The success of his approach is particularly evident when seen in packaging design applications, which display exactly the informal, even playful characteristics that make the Latin and Cyrillic work so well in that area. With Omnes Arabic, Titus Nemeth has done an admirable job translating that relationship of structure and surface into the Arabic script, creating a design that is unmistakably Omnes while also respecting the proportions, patterns, and rhythm of Arabic. But as I looked more closely at the Omnes letterforms - really looked beyond the surface - I realized that the softness sits on top of a very robust structural foundation. ![]() I was initially reluctant because, on the surface, a softly curvaceous display type seemed too removed from my usual work on text faces, and I wasn’t sure I would do a good job. A few years ago, Darden Studio asked if I might be interested in designing a Cyrillic version of their Omnes typeface, a display type family that had proven particularly popular in packaging design.
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