Easy Design

American University

A Point In The Center

Centrepoint represents the method of Landmark Group, a retail giant operating in twelve countries and has over 750 stores.

First launched in Kuwait in 2005, Centrepoint already has 53 shops across GCC & Jordan and plans to have over 100 shops across Jordan, Kuwait,Oman, Qatar, Saudi Arabia, Egypt, UAE and Bahrain by 2011 which will make it the largest retail retailer chain in the Middle East.

Centrepoint delivers terrific worth for money in a visually exciting destination for the entire family. The brand is shaping consumer perceptions, increasing brand worth and fuelling future growth for the group in the mid marketplace retail section. The existing chain includes 4 primary sub-brands under 1 roof: Babyshop, Splash, Shoe Mart, and Lifestyle.

Following the concept described above, Centerpoint produced a visual identity that catches the eye and appeals to all. Showing a closed circle with various vibrant colors, the circle having a single single center and as a result works well using the name, and the various color tones inside show a central movement, guiding the spectator’s eye from the outside towards the inside, the center. The 4 colors at the very same time show in a subtle way the availability of the 4 brands (Babyshop, Splash, Shoe Mart, and Lifestyle) as well. The brands appeal to the young generation of fashion savvy people, of young mothers and children since the chain sells merchandise for kids, with Babyshop exactly where the image developed is usually a world full of enjoyable for kids, Shoe Mart for shoes and accessories which of course appeal to the young and also the shop offers casual and sporty footwear. Lifestyle holds and embodies the essence of a woman, providing a wide range of products to celebrate the totally free spirit of today’s women. As it can be noticed, free, fun and dynamic are necessary capabilities to show within the key image of Centrepoint and are as a result shown by way of a basic geometrical form, that is in fact the simplest of them all, with no sharp edges, flashy and colorful yet incredibly straightforward.

It is geometrical and straightforward to read, neutral and not colorful to keep a additional severe tone and give a certain equilibrium towards the logo as a whole.

Babyshop is colorful and fun. Lowercase letters are put to use to show a less really serious tone with a lot more curves and round types just like a little baby is, rather soft and round. The other 3 logos are more significant since they appeal to a a lot bigger audience and show a complete lot far more character, mainly elegant and thin (Lifestyle) showing a good deal more feminine character. The dynamic attitude of “Splash” is shown inside the typeface with a play in between thick and thin in each of the letters. The letter “S” for instance shows a much more flowing and moving type beginning from a thinner line becoming thick and going back to thin in the end. This play using the letters does not give it a total feminine feel, given that men are also a clientele for that shop, and for that reason the logo must invite males towards the shop and appeal to them. The Shoe Mart logo is the most neutral of all, it has a general square form which is stable and solid, having a black color that relates to each member of the family whilst at the identical time showing a classy and neutral attitude given that the shop does not comprise only sporty footwear but casual as well.

Professors are beamed in through teleconferencing. As rising numbers of international students enroll in colleges and universities throughout the United States and elsewhere, the buzzword in higher education is “global”. Those obtaining a distance understanding degree seriously do come from everywhere.

American colleges and universities during the 2008-2009 academic year saw a record high of practically 672,000 international student enrollments, according to an annual Open Doors report from the Institute of International Education.

Centrepoint recently achieved the status of a ‘Superbrand’ following rigorous assessment across nicely established criteria by the Superbrands Kuwait Council. Competing with large names within the communication industry, retail industry, trading industry as well as other sectors, Centrepoint Kuwait was recognized for its outstanding achievement for the year 2008-2009 from over 1,300 short listed brands. It can be a prestigious acknowledgement of our performance along with the recognition reflects on our continuous efforts to build upon our competencies and provide customers added value within the coming years” mentioned Mr. Sumit Gue, General Manager, Centrepoint Kuwait.

The Superbrands brand choice course of action starts by creating a list of main brands operating in Kuwait, then the checklist is decreased to about 1,300 brands that are presented towards the council members to grade candidates. The scoring then is tabulated to result within the top scoring brands becoming designated Superbrands. This shows just how much brands and men and women (weather prospective clients or employees) interact using the image and create for themselves a way of interacting with every other, a relationship.

But there’s usually something key to contemplate relating to this issue. The name and image are developed based on Latin logotype standards, and have no Arabic implemented neither in the major logo nor in the visual type which is usually clearly observed on their new website.

On a different hand, the west cultures, that are the creators of the Latin typefaces and major global visual trends, are getting much more and far more enthusiastic about Arabic letterforms and communication systems which is rather ironic. Take for instance one of the largest font libraries inside the world, Linotype in Germany.

Its involvement with Arabic sort design goes 1 century back and was the very first to produce machines for the mechanical typesetting of the Arabic script. Dubbed as the genre of Simplified Arabic, these typefaces responded towards the want for more rapidly and more economical typesetting and helped in the growth of the newspaper industry. In other words, the West contributed inside the improvement of communications inside the Arab world.

While a preliminary survey for the 2009-2010 academic year reportedly produced mixed Institute results, the Chronicle of Higher Education has reported that some 3 million study abroad students overall in 2009 is projected to climb to eight million by 2025.

Today, Linotype boasts a number of top quality Arabic typefaces that have confirmed quite common across the Arab world.

At The Center of Latin and Arabic Relationships

When we talk about Arabic typeface design as nicely as the West, Nadine Chahine is constantly mentioned.

Nadine Chahine is an award winning Lebanese type designer with a particular interest in Arabic typography. She studied Graphic Design at the American University of Beirut and MA in Typeface Design at the University of Reading, UK. During her study at Reading, she focused on the relationship of the Arabic and Latin scripts and the possibilities of making a harmonious relationship between the two. In 2005 she joined Linotype, Germany, as the Arabic specialist and has been living in Germany ever since.

In September 2007 she began a PhD program at Leiden University and her focus is on legibility studies for the Arabic script. She has won the Dean’s Award for Creative Achievement from the American University of Beirut in 2000, and an Award for Excellence in Type Design from the Type Directors Club in New York in 2008.

The following is normally a recent interview conducted with Chahine concerning Latin and Arabic kind creations and Modern Arabic adaptations.

What do you like in this part of design?

I began designing type in my final year at AUB so it is been nearly 10 years now. At AUB I had the luck to take an Arabic typography course with Samir Sayegh who will be the unsung hero of Arabic typography. I went for a Masters in Typeface Design in Reading, UK and my focus was the relationship of the Arabic and Latin scripts. The result was my Koufiya which is the 1st Arabic+Latin typeface intended by the similar designer at the very same time. I am at present working on a PhD in legibility studies for the Arabic script.

Type design is a form of meditation for me. When I design, every little thing else fades into the background and all of the noise of every single day life pretty much disappears. Type design is actually a form of visual communication that has an instant impact on our visual environment. My inspiration comes from the streets of Beirut, and my typefaces are my expression of the Beirut that I wish to see.

My calligraphic typefaces refer to a nostalgic past, but my extra contemporary designs are a wish to move forward and place to rest our troubled past. It is a statement of equality, of hope for the future and aims to challenge the notions of cultural superiority. We are all equal and Lebanon can be a brilliant mix of Eastern passion and Western openness.

GG: You say you are influenced by the works of Frutiger and Zapf.

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