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Journal articles on the topic 'Graphic design (Typography)'
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1
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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Poon, Stephen T. F. "Typography Design’s New Trajectory Towards Visual Literacy for Digital Mediums." Studies in Media and Communication 9, no. 1 (January 20, 2021): 9. http://dx.doi.org/10.11114/smc.v9i1.5071.
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Typographic elements have a huge impact on how designed mediums affect visual literacy. This paper reviews the principles, perspectives and approaches in the production and function of typographic design visual media (print and digital), with the aim to understand the relationship between typographic design on digital mediums, with the aim of examining its influence on people’s ability to communicate ideas, meaning and messages effectively, while reflecting on its commercial implications for brands and marketers. Research via survey and a focus group implied there is a positive association between literacy and the application of graphic design and typography on digital communication mediums. Findings revealed that type design complements textual word elements to enhance cognition and understanding of messages. The integration of visual and texts facilitates reading, and for digital mediums, both legible layout and engaging typefaces are equally crucial. Graphic typeface for digital media, from smartphones to e-texts for learning, should apply visual hierarchy arrangement to achieve these objectives. Findings show typographic design is an essential aspect of social communication today, and digital designers play a fundamental role to enable audiences to improve their economic and social participation and gain its full advantages.
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Kuznetsova, Evgenia Yu. "THE ROLE OF TYPOGRAPHICS IN THE DESIGN OF AN EXHIBITION SPACE. INTERACTION SCHEMES." Architecton: Proceedings of Higher Education, no. 2(70) (June 29, 2020): 15. http://dx.doi.org/10.47055/1990-4126-2020-2(70)-15.
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The article discusses the evolution of the role of typographics in the exhibition space from the generally accepted design of labels to the use of typography as the main artistic tool that demonstrates the conceptual intent of the exhibition. A significant amount of visual material was reviewed. Based on this review, graphic schemes of interaction between typography and exposition space were developed. The schemes show the dependence of the typography on the object being displayed and the focus of the exhibition.
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Jubert, Roxane. "The Bauhaus Context: Typography and Graphic Design in France." Design Issues 22, no. 4 (October 2006): 66–80. http://dx.doi.org/10.1162/desi.2006.22.4.66.
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Lzicar, Robert. "Swiss Graphic Design: A British Invention?" Design Issues 37, no. 1 (January 2021): 51–63. http://dx.doi.org/10.1162/desi_a_00624.
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The role of British graphic designers and authors in spreading Swiss Style, “Swiss graphic design,” or “Swiss typography” internationally is evident, but less is known about the process and effects of transnational exchange in design. This article follows the trajectories of objects and texts, revealing how they have established and disseminated the labels in Britain and abroad, thus contributing to our current understanding of “Swiss graphic design.” It concludes with an example of alternative historiography of modern visual communication as a constant process of exchange that reveals the complex international interaction of design discourses.
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Hiswara, Abrar, and Noeman Achmad. "Pelatihan Desain Grafis bagi Siswa SMK Global Persada Mandiri Bekasi." Journal Of Computer Science Contributions (JUCOSCO) 2, no. 1 (February 2, 2022): 70–78. http://dx.doi.org/10.31599/jucosco.v2i1.936.
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Graphic design is a communication process using visual elements, such as typography, photography, and illustrations that are intended to create a perception of a message being conveyed. This field involves the process of visual communication and communication design and is very much needed by today's society, including students at SMK Global Persada Mandiri Bekasi. The material provided in this graphic design training is an introduction to graphic design, the benefits of graphic design, types of graphic design, and the practice of making graphic designs, in the form of logos, banners, and flyers. This graphic design training in the form of logo creation training provides tremendous benefits for students. Students can design any logo so that their soft skills increase and can be used in everyday life.
Keywords— Graphic design, logo, soft skills
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Febriant, Indriana Anggun, Andreas Slamet Widodo, and Ahmad Faizin. "The effectiveness of Canned Coffee packaging's graphic design elements in consumers' decision-making process." Journal of Graphic Engineering and Design 14, no. 4 (December 2023): 5–12. http://dx.doi.org/10.24867/jged-2023-4-005.
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Studies recently focused on the important roles of graphic design elements in drawing consumers’ attention. The present study focuses on finding out the effectiveness of graphic design elements and colors of canned coffee packaging in consumers' decision-making process. This study was performed in two stages. The first stage included making graphic design elements: image, shape, and typography. In the second stage, the values were modified to see which color was the most attractive to the consumer by distributing questionnaires to 135 respondents. The study demonstrates the importance of packaging visuals, implying the need for attractive graphic design elements. Regarding the image, respondents preferred the photograph over the illustration. Meanwhile, regarding shape, respondents preferred fluid rather than pattern, and regarding typography, they preferred display over text. To conclude, respondents preferred light-colored photography, pattern and display. This result could be used as a reference in designing beverage packaging.
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Shirina, Nadezhda Sergeevna. "The impact of deconstructivism upon font graphics of the XXI century." Культура и искусство, no. 12 (December 2021): 56–65. http://dx.doi.org/10.7256/2454-0625.2021.12.35628.
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The object of this research is the graphic design in the style of deconstructivism. The subject is the impact of deconstructivism upon font graphics of the XXI century. The goal lies in determination of the impact of deconstructivism upon font graphics of the XXI century. The article examines the concept of deconstructivism and the impact of this phenomenon upon graphic design and typography. The ideas of deconstructivism initially obtained their material form in architecture; thus analysis is conducted on the structures, the authors of which were inspired by the new philosophical ideas and brought them to life them in their projects. After familiarization with the architectural monuments, the article lists the key characteristics of the architecture of deconstructivism, which in turn, affected various types of design. Having analyzed the project situation in the area of visual communications, the author reveals the distinctive features of the objects of graphic design that were inspired by deconstructivism. The scientific novelty consists in comprehensive analysis of the impact of deconstructivism upon font graphics. The main stylistic peculiarities of modern font graphics created under the influence of deconstructivism are described. The acquired materials and results are translated into the sphere of graphic design and can be used in preparation of graphic design specialists, professional and creative activity of graphic designers and typographers, which defines the practical importance of this research.
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Rennie, P. "Modern Typography in Britain: Graphic Design, Politics and Society." Journal of Design History 23, no. 4 (November 23, 2010): 435–38. http://dx.doi.org/10.1093/jdh/epq032.
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Kilic, Ekin. "2D Environmental/Spatial Typography Practice for Graphic Design Students." Procedia - Social and Behavioral Sciences 46 (2012): 3063–67. http://dx.doi.org/10.1016/j.sbspro.2012.06.011.
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Dipede, Cheryl. "From Typographer to Graphic Designer: Typographic Exhibitions and the Formation of a Graphic Design Profession in Canada in the 1950s and 1960s." RACAR : Revue d'art canadienne 40, no. 2 (March 3, 2016): 130–45. http://dx.doi.org/10.7202/1035401ar.
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Cet article explore le développement d’une communauté professionnelle de design au Canada pendant les années 1950 et 1960 en examinant deux collaborations entre graphistes : les expositions canadiennes Typography (1958–1964) et l’exposition internationale Typomundus 20 (1963–1966). Celles-ci contribuèrent à la publicisation d’un nouveau discours qui permit aux typographes et aux concepteurs de la communication canadiens de se penser comme faisant partie d’une communauté unifiée et distincte de « graphistes ». Elles encouragèrent cette cohésion professionnelle notamment en avançant des normes professionnelles, en lançant une réflexion sur le statut et le rôle du graphisme par rapport au « grand » art, à la communication de masse et à la société en général, et en facilitant l’échange d’idées entre les professionnels canadiens et la communauté internationale de graphistes.
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Dai, Sirui. "On The Role of Minimalism in Graphic Design." Highlights in Art and Design 3, no. 2 (June 30, 2023): 24–27. http://dx.doi.org/10.54097/hiaad.v3i2.9869.
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In today's information age, information is becoming more and more complex, and people need to get information quickly, so the minimalist design style is attracting people's attention more and more, and its unique design style is also attracting people's attention, becoming a design trend, or even a fashion trend. Minimalist design style upholds the principles of simple form, simple color, and adherence to “function first”, and the form is not rough, but more refined. We hope to show the simplest and most beautiful forms with little content, giving people unlimited imagination, not rough and at the same time look advanced, full of rhythm and without a lot of rhetoric. The result is a natural feeling of “back to basics” and a visual flair of “less but more”. In today's graphic world, the “less is more” minimalist style is highly sought after and popular. Minimalism is used in many different fields, including interior design, graphic design and architecture. Minimalism in graphic design is most evident in the simplification of type, graphics, color and typography to give a sense of visual comfort. The purpose of the graphic design discipline is to analyze the expression and application of minimalism in design.
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Öz Pektaş, Hatice. "Font games in typography education: Typewar." SHS Web of Conferences 48 (2018): 01072. http://dx.doi.org/10.1051/shsconf/20184801072.
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Typography is an area of expertise that focuses on artistic and design-based features and production technologies of all printed scripts. Although typography is an important element of many design branches, it is primarily one of the basic courses of Communication Design, Visual Communication Design, and Graphic Design departments. Current education methods are outdated and boring for the young target audience who got used to a lifestyle full of computers and mobile devices. Digital games are important means used in educational environments thanks to computer technologies. In 2017-2018 Academic Year’s Fall Semester, 20 students from Graphic Design and Communication Design Departments who took Typography I course was made to play "typewar" game and the results of the games were recorded and the success of the students in recognizing the writing types in this game was measured. The typewar game was preferred in order to teach students "the anatomical structures of the whole alphabet by introducing serif and non-serif fonts" as a purpose of the course. In the research, it was observed that there was a difference in the number of the font types that students can remember and distinguish between classical methods and typewar game. In the survey made after the game, students’ opinion on the use of games in typography education was taken.
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Petrov, Borislav. "Typography in Urban Environment (I): Vienna." Visual Studies 6, no. 2 (December 12, 2022): 189–99. http://dx.doi.org/10.54664/pimg6457.
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Nowadays, graphic design along with digital technologies, is present in every sphere of public life. This predetermines their actual or potential ability to influence our living environment and even the quality of life. This report aims to present initial research and observations on graphic design (in particular typography) as part of a larger, multidisciplinary system responsible for shaping a particular urban environment. The cases examined concern practices in Vienna. The city has recently been ranked among the best cities to live in Europe by The Economist’s Economic Research Department. In 2018 and 2019, it was crowned the world’s most liveable city. In its study, The Economist identified five main evaluation criteria, two of which were “Culture and Environment” and “Infrastructure”. The starting point for the choice of the subject of this research is the current understanding of visual design as part of the system and methodology of design thinking. The term refers to the process of developing concepts (for products, services, objects, buildings, machines, etc.) by a designer or design teams. An innovative cognitive, strategic and practical approach based on the research of problems in depth and proposing solutions to them is applied as the solutions are considered aimed at the user, focusing exclusively on the person and his/her features, perceptions, and needs. Illustrative examples present the study and observations on the following: Tradition (continuity and preservation); Modernity (coexistence with tradition); Documenting policy cases and technology solutions for the urban graphical infrastructure.
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YAVUZ ÖDEN, Hülya. "GRAPHIC DESIGN SOLUTIONS APPLIED ON CHILDREN'S ROOM SURFACES IN INTERIOR DESIGN." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 8, no. 3 (May 25, 2021): 60–73. http://dx.doi.org/10.38064/eurssh.191.
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Design elements such as typography, illustration, and photography used in graphic design can also be used indoors on surfaces and reinforcement elements. Original designs support the creation of the identity of the place. It is of great importance to use visual arts in the space. One of the areas of design that greatly affects people in the illustration. Whatever the content of the illustration, it can include different visual styles that can be expressed artistically. The art of illustration can express difficult concepts quickly. For this reason, illustrations are used in different techniques. Thus, it can be used to create unique designs that can reveal the difference of the brand. The uniqueness of the illustration used in the interior design is also effective in the formation of space's own identity. Illustrations that are uniquely designed based on the user's wishes should be used. Instead of fashionable design trends, the application of the appropriate forms to the concept of the space ensures the creation of the original space. The research aims to examine the use of graphic elements used in interior design, which is one of the factors that affect the formation of children's identity, on space surfaces. Qualitative methods were used as a method, and a literature review was made on graphic design and space design for children. The analyzed examples are limited to the use of typography and illustration on the walls and reinforcement element surfaces in the interior design of the children's room. The application images in the personal archive were used. Besides, internet resources were searched and the samples of the children's room were examined.
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Rafiyev, Rashid, Mehriban Novruzova, Yegana Aghamaliyeva, and Gulchohra Salehzadeh. "Contemporary trends in graphic design." InterConf, no. 43(193) (March 20, 2024): 570–74. http://dx.doi.org/10.51582/interconf.19-20.03.2024.055.
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The significance of graphic design is increasing day by day. People need visually striking and engaging content in a rapidly changing digital world. Graphic design can help to deliver a message effectively to the target audience. Colors, typography, and visual elements can boost brand awareness by increasing retention. It should also be noted that people pay more attention to content they find visually appealing. Assessing the current state of graphic design is important for understanding the development, trends, and future directions of the discipline. It is observed that graphic design has a great impact on digital platforms till date. Digital media such as social media, websites and mobile apps have enabled rapid sharing and consumption of visual content. Therefore, the rivalry to produce quality content and gain attention has increased. When assessing the current condition of graphic design, it is necessary to pay attention to trends and technological developments. Design trends such as minimalism, typographically oriented design and vibrant color palettes attract attention. In addition, technologies such as augmented reality (AR) and virtual reality (VR) have enabled designers to deliver new and immersive experiences.
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Tri Widadijo, Wahju. "TIPOGRAFI KINETIK PADA JUDUL FILM PEMENANG FFI KATEGORI ANIMASI TAHUN 2013-2018." AKSA: Jurnal Desain Komunikasi Visual 3, no. 2 (June 29, 2020): 507–19. http://dx.doi.org/10.37505/aksa.v3i2.38.
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Kinetic typography is widely applied to media such as Film Title,Television Program Title, presentation media, motion graphic media,and others. Motion design elements added to the kinetic typographydesign can strengthen the character of letters, strengthen themeaning of the message, give more emphasis and intonation, andadd aesthetic value. This article explores the analysis of the use ofkinetic typography in 6 (six) research samples of the winners of theAnimation Category of Indonesia Film Festival - FFI (2013 - 2018).The study was conducted referring to the temporal typographicclassification model developed by Barbara Brownie (2007). Wherein general kinetic typography is divided into two types, namely Typein Motion and Fluid Typography. Type in Motion itself is dividedinto Scrolling Typography and Dynamic Layout. The researchmethod used is descriptive qualitative. This research was identifyingand describing the use of kinetic typography types in the film title. Asa result, 2 (two) samples have not used kinetic typography optimally(F2 and F4), 2 (two) samples use Scrolling Typography (F1 and F3),1 (one) sample uses Fluid Typography (F5), and 1 (one) sample usesDynamic Layout (F6).
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Radomska, V., and Alina Kostiuk. "IMAGE AND FONT COMPOSITION IN GRAPHIC IDENTIFICATION OF PACKAGING." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 4, no. 1 (March 30, 2022): 144–52. http://dx.doi.org/10.23939/sa2022.01.144.
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The article highlights the topical problems of searching for new methods of using font and image elements in project design methodology of compositional integrity of graphic identification development for packaging of consumer goods. Research purpose of the article is to outline and investigate the methods of reflecting identification of packaging with the help of author's unique image and font composition. We have analyzed and determined the role of author's unique creative thinking in ensuring the expedient synthesis of shape formation and optimal convenience, stylistic relevance, and marketing successful component for the development of goods packaging in zoo segment. Graphic design can convey almost any information to its recipient by means of signs and images, particularly on the basis of system typography. Successful combination of typography and visual image creates ideas, phenomena or process of real world. Conscious approach and ecological literacy of modern society is focused on the caring attitude to surrounding environment, particularly to protection of animals, which significantly influences production of both food and consumer type of these goods. Supporting element of this retail is always tightly interconnected with method and aesthetics of packaging. It has been discovered that the methodological structure of graphical visual and image language development, particularly author's unique font, has three main stages: 1st stage - rules of font construction; 2nd stage - work on detalization of separate sign; 3rd - work on font phrase and text. Application of individually developed typography in packaging design becomes a powerful means of visualization in objects of packaging and formation of brand awareness features of these goods. Formation of individual compositional patterns or ornamental elements in combination with author's unique font is the powerful compositional method and tool for solving the problem of visual perception of goods. It has been established that to ensure successful packaging design it is necessary to take into account functional and aesthetic characteristics. Therefore, given the specificity, the wide range of graphic possibilities should be focused on determining the method of combining typography and image. In this case, author's unique stylistics occupies dominant place in compositional identification of choice. It has been determined that graphic language of design project is indirectly dependent on the aspects of printing technologies, which designer can successfully use to finish the holistic perception of ready-made product. The task of choosing the successful technique and principle of visual image language of packaging remains the relevant experimental niche for graphic designers.
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Apele, Diāna, and Ina Treiliņa. "ARTS DOMINANCE IN CALENDAR GRAPHICS DESIGN." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 593. http://dx.doi.org/10.17770/sie2020vol5.5145.
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Art, in a way, is a form of communication, which allows the artist to express their view to the world, show their interpretation and let others see the world through the eyes of the artist. Calendars are the most popular and long-term means of advertising, which is why their design requires a lot of attention. It is important that it does not only look good, but also provides information, fulfils the function of a promotional souvenir and creates an image throughout the entire year ahead. Graphic design is a form of visual communication whose purpose is to solve visual and graphic problems using artistic approaches provided by typography, different printing technologies, or image processing techniques, mechanical or analogue methods, or digital, with the aim to create a graphic design work or solve a graphic problem. Graphic design is more like a visual intermediary between the message and its recipient and a way of delivering the message to the recipient. The Aim of the Article: study graphics as the dominant feature of art in the design of calendars created by modern Latvian artists and analyse expert interviews to find out the opinions of specialists in the field about the significance of the content and design of artistic calendars nowadays. The research results were obtained using theoretical research methods: the study, analysis and evaluation of scientific and journalistic literature and Internet sources, which reveals the essence of the problem in question; expert interviews were carried out as well, which are empirical research methods.
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Türkkan, Halime. "The significance of typography in data visualisation." Global Journal of Arts Education 10, no. 1 (February 28, 2020): 75–84. http://dx.doi.org/10.18844/gjae.v10i1.4736.
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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. Big data provides important information on data visualisation. While presenting this information, the value that the script adds to the design will be examined in this study. The choice of typefaces, leading and kerning in typography, type hierarchy, harmony, balance, unity, the contrast between the visual elements and typography are the critical components of data visualisation. ‘Communication designers often err on the side of providing features that entertain and visually please audience's ability to receive or understand the message, in the hope that messages will be understood because they are associated with appealing features. Although designers often concentrate on visuals and aesthetics, at other times they hope to attract viewers by focusing clearly on valuable content. But too often both approaches impair the audience's ability to receive or understand the message’. In support of what Jacobson mentioned above in his book titled Information Design, this study aims to emphasise the undeniable importance of typography in data visualisation designed for informative purposes. Keywords: Typography, design, data visualisation
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Lee, Ki-Bok, and Young-Il Hong. "Practical Study for Developing Graphic Design Adopting Systematic Theories of Typography." Journal of the Korea Contents Association 10, no. 11 (November 28, 2010): 80–91. http://dx.doi.org/10.5392/jkca.2010.10.11.080.
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AlObaydi, Basim Abbas Ali, Robin Mezher, and Haneen Al-Khatib. "The Effectiveness of Employing Typography in Designing Holograms and Murals to Spruce up Outdoors: A Case Study of Jordanian Cities." International Journal of Religion 5, no. 10 (July 6, 2024): 3144–61. http://dx.doi.org/10.61707/25788a50.
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The paper examines the degree of effectiveness of employing typography in designing holograms and murals to spruce up outdoors as a case study of Jordanian cities and the related challenges. The descriptive approach is adopted to review and provide data on the demographic characteristics of the research sample. The research population consists of all faculty members in private universities offering graphic design programs in Jordan. The results indicate that the use of typography as artistic holograms and murals to decorate outdoor spaces in Jordanian cities is of high importance and use. Also, the findings show that using typography in designing holograms and murals contributes to filling the void spaces and improving the appearance of the courtyards. The results also demonstrate that employing typography as a design art to decorate public spaces can enhance national belonging and national positivity among local communities. Given the results, the research recommends paying attention to the effectiveness of employing typography in designing holograms and murals to spruce up outdoors in Jordanian and non-Jordanian cities in future research.
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ÇAKICIOĞLU İLHAN, Fatoş, and Meryem YALÇIN. "EFFECTS OF ENVIRONMENTAL GRAPHIC DESIGN ISSUES AS A SUPPORTIVE SOURCE OF HOSPITAL SPATIAL PERCEPTION." INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, no. 21 (2020): 0. http://dx.doi.org/10.17365/tmd.2020.21.1.
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Aim: Increased awareness of creating design solutions that can meet the social and psychological needs of patients in healthcare spaces highlights research on the psychology of place-patient/ doctors/healthcare staff. Therefore, patient-oriented health space designs that provide a sense of trust and satisfaction to patients – along with a supportive approach to their treatment – are the points of departure in this study, while understanding the effects and experiences of design on patients. Environmental graphic design elements (photographs, illustrations, typography, and pictograms) in the interiors of hospitals emerge as the factors that shape the patient's spatial experience, such as orientation, information, and perception of a space. In this study, the effects of such design elements on user perception in health spaces were investigated, and these design criteria that play a role in determining and actively interacting with the environmental graphic design elements in hospital spaces are encountered. Based on the abovementioned facts, this research aims to contribute to the graphics in health spaces in the context of environmental graphic design, with experience covering both fields. Method: Three hospitals, which are sufficient in terms of environmental graphic design elements and have differences between them, were determined as the research places. The elements in these hospitals were photographed and surveyed on user groups (patients, doctors, health personnel) who experienced the places continuously or temporarily. Results and Conclusion: It was demonstrated by statistical data that the elements in the investigated places could not provide the expected effects as a whole. As a result, environmental graphic design applications that have a supportive design understanding in hospital spaces should have a holistic language, and that design understanding can only be demonstrated with the cooperation of architects, interior designers, graphic designers, and industrial designers.
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Antomi, Satria, and Zubaidah A. Zubaidah A. "MOTION GRAFIS SEJARAH JEMBATAN RATAPAN IBU PAYAKUMBUH SUMATERA BARAT." DEKAVE : Jurnal Desain Komunikasi Visual 11, no. 1 (May 4, 2021): 154. http://dx.doi.org/10.24036/dekave.v11i1.112338.
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Payakumbuh has historical events. Among the historical events that occurred in the city of Payakumbuh called the Ratapan Ibu bridge. The bridge is one proof of the history of struggle in West Sumatra, especially in Payakumbuh City. Lack of public appreciation for historical stories and evidence of historical heritage of the Ratapan Ibu bridge. This causes the later generations to know less about the story and care less about its historical evidence. It is necessary to re-communicate these historical events to the public, through motion graphics. The advantage ofmotion graphicscombination is aof illustration, typography, photography, video and audio using animation techniques.The design method used is the 4D (design methodfour-D)using 4 design stages, namely define, design, development, and disseminate. Sources of data used in this design are in the form of statements about the tools, properties, conditions and specific activities concerned.The design results in the form of motion graphics that have stories, pictures, and audio, can make today's young generation learn local history, so that its sustainability can be maintained. The motion graphic of thehistory of the Ratapan Ibu bridge is supported by supporting media in the form of mugs, billboards, tote bags, Youtube, Instagram, twitter and facebook, which are able to promote the Motion Graphic of the History of the Ratapan Ibu Bridge.Keywords: Motion Graphic, History, Mother's Lamentation Bridge,Payakumbuh
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Petretta, Julia. "Arabic sign design." Information Design Journal 21, no. 1 (December 31, 2014): 18–33. http://dx.doi.org/10.1075/idj.21.1.04pet.
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In the Middle East, the Arabic script is omnipresent and has an ample impact on the built environment. The calligraphic Arabic script is extremely flexible, making its text representation economic. However, in physical signs, calligraphy is replaced by Arabic typography, whose type choices may not capture the full flexibility of the Arabic script. Additionally, the graphic logic of dual language sign systems is not as straightforward when applied in Arabic, since the Arabic reads in two directions: right to left for the script and left to right for the numerals. Multi-script signage involving Arabic requires a heightened sensitivity regarding the information sequence.
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Delamadeleine, Constance. "Promoting Swiss Graphic Design and Typography Abroad: The Case of Paris in the 1960s." Design Issues 37, no. 1 (January 2021): 42–50. http://dx.doi.org/10.1162/desi_a_00623.
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In the postwar period, the Swiss living abroad were considered as the vanguard of Swiss culture and as economic outposts of the country. Swiss graphic designers established in Paris were no exception. Through a close analysis of archival documents and visual material, this article sheds light on the ways the Swiss studio Hollenstein actively contributed to promote Swiss graphic design in the French capital supported by a set of economic and cultural Swiss actors.
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Aynsley, Jeremy. "Jan Tschichold and the New Typography: Graphic Design between the World Wars." Journal of Design History 32, no. 4 (September 4, 2019): 392–94. http://dx.doi.org/10.1093/jdh/epz040.
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Xue, Yan Min, Qing Liang Han, Jian Hang Wang, and Rui Bai. "Analysis of Brockmann’s Posters Based on Geometry of Design." Advanced Materials Research 490-495 (March 2012): 1960–66. http://dx.doi.org/10.4028/www.scientific.net/amr.490-495.1960.
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Josef Müller-Brockmann was a Swiss graphic designer and teacher, who is famous of his use of typography. This paper systematically analyzes his six poster works from the perspective of design geometry. The posters’ titles are ‘Junifestkonzert’,‘Tonhalle Quartett’,‘Der Nussknacker’,‘Musica Viva’,‘Helmhaus Zurich’ and ‘Protegez L Enfant’. In these posters, different geometric elements are used in delicate, planned ways to express specific themes. Format, proportion and scale are the main focus of the analysis. Auxiliary lines are used to show how geometry is used to create beautiful art. This paper is intended to help designers understand the ways in which geometry can be applied to graphic design, creating works with strong visual dynamics and easily recognized focal points.
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Bu, Yi. "System of Micrographics and the Visual Practice of the “New Wave”: To the Defi nition of the Principles of Contemporary Design." Observatory of Culture 15, no. 3 (August 19, 2018): 290–97. http://dx.doi.org/10.25281/2072-3156-2018-15-3-290-297.
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The paper is devoted to the study of the principles of micrographics in the artistic space and graphic design of the twentieth century. The article describes micrographics as an art phenomenon and considers it as an important element for the fi ne arts and graphics. The text studies principles of micrographic, which can be considered as an important component of the contemporary visual system. At the same time, micrographic elements defi ne the specifi cs of modern design. The article notes that micrographic principles are a common phenomenon in the visual systems throughout the 20th century. In addition, the article gives an attention to the typography and visual practice of the “New Wave” — the most important trend of graphic design in the second half of the 20th century. This phenomenon is considered as the central form of modern design whose specifi cs signifi cantly infl uenced the development of graphic design in general. At the same time, we observe the fact that the micrographic methods were important for the creation of the phenomenon of the “New Wave”. They correlate both: the visual system of the “New Wave” and the graphic program of modern graphic design. The article considers the main forms of micrographics, which were widely used in the system of “New Wave”. The author attempts to determine micrographics, and to give the characteristic of the “New Wave”. Micrographics is explored as a form in contemporary art space and as a system that had a signifi cant influence on the formation and development of the design in the twentieth century.
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Post, Jack, and Ewan Lentjes. "Typography in Media Historical Perspective." TMG Journal for Media History 19, no. 2 (December 15, 2016): 1. http://dx.doi.org/10.18146/2213-7653.2016.261en.
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At first glance, a special issue on the subject of typography might seem an unusual choice for an academic journal dedicated to media history. After all, wouldn’t the study of typography be better suited to a publication on the history of art and graphic design, or perhaps the study of books? A quick glance through previous general issues of the Journal for Media History (Tijdschrift voor Mediageschiedenis, or TMG) reveals that the majority of the articles deal with traditional media such as film, television, photography and print media. But TMG also publishes special issues on a wide variety of topics, ranging from the monarchy to scandals to representations of nature. These special issues challenge the journal to explore its boundaries, both in terms of research and scope. It will be interesting to see just which boundaries this special issue on typography will be crossed.
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Schindler, Johanna, and Philipp Müller. "Design follows politics? The visualization of political orientation in newspaper page layout." Visual Communication 17, no. 2 (December 12, 2017): 141–61. http://dx.doi.org/10.1177/1470357217746812.
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This article explores how the political orientation of newspapers is reflected in their page layout. The authors compare the layouts of five German national quality newspapers exemplarily and exploratively in a combination of quantitative and qualitative analyses. Dimensions of comparison are typography, size, colouration, quantity and arrangement of elements. Results show systematic differences between the page layouts of left-wing and right-wing newspapers. These differences are reflected in the contrast of traditional and contemporary styles and also in the use of ideologically charged typography and colours. In addition, the size of headlines seems to be dependent on political extremity. Graphic design seems to work as an ideological symbol system with different layout styles quite consistently representing partisan positions. If media users could come to learn and recognize such visual patterns, layout could function as a visual frame for political messages.
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TOKGÖZ GÜN, Fatıma, and Mehmet ÖZKARTAL. "HYBRID REFLECTIONS IN POST-MODERN GRAPHIC DESIGN POSTERS." ATLAS JOURNAL 7, no. 44 (September 24, 2021): 2207–13. http://dx.doi.org/10.31568/atlas.766.
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Hybrid works in art have many examples from past to present. Hybridization in poster art has been in question since the first years when posters started to appear. Hybridization in designs can occur in terms of both method and technique. In present study, it is mentioned how graphic design has removed the boundaries between itself and many disciplines since the use of technology in the field of art and how it allows hybrid studies. As it is known, the main purpose of graphic design is to convey an existing idea to the other party in the simplest way. For this reason, graphic design, which updates itself over time, has added motion and sound to its work area and shows itself with effective designs. While technically designs consist of two-dimensional studies for years, they can also be designed in three-dimensional or even four-dimensional forms with hybrid methods. While poster designs are prepared as flat and static, they update themselves with kinetic typography and motion images. Moreover, with hybrid presentations such as augmented reality and virtual reality in current works, designs interact more with people. It is seen that the artists who can think from a hybrid point of view attract more attention and interaction with the hybridity reflected in their designs, and they also reach the intended result in a catchy manner.
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ÖZEN, YASEMİN. "SECONDARY ANALYSIS ON GRAPHIC DESIGN PACKAGING EXAMPLES: DORITOS CHIPS PACKAGING EXAMPLE." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 8, no. 23 (December 25, 2021): 24–30. http://dx.doi.org/10.38064/eurssh.263.
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In the consumption culture, the ability of the packaging produced to affect the buyer depends entirely on the power of graphical design. Different brand packages on the market shelves; attracts attention, promotes, protects, promotes as well as advertises. For this reason, brand packaging; It has a high sales share with the success it has achieved with its color, illustration and typography in accordance with graphic design criteria. In this study; It is aimed to evaluate the visuals of doritos chips packaging, created in line with the graphic design elements, with semiotic analysis. At this stage, while examining the packaging semiologically, the processes of idea generation, idea generation, idea visualization and the use of images will be evaluated. The research will be done with the literature review model.
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Turgut, Ozden Pektas. "Expressive Typography as a Visualisation of Ideas." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 164–70. http://dx.doi.org/10.18844/prosoc.v4i11.2871.
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Typography is the designed form where the transfer of ideas and information with the help of signs is done. Typography invites to read the text, reveals the meaning of the text, links the text to other visual elements and creates appropriate reading conditions. In addition to communicating information and messages through an understandable form language, it also carries the claim of being an element expressed as a style, personality, and visual language. In this sense, it is important to arrange the typographical characters, such as font, form, colour, space in the media, in an effective way of conveying the message. Typography influences the pleasure of gazing than reading, which is carried out as a visual communication tool not only in the function of reading but also in form. In this context, expressive typography is an art form where text is highly visual or type becomes an image. Letters are not just abstract symbols, carriers of meaning; they are also real, physical shapes. In this paper, the chosen quotes show the main idea with some limitations. It is allowed to use any kind of typeface, just black/white colour in three pages. The comparison of qualitative research methods of students’ results shows the effects of expressive typography on the visualisation of the words as a result of this research. Keywords: Typography, expressive typography, graphic design, visual communication.
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Sinfield, David, and Thomas Cochrane. "Augmenting visual design: Designing the changing classroom." E-Learning and Digital Media 17, no. 5 (May 14, 2018): 365–87. http://dx.doi.org/10.1177/2042753018773769.
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Art and design undergraduate educational programmes such as Graphic Design studies are based upon best practice within the Graphic Design industry. Thus, the classroom environment is designed to mirror a typical design studio environment. However, traditional design studio interaction and collaboration are undergoing rapid transformation in practice triggered by an increasingly global digitally networked professional environment. In response, this paper outlines our journey of redesigning an undergraduate graphic design curriculum to enable students to engage beyond the context of the classroom to a potentially global audience. Over two redesign iterations Visual Communication Design students explored new technologies including mobile augmented reality and virtual reality to enhance the reach and impact of their portfolios of work. Using the concept of Visual Poetry and a combination of typography and moving image, the students created a range of art pieces inspired by a specific location, and shared these via an ecology of resources chosen to digitally augment their work and facilitate the production of student eportfolios. The goal of the curriculum redesign is to broaden students’ educational experiences beyond the confines of the traditional studio based classroom to include wider community outreach and participation within an increasingly global environment.
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Repucho, Ewa. "The book collection of Jan Kuglin as a source for research on the aesthetics of print in the 20th century." Z Badań nad Książką i Księgozbiorami Historycznymi 13 (December 26, 2019): 327–45. http://dx.doi.org/10.33077/uw.25448730.zbkh.2019.170.
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The paper describes a somewhat forgotten book collection of the outstanding Wrocław editor Jan Kuglin, in terms of the editions on print aesthetics contained therein. The collection, which is a reflection of Kuglin’s scientific passions, contains many valuable books in German, English, Polish, Russian and Czech in the field of book and printing history, editing, book design, typography, writing, graphic techniques, polygraphy, paper industry, bookbinding, etc. In the book collection of Kuglin one can find editions being examples of a perfect typography. Thus, the collection stored in the Library of the Institute of Information and Library Science of the University of Wrocław is an excellent source for research on the aesthetics of printing in the 20th century.
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Pflaeging, Jana, and Hartmut Stöckl. "Tracing The Shapes of Multimodal Rhetoric: Showing the Epistemic Powers of Visualization." Visual Communication 20, no. 3 (July 27, 2021): 397–414. http://dx.doi.org/10.1177/14703572211010370.
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This visual essay seeks to substantiate and illustrate the tenet that formal–structural elements in graphic design carry rhetorical functions. Based on a National Geographic feature article, the authors demonstrate methods for ‘measuring’ layout, colour and typography, and show the results in infographic visualizations. At the same time, the study showcases the epistemic value of these visualizations. The perspective adopted puts the double-page centre-stage.
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Yang, Chao-Ming, and Tzu-Fan Hsu. "Applying Semiotic Theories to Graphic Design Education: An Empirical Study on Poster Design Teaching." International Education Studies 8, no. 12 (November 25, 2015): 117. http://dx.doi.org/10.5539/ies.v8n12p117.
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<p class="apa">The rationales behind design are dissimilar to those behind art. Establishing an adequate theoretical foundation for conducting design education can facilitate scientising design methods. Thus, from the perspectives of the semiotic theories proposed by Saussure and Peirce, we investigated graphic design curricula by performing teaching experiments, verifying the adequacy of applying these theories to poster design. During the teaching experiment, a matched groups design method was used for assigning 30 students to either an experimental group or a control group. The results of the experiment revealed that compared with the control group students, the experimental group students, who applied the semiotic theories to their poster designs, performed more favourably in image creativity, picture aesthetic, typography, and total poster design score. The posters created by the students were submitted to International Triennial of Ecological Posters ‘the 4th Block’, and a total of 4 creations from the experimental group were accepted. The results of the teaching experiment verify that applying semiotic theories to graphic design curricula facilitates improving student ability to observe objects and cultivating their capability to design posters and reinforce the visual tension in the posters.</p>
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Jakoubě, Helena. "Graphic Design Approaches for Visually Impaired People." CRIS - Bulletin of the Centre for Research and Interdisciplinary Study 2012, no. 3 (December 1, 2012): 5–34. http://dx.doi.org/10.2478/v10284-012-0005-z.
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This essay will discuss graphic design approaches for the visually impaired people. It focuses on several graphic design fields such as typography, images, printing, reading and writing, info graphic in different parts of life, packaging and web design and how they meet with the visually impaired people’s needs. Many useful things were invented and are helping the visually impaired people in their daily life but I see there are still significant problems and issues that need solutions. The graphic designers are those who can do much more to help these people to be part of the society more than before and to make their life easier. The approaches include suggestions to the simple changes as well as more difficult ones being open to more discussions and further research by the scientists and specialists. The thought behind this essay is to improve the life of the visually impaired people through graphic design, which is a powerful tool. The graphic designer’s aim should not be to only produce visually nice work but to think of how the environment can be changed to make everybody feel comfortable in it, whether it is done through small changes or revolutionary ideas. It is important to take the needs of disabled, and this essay focuses on the visually impaired people around us that need to be brought into consideration. I have tested myself how it feels to be ‘blind’ for some time during my research, and it helped me to clearly understand more about the whole subject. Based on my research I came up with a several ideas and helpful suggestions and solutions. Some of them might be time consuming at the beginning but when implemented I believe they could save a lot of time and mainly help the visually impaired people to enjoy their life and be an equal part of our society.
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Bendová, Eva, and Vilma Hubáčková. "Kresba nebo fotomontáž pro děti? Příklady inovativních přístupů ilustrace dětské knihy v meziválečném Československu." Acta Musei Nationalis Pragae – Historia litterarum 68, no. 3-4 (2024): 23–34. http://dx.doi.org/10.37520/amnpsc.2023.0022.
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The aim of the paper has been to show the plethora of innovative approaches to the illustration of books for children in the interwar period in Czechoslovakia (1918–1938). In a journal focused on education and literature (Úhor [Fallow]), the first synthetic text devoted to the aesthetics of children’s books was published as late as 1935, written by Josef Novák. His text perceives the illustrations of children’s books as an important and distinctive artistic expression dependent on the drawing conception of a form. It highlights the most modern examples in the form of the book of Zdenka Marčanová and Toyen, Náš svět [Our World], but not without reservations; it provides another modern example in Karel Čapek’s Dášeňka, on whose typography Karel Teige worked in 1933. The artistic potential of illustration is thus dominated by the individual approaches of particular authors. As early as 1918, the anthology Nůše pohádek [A Basketful of Fairy Tales] brought some unconventional illustrations, adopting elements from progressive art movements. Jeníkovy pohádky [Jack’s Fairy Tales], written and illustrated by Jan Zrzavý in 1920, enriched the visual appearance of children’s books with variations of dream imagery and with the interconnection of image and text according to the author’s concept with the involvement of a visually dominant and aesthetically modified typeface. In particular in Milada Marešová’s drawings published at the turn of the 1930s, it is possible to observe a new way of working with traditional means of expression. Her drawings were a reaction to the contemporary foreign approaches of the New Objectivity. In the early 1930s, Josef Čapek’s book graphics and illustrations were characterised by a shift towards multimedia. The involvement of the avant-garde painter Toyen in children’s book illustration proceeds from Civilism to Surrealism. A distinctly avant-garde form was given to the experimentally conceived popular-educational book by J. V. Pleva Kapka vody [A Drop of Water] in the graphic design of Zdeňek Rossmann, who creatively combined typography with photomontage. Photomontage was used by Augustin Tschinkel in his popular-educational books, either together with Ladislav Sutnar, for instance in Malá vlastivěda [A Little Civics Reader]), or on his own in the book Zeměpisné rebusy [Geographical Rebuses]. The works of the last three mentioned avant-garde artists are typical examples of the progressive graphic design where graphic symbols have been replaced by illustrations. These publications were created within a new model of cooperation – collaboration between a typographer, designer and illustrator in an authorial whole. Significantly radical experiments applying constructivist aesthetics and involving photography were unique in children’s literature in Czechoslovakia.
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Wiesenberger, Robert, and Elizabeth Resnick. "Basel to Boston: An Itinerary for Modernist Typography in America." Design Issues 34, no. 3 (July 2018): 28–41. http://dx.doi.org/10.1162/desi_a_00495.
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Starting in the 1960s, the Massachusetts Institute of Technology (MIT) became one of the most visible points of entry in America for the so-called “Swiss-style,” a distinctive, modernist approach to graphic design. Three women were largely responsible for its success: Therese Moll, Jacqueline Casey, and Muriel Cooper. While Casey and Cooper have begun to get their due, Moll—a visiting designer from Basel—remains almost unknown. This article examines why MIT provided such fertile ground for this style, before it became the lingua franca of corporate modernism, and how, by the 1980s, it traveled from print to screens.