Relevant bibliographies by topics / Graphic design (Typography)

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Graphic design (Typography)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Graphic design (Typography)"

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Spitzmüller, Jürgen. "Approaching typographic variation." Vestnik of Saint Petersburg University. Language and Literature 18, no. 4 (2021): 910–28. http://dx.doi.org/10.21638/spbu09.2021.417.

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This article introduces a linguistic approach to typography which is based on (interactional) sociolinguistic and metapragmatic theories of communicative variation that is located in the rather new sociolinguistic strand called the sociolinguistics of writing. Within the framework clarified here, typography, and graphic design in general, is understood as a variable perceptible resource which provides, by means of its reference-indeterminate variability, options for the ascription and interactive contextual construal of social (or indexical) meaning. As will be elaborated upon, the approach draws on the assumption that such social meaning is not inherent to communicative forms, but the result of discursively shared (enregistered) and thus unevenly distributed and hence contextually differing expectations, beliefs and assumptions (graphic ideologies). The work introduces a range of basic notions that are needed for the linguistic investigation in typography (typography, typographic scales, text design, multimodality), sketches the scope of linguistic investigations into typographic design on the background of different functions of typographic variation, locates the sociolinguistic approach vis-a-vis other linguistic approaches to typography, introduces the basic notions on which a sociolinguistics of typography is built (graphic variation, graphic knowledge, enregisterment, and graphic ideologies) and finally exemplifies the approach by means of examples from German-speaking discourse.
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Turkkan, Halime. "The significance of typography in data visualization." Global Journal of Computer Sciences: Theory and Research 11, no. 1 (March 31, 2021): 12–23. http://dx.doi.org/10.18844/gjcs.v11i1.5030.

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With the development of technology and the dominance of the digital world, typography has become a critical issue. Information design systems are considered as one of the significant areas of graphic design and big data provides essential information on data visualization. This research aims to analyse the effects of typographic elements on visualizing data in terms of visual communication, by discussing the value that typography gives to design space. The research discusses randomly selected 10 infographic design samples published in the last six months on google. From the results, 5 designs with typographic concern were more favourable and visually more striking and preferable than the other 5 designs in terms of design disciplines. As in all areas of graphic design, it is argued that the power of typography is an indisputable concept in data visualization, which is seen as a sub-branch of information design. Keywords: data visualization; design; typography, significance, technology
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Betancourt, Michael. "Asemic typography in kinetic design." Semiotica 2019, no. 231 (November 26, 2019): 245–57. http://dx.doi.org/10.1515/sem-2018-0029.

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Abstract Asemic typography offers an opportunity to consider the distinction between typography in its traditional role for graphic design and how the addition of motion changes its engagement and audience comprehension for motion graphics. These differences enable a consideration of the specific problematics created by chronological development on-screen as a formal differentiator between static and kinetic typography.
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Atasoy, Seda Nur. "The Latest Trends in Graphic Design: Handmade Typographic Posters." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 29, 2017): 335–42. http://dx.doi.org/10.18844/prosoc.v4i11.2892.

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Modern art and design movements such as Art Nouveau, Art Deco and international Typographic Style emerged in Switzerland in the 1950s have been a major influence in the development of modern posters language. Today, this contemporary orientations are being developed and dealt with in a different dimension.Typography in posters is used within the image or the typographic elements themselves coming together and converting into a visual form. The failure of the image of the poster to convey the desired message quickly and dramatically, not to observe the spaces in the use of typographic elements, to pass in front of the image with the color of the font used, lack of simplicity may be mentioned as many problems that can be replicated. However typography is not only the gap between characters, text font and color. It is the conformity of letters with the design applied. It is the art of representing the work with letters. And in this representation designers have made different attempts to find the most accurate and newest and were directed to handmade posters in their search.In this research, basis of the problems of the orientation to the hand-crafted typographic posters which is a different quest spreading rapidly today and reasons pushing the designer to this new quest were examined and in the light of obtained findings, examples of typographic posters in new quests made by designers were presented. Keywords: handmade typography, typographic problem in posters, experimental typography.
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Kurtcu, Fatih. "3D Typography Design in the Digital Environment." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 147–55. http://dx.doi.org/10.18844/prosoc.v4i11.2869.

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Writing is a visual expression of language-based communication and the most basic indicator and result of human social development and his evolution is in tune with language, thought, art and cultural exchange and/or development. Today, in the concept of writing – typography is far beyond just describing a technique. The effects of developments on technology are reflected in typographic studies and new and effective expression forms are created with new software enviroments, new media and new experimental works. Typographic studies designed in the digital environment by use of possibilities offered by technology presents new expression possibilities to the audience. Examining how digital typography, which is becoming widespread, has been designed and produced is a necessity to meet the communication expectations of the day and in the future with visual designs. In this article, the history of 3D writing, typography studies, usage areas and 3D digital typography designing stages are examined. Keywords: 3D, typography, design, digital environment, graphic design, motion, video.
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Çatal, Didem. "Usage of experimental typography of book cover design in digital age." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 564–72. http://dx.doi.org/10.18844/prosoc.v2i1.349.

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Hamish Muir says that, " Every type job is experiment" (P,Bil'ak, www.typotheque.com). Designers are using experimental approaches to book covers which is one of the many graphic design areas where we encounter with fonts and they are trying to keep their designs alive and different via innovative solutions. Typographic approaches are changing with today’s technological developments and experimental researches affects book covers too. Developments in software regarding design enable using many applications simultaneously. Experimental researches, discoveries and interpretation of typography and images in an unexpected way empower communication. Different is always appealing. Therefore designers choose to do attractive and marketable designs and lay the foundation of new on this path which started as experimental. Definition of typography, common application areas and book covers which is one of these areas will be examined within this study and analyzes about usage of experimental typography will be conducted. Experimental approach process, its result and affects will be investigated and findings about necessity of experimental typography will be tried to find.Keywords: experimental typography, digital age, book cover design.
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KURAN, Onur, and Tevfik Fikret UÇAR. "BİR GÖRSEL İLETİŞİM ARACI OLARAK TİPOGRAFİK İMGE." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 33 (September 15, 2022): 14–26. http://dx.doi.org/10.31567/ssd.720.

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Writing is one of the main communication tools that has been widely used since the Sumerian civilization discovered it. While it had a symbolic attitude in its form in the first periods of its discovery, it was simplified over time and brought to the basic form we use today. With the discipline of typography, which allows us to use writing, which is one of the main constituent of visual communication and graphic design, both aesthetically and functionally, graphic designers visualize writing in variety of different forms, traditional and contemporary. Today, visual communication is one of the most important concepts encountered in every aspect of human life. People are now trying to meet their communication needs faster by looking and seeing instead of reading. In this study, rather than recording the verbal language, which is the main function of writing, it is explained by giving examples how writing is used as an imaginary language of expression in different art and design disciplines, especially in the graphic design discipline. In this direction, the typographic image style is defined in the study and the concept of typographic image is explained by giving examples in the disciplines of sculpture, architecture, interior architecture, textile and fashion design, and industrial design, especially in the discipline of graphic design. Keywords: Writing, Typography, Typographic Image
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Turkkan, Halime. "An analysis of ‘typographic self-portrait projects’ by the 2nd grade students of Baskent University, Faculty of Fine Arts, Design and Architecture, Department of Visual Arts and Design." Global Journal of Arts Education 8, no. 2 (May 25, 2018): 61–67. http://dx.doi.org/10.18844/gjae.v8i2.3782.

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The self-portrait solutions were designed to be transferred into typographical design elements by the 2nd grade students of Baskent University, Faculty of Fine Arts, Design and Architecture, Department of Visual Arts and Design, during fall semester 2017–2018, within the scope of the course ‘Typography Design’ under the leadership of Halime Turkkan. The concept of ‘self’ was converted into typographic self-portraits. The main objective of the project was to express the concept only by words through different perspectives of students. This study is focused on analysing the different points of view on creating conceptual typographic designs and the effects of visual culture on students during the design process for exhibitions and other design activities. The graphic solutions which were exhibited in Gallery Baskent and Artankara 4th International ModernArts Fair will be examined in terms of visual and cultural backgrounds of Turkish graphic design students.Keywords: Typographic design, self, visual culture, Turkey.
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Van Gansen, Kristof. "'Plaidoyer pour le graphiste'." TMG Journal for Media History 19, no. 2 (December 9, 2016): 1. http://dx.doi.org/10.18146/2213-7653.2016.270.

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This article studies the conception of the typographer in the French graphic design magazine Arts et métiers graphiques, published in the interwar period. For the magazine’s editors, the designer was both an artist and a trained craftsman who was dedicated enough to face the particular challenges posed by typography. Moreover, the fruit of his work merited legal protection through copyrights. All of this points to a conception of the designer as a self-determined individual with a particular style. This view may be typical of the French conception of modern typography in that period. It is one that stands in contrast to the logic of often anonymous, collective design propagated in the New Typography of the Central-European avant-gardes. Moreover, in addition to individual creative endeavours, the French conception favoured a design practice that reconciled innovation and tradition, and artistry and craftsmanship.
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Spitzmüller, Jürgen. "(De)Signing Authority: The Indexical Dimension of Typography in Academic Communication." Design Issues 37, no. 4 (2021): 46–58. http://dx.doi.org/10.1162/desi_a_00657.

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Abstract Graphics in scientific communication are not just a means to elegantly convey, condense, or systematize “facts.” As any form of communication, they are bound to, or enregistered in, the discursive context of previous uses. Graphics, thus, do not only visualize information (in an iconic or symbolic way), they also contextualize (i.e., index) the practices, communities, and genres of particular fields and thereby serve as effective emblems of scholarly identity. This article elaborates on the indexical or emblematic dimension of academic graphic design. Drawing on sociolinguistic theory of social positioning and identification, it will be argued how graphic design is a disciplinary practice in the double sense of the word.
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Dissertations / Theses on the topic "Graphic design (Typography)"

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Olsen, Anckers Linnea. "Typography and Typographic Classification Systems in Swedish Graphic Design Education." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130023.

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Studien syftar till att undersöka om det finns ett typografiskt klassificeringssystem som skulle kunna fungera som standard att lära ut i svensk designutbildning. Med hjälp av åsikter från aktiva inom typografi- och undervisningsbranschen värderas de mest kända systemen för att det mest lämpliga att använda som standard i svensk designutbildning därefter utses. Detta resulterade i en lätt reviderad version av det befintliga klassificeringssystemet ”Vox AtypI”. Vidare har en del av ett utbildningsmaterial tagits fram för att ge ämnet en given plats i designutbildningen, och för att det framtagna klassificeringssystemet ska kunna läras ut på ett effektivt sätt. Med tidigare forskning och gjord pilotstudie som stöd resulterade studien i en kortlek med tillhörande häfte där regler för tre typer av spel presenteras; materialet är dock utformat för att öppna upp för egna regler och spel. Faktorer som bildminne och relationella visualiseringar visade sig vara avgörande för inlärningens effektivitet, och talet som högst väsentligt för att kunskapen ska fastna.
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Karnes, Eric. "Geologic Typography." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2132.

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In this project, I explore how the processes and structures of non-design disciplines can influence typographic form. Using the field of geology as a test case, I apply geologic processes to typographic form in order to create dimensional structures that speak to a wide audience.
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Bernhardi, Ernest F. III. "Typography: From Internal Conflict to External Content." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2100.

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This body of work represents a celebration and pursuit of realizing an alternative language, one capable of expressing internal conflict through process and response to external typographic form and content.
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Alfalah, Sarah. "Arabic Typography Play." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3073.

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I believe that spoken and written languages are verbal and visual expressions of cultures. Language is used to convey and sustain values and the belief system of people. Arabic is a language of complexity and formal beauty that is being disregarded and pushed away by its own native speakers. It is losing its value in the Arab world. In other words it is dying. Both the written and spoken language is being affected. As the world is interchanging, integrating, and becoming closer, there has been a strong impact on many societies, threatening their original culture. Arab cultures are abandoning the rich tradition of the Arabic language to universalize communication. My thesis investigates the relationships between typography as both a visual form of language and play as a mechanism to help children become more familiar and intimate with their native language.
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DiGioia, Joseph A. "The "new" new typography? : a critical view of the state of typography /." Online version of thesis, 1995. http://hdl.handle.net/1850/12187.

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Specht, Heidi. "Legibility how precedents established in print impact on-screen and dynamic typography /." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1426.

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Thesis (M.F.A.)--West Virginia University, 2000.
Title from document title page. Document formatted into pages; contains iv, 25 p. : ill. (some col.) Includes abstract. Includes bibliographical references (p. 23-25).
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Fellows, Kara S. Gratama Ab. "Typecast the voice of typography /." Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/357.

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Jones, Sarah. "Graphic intervention interrogating newspaper design as a site of social construction /." Swinburne Research Bank, 2009. http://hdl.handle.net/1959.3/55170.

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Thesis (MDes) - National School of Design, Swinburne University of Technology, 2009.
A thesis submitted in fulfillment of the requirements for the degree of Masters of Design by Research, [Swinburne University of Technology], 2009. Typescript. Bibliography: p. [89]-91.
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Kurovska, D. V. "International typography style." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/14373.

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Montgomery, James Alexander Ian. "Do real relationships exist between product design and typography?" Thesis, University of Ulster, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310107.

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Books on the topic "Graphic design (Typography)"

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Gatta, Kevin. Foundations of graphic design. Worcester, MA: Davis Publications, Inc., 1991.

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Joss, Molly. Graphic design tricks & techniques. Cincinnati, Ohio: North Light Books, 1997.

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Lita, Talarico, ed. Typography sketchbooks. London: Thames & Hudson, 2011.

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Fiell, Charlotte. Graphic design now. Köln: Taschen, 2005.

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Collaborative, Grant Design, ed. 1000 more graphic elements. Beverly, Mass: Rockport Publishers, 2009.

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Teal, Triggs, ed. The new typography. London: Sage, 2005.

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F, Temple William, ed. Typography. London: Thames and Hudson, 2012.

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Ambrose, Gavin. The fundamentals of creative design. Crans-près-Céligny, Switzerland: AVA, 2003.

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Zappaterra, Yolanda. Electronic workshop typography. Mainz: H. Schmidt, 1999.

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F, Le Coultre Martijn, ed. Graphic design 20th century. Amsterdam: BIS, 2003.

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Book chapters on the topic "Graphic design (Typography)"

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Bury, Stephen. "10. Graphic Design, Typography and Artists’ Books." In Handbook of International Futurism, edited by Günter Berghaus, 162–74. Berlin, Boston: De Gruyter, 2018. http://dx.doi.org/10.1515/9783110273564-010.

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Rössler, Patrick. "New Typography, the Bauhaus, and its Impact on Graphic Design." In Bauhaus Effects in Art, Architecture, and Design, 25–43. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003268314-3.

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Senderos Laka, María, Iñigo Leon Cascante, and José Javier Pérez Martínez. "Epigraphy, Typography and Architecture: Control Over Graphic Design Beyond Drawing." In Graphical Heritage, 97–107. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47983-1_9.

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Benus, Benjamin. "Modernist Graphics, New Typography, and the Design of Identity in the First Czechoslovak Republic." In Design and Heritage, 229–41. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003096146-21.

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Hughes, Katherine A. "Typography in Design." In Graphic Design, 189–203. CRC Press, 2019. http://dx.doi.org/10.1201/9780429021251-10.

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"Typography." In Introduction to Graphic Design, 114–49. Bloomsbury Publishing Plc, 2018. http://dx.doi.org/10.5040/9781474223560.ch-005.

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"Dynamic Typography." In Data-driven Graphic Design, 96–127. Bloomsbury Publishing Plc, 2016. http://dx.doi.org/10.5040/9781474222457.ch-004.

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Lester, Paul Martin, Stephanie A. Martin, and Martin Smith-Rodden. "Typography and Graphic Design." In Visual Ethics, 63–72. Routledge, 2018. http://dx.doi.org/10.4324/9781315455136-6.

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Krasner, Jon. "Kinetic Images and Typography." In Motion Graphic Design, 204–59. Routledge, 2013. http://dx.doi.org/10.4324/9780240824703-7.

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Kaufmann, Ueli. "Neue Schweizer Schulschrift—Tracing Exchanges between Modernist Typography and Swiss Handwriting." In Swiss Graphic Design Histories, 111–25. Verlag Scheidegger & Spiess, 2021. http://dx.doi.org/10.53788/swbe0309.

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Conference papers on the topic "Graphic design (Typography)"

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Stanić Loknar, Nikolina, Diana Bratić, and Ana Agić. "Kinetic typography - figuration and technology." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p81.

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Kinetic typography - text in motion is an animation method of characters that has a video form instead of some "static" form such as picture, poster or book. The most important element for figuration of kinetic typography is the choice of font. Furthermore, one should think about the letter cut, the size and color of the characters, and the background color on which the animation takes place. It can be created in various ways, most often using software that applies a multitude of effects to the text or letter character, creating dynamic solutions. The effects vary from the simplest such as "fade-in" and "fade-out" (entering and exiting text in and out of the frame). Static characters can expand, narrow, move slowly or rapidly, grow and change in a variety of ways to very complex ones in which the author builds an entire story or promotional video by carefully combining software capabilities. However, each software has its limitations and for this reason the kinetic typography presented in this paper is programmed using codes. In a wide range of available programming languages due to the simple interface that does not require advanced programming concepts and gives exceptional results in the field of kinetic typography, Processing was chosen. The Processing programming language is intended for generating and modifying graphics and is based on the Java programming language. The most important difference between Processing and Java is that Processing offers a simple programming interface that does not require advanced levels of programming such as classes, objects, or animations. It also allows advanced users to use them. Processing uses a variety of typography rendering approaches such as raster and vector solutions and allows typography to be programmed and displayed on the Web independently of the user's Web browser and font database. Processing enables the use of visual elements in animation, including typographic ones, by introducing interaction to the user. The user is no longer a passive observer but actively participates in the performance of the application whose final appearance is not predefined but arises from the actions of each individual user. For the purposes of this paper, individual letters were created in a font-making program. The letters made are of various written classifications and cuts, which with their variety contribute to the attractiveness of the animation. In the creating of motion typography in this paper, the programming language Processing was used. Written program codes that manipulate words, letters, or parts of characters to create interesting visual effects for the viewer that aim to hold the viewer's attention and convey the desired message or emotion. There are no strict rules and patterns when making kinetic typography. In kinetic typography, each author determines his own rules, method of production, and there are no same solutions.
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Ho, Amic. "Paradoxes in Typeface Design for creating new Digital Design Experience." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001437.

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Generally speaking, the paradox of design elements brought about by visual conflict can attract people's attention. Many designers apply similar ideas to their work. However, seldom do designers investigate the reasons behind the paradox of typography, as well as the approaches to creating this contradiction. The research question of this study refers to how the paradox of typography work for communication. The function of typography is not only to deliver messages but also to serve as the foundation for compositional communication. Letterforms were regarded as one of the most valuable graphic elements as they worked as the representations of language and organising type to serve multiple roles within a composition. This paper focuses on the experience of emotions created by typographic design, in particular, it also suggested an example to demonstrate how the experience of typographic designing related to the paradox of typography, built a hypothesis of why these may impact one another. Thus, the finding of this study provide a richer understanding of the design and the development of design projects.
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Angelova, Nadezhda. "CURRICULUM IN FONT AND TYPOGRAPHY IN GRAPHIC DESIGN HIGHER EDUCATION." In 13th International Conference on Education and New Learning Technologies. IATED, 2021. http://dx.doi.org/10.21125/edulearn.2021.2501.

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Jovančić, Kata, Neda Milić Keresteš, and Uroš Nedeljković. "Influence of white space on text scanning." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p79.

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Among its many roles, typography also serves to make a text more legible and readable, allowing the reader to follow the content flow with more ease. Typographic hierarchy, in turn, with its use of different logical and visual tools, serves to establish an order of importance of different text elements. To emphasize certain elements – i.e. create eye-catchers, typographers usually resort to making bigger and bolder items. In this paper we wish to examine whether white space can also serve as a means of emphasis. While several studies have already proven that white space influences consumer perception in advertising, no one has yet investigated the effects of white space on text scanning. With that in mind, we examined whether white space could contribute to the effectiveness and speed of text scanning. We used eye-tracking technology to collect accurate quantitative and visual data. Although the results did not show that white space has a positive effect on scanning speed or text structure memorability, we have noted a difference in the eye-movement pattern, which raises hope and leads us to believe that further research is needed.
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Koryakina, G. M., and S. A. Bondarchuk. "FEATURES OF TEACHING TYPOGRAPHY DESIGN STUDENTS (ON THE EXAMPLE OF THE LAYOUT OF THE ALBUM OF GRAPHIC WORKS T.I. BERBASH «TRISTAN AND ISOLDE»)." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.40.

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This article discusses the basic features and key points of teaching typography to design students on the example of the layout of a multi-page publication, which is an art album of graphic works by T. I. Berbes «Tristan and Isolde».
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Armijo-Tortajada, Jose, Nereida Tarazona-Belenguer, and Olga Ampuero-Canellas. "DESIGN OF AUDIOVISUAL MATERIAL FOR A DISTANCE TEACHING METHODOLOGY IN THE FIELD OF GRAPHIC DESIGN AND TYPOGRAPHY." In 14th annual International Conference of Education, Research and Innovation. IATED, 2021. http://dx.doi.org/10.21125/iceri.2021.0434.

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Tamulevich, S. V. "SPECIFICITY OF DESIGNING THE CATALOG OF THE ETHNOGRAPHIC COLLECTION OF THE MUSEUM AS AN OBJECT OF GRAPHIC DESIGN." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.19.

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The article discusses the design features of the ethnographic catalog on the example of the project of the multi-page publication «Nanai» Khabarovsk Museum of Local Lore named after N.I. Grodekova. The author defines the purpose and target audience of the museum catalog, describes the relationship between design and content - the interaction of elements of end-to-end design and spread, color, illustrations and typography with text, ways to solve the information and logistics catalog by visual means, traditions and current trends in the implementation of navigation through the publication.
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8

Leskovar, Zalka, and Nace Pušnik. "Design of typeface with constructivistic properties and renovation of promotional material for memorial room." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p91.

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The diversity that occurs in the field of typography, more specifically in the planning and design of typefaces, plays an important role in our lives and in society more broadly. Therefore, purposeful product planning is important because it can facilitate our everyday communication and understanding of the environment. The goal of the collaborative project was to design a display typeface and use it in revised graphic products that, along with the typeface, fit the client, the Kosovel Memorial Room in Sežana, Slovenia. Srečko Kosovel is a well-known Slovenian poet whose work is representative of the cultural and social movement Constructivism. With new graphic products, we want to contribute to better publicity of Kosovel Memorial Room in Sežana. The theoretical part deals with the study and classification of typefaces in groups and larger sets. We also studied some basic properties of typefaces, contrast, stroke width and spacing, weight and height relationship within typefaces. We investigated the historical development of display typefaces, their properties, and their influence on various graphic products. Based on the content of the Kosovel Memorial Room, we examined the origin and development of the artistic avant-garde movement Constructivism abroad and in Slovenia. We highlighted important events in the life of Srečko Kosovel and familiarised ourselves with his work. Based on the client’s needs, the existing promotional material (brochure, posters, etc.) was analysed in more detail. In addition, we conceptually prepared the typeface design, drawing on his other graphic products. The display typeface was used in revised graphic products that we designed in collaboration with the client. The final products were presented in February 2022 and will continue to promote Srečko Kosovel’s work.
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9

Devendorf, Margaret, and Kemper Lewis. "Designing a Product Package Platform." In ASME 2010 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/detc2010-28888.

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An essential part of designing a successful product family is establishing a recognizable, familiar, product family identity. It is very often the case that consumers first identify products based on their physical embodiment. The Apple iPod, DeWalt power tools, and KitchenAid appliances are all examples of product families that have successfully branded themselves based on physical principles. While physical branding is often the first trait apparent to designers, there are some products that cannot be differentiated based on physical appearance. This is especially common for consumable products. For example, it is impossible to differentiate between diet Coke, Classic Coke, and Pepsi when each is poured into separate glasses. When differentiation is difficult to achieve from a product’s physical characteristics, the product’s package becomes a vital part of establishing branding and communicating membership to a product family while maintaining individual product identity. In this paper, product packaging is investigated with a focus on the graphic packaging components that identify product families. These components include: color, shape, typography, and imagery. Through the application of tools used in facilities layout planning, graph theory, social network theory, and display design theory an approach to determine an optimal arrangement of graphic components is achieved. This approach is validated using a web based survey that tracks user-package interactions across a range of commonly used cereal boxes.
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Bratić, Diana, Denis Jurečić, Tajana Koren Ivančević, and Maja Strgar Kurečić. "Infographics in digital ads: A/B testing for content optimization." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p26.

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Internet users are bombarded every day with various ads, and they try to block them in all possible ways. If they do not block them, they usually pay little attention to them. Therefore, ads need to be creative and provide as much relevant information as possible about the advertised product or service at a glance in order to lead to conversions. For this purpose, the benefits of infographics can be used very well, in addition to dynamic forms of ads that consist of audio and video elements, especially in a responsive web environment. This type of advertising is also great for posting on social media, where the flow of information and responses is very fast. Infographics actually represent a visual presentation of information through a combination of typography, symbols, pictograms, shapes, and colours and are used to present complex information quickly and clearly. The use of infographics as one of the multimedia elements in digital advertising contributes to the optimization of advertising content, which also contributes to SEO optimization. To investigate the extent to which infographics in digital advertising can contribute to the optimization of advertising content in a responsive web environment, A/B testing of multimedia advertising content presented through infographics and content that contained all relevant information about the advertiser and was not presented in the form of an infographic was conducted on two types of screens. The A/B testing model itself provides the opportunity to maximize conversion rates, but it also provides a significant increase in knowledge about how advertising content is presented. It can also establish a set of optimized practices for multimedia elements of ad content. The proposed testing model provides the perfect opportunity to properly test your ad before launch. The same analogy can be applied to other multimedia elements used to create ads, such as photos, animations, colours, content management system elements, etc. The obtained results provide valuable information about infographics possibilities in advertising content optimization in a responsive web environment because they load faster, are suitable for small screens, and do not tire users.
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