The evolution of the Fuzztak logotype by Lebanese designer and calligrapher Joumana Medlej:
The logo for Fuzztak, the game distribution platform operated by Quirkat of which I am part. Both companies underwent a rebranding in late 2010 and I needed to design a logo that would be game-related, iconic, convenient for use in print and online, on light and dark backgrounds, and that would somehow express our Middle-Eastern, bilingual identity as that was the way in which we most stand out.
I dearly wanted to avoid attempting to express the Middle-East pictorially, as that would be unavoidably cliché. I thought instead of a typographic treatment using the letter F in both languages, which look like this:
At the same time, an appropriate way to refer to digital gaming was to evoke pixels, by using a grid of squares. This fit perfectly for two reasons: working with grids was one of the ways in which Kufic script is created, and it would complement the grid of circles in the Quirkat logo:
Treated as grids, the two letters merged beautifully in a symmetrical design that had a square ratio and was even heart-shaped.
The “pixels” were spaced out, given rounded corners, and the two logos were further tied together by keeping the same color scheme and font. And voilà:
By Nick Sherman in Typography & Web Fonts via A List Apart:
For ideal typography, web designers need to know as much as possible about each user’s reading environment. That may seem obvious, but the act of specifying web typography is currently like ordering slices of pizza without knowing how large the slices are or what toppings they are covered with.
If someone asked me how many slices of pizza I wanted for lunch, I would probably say it depends on how large the slices are. Then—even if they told me that each slice was one eighth of a whole pie, or that they themselves were ordering two slices, or even that the slices were coming from Joe’s Pizza—any answer I might give would still be based on relative knowledge and inexact assumptions.
Such is the current situation with the physical presentation of responsive typography on the web. The information at a designer’s disposal for responsive design is virtually nonexistent outside the realm of software. Very little knowledge about the physical presentation of content is available to inform the design. The media query features of today can only relay a very fragmented view of the content’s actual presentation, and related terms from CSS are confusing if not downright misleading.
[Kind of long article]