This bilingual Arabic and Spanish poster was printed on the occasion of Hacia aquí, hacia allá, hacia casa / من هون، لهونيك، للبيت (“To here, to there, to home”), a design and typography exhibition presenting the work of Clara Sancho and Pascal Zoghbi. The show was on display at Gráficas Granados (a.k.a. GraGra) in Madrid, Spain, between May and September 2024.

The large Spanish text of the poster was set printed from wood type. The name of this English grotesque is unknown. The credits are in Folio Medium from Neufville. Additionally, the Arabic text was set with a laser-cut version of 29LT Idris Sharp ExtraBold. This new typeface is based on Berthold’s Arabisch Halbfett Nr. 49, a Naksh design produced as metal typeface in Germany in the 1950s.

The poster text provides a concise overview of Clara and Pascal’s personal and professional lives. The exhibition was curated by Andrés Oliva.

The A1 poster was meticulously designed by Christian Granados, the founder of GraGra, together with Clara and Pascal. It was printed on a Stephenson Blake proof press in the GraGra workshop, in two colors and four layers on 120gsm Special Grey from Fenner Paper.

Only 40 limited copies were printed and are now available for purchase from GraGra. See more process images on their Instagram account.

Hymne a L’Amour / نشيد الحب by Alfred Tarazi is a testament to craft and artistic labors of love across family, country, and regional history

From the website of UMAM Documentation & Research:

Hymne a L’Amour is an installation by artist Alfred Tarazi in which he embraces and engages with both his personal family history and the history of craftsmanship in Lebanon and the wider Levant. The exhibition temporarily located in an abandoned hangar is supported by the French Embassy and the French Institute in Lebanon and was undertaken in partnership with UMAM Documentation and Research and the General Directorate of Antiquities.

The exhibition calls attention to memory and identity, both personal and collective, through handicraft items that have been overlooked by museums in Lebanon.

You can find several museums dedicated to antiquities unearthed across Lebanon, then possibly, museums for modern or contemporary art, but in between antiquity and modernity, a great vacuum as if the generations that populated these lands never produced anything of cultural importance. In the west, that heritage has found its way in museums under the label of Islamic art, or decorative arts. In Lebanon however, it is a neglected and overlooked heritage. As we have been witnessing the disappearance of these crafts and without an effort to make these survive, we should to the very least preserve samples of these works.

The installation includes artifacts made from wood, copper and glass dating back to the eighteenth century. The items are part of the Tarazi family’s centennial heritage, as they were one of the pioneers of craft works in Lebanon and Syria. The installation crystallized the artist’s personal relationship with his family legacy. These remains of the family’s industry are presented in a state of precariousness and vulnerability. As the exhibition title suggests, the installation is a “love hymn” for artisanal work and a personal history, placed within the context of an abandoned and derelict building. The installation is dedicated to this love of crafts and materials.

Tarazi centers this exhibition and his other work on developing a cohesion between two different memories: the memory of place and the history of the items displayed. If the subject of memory and identity is one of the main themes in Tarazi’s work, perhaps the most prominent characteristic of his approach is his ability to extract memory from a fixed archival state and to turn these materials into artistic engagement.

The exhibition poster uses 29LT Zarid Stencil. It is also used for a graffito with the exhibition title in Arabic and French.

My Business Towards Success (original Arabic title: مشروعي نحو النجاح) is a guide about entrepreneurship authored by Farida Hamed and published by Dar Rosa, Qatar. The book was designed by Cairo-based designer Raghda Moataz using 29LT Zeyn and 29LT Zarid Text. From designer Raghda Moataz:

In order to create texture and warm feelings when experiencing this book, we used scraps of paper similar to that on which the author wrote down her ideas while writing the book and expanded them into more different textures with different formats and used it to design the “quotes” spreads.

Nomadic Traces: Journeys of Arabian Scripts explores the role that scripts have played in defining and preserving the cultural identity of past and present civilizations, and on the migrational and transformative nature of writing, and its ability to freely cross borders and cultures. The exhibition focuses on the development of some of the key Abjads (consonantal alphabets) of the Middle East. It poetically links the past with the present, revealing the wealth of the region through its many scripts, including Phoenician, Aramaic, Musnad, Palmyrene, Nabatean, and early Arabic (Jazm).

The exhibition was conceived and curated by Dr. Huda Smitshuijzen AbiFarès, and presented and produced by and presented at Warehouse421, Abu Dhabi, UAE, in partnership with Khatt Foundation. It also features newly-commissioned works by artists and designers from the UAE, Saudi Arabia, Jordan, Syria, Lebanon, and Palestine.

Featured artists and designers include Nasser Al-Salem, Sarah Al-Agroobi, Nadine Kanso, Ghita Abi-Hanna, Milia Maroun, Khalid Mezaina, Rasha Dakkak, Hamza Omari, and Xeina Al-Malki.
Research team: Huda Smitshuijzen AbiFarès, Ranim Al-Halaky, Afra Bin Dhaher, Sheikha Bin Dhaher, Dina Khorchid.

“Life does not go according to your plans; expect the unexpected”. For this poster design in her تجــربة [Trial] series, Saudi Arabian designer Malak Mohammed used 29LT Bukra, modified with extended bottom parts.

Poster design by Malak Mohammed, designed as part of her تجــربة [Trial] series. For this series, the Saudi Arabian designer staged the Arabic words for Yes (نعـمـ) and No (لا), set in 29LT Zarid Display.

A 3D-printed vase with lyrics from the Fairuz song “بيذكر بالخريف” (“Reminds Me of Autumn”).

بتذكرك كل ما تيجي لتغيّم
وجهك بيذكّر بالخريف
بترجع لي كل ما الدني بدها تعتم
مثل الهوا اللي مبلّش عَ الخفيف

Designer Edo Smitshuijzen (Khatt Items) used 29LT Azal.

Oloom (العلوم) is a scientific magazine published since 1986 by ASPD, the Advancement of Sciences Publishing & Distribution Company in Kuwait. Once every two months, an entire orchestra of writers, translators, illustrators, artists, and designers put together this Arabic scientific publication.

In 2018, Sharaf Studio was hired to redesign the magazine. Read more about the ongoing project on their website.

From Visualizing Palestine:

The right to the highest attainable standard of physical and mental health is protected under international human rights law and international humanitarian law. As the occupying power, Israel is obligated under international law to guarantee the right to health to Palestinians. This visual is based on data from the World Health Organization about Israel's denial of the right to health to millions of Palestinians living under blockade in Gaza.

Post-conference catalogue for Tasmeem Doha 2017: Analogue Living in a Digital World, an international art & design biennial held in Doha, Qatar. Designed by Lauren Thorson, using 29LT Zeyn and Suisse Int’l Arabic.

See also Lauren’s work for the Tasmeem Doha conference 2017 identity.

From Behance:

Beirut Blues is an epistolary novel by Hanan Al Sheikh. It tells the story of a woman, Asmahan, living in the Lebanese civil war, and her dilemma of leaving Beirut or staying. In this interpretation, I used the concept of her changing her mind in such an abrupt way and the fact that she's expressing herself through 10 letters, in order to create a typographic feel of an intimate book that is textured and gives the feeling of a typewriter malfunctioning through the use of 29LT Makina.

A series of two posters for a workshop at the German University in Cairo, on which 29 LT Bukra and 29LT Zarid Display are mixed with illustrations in a loud style.

Baalbek, Archives of an Eternity is an exhibition curated by Vali Mahlouji. It was shown at Sursock Museum, Beirut, Lebanon, from 28 June to 22 September, 2019:

Baalbek, Archives of an Eternity investigates the site of Baalbek. It reconstructs a complex network of histories and readings, encompassing the pre-historic origins of the site, its rise to prominence, mythologies, functions, occupations, appropriations, its role in identity politics, its role in modern national and political agenda, its hosting of the Baalbek International Festival, and its contemporary reality. The project brings together archaeological, ethnographic, anthropological, cultural, and artistic perspectives to unpack the history of Baalbek from its origins to the contemporary moment. It attempts to ascertain if, and how, Baalbek operates as a signifier, a point of reference, and an identity marker throughout history.

Exhibition graphics and communication design: Mind The Gap
Scenography: Jacques Aboukhaled
Photographs: Christopher Baaklini

The National Pavilion UAE at the Venice Biennale 2019 was established to endorse the UAE’s contemporary art practices on an international platform and provide a foundation to support the nation’s diverse and developing cultural scene.

The design pairs two Arab typefaces, 29LT Riwaya and Greta Arabic, with two Latin alphabet typefaces: Shapiro and Sangbleu Republic.

Commissioned by: Salama bint Hamdan Al Nahyan Foundation
Supported by: UAE Ministry of Culture and Knowledge Development
Curated by: Sam Bardaouil and Till Fellrath
Participating poet, filmmaker and artist: Nujoom Alghanem
Graphic design: Eps51, Berlin
Exhibition design: Agence NC, Paris

Arabic typesetting and Arabic typography consultancy: Pascal Zoghbi

Arabic edition of Isabel Sánchez Vegara’s bestselling series of children’s books with illustrated biographies of outstanding women. First published in Spanish in 2015 as Pequeña & Grande, the series is known in English as Little People, Big Dreams. The first three volumes published by Hachette Antoine as أطفال بأحلام كبيرة deal with Agatha Christie, Marie Curie, and Coco Chanel.

This scarf is part of the Visualizing Palestine wearables project.

Visualizing Palestine creates data-driven tools to advance a factual, rights-based narrative of the Palestinian-Israeli issue. Our researchers, designers, technologists, and communications specialists work in partnership with civil society actors to amplify their impact and promote justice and equality. — visualizingpalestine.org

A self-commissioned poster titled ملصق (“Books”), made by Amman-based designer Alaa Tameem for Vol. 2 of the Zero Posters series in which he and Tariq Yosef explore “different techniques and styles to get out of our comfort zone.” The Arabic text uses 29LT Azer.

The Founder’s Memorial is a permanent national tribute dedicated to commemorating the life, legacy and values of the late Sheikh Zayed bin Sultan Al Nahyan, the founding father of the UAE. — The Founder’s Memorial

On the poster for Palfest, designer Salma Shamel combined layers of type, set in 29LT Azal (Arabic) and Gotham (Latin alphabet).

The 2018 New York University Abu Dhabi (NYUAD) Research Conference opened yesterday, showcasing the University’s innovative interdisciplinary research which addresses some of the world’s most pressing questions while furthering new knowledge and discovery. The conference is ongoing from November 5 - 7 and highlights the role that NYUAD plays as a hub for education, scholarship, and advanced research in Abu Dhabi. — Press release, New York University | Abu Dhabi

For the conference identity, 29LT Bukra is used throughout.