![]() Yuval Saar, who was the design correspondent for the ‘Galleria’ magazine, opened the ‘Portfolio’ blog back in 2005, and later rebranded it as a contemporary magazine on various design disciplines. Oded Ben-Yehuda began writing his column ‘Graphic Buster’ on Yediot Ahronot's Xnet website in 2011. The Regba brand, together with Feelternet Studio, opened ReDesign magazine (which closed three years ago). Oren Fayette (the past director of the ‘Visual Communication’ forum on Tapuz) opened the ‘Samlil – Hebrew Branding’ website, and regularly published high-level reviews on branding, Israeli design, and typography. Visual communication and design journalists have contributed to websites and blogs, and not merely for the niche professional audience. Since then, the general public has not only become a consumer of visual communication, but has grown to have an opinion. Eventually, these amateurs grew to become professionals who helped redefine Hebrew typography.Īt the beginning of the current decade, the field of graphic design as well as Hebrew typography, which had been considered a small niche, became an integral part of the overall conversation on visual culture. In these communities, photographs of student exhibitions and reviews of works and innovations in the field were published. In the ‘Visual Communication’ forum (and in the ‘Typography and Fonts’ sub-forum group) on the Tapuz website, the first explorations of the culture of digital typography began. Some of these free fonts can still be found today, mainly on store signs, throughout Israel. Natan also founded the ‘Fontia’ in which he shared the fonts he created as an amateur with the general public free of charge (as did Meir Sadan and Daniel Levy). ![]() ![]() Sivan Toledo, the ‘Sting’ website set up by Meir Sadan, and ‘The Font’ website set up by Sadan together with Ben Natan. The first examples of this new depth of information on the Hebrew letterform was the website ‘Hebrew Typography’ set up by Prof. This reality changed the physical and cyber surrounding, and in doing so became a wellspring of new opportunities for the next generation of creative individuals. The forums and communities that were established in the late 1990s and early 2000s became central gathering points, spreading knowledge and creating a new reality. Yet, in the early 2000s, the typographic knowledge in Israel was still personal and scattered, and those seeking to learn needed to adapt themselves to exclusive academic or commercial settings, or alternatively to seek out the few mentors we reviewed in the previous articles. The internet has become almost as relevant and as much of a given as the physical reality that surrounds us. It seems as though the online revolution is complete.
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