Izzy Pludwinksky is a calligrapher, artist, calligraphy teacher and a Sofer STaM located in Jerusalem. Recently, his book Mastering Hebrew Calligraphy was published (Toby Press). Complete with over 200 full-color illustrations and contributions from some of the world’s top Hebrew calligraphers, this is a beautiful and informative book.
FontShop international uploaded FF Meta Hebrew to its site. FF Meta Hebrew was designed by Oded Ezer and is the Hebrew version of FF Meta, originally designed by German typography master Erik Spiekermann.
FF Meta Hebrew could be purchased only through FontShop website.
All have been said already about David Tartakover’s new book, “Tartakover”: “The most accurate definition of the phrase “Israeli design”, “Controversial work, at parts outrageous” (It’s not the poster, it’s the reality that is outrageous…); “A punch to the stomach, not a stroke to the eyes”, “Tartakover is who we are”, etc.
It seems as if the controversies conceal two very important aspects of his work, that in my opinion should be taught in the different design schools: his phenomenal ability to combine image and text, and his rear talent in editing.
I don’t know any other Israeli poster designer who managed to create a combination that is not prettified and fake (therefore “creative”), but simple and direct in its honesty – between a ready made image and the right word in a new, surprising context.
The success of this book lies in the precise editing. There are only a few editors who can create a strong narrative through a design book, fewer are those who can edit… themselves. Mere images- from the “sweet” images of “A wonderful country” and “A different country”, through the peace posters, the “Peace now” logo, the occupation posters and the Gilad Shalit poster (“What else will you ask from us, homeland”) – Tartakover creates a precise and tight narrative, as if he was a well experienced director, and he concludes with text, for the Tarta fans.
Fonts have rights too: In the article of design reporter Yuval Saar, Ha’aretz newspaper published that the Jerusalem District Court ruled this week that the sole copyrights of “Hadassah” font, belong to Hanna Tal, daughter of the font designer, Henry Friedlander. Tal filed a public compensation suit two years ago under the amount of 4.5 million NIS against font company Masterfont, claiming it traded Hadassah for years without her consent.
The album covers blog “cover, story” chooses its best album covers of the year. You may not agree with all of the picks, but it sure is fun.
In his final project in Typography in Motion class, Dani Wolf, a Bezalel Academy student, chose to use the Hebrew font Shalvata.
He explains: “The text is taken from the book “Happier: Learn the Secrets to Daily Joy and Lasting Fulfillment”, written by Dr. Tal Ben-Shahar. My goal was to present this “self-improvement” text in a way that the viewer will not feel cynical towards it. Another goal of this project, led by Erez Gavish, was to examine the matter of readability in motion, by introducing exceptional ways of reading and testing their boundaries.”
One of the most fascinating and extensive publications on Hebrew typography of the recent years was released in the Czech Republic, in English (and translated to Czech).
The 25th issue of Typo magazine was released in February 2007 and was fully dedicated to trend reviews of contemporary Hebrew typography and to font design in Israel. This issue, contains articles written by the Israeli designers Oded Ezer, Yanek Iontef, Adi Stern and Yehuda Hofshi, and an article by the British John D. Berry.
These days, we are in the midst of a technological Development which might solve screen display issues for mobile appliances, will cancel screen illumination effect and will allow a sense of texture that resembles paper for different computer screens. This will cause a mass reduction or might even cancel the use of paper for printed matter, a use that began in China at around 600 B.C. and imported to Europe in the year 1200 A.D.
Despite the natural fear of changes and novelties, exchanging paper with a paper-like screen is inevitable. It will improve the quality of graphic design and typography for screen considerably, a design that up until now had suffered from significant inferiority in comparison to the quality of graphic design and typography for print.
Basic principles that apply on graphic design and typography for print, will apply on design for screen use. improvement of screen display will allow a free use of fonts that cannot be used so far due to poor screen display reasons. Serif and semi-serif letters that up until now were conspicuously absent will become acceptable letters in arranging text over screen, for the readable superiority over sans-serif letters. With the removal of vision restrictions due to dancing screen illumination, there will be less use of bold fonts in arranging text, and more light fonts which are more agreeable, convenient and readable.