the third installment of the Art Dubai2009 contemporary art fair.56 Gallery
  • 46. Trends in the Art Dubai 2009 gallery selec- AThese galleries include: Agial Art Gal- Located beside the beach at the stunningtion include: Over a third of the galleries are lery, Galerie Janine Rubeiz, Sfeir-Semler Madinat Jume iand Silk Road Gallery (Teh-returning to Art Dubai in 2009, including (Beirut), Anant Art Gallery (New Delhi), ran)rah resort, Art Dubai presents a uniqueGalerie Krinzinger (Vienna), Bodhi Art Atassi Gallery (Damascus), B21, The Third opportunity for international and regional(Mumbai), White Cube (London) and The Line, Elementa (Dubai), Bodhi, Chemould art lovers to experience the vibrancy of theThird Line (Dubai). Galleries new to Art Prescott Road, Project 88, Sakshi Gallery region’s thriving cultural scene. Quotes fromDubai 09 include BREENSPACE (Sydney), (Mumbai), Dirimart, Galeri Artist (Istanbul), participating galleries about Art Dubai:Almine Rech Gallery (Brussels), Galerie Em- Galerie El Marsa (La Marsa, Tunisia), Art “Being a contemporary art gallery frommanuel Perrotin (Paris), Max Protetch, (New Dubai is helping foster the UAE’s reputa- India, Dubai is close enough to be a hubYork), Fredric Snitzer Gallery (Miami) Goff tion as a meeting place for the internatio- for markets around the area. As the fair has+ Rosenthal (New York) and Elementa nal art world. In the last two years, the art gained significant status from the moment it(Dubai). A strong selection of US and Euro- fair has witnessed robust growth in thenum- was conceived, it has become relevant forpean galleries pioneering exhibitions of ber of art collectors, artists, dealers, cura- galleries from within India to be part of . .Middle Eastern and Asian aritists include Al- tors, critics and art enthusiasts from around . In order to develop the growing interest ofbion, BISCHOFF/WEISS, Rossi & Rossi, the world visiting the event. With the persons from the Middle East as well asGreen Cardamom, Aicon Gallery, Bitforms added benefit of the newly opened Mu- expat Arabs in Indian contemporary art, ourGallery, Goff + Rosenthal, Frey Norris Gal- seum of Islamic Art in Doha and coinci- participation at Art Dubai gained particularlery and Salon 94. mongst the international ding for the first time with the Sharjah significance.” - Chemould Prescott Road.“It’sparticipants there is strong presence of the Biennial, Art Dubai is seeking to attract a wonderful platform to reach collectorsmost important galleries from the Middle .more than 5000 visitors from overseas, and curators from the Middle East. The fairEast, North Africa and South Asia (ME- doubling the number of international visi- is meticulously managed”. - Galerie KashyaNASA) region. tors from Art Dubai 2008. Hildebrand. Gallery 57
  • 47. GalleryThe third edition of Art DubaiTrends in the Art Dubai 2009 gallery. Ta-king place from March 19-21 2009, over65 carefully selected galleries will gatherin the beach resort of Madinat Jumeirahfor the third edition of Art Dubai 2009.Emphasis will be placed on galleries re-presenting artists from the Middle East,South and Central Asia and the Far East,showing along side established artistsfrom the West. Selected from over 300applications, the participating gallerieswere chosen by an international selectioncommittee that considered the merits ofeach individual exhibition proposal tocreate an innovative and diverse event,appealing to new and experienced col-lectors alike.“The quality and strength ofthe applications from galleries round theworld offers continued proof of the gro-wing importance of Dubai as a new artmarket centre.” said John Martin, Co-founder and Director of Art Dubai. “In aneconomic downturn, the best galleries stillrequire a global presence and must takeadvantage of the opportunities that ArtDubai offers them to engage with thechanging face of the regional and inter-national collecting community.”Trends inthe Art Dubai 2009 gallery selection in-clude .Art Dubai is helping foster theUAE’s reputation as a meeting place forthe international art world. In the last twoyears, the art fair has witnessed robustgrowth in the number of art collectors, ar-tists, dealers, curators, critics and art en-thusiasts from around the world visitingthe event.The added benefit of the newlyopened Museum of Islamic Art in Dohaand coinciding for the first time with theSharjah Biennial, Art Dubai is seeking toattract more than 5000 visitors, doublingfrom Art Dubai 2008.58 Gallery
  • 48. Professional advice20 Ways to avoid creative blockAs a designer everyone has experienced a point where they just can no longer think of anything worth while. It’s in these situationswhen you have to reevaluate your perception of what works and what doesn’t. Use the following 20 tips to avoid and get througha tough designers block.1. Take Photography Sometimes all it takes is a friend to say and short stories can also help get something worthwhile. Call your friend(s) you out of slump. Here is a great list and discuss past events to help you recall of graphic design books. something enjoyable, being in the right set of mind is what it’s all about, and 4. Read Tutorials friends bring you out of the “working Most tutorials are out there for people mode” and into a much more pleasant who want to learn about design, layout, frame of mind. Remember not to call them graphics and illustration software, but for and interrupt them when they are at work graphic designers it can also be used to as it may work the opposite way in that brush up on old techniques or to see the case.Read and Get Inspiration. newest trends. These sites also often contain links to sam 3 . Flip through Design books ples of how the tutorial was used inAlmost all graphic designers have a ca- context of an actual design piece. Withmera with them, so why not use it? Can’t the latest design suites, it’s often impossi-find that perfect texture or color That’s ble to learn every new feature of a newfine, go out and take a picture of what software and these tutorials can also helpyou need. You may find inspiration in a show you what it new and useful with avery uncommon place. Be sure to take software update. Here is a huge list of Tu-plenty of pictures, not just a few, then re- torial Sites.turn to your office and review them to re-call special feelings or smells from thosememories.2.Call a friend From Graphic Design Books ,There are a ton of books out there that were made just for people that have des- igner’s block. The authors of most of these books have compiled huge 5. Visit inspirational websites amounts of graphi design work into one comprehensive picture book. It’s almost a given that you know about a These are often sorted to help you whole range of inspirational sites that you find a specific idea or theme. Just frequent for ideas. However, going into don’t underestimate the power of any these sites is almost a guaranteed way to ole books,even novels, comic books, break a difficult graphic designer’s block.60 Professional advice
  • 49. Also, don’t go to the same inspirational an office environment, you probably have 10.Listen to musicsites all the time, but instead try to find online peers who are also designers.new ones, as the process alone could Chat, skype, or email them to ask for helpspark the idea of what you were looking or to just talk.for. Here is a great list of 180+ of the topsites that list inspirational designs. 8. Watch a funny movie or video6. Create Art for personal use Laughter is truly the best medicine. Whe- therit is within a group or by yourself, laughter will help relax you and has been thought to stimulate current parts of the brain that control a person’s artistic and cognitive abilities. Use this fact to your advantage and don’t be afraid to really let it out. A few chuckles is good, but a Music is food for the soul, and also a gra- real good “knee-slapping” laugh is even phic designer’s mind. You may find that listening to certain types of music may 9.Doodle in a sketch-book cause you to design a certain way, whe- ther it be hard rock to create a grungeThe key to staying sharp and up to date design, or acoustic jam for those soft ele-is to frequently produce art for just your- gant designs. Use the mental “flow” youself. Practicing is really the key to perfec- get from music to your advantage and ittion. Not only will you become more will set up your entire session. Somethingproficient with design software, but you even better is if you are a musician, stepwill also come across new ways to do the away and play some music. All the samesame thing, in turn creating something en- rules apply except that it sparks a creativetirely new and unique. Use these personal part of your brain and will help get rid ofprojects in your office to recreate those that nasty designers block.techniques for a client.7.Speak with colleagues 11.Find a separate hobby All graphic designers doodle as it’s aNot everyone will be able to do this as habit that you have probably been doing Being on the computer all day long, every-many of the readers of this article are since you were in school instead of liste- day, can be excruciating. Don’t let it hap-freelancers. But if you are in an office en- ning to your teachers. Doodling can often pen to you. Instead, find a hobby that hasvironment, speak to colleagues when time help you focus and think freely. Instead of absolutely nothing to do with graphic des-permits and if they’re not busy. Often you trying to create something with a pur- ign or being creative or artistic. Hobbiescan have small quick brainstorming ses- pose, you simply let your mind create so- such as fishing, camping, collecting, bil-sions that may help you to open your mething. Forcing creativity can often liards, chess, or working out are great waysmind to a new focus. Colleagues can also drain a graphic designer quickly of any to relax your mind. Trying to be creative allhelp to relieve a lot of tension and stress good ideas they might have had. Some- day is too stressful and you will quickly burn-built of from not being able to think about times it is just better to just let everything out as you need a way to completely stepnew designs ideas. If you dont work in go and draw freely. away sometimes. Professional advice 61
  • 50. Professional advice12.Take a step outside Language is within a different part of the and sounds to help sketch out ideas for mind that thinks about words so you can your design and you will find that you work them hard and it will still let your can think better if you are not really trying design muscles rest. This is a way to get to think at all. In addi tion to all of that rid of designer’s block and plays very ni- the caffeine you are drinking, you should cely into the next method.n your quest to focus your mind on a particlar thought. write an amazing piece of literature, you Just don’t drink caffeine in excess as it may find that you lack a correct way to can lead to addiction with many nasty say something. When this happens, you side-effects.. should use a thesaurus. 14.Look up synonyms or anto-Probably the most widely used method oftrying to get rid of designer’s block is to nymjust to take a quick stroll outside. The pro- I Finding related words will often help youblem lies within us. Most graphic des- look at the same thing with a differentigners step outside expecting ideas to spin, and finding antonyms can help youcome out of them. In other words, by narrow your ideas. Maybe buy a “word-doing that, you are not taking a break. a-day” calenda. This is a great way toJust step outside, smells some fresh air, lis- keep your vocabulary fresh and they areten to the birds, and enjoy the feeling of also pretty good conversational pieces.just being with nature. Ignore everything 17.Work in puzzle booksexcept what you can see, smellor hear. 15.Go for a driveThen you can step back into your office If weather permits, go out to your car, rolland feel refreshed.. down the windows (or sunroof), and just take a cruise around the countryside or13.Write poetry or prose within the heart of the city. Just try to drive somewhere you don’t normally go, find new back roads, or get lost somewhere. Listen to some music while you are driving as well, it’s a win-win situation really, but just make sure you don’t get too lost, you’ll eventually have to come back to the office. These little workbooks are great and 16.Visit the local coffee shop using them will increase your focus Yes, that means Starbucks too. Coffee has and help you process thoughts and caffeine and as most people know, caf- ideas more effeciently. Solving pro- feine can help stimulate the brain (when blems is the job of a graphic des-Often as a graphic designer you run used in small quantities). However, don’t igner and anything you can use toacross an idea or phrase that gets stuck sit inside the coffee shop, but rather sitout- help with your problem-solving abili-in your head. Use that, write a short side and enjoy the weather and bring a ties is a must. There are also puzzlepoem about it. Flex those verbal muscles. pencil and paper as well. Use the sights books that will help with proof-rea62 Professional advice
  • 51. ding and error-checking as graphicdesigners need to have the ability tocheck over their own work and noticesmall differences with shapes and co-lors.18. Sleep on itSleeping does many things, such as in-creases energy, enhances focus, andhelps memorization (just to name a few).Ithelps graphic designers by allowing themto think about something without actuallythinking about it. Most of the time, co-ming back to a design layout the nextmorning is the best way to look at some-thing with fresh eyes. You will also findthat you can judge your work much betterwith a fresh look at your design. It will alsohelp you determine if it still portrays the mes-sage the way that you had wanted it to.Naps are also another way. Eat while youare working and use your lunchtime to take Fonts spark ideas for layouts and some- fworking in an ergonomic environment.a nap in the car. You will find that this helps times designers actually base an entire- Try not to sit too far away, above, orboost your creativity a noticeable amount. design on a font that they have found. below your keyboard and monitor, make Also, most really creative fonts include sure your monitor has the correct refresh19. Look for interesting new design elements within the lettering and rates and resolution, your chair shouldfonts ligature that can be used in an entire have proper lumbar support as well as layout as shapes and backgrounds. make plenty of cushion, and have lighting other sure sure you have a good font manage- than flourescent bulbs. ment program as well as your font collec- tion can get pretty big. Here is a Remember this, if you are going to try humongous list of free font sites. any of these techniques, do not perform them expecting positive results every time. 20.Straighten up your office The trick is to really let your mind wander Having a clean environment is very in different directions, because if you are conducive to your creativity. Clutter across trying too hard to be creative, then it will a desk is the same as cluttering your never work. If you have any suggestions thoughts. Organize your desk and your or additions to these, please feel free to mind, file away old projects, put together leave a comment and I will try and put it doodles into one older, keep hard-copies in the article. Here is another articleFinding fonts is a pretty fun thing for gra- of all work on the wall or desk, and just about The Best Ways That Graphic Des-phic designers as it creates this sense of get comfortable. Which brings up ano- igners Can Overcome Their Creative“What can I use this for?” in their mind. ther point ... Block. Professional advice 63
  • 52. BooksThe typographic landscapes of the arab worldArabesque investigates the current creative potential of the Arab WorldThe book collects examples of recent in-novative and groundbreaking designwork that is inspired by the richness of theregion’s visual culture. In addition to awide range of Arabic fonts and type-faces, it presents graphic design, moderncalligraphy, logos and illustration by ar-tists from Egypt, Iran, Saudi Arabia, theUnited Arab Emirates and Lebanon. Des-pite their rich tradition of calligraphy, theArab World and Persia are not known fortheir contemporary graphic design, illus-tration and typography. Especially now,it’s worth taking a look at the region’screativity. Young designers are just begin-ning to chart their own compelling coursebetween local visual convention and amodern, international style. Arabesque in-vestigates the creative potential of theArab World and Iran. This book featuresexamples of recent innovative andgroundbreaking design work that is ins-pired by the richness of the region’s visualculture. Given the important role of calli-graphy in the Middle East, Arabesque fo-cuses on typography. The book presentsa wide range of modern Arabic fonts andtypefaces; these are accompanied by arich selection of applications. Furtherexamples of design and graffiti serve aspowerful demonstrations of how text canbe used illustratively. This work is particu-larly relevant to those now creating streetart and poster design. Regardless of thelocation and ancestry of their creators, allof the examples included in Arabesquecombine modern design with the traditio-nal, letter-based canon of Arab forms instriking ways. Supplemental texts des-cribe the environments in which the fea-tured designers and artists work.TheArabic inspired Latin type.64 Books
  • 53. BooksVisual narratives from Arabia by Tarek AtrissiTarek Atrissi’s will present a research onaesthetic trends and design conventionsin the Arab world, through the analysis ofselected current practices in Arabic typedesign, corporate identities, and contem-porary graphic design.The perception ofthe Arab visual culture, within the Arabworld itself , in the western world, will bediscussed in relation to the challengesfaced by designers nowadays. Somecase studies will be used to show the ty-pographic landscape across the Arabworld though presenting various designprojects such as the book entitled "VisualNarratives from Arabia" and compiled byHuda AbiFarèsi, as well as the latest pro-jects developed by Tarek Atrissi Design,which hold significant cross cultural chal-lenges.Images from book Visual Narratives fromArabia. Collage by Tarek Atrissi.each other in the context of the culturalwealth in the Arab world. The graphicallyrich book - designed by Tarek Atrissi Des-ign- contains a selection of some of themost inspiring projects developed by thestudents in the three online courses: Intro-duction to Art and New Media in theArab States (by Ricardo Mbarkho); Ara-bic typography and design culture (byHuda Abifares) and Typographic Land-scape in the Arab World (by TarekAtrissi).A digital version of the book isavailable for download at Tarek AtrissiDesign’s website on the following link.Design educators can contact us directlyto request a copy of the book.66 Books
  • 54. ublished by Unesco and co-authored by each other in the context of the culturalTarek Atrissi and Huda Abifares, “Visual wealth in the Arab world. The graphically Preview from the inside spreads of theNarratives from Arabia” is a publication rich book - designed by Tarek Atrissi Des- book “Visual Narratives from Arabia” bythat documents the first Online master ign- contains a selection of some of the Tarek Atrissi and Huda AbiFares, Publi-module in Design and technology orga- most inspiring projects developed by the shed by Unesco in 2008.nized by Unesco, in which a selected students in the three online courses: Intro-group of design students from across the duction to Art and New Media in the each other in the context of the culturalArab world participated. Long after the Arab States (by Ricardo Mbarkho); Ara- wealth in the Arab world. The graphicallycourse finished, the work on the book that bic typography and design culture (by rich book - designed by Tarek Atrissi Des-summarizes the experience of the pilot Huda Abifares) and Typographic Land- ign- contains a selection of some of theprogram and showcases the work deve- scape in the Arab World (by Tarek most inspiring projects developed by theloped by the students was completed, Atrissi).A digital version of the book is students in the three online courses: Intro-and the publication was printed and it is available for download at Tarek Atrissi duction to Art and New Media in theavailable of arabic design and communi- Design’s website on the following link. Arab States (by Ricardo Mbarkho); Ara-cation.The master module on Arts, Design Design educators can contact us directly bic typography and design culture (byand Technology for the Arab states was to request a copy of the book.each other Huda Abifares) and Typographic Land-an experimental educational program in the context of the cultural wealth in the scape in the Arab World (by Tarekwith the objective to explore possibilities Arab world. The graphically rich book - Atrissi).A digital version of the book isof having a new kind of multi-disciplinary designed by Tarek Atrissi Design- available for download at Tarek Atrissieducational The aim was to bring toge- contains a selection of some of the most Design’s website on the following link.ther students with different kind of exper- inspiring projects developed by the stu- Design educators can contact us directlytise to study together and to learn from dents in the three online courses: Introduc to request a copy of the book. Books 67

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