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BABEL2014Gallery
BABEL2014
On the cover of Folkwang calendar 2018
Folkwang *inside
SANAA Building, Essen, 2015
Global Alphabet: Multicultural Dialogue
Solo exhibition, Bar Ilan University, 2016
photos: Leonid Padrul
Global Alphabet for Multicultural Communication
Lecture at Typoclub Bern, 2016
photos: Jan Falkenberg
ADC Germany yearbook 2015
All rights reserved © 2012-2019 Yuliana Gorkorov
Invitation design: Jan Falkenberg
Lichtung / Clearing German-Israeli group exhibition
Betonbox Düsseldorf and Alfred Cooperative Tel Aviv, 2015/2016
BABEL2014
Lecture at TYPO Berlin 2015
1.2.2016
Globalization and digitization imply new cultural and linguistic rapprochement. But even internationally known words remain incomprehensible if they are written in a foreign alphabet. Can a global alphabet solve this problem? Yuliana searches for answers to this question and creates different kinds of new mutual alphabets. Her future vision: a global alphabet as a common tool for multicultural communication
republic of letters (German)BABEL2014 - Ein neues globales Alphabet?
LATAR is a Latin-Arabic font that combines silhouettes of the Latin capital letters with linear Arabic letters. Similar Latin and Arabic sounds are joined in one sign. As the Arabic letters have different forms according to their position in the word, only the middle forms are used in the font, in order to make the font appear uniform.
Words that are written with LATAR can be read simultaneously by people who use the Latin and
Arabic alphabets.
2016 AD
Gallery
LATAR
See more
Read
Latin-Arabic font
International acrophonic
alphabet
2.5.2016
Acrophony means the design and naming of letters according to terms that begin with the same letters. (For example: a pictogram of an avocado = A)
The Hebrew, Latin, Arabic and Cyrillic alphabets actually share a mutual acrophonic origin – the Proto-Canaanite alphabet.
In Akrofont these alphabets are reunited by applying the acrophonic principle. Each pictogram represents an international word that starts with the same sound in different languages.
Similar sounds, such as w and v are combined in one sign. Akrofont relates to the spoken language and does not depend on orthographic rules. It can be read independently of any knowledge of the four alphabets.
The project was presented at several conferences and exhibitions, including the international design conference TYPO Berlin 2016 and the ADC Germany Festival exhibition 2016, where it received a bronze nail in the junior competition.
republic of letters (German)Akrofont – ein internationales
akrofonisches Alphabet
Akrofont
TYPO News (German)Yuliana Gorkorov: Avocado,
Boomerang, Coffee – global Alphabet
23.5.2016
2015 AD
Press
AkrofontPosters
AkrofontGallery
Avocado Boomerang Coffee – Global Alphabet
Lecture at TYPO Berlin, 2016
photos: Jan Falkenberg
ADC Festival exhibition
Hamburg, 2016
1.10.2012
20.10.2015
news1 (Hebrew) דיאלוג באלפבית גלובלי
news1 (Hebrew) מבראשית עד אפוקליפסה
18.6.2018
20.10.2017
Type Directors Club (English)2018 Communications Design Competition Judge’s Choice: Global Alphabet Book
republic of letters (German)BABEL2014 – Ein neues globales Alphabet?
Type Directors Club (English)TDC Gives Special Recognition to Students from Germany, Spain, and New York
17.3.2016
12.8.2012
30.6.2017
10.2018
TYPO News (German)Yuliana Gorkorov: Avocado,
Boomerang, Coffee – global Alphabet
1.2.2016
republic of letters (English)Global Alphabet
republic of letters (German)Akrofont – ein internationales
akrofonisches Alphabet
Kochan & Partner Blog (German)Babel wird kleiner
24.9.2018
TYPO News (German)Yuliana Gorkorov: Das globale Alphabet
Folkwang University (German)Yuliana Gorkorov –
Folkwang Preisträgerin 2017
SLANTED Blog (English/German)Das globale Alphabet
27.5.2015
HIT Design Magazine (Hebrew):אותיות העולם התאחדוהגופנים של יוליאנה גורקורוב
23.5.2015
israelculture (Russian) Глобальный алфавит и Сотворение Мира
Olam Hazilum magazine (Hebrew) מבראשית עד אפוקליפסה
7.2.2018
hörspielkritik (German)Wer Ohren hat zu lesen …
PAGE (German)Vereinte Sprachen
07.2018
26.3.2016
ApocalypsA is a Hebrew-Latin Font. Each sign represents the same sound in both alphabets. Even though these alphabets have a common historical source – the Phoenician alphabet – nowadays they seem to be completely different. However, abstracting the letters enables to find many similarities.
The purpose of ApocalypsA is to show these similarities and to make Hebrew easier for the «Latin eye». Sometimes the signs must be mirrored or turned, but their basic form stays the same and is easy to recognize. This way, letters that looked incomprehensible at first sight, suddenly look familiar.
Hebrew-Latin font
ApocalypsA
2012 AD
news1 (Hebrew) מבראשית עד אפוקליפסה
The project was presented at several conferences and exhibitions, including the solo exhibition «From Genesis to ApocalypsA» in Tel Aviv.
Olam Hazilum magazine (Hebrew) מבראשית עד אפוקליפסה
ApocalypsAGallery
A is for Alef
A new method to learn the Hebrew alphabet easilySelf publishing, 2012
A is for Alef
Lecture about ApocalypsA at Limmud Festival Berlin, 2014
From Genesis to ApocalypsA
Solo exhibition, Journalist Association Gallery, Tel Aviv, 2012
Type design group exhibition
Folkwang University, SANAA Building, Essen, 2012
ApocalypsAPosters
hörspielkritik (German)Wer Ohren hat zu lesen …
news1 (Hebrew) דיאלוג באלפבית גלובלי
All rights reserved © 2012-2019 Yuliana Gorkorov
The project was presented at several conferences and exhibitions, including: the international design conference TYPO Berlin 2015; the solo exhibition «Global Alphabet: Multicultural Dialogue»;
the group exhibition «Lichtung», which took place as a part of 50 years Germany-Israel relations events; and at the ADC Germany Festival exhibition 2015, where it received a silver nail in the junior competition.
The character set was developed to show commonalities between letters that look completely different at first sight, although they derive from a common historical source – the Phoenician alphabet.
Each of the BABEL2014 characters stands for the same sound in the four alphabets (sometimes it is mirrored or rotated). The signs are inspired by printscript, cursive writing, majuscules and minuscules. Each character is a «transition» between the different alphabets.
BABEL2014
israelculture (Russian) Глобальный алфавит и Сотворение Мира
Kochan & Partner Blog (German)Babel wird kleiner
republic of letters (German)BABEL2014 – Ein neues globales Alphabet?
2014 AD
Joint character set for the
Hebrew, Latin, Arabic and
Cyrillic alphabets
Gallery
Globalization and digitization imply
new cultural and linguistic rapprochement. But even internationally known words remain incomprehensible if they are written in a foreign alphabet.
Can a global alphabet solve this problem? Yuliana searches for answers to this question and creates different kinds of new mutual alphabets. Her future vision: a global alphabet as a common tool for multicultural communication.
1.2.2016republic of letters (German)BABEL2014 – Ein neues globales Alphabet?
NEWS
20.10.2015hörspielkritik (German)
Wer Ohren hat zu lesen …
27.5.2015Kochan & Partner Blog (German)Babel wird kleiner
The character set was developed to show commonalities between letters that look completely different at first sight, although they derive from a common historical source – the Phoenician alphabet.
Each of the BABEL2014 characters stands for the same sound in the four alphabets (sometimes it is mirrored or rotated). The signs are inspired by printscript, cursive writing, majuscules and minuscules. Each character is a «transition» between the different alphabets.
Press
23.5.2015TYPO News (German)Yuliana Gorkorov: Das globale Alphabet
BABEL2014
17.3.2016news1 (Hebrew) דיאלוג באלפבית גלובלי
26.3.2016israelculture (Russian)
Глобальный алфавит и Сотворение Мира
All rights reserved © 2012-2019 Yuliana Gorkorov
The project was presented at several conferences and exhibitions, including: the international design conference TYPO Berlin 2015; the solo exhibition «Global Alphabet: Multicultural Dialogue»;
the group exhibition «Lichtung», which took place as a part of 50 years Germany-Israel relations events; and at the ADC Germany Festival exhibition 2015, where it received a silver nail in the junior competition.
2014 AD
Abjad LinoHebrew-Arabic layer font
BABEL2014Joint character set for the Hebrew, Latin, Arabic andCyrillic alphabets
400 AD
2016 AD
1700 BC
Arabic alphabet
LATARLatin-Arabic font
Greek alphabet
Proto-Canaanitealphabet
950 AD
ApocalypsAHebrew-Latin font
All rights reserved © 2012-2019 Yuliana Gorkorov
500 BC
900 BC
Cyrillic alphabet
Paleo-Hebrewalphabet
AkrofontInternational acrophonic alphabet
Hebrew squarealphabet
Aramaic alphabet
650 BC
850 AD
1500 BC
Glagoliticalphabet
Latinalphabet
Phoenicianalphabet
2017 AD
BABEL2014
Posters
BABEL2014
Gallery
ADC Germany yearbook 2015
BABEL2014
On the cover of Folkwang calendar 2018
Folkwang *inside
SANAA Building, Essen, 2015
Lichtung / Clearing
German-Israeli group exhibition
Betonbox Düsseldorf and Alfred Cooperative Tel Aviv
2015/2016
Global Alphabet: Multicultural Dialogue
Solo exhibition, Bar Ilan University, 2016
Global Alphabet for Multicultural
Communication
Lecture at Typoclub Bern, 2016
BABEL2014
Lecture at TYPO Berlin 2015
2.5.2016republic of letters (German)Akrofont – ein internationales
akrofonisches Alphabet
International acrophonic
alphabet
The project was presented at several conferences and exhibitions, including the international design conference TYPO Berlin 2016 and the ADC Germany Festival exhibition 2016, where it received a bronze nail in the junior competition.
2015 AD
Acrophony means the design and naming of letters according to terms that begin with the same letters. (For example: a pictogram of an avocado = A) The Hebrew, Latin, Arabic and Cyrillic alphabets actually share a mutual acrophonic origin – the Proto-Canaanite alphabet. In Akrofont these alphabets are reunited by applying the acrophonic principle. Each pictogram represents an international word that starts with the same sound in different languages. Similar sounds, such as w and v are combined in one sign. Akrofont relates to the spoken language and does not depend on orthographic rules. It can be read independently of any knowledge of the four alphabets.
Globalization and digitization imply
new cultural and linguistic rapprochement. But even internationally known words remain incomprehensible if they are written in a foreign alphabet.
Can a global alphabet solve this problem? Yuliana searches for answers to this question and creates different kinds of new mutual alphabets. Her future vision: a global alphabet as a common tool for multicultural communication.
Akrofont
23.5.2016TYPO News (German)Yuliana Gorkorov: Avocado,
Boomerang, Coffee – global Alphabet
Akrofont
Posters
Avocado Boomerang Coffee – Global
Alphabet
Lecture at TYPO Berlin, 2016
ADC Festival exhibition
Hamburg, 2016
12.8.2012news1 (Hebrew) מבראשית עד אפוקליפסה
The project was presented at several
conferences and exhibitions, including the solo exhibition «From Genesis to ApocalypsA» in
Tel Aviv.
1.10.2012Olam Hazilum magazine (Hebrew) מבראשית עד אפוקליפסה
ApocalypsA is a Hebrew-English Font. Each sign represents the same sound in both alphabets. Even though these alphabets have a common historical source – the Phoenician alphabet – nowadays they seem to be completely different. However, abstracting the letters enables to find many similarities.
The purpose of ApocalypsA is to show these similarities and to make Hebrew easier for the «Latin eye». Sometimes the signs must be mirrored or turned, but their basic form stays the same and is easy to recognize. This way, letters that looked incomprehensible at first sight, suddenly look familiar.
ApocalypsA
Hebrew-Latin font
ApocalypsA is a Hebrew-Latin Font. Each sign represents the same sound in both alphabets. Even though these alphabets have a common historical source – the Phoenician alphabet – nowadays they seem to be completely different. However, abstracting the letters enables to find many similarities.
The purpose of ApocalypsA is to show these similarities and to make Hebrew easier for the «Latin eye». Sometimes the signs must be mirrored or turned, but their basic form stays the same and is easy to recognize. This way, letters that looked incomprehensible at first sight, suddenly look familiar.
ApocalypsA
Posters
A is for Alef
Lecture about ApocalypsA
Limmud Festival, Berlin, 2014
From Genesis to ApocalypsA
Solo exhibition, Journalist Association Gallery
Tel Aviv, 2012
Type design group exhibition
Folkwang University, SANAA Building, Essen, 2012
A is for Alef
A new method to learn the Hebrew alphabet easily
Self publishing, 2012
ApocalypsA
Gallery
2016 AD
LATAR
LATAR is a Latin-Arabic font that combines silhouettes of the Latin capital letters with linear Arabic letters. Similar Latin and Arabic sounds are joined in one sign. As the Arabic letters have different forms according to their position in the word, only the middle forms are used in the font, in order to make the font appear uniform. Words that are written with LATAR can be read simultaneously by people who use the Latin and Arabic alphabets.
Latin-Arabic font
18.6.2018HIT Design Magazine (Hebrew):אותיות העולם התאחדוהגופנים של יוליאנה גורקורוב
20.10.2017republic of letters (English)Global Alphabet
7.2.2018PAGE (German)Vereinte Sprachen
10.2018Type Directors Club (English)2018 Communications Design Competition Judge’s Choice: Global Alphabet Book
23.5.2016TYPO News (German)Yuliana Gorkorov: Avocado,
Boomerang, Coffee – global Alphabet
23.5.2015TYPO News (German)
Yuliana Gorkorov: Das globale Alphabet
24.9.2018SLANTED Blog (English/German)Das globale Alphabet
2.5.2016republic of letters (German)Akrofont – ein internationales
akrofonisches Alphabet
30.6.2017Folkwang University (German)Yuliana Gorkorov – FolkwangPreisträgerin 2017
07.2018Type Directors Club (English)TDC Gives Special Recognition
to Students from Germany, Spain, and New York
Greek alphabet
950 ADCyrillic
alphabet
1500 BCPhoenician
alphabet
2014 ADBABEL2014Joint character set for the Hebrew, Latin, Arabic andCyrillic alphabets
2012 ADApocalypsA
Hebrew-Latin font
All rights reserved © 2012-2019 Yuliana Gorkorov
850 ADGlagolitic
alphabet
400 ADArabic
alphabet
900 BCPaleo-Hebrew
alphabet
Aramaic alphabet
2016 ADLATAR
Latin-Arabic font
2015 ADAkrofontInternational acrophonicalphabet
650 BCLatin
alphabet
2017 AD
Abjad Lino
Hebrew-Arabic layer font
1700 BCProto-Canaanite
alphabet
500 BCHebrew square
alphabet
LATAR
Posters
LATARPosters
The Global Alphabet
Manifesto
Letters of the world, unite!
Inhabitants of planet Earth!
Can you imagine a world without letters?
Millions of thoughts lost to the universe. Events that happened today will already be forgotten tomorrow events that happened 100 years ago may never have occurred.
Such was human life for thousands of years, before the revolution came and saved us from oblivion. This was the writing revolution, which occurred about 5000 years ago.
In the beginning, there was a picture. Then there were dozens of pictures and later, hundreds of them. And then, 2000 years later, another revolution! The Phoenician alphabet is born. 22 signs, each sign depicting one sound. Simple and brilliant. The signs served to build words. With the words, sentences were built and with the sentences, texts. An infinite number of possibilities. Thought is no longer hopelessly lost to the universe. Hurray!
Even though the mother alphabet is no longer amongst us, her offspring, most of our modern alphabets, have spread and have taken over the world. Letters did not only contribute to communication, trade, the spread of religion and documentation of knowledge – with time letters were also attributed with having great mystical powers. Kabbalists believed that each letter is a whole world and that different letter combinations have the power to change the world. They searched for further meaning in holy texts through different combinations of the letters, sought to reveal the secrets of the universe. Dadaists and Letterists, on the other hand, separated any meaning from words and letters: a letter on its own appreciated as an art form.
For most of the time since their inception, letters were a source of power that was owned by the privileged elite. The printing revolution, which took place 600 years ago, brought this power to the people. Today, the use of these precious little signs seems self-explanatory in many societies. We have stylized them into various forms, we admire them, and we even hang them on our walls.
Long live letters!
Today, we are witnessing further revolutions, which are occurring through digitalization and globalization.
Cultures are moving closer to one another, and a new global culture is being born. The new global culture influences our languages, our literature, our music, our fashion, our art, and our lives. It also influences our letters. Thousands of different typefaces exist. Amongst these, it is already possible to see typefaces with a foreign stylistic form. Type families are also being developed that take various writing systems into consideration. But I believe that much more is possible. I believe that the time has come to heal the alphabetic “Babel.” A global world needs a mutually global alphabet.
Unwilling to wait thousands of years, I have decided to take the reins and to search for various ways in which to unite our letters. During my five year search I arrived at different approaches:
1. To unite the letters as they are, according to sound similarity.
2. To create one mutual form for each sound, showing the historic similarity between the letters.
3. To create new letters.
Generally, I have several rules for the creation of a global alphabet:
1. The alphabet should connect as many alphabets as possible, or at least two alphabets.
2. It should be simultaneously readable in different languages.
3. It should be equally inspired by the different alphabets, or, alternatively, it should be a completely new alphabet.
I proudly present Abjad Lino, LATAR, ApocalypsA, BABEL2014 and Akrofont to you and invite you to turn to a new page in the history of writing, where letters unite and do not separate us, the inhabitants of planet Earth.
The Global Alphabet Manifesto
Today, we are witnessing further revolutions,
which are occurring through digitalization and globalization. Cultures are moving closer to one another, and a new global culture is being born. The new global culture influences our languages, our literature, our music, our fashion, our art, and our lives. It also influences our letters. Thousands of different typefaces exist. Amongst these, it is already possible to see typefaces with a foreign stylistic form. Type families are also being developed that take various writing systems into consideration. But I believe that much more is possible. I believe that the time has come to heal the alphabetic “Babel.” A global world needs a mutually global alphabet.
Unwilling to wait thousands of years, I have decided to take the reins and to search for various ways in which to unite our letters. During my five year search I arrived at different approaches:
1. To unite the letters as they are, according to sound similarity.
2. To create one mutual form for each sound, showing the historic similarity between the letters.
3. To create new letters.
Generally, I have several rules for the creation of a global alphabet:
1. The alphabet should connect as many alphabets as possible, or at least two alphabets.
2. It should be simultaneously readable in different languages.
3. It should be equally inspired by the different alphabets, or, alternatively, it should be a completely new alphabet.
I proudly present Abjad Lino, LATAR, ApocalypsA,
BABEL2014 and Akrofont to you and invite you to turn to a new page in the history of writing, where letters unite and do not separate us, the inhabitants of planet Earth.
Letters of the world, unite!
Inhabitants of planet Earth!
Can you imagine a world without letters?
Millions of thoughts lost to the universe. Events that happened today will already be forgotten tomorrow; events that happened 100 years ago may never have occurred. Such was human life for thousands of years, before the revolution came and saved us from oblivion. This was the writing revolution, which occurred about 5000 years ago. In the beginning, there was a picture. Then there were dozens of pictures and later, hundreds of them. And then, 2000 years later, another revolution! The Phoenician alphabet is born. 22 signs, each sign depicting one sound. Simple and brilliant. The signs served to build words. With the words, sentences were built and with the sentences, texts. An infinite number of possibilities. Thought is no longer hopelessly lost to the universe. Hurray!
Even though the mother alphabet is no longer amongst us, her offspring, most of our modern alphabets, have spread and have taken over the world. Letters did not only contribute to communication, trade, the spread of religion and documentation of knowledge – with time letters were also attributed with having great mystical powers. Kabbalists believed that each letter is a whole world and that different letter combinations have the power to change the world. They searched for further meaning in holy texts through different combinations of the letters, sought to reveal the secrets of the universe. Dadaists and Letterists, on the other hand, separated any meaning from words and letters: a letter on its own appreciated as an art form.
For most of the time since their inception, letters were a source of power that was owned by the privileged elite. The printing revolution, which took place 600 years ago, brought this power to the people. Today, the use of these precious little signs seems self-explanatory in many societies. We have stylized them into various forms, we admire them, and we even hang them on our walls.
Long live letters!
Letters of the world, unite!
Inhabitants of planet earth!
Can you imagine a world without letters?
Millions of thoughts, lost to the universe. Events that happened today already forgotten tomorrow, events that happened 100 years ago, may never have existed.
Such was human life for thousands of years, before the revolution came and saved us from oblivion. This was the writing revolution, which occurred, ca. 5000 years ago. In the beginning there was a picture. Then there were dozens of pictures and later, hundreds of them. And then, 2000 years later, another revolution! The Phoenician alphabet is born. 22 signs, each sign depicting one sound. Simple and brilliant. The signs served to build words. With the words, sentences were built and with the sentences, texts. An infinite number of possibilities. Thought is no longer hopelessly lost to the universe. Hurray!
Even though the mother alphabet is no longer amongst us, her offspring, most of our modern alphabets – have spread and have taken over the world.
Letters did not only contribute to communication, trade, the spread of religion and documentation of knowledge – with time letters were also attributed with having great mystical powers. Kabalists believed that each letter is a whole world and that different letter combinations have the power to change the world. They searched for further meaning in holy texts through different combinations of the letters, sought to reveal the secrets of the universe. Dadaist and Letterists on the other hand, separated any meaning from words and letters. A letter on its own appreciated as an art form.
For most of the time since their inception, letters were a source of power that was owned by the privileged elite. The printing revolution, that took place 600 years ago, brought this power to the people. Today, the use of these precious little signs seems self-explanatory in many societies. We have stylized them into various forms, we admire them, and we even hang them on our walls.
Long live letters!
Today we are witnessing further revolutions, which are occurring in through digitalization and globalization.
Cultures are moving closer to one another, and a new global culture is being born. The new global culture influences our languages, our literature, our music, our fashion, our art, and our lives. It also influences our letters. Thousands of different typefaces exist. Amongst these, it is already possible to see typefaces with a foreign stylistic form. Type families are also being developed that take various writing systems into consideration. But I believe that much more is possible. I believe that the time has come to heal the alphabetic “Babel.” A global world needs a mutually global alphabet.
Unwilling to wait thousands of years, I've decided to take the reins and to search for various ways in which to unite our letters. During my five year search I arrived at different approaches:
1. To unite the letters as they are, according to sound similarity.
2. To create one mutual form for each sound, showing the historic similarity between the letters.
3. To create new letters.
Generally, I have several rules for the creation of a global alphabet:
1. The alphabet should connect as many alphabets as possible, or at least two alphabets.
2. It should be simultaneously readable in different languages.
3. It should be equally inspired by the different alphabets, or alternatively, it should be a completely new alphabet.
I proudly present Abjad Lino, LATR, ApocalypsA,
BABEL2014 and Akrofont to you, and invite you to turn to a new page in the history of writing, where letters unite, and don't separate us the inhabitants of planet earth.
Hebrew-Arabic layer font
2017 AD
Abjad Lino is a Hebrew-Arabic layer font. Similar sounds from both alphabets are adjusted to one another, so when the layers are overlapped, it is possible to see the commonalities and differences between both scripts. The font is based on geometric forms and contains all the letter variants – initial, medial, final and isolated.
The color can be defined by the user of the font.
Abjad Lino
Abjad Lino
Habrew-Arabic layer font
2017 AD
Abjad Lino is a Hebrew-Arabic layer font.
Similar sounds from both alphabets are adjusted to one another, so when the layers are overlapped, it is possible to see the commonalities and differences between both scripts. The font is based on geometric forms and contains all the letter variants – initial, medial, final and isolated.
The color can be defined by the user of the font.
About the Project
The Manifesto
In our globalized, digitized world, people from different cultures communicate with each other on a daily basis. Although we speak different languages, many words can be understood by all of us. But even internationally known words like «pizza» or «radio» are unrecognizable when written in a foreign alphabet.
Growing up in a multilingual environment, designer Yuliana Gorkorov became familiar with the Latin, Cyrillic, Hebrew, and Arabic alphabets. These alphabets look unrelated at first sight, despite their shared historical origin. Searching for ways to reunite them, she created the award winning «global alphabet» project. Within the project she designed fonts that are simultaneously readable to people from different cultures.
Yuliana presents the project in exhibitions and lectures around the world, giving a new perspective on letters that we use every day.
Yuliana Gorkorov, M.A., is a multilingual communication designer, graduate of the Folkwang University of the Arts (2017). She is working as a designer in the culture sector. In her personal projects she focuses on type design and the history of writing.
Selected lectures2019
«The Global Alphabet», TEDx Berlin
2018«Global Alphabet – Creating a Cultural Bridge through Type Design», Köln International School of Design2017
Workshop at Frida Levy school, Essen
2016
«Avocado Boomerang Coffee – Global Alphabet», TYPO Berlin «Global Alphabet for Multicultural Communication», Typoclub Bern
2015
«BABEL2014», TYPO Berlin
Awards
2019
* TDC Tokyo: the «Global Alphabet» book selected as «Excellent Work»2018
* TDC64 New York: Best in Show, Student;Judge’s Choice of Natasha Jen;
Certificate of Typographic Excellence for the
«Global Alphabet» book* ADC Germany junior competition:
Bronze for the «Global Alphabet» book
2017
* Folkwang Prize for the «Global Alphabet» project
* Good Design 18 competition: The
«Global Alphabet» book selected as finalist
2016
* ADC Germany junior competition:
Bronze for «Akrofont»
2015
* ADC Germany junior competition:
Silver for «BABEL2014»
Selected exhibitionsSince 2018TDC64 winners exhibition is on tour around the world: United States, Canada, China, England, France, Germany, Indonesia, Israel, Japan, Poland, Russia, South Korea, Spain, Taiwan, Thailand, and Vietnam
2016«Global Alphabet: Multicultural Dialogue», solo exhibition, Bar Ilan University, Ramat Gan
2015
«Lichtung / Clearing», German-Israeli group exhibition, BETONBOX Düsseldorf / Alfred Cooperative Tel Aviv
2012«From Genesis to ApocalypsA», solo exhibition, Journalist Association Gallery, Tel Aviv
The Book
Read the Manifesto
In our globalized, digitized world, people from different cultures communicate with each other on a daily basis. Although we speak different languages, many words can be understood by all of us. But even internationally known words like «pizza» or «radio» are unrecognizable when written in a foreign alphabet.
Growing up in a multilingual environments, designer Yuliana Gorkorov became familiar with the Latin, Cyrillic, Hebrew, and Arabic alphabets. These alphabets look unrelated at first sight, despite their shared historical origin. Searching for ways to reunite them, she created the award winning «global alphabet» project. Within the project she designed fonts that are simultaneously readable to people from different cultures.
Yuliana presents the project in exhibitions and lectures around the world, giving a new perspective on letters that we use every day.
Yuliana Gorkorov, M.A., is a multilingual communication designer, graduate of the Folkwang University (2017). She is working as a designer in the culture sector. In her personal projects she focuses on type design and the history of writing.
Selected lectures
2019
«The Global Alphabet», TEDx Berlin
2018
«Global Alphabet – Creating a Cultural Bridge through Type Design», Köln International School of Design
2017
Workshop at Frida Levy school, Essen2016
«Avocado Boomerang Coffee – Global Alphabet», TYPO Berlin
«Global Alphabet for Multicultural Communication»,
Typoclub Bern
2015
«BABEL2014», TYPO Berlin
Awards
2019
* TDC Tokyo: the «Global Alphabet» book
selected as «Excellent Work»2018* TDC64 New York: Best in Show, Student;Judge’s Choice of Natasha Jen; Certificate of Typographic Excellence for the«Global Alphabet» book
* ADC Germany junior competition: Bronze for
the «Global Alphabet» book 2017* Folkwang Prize for the «Global Alphabet» project
* Good Design 18: the «Global Alphabet» book selected as finalist 2016* ADC Germany junior competition: Bronze for
«Akrofont»
2015
* ADC Germany junior competition: Silver for «BABEL2014»
Selected exhibitionsSince 2018TDC64 winners exhibition is on tour around the world:United States, Canada, China, England, France, Germany, Indonesia, Israel, Japan, Poland, Russia, South Korea, Spain, Taiwan, Thailand, and Vietnam
2016«Global Alphabet: Multicultural Dialogue», solo exhibition, Bar Ilan University, Ramat Gan
2015
«Lichtung / Clearing», German-Israeli group exhibition, BETONBOX Düsseldorf / Alfred Cooperative Tel Aviv
2012«From Genesis to ApocalypsA», solo exhibition, Journalist Association Gallery, Tel Aviv
1988 AD
About the project
The Global Alphabet Book
The book presents the five fonts
created within the project
The Global Alphabet BookThe book presents the five fonts created within the project
Further questions? Please contact me:
Email yuliana.gorkorov@gmail.com
Globalization and digitization imply new cultural and linguistic rapprochement. But even internationally known words remain incomprehensible if they are written in a foreign alphabet. Can a global alphabet solve this problem? Yuliana searches for answers to this question and creates different kinds of new mutual alphabets. Her future vision: a global alphabet as a common tool for multicultural communication
Further questions? Please contact me:
Email yuliana.gorkorov@gmail.com