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Wong, Yin Yin. "Temporal typography : characterization of time-varying typographic forms." Thesis, Massachusetts Institute of Technology, 1995. http://hdl.handle.net/1721.1/29102.
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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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Stake, Leslie-Anne Fernando. "Temporal typography." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1760.
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Since the digital revolution, there has been a significant impact on how we live, work and play. For designers, it has transformed design practices and created new opportunities. However, this can bring about new problems and challenges. How can we communicate effectively in the digital age with different media and technologies advancing so rapidly? With the overload of information from tablets, smartphones, computers and television, we often start to overlook information. From research I will argue techniques that can help with us understand information in the digital realm and prove the importance of expression within visual communication.
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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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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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Small, David 1965. "Expressive typography : high quality dynamic and responsive typography in the electronic environment." Thesis, Massachusetts Institute of Technology, 1990. http://hdl.handle.net/1721.1/14011.
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Fisher, David B. "Expert systems in typography /." Online version of thesis, 1990. http://hdl.handle.net/1850/10583.
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Rollestone, Giles John. "Lost in transcription : enhancing the typographic description of prosody in written discourse through dynamic typography." Thesis, University of the Arts London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.650328.
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Blacksell, Ruth. "Typography after conceptual art : text-based conceptual art and its contribution to contemporary typographic discourse." Thesis, University of Sheffield, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.631696.
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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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Paek, Jung Yeun. "Typography in Cross Cultural Environments." Research Showcase @ CMU, 2014. http://repository.cmu.edu/theses/71.
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This thesis examines the structural challenges when designing in two different alphabet systems, Roman and Hangul (Korean alphabet). English being the universal language, it is common to see this pairing in various design solutions, from packaging to posters to websites. However, Korean communication design has a very short history and for that reason, it adopted prevailing western guidelines. Under the western guidelines, Korean designers face challenges when designing text because the guidelines are not entirely fitting for the Korean alphabet. Therefore, Korean communication design needs structural guidelines for the everyday practitioners to use them effectively when multi-scripting. For my solution, I designed typographic guiding principles that allow two different alphabet systems to work harmoniously when multi-scripting. My research builds upon Nanum Type Families, open source typefaces. These guiding principles are designed with two goals in mind—provide thorough suggestions when multi-scripting for the Korean communication design community and also encourage a greater appreciation for and use of Hangul within that community.
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Soo, Douglas. "Implementation of temporal typography system." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/10274.
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Fellows, Kara S. "Typecast: the voice of typography." Thesis, University of Iowa, 2009. https://ir.uiowa.edu/etd/357.
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The hypothesis that this project aims to investigate is this: That through the arrangement of letterforms in space, a graphic designer can manipulate this voice in order to deliver a nuanced impression of language as it is intended to be heard.
As a graphic designer, my job is to communicate meaning visually. When my choice of typography aids in the assignment of proper tone of voice to words, communication is made more clear. In the typographic studies I've created in the course of this exploration, I've tried to establish the pitch, tone, and volume of typographic voice by manipulating how words look. I've created compositions that explore how we see and hear language through typography, in order to assemble data that supports my hypothesis.
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Yu, Li. "Typography in film title sequence design." [Ames, Iowa : Iowa State University], 2008.
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Cho, Peter Sungil. "Computational models for expressive dimensional typography." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/61105.
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Thesis (S.M.)--Massachusetts Institute of Technology, Program in Media Arts & Sciences, 1999.Includes bibliographical references (p. 83-84).
This thesis research explores the prospect of typographic forms, based on custom computational models, which can be faithfully realized only in a three-dimensional, interactive environment. These new models allow for manipulation of letter-form attributes including visual display, scale, two-dimensional structure and three dimensional sculptural form. In this research, each computational model must accommodate the variation in letter shapes, while trying to balance functional flexibility with the beauty and legibility of fine typography. In most cases, this thesis work approaches typography at the level of a single letter, looking at ways we can build living, expressive textual environments on the computer display.
Peter Sungil Cho.
S.M.
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Matore, Daniel. "Experimental typography in twentieth-century poetry." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:34bd524a-74ec-467d-8f70-0b0e825de0e5.
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Experimental Typography in Twentieth-Century Poetry, by Daniel Matore, New College, University of Oxford. A thesis submitted for examination for the degree of Doctor of Philosophy in English Literature in Hilary Term, 2017. This thesis is a study of the typographical experimentation in the verse of twentieth-century poets writing in English. Typography and poetics, it contends, became indissolubly linked in the last century, and this work traces why this is so. It chiefly deals with poetry written roughly in the period 1908 to 1970, rooted in the work of Ezra Pound, E.E. Cummings, and Charles Olson, but with substantial considerations of poets such as Marianne Moore, William Carlos Williams, and David Jones. Typographical experiment in European languages, particularly the work of Stéphane Mallarme, Guillaume Apollinaire, and F.T. Marinetti, is recurrently invoked to comprehend the idiosyncrasies of the graphical innovations of British and American poets. At the heart of this thesis is the question of why so many poets throughout the last century employed typography as a signatory part of their style. It hopes to show how authorships and the span of a poet's career can be read through their typography. Its methodology is eclectic. Archival research into manuscripts, drafts, typescripts, and proofs has provided the empirical groundwork as well as interpretative insights. Essays and periodical articles are drawn upon to trace the intellectual history which informs literary style. Close reading, sometimes within the parameters of established stylistic vocabulary and sometimes at the limits of this, is undertaken to illuminate the expressive possibilities of typographical form. The introduction prefigures the debates and motifs of typographical experiment through the seminal work of Stéphane Mallarmé. It considers whether there was a typographical revolution in poetry in English at the start of the last century and examines how the advents of free verse and experimental mise-en-page intersected. Chapter 1 traces the foundational importance of Ezra Pound in the genealogy of typographical experiment in English. His graphical innovations are read through lenses such as musicology, psychophysics, and ophthalmology. Chapter 2 considers the audacious and celebrated visuality of E.E. Cummings, focussing on his early unpublished experiments, his debut volume Tulips and Chimneys (1923), and his 1935 collection No Thanks. How sexuality and the material text interrelate is examined, and his typography is interpreted through his theories of reading. Chapter 3 is concerned with the post-war experiments of Charles Olson, especially his magnum opus The Maximus Poems. The respective vocations of the poet and the typographer are examined through his relationships with printers and designers, and the influence of philosophies of space on his poetics is explored. The conclusion situates modernist experiment in relation to the aesthetics of graphic design. The categories of printing reformers and reactionaries are employed to cast into relief the idiosyncrasy of typographical experimentation in poetry.
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Pieterse, George F. "Scripted : an urban museum of typography." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/29902.
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Reading allows for the construction of a new world within the mind as one centralises and processes the literature. Flipping from one page to the next the language and the typography guides and informs this spatial construction and directs us through this new world. It creates an intangible architecture of the mind. In the physical realm however, we experience the real world directly and blatantly without the aid of texts and narratives. In this life the relationship between text and space is inverted. Here text and narrative do not inform the construction and tactile experience of space but rather act as a backdrop to everyday life. It seems to go unnoticed. This dissertation aims to emphasise the importance of typography, text and narrative within not only our day-to-day functionings, but also in the architectural realm. It seeks an amalgamation of typography, museum and public space, and aspires to create a place where the seemingly unnoticed typeface can be showcased, propagated and made accessible. Copyright 2011, University of Pretoria. All rights reserved.Dissertation (MArch(Prof))--University of Pretoria, 2011.
Architecture
unrestricted
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Tsen, Jungmei. "picTypo : the face of Chinese typography." Thesis, Royal College of Art, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.565987.
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The aims of this thesis are threefold. First, it provides a broad investigation of the contemporary typographic status of Taiwan through four directions (literature reviews, field work, the western deconstructionist typographic debate, and the semiotic approach in the Study of Chinese Characters). Second, it examines the impact of the pictographic/ideographic feature of Chinese characters on the study of Chinese typographic design. Third, it states that in studying Chinese characters from the typographical point of view there is an interesting connection between the Iiu shu (the six methods of creating and usage of Chinese characters) and yin-yang theory of traditional Chinese philosophic thinking. These aims are achieved by using the semiotic theories to analyse the Six Categories of Chinese Characters. The research findings demonstrate that the study of the liu shu can be an alternative to existing design methods, closer to its own cultural context, for the study of Chinese typographic design. It supports the view that old culture can be inspirational for contemporary design and that contemporary thinking also generates new interpretations of ideas passed down by history. The study addresses the important feature of Chinese characters that implies the concept of mutual complementary dualism of the yin-yang theory. Moreover, the research suggests that applying the concept of yin-yang theory to typographic design can reinforce the intensity and aesthetic effect of the construction.
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Metz, Marilyn. "Typography preferences of consumers over 50, preferences of consumers age 50+ for typography of product instruction labels." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ30338.pdf.
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Bland, Mark. "Johnson, Stansby and english typography 1579-1623." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319114.
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Burke, Christopher. "Paul Renner and German typography, 1900-1950." Thesis, University of Reading, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283236.
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Chao, Chloe Ming-shu 1975. "Kinetext : concrete-programming paradigm for animated typography." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/29139.
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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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Fan, Feifei. "In Pursuit of Harmony: Calligraphy & Typography." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1786.
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Chinese calligraphy and Western typography have been evolving for around five thousands years. During this time, they have developed quite different characteristics. Compared with the geometrical form and precision of Western printing types, Chinese calligraphy features abstract shapes and spontaneous strokes. These differences result in a gap that prevents a harmonious and organic relationship between them. This project explores the possibilities of combining these two historical visual systems, demonstrates specific methods and approaches for creating compelling formal relationships, and endeavors to establish a friendly, organic and harmonious dialogue between Chinese calligraphy and Western typography. The outcome of this project is a handmade book and a series of posters. The content of them comes from the writings of Lao-Tzu.
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Venter, Schalk (Dawid Schalk Willem). "The people's typography : a social semiotic account on the relationship between 'township typography' and South African mainstream cultural production." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/20278.
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Thesis (MPhil)--Stellenbosch University, 2012.ENGLISH ABSTRACT: This thesis presents an analysis of ‘township typography’ as a complex visual dialect generated by various economic and historical factors within the South African social landscape. A combination of specific tools, skills-sets and applications has produced a body of typographic letterforms that can be visually distinguished from standardised letterforms found in mainstream typography. Due to the origin of these letterforms, as well as their distinct appearance, ‘township typography’ has the capacity to evoke specific social, cultural or demographic structures in systems of communication. This study reveals that typographic features from ‘township typography’ are drawn into mainstream cultural production, particularly in the field of local advertising, as the result of a complex process of incorporation and institutional consecration.
AFRIKAANSE OPSOMMING: Hierdie tesis bied ‘n analise van ‘township tipografie’ as ‘n komplekse visuele dialek wat gegenereer word deur verskeie ekonomiese en historiese faktore eie aan die Suid- Afrikaanse sosiale landskap. Die spesifieke kombinasie van gereedskap, vaardighede en aanwendings lei tot ‘n liggaam van lettertipes wat visueel onderskei kan word van die standaard wat in hoofstroom tipografie voorkom. Vanweë hierdie dialek se oorsprong, asook die kenmerkende voorkoms daarvan, het ‘township tipografie’ die vermoë om spesifieke sosiale, kulturele en demografiese strukture in kommunikasie op te roep. Hierdie studie toon hoe eienskappe eie aan ‘township tipografie’ weens ‘n komplekse proses van inkorporasie en institusionele inseëning in hoofstroom kulturele produksie opgeneem word, veral op die gebied van plaaslike advertensiewese.
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Brownie, Barbara Kay. "The behaviours of fluid characterforms in temporal typography." Thesis, University of Hertfordshire, 2012. http://hdl.handle.net/2299/9037.
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This thesis identifies and characterises a particular kind of temporal typography in which verbal forms exhibit behaviours that have been identified by Eduardo Kac as ‘fluid’ , and fluctuate between the verbal and pictorial or abstract. A typology will be constructed which identifies the various behaviours by which fluidity is exhibited, and provides terminology for their analysis, accompanied by analysis of how these behaviours address the relationship between the commonly distinct paradigms of verbal and pictorial signs. The work identifies the distinction between fluidity and other forms of kineticism, and explores the various behaviours exhibited in fluid artefacts. When addressing local kineticism, gaps in existing research are filled by employing terms and observations from other fields. For example, Kac offers the term ‘fluid’ in description of his holographic poetry, which exhibits behaviours much like those presented in some examples of screenbased temporal typography. This thesis proposes that Kac’s term, ‘fluid’, may be adopted in order to differentiate significant local change in verbal forms from the various other kinds of kineticism observable in temporal typography. Fluid behaviours are identified in examples including Martin Lambie Nairn and MPC’s Channel 4 idents, the credit sequences of Kyle Cooper, and the typographic animations of practitioners including Komnios Zervos and Dan Waber. This thesis demonstrates that the existing discourse surrounding temporal typography has been held back by a failure to make distinguish between global kineticism (effecting layout) and local kineticism (effecting individual characters). The distinction between the global and the local is considered vital in studies of perceptual organisation, particularly Gestalt psychology. By providing a coherent typology, and consistent terminology, this study has the potential to positively influence understanding and analysis of fluid characterforms.
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Lam, Francis S. M. Massachusetts Institute of Technology. "Cheiro : creating expressive textual communication and anthropomorphic typography." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/36156.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2006.Includes bibliographical references (leaves 64-66).
Despite rapid technological advancement and improvement in network bandwidth, people still like to use text for remote communication. Simplicity, directness and anonymity make textual chat the most popular method of communication in the technology-mediated world. In face-to-face communication, people can use gestures, facial expressions, eye gaze and other body languages to alter, emphasize or strengthen their spoken words. Unfortunately, current textual platforms do not have a proper channel for these cues and signals. These non-linguistic cues are able to convey social and emotional information accompanied by the spoken words. I argue that a well-designed textual communication system can increase the expressiveness of text-based chat environments, and we need to have a better chat interface to improve our social interactions in the digital world. Cheiro is an exploration of user-centered gesture-based interfaces that enable expressive textual communication.
(cont.) My approach is to use common input devices, such as mouse or keyboard, as the gestural interface to amplify or change the tone and meaning of the text, and send non-linguistic signals using graphical elements and anthropomorphized kinetic typography. The goal of this thesis is to find an intuitive mapping between the user's gestural input and the graphically enhanced text output, which constructs a novel expressive textual communication platform.
Francis Lam.
S.M.
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Zheng, Huangyuying. "Observation and combination of Chinese and English typography." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3229.
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The interests in the similarities and differences between Chinese characters and English words lead me to study how various shapes between two languages will affect designs significantly. The curiosity inspired the development of making these two different language forms appear more aesthetically compatible. Moreover, from questioning the characteristics of Chinese and English, I developed interest in recreating a new multi-purpose visual language system which can be read in both Chinese and English without losing any character's original form. Through out my study, I rediscover the meaning and origin behind Chinese and English character, rethink the history and explore the formation of the characters. The interactions between oriental and occidental letters create a new series of forms that serves as a bridge between the visual and the verbal, and brought a fresh visual language to the surrounding world.
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Harkins, Michael. "Contemporary processes of text typeface design." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13455/.
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Text typeface design can often be a lengthy and solitary endeavour on the part of the designer. An endeavour for which, there is little in terms of guidance to draw upon regarding the design processes involved. This is not only a contemporary problem but also an historical one. Examination of extant accounts that reference text typeface design aided the orientation of this research (Literature Review 2.0). This identified the lack of documented knowledge specific to the design processes involved. Identifying expert and non-expert/emic and etic (Pike 1967) perspectives within the existing literature helped account for such paucity. In relation to this, the main research question developed is: Can knowledge of text typeface design process be revealed, and if so can this be explicated theoretically? A qualitative, Grounded Theory Methodology (Glaser & Strauss 1967) was adopted (Methodology 3.0), appropriate where often a ‘topic of interest has been relatively ignored in the literature’ (Goulding 2002, p.55). This research is specifically concerned with knowledge of design process relating to world-leading experts in the field. Data was derived via recorded in-depth interviews, these were transcribed, analysed and coded in accordance with Grounded Theory’s constant comparative method (Glaser & Strauss 1967, p.105). From the analysis, raised concepts and themes resolved in the generation of three unique Grounded Theory core categories, these have been named: Trajectorizing, Homologizing and Attenuating (chapters 4.0, 4.1, 4.2 and 4.3). The core categories describe how experts negotiate the initiation of design, relational qualities with respect to design and continual accretive refinement of design. The core categories combine to resolve together (chapters 5.0 and 6.0) as workable, conceptual theory that describes and explains text typeface design process generally. The developed theory this research contributes, is anticipated suitable to be applied as analytical and/or prescriptive tools for future study, research and pedagogy in the specific subject area. Beyond this, disciplines such as graphic design, typography, information design etc. may also benefit from this research.
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Da, Cunha Lima Guilherme Silva. "O grafico amador : the roots of modern Brazilian typography." Thesis, University of Reading, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357199.
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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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Popeski, Cassandra Jennifer. "Expression of Peer Loss Through Typography and Combined Media." Thesis, The University of Arizona, 2015. http://hdl.handle.net/10150/595062.
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The purpose of this honors creative thesis is to gain a general understanding of the emotional consequences experiencing the loss of a peer can pose for an individual and then expressing these findings through a typographic and mixed media body of artwork. I conducted an anonymous survey that was distributed through social media, which asked various questions regarding the memory of those who have passed away and the changing perceptions of death. After conducting the survey, I compiled and sorted through the responses to create seven typographic posters, each focusing on poignant words or phrases extracted from a selection of the participants' answers. Subsequently, I experimented with and utilized an everyday material to hand create the letters in each of the prints. These posters will be installed in an art exhibit at the Cosmoart Studio on 4th Ave. Tucson, AZ on December 10th and 11th of 2015. In addition to the posters, I designed and bound a book that both literally and symbolically represents another selection of the survey responses through typographic and graphic experimentation. Lastly, I sculpted a series of silicone ears accompanied by a sound component to be installed within the art studio.
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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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Eastwood, Joseph. "An investigation of the relationship between typography and audio-based communication in the urban environment, with particular regard to pedestrian wayfinding." Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/6264/.
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This practice-based study explored the relationship between text-based messages and audio-based communication within the contemporary urban environment. Issues relating to signage overload and urban movement were identified at an early stage in this study, and pedestrian wayfinding was then selected as a form of communication that allowed for exploration of all the key issues. Two practice-based approaches to the research were developed that utilised both analysis and experimentation. Initially informal and then subsequently structured investigations of text and audio-based communications in real environments were conducted. Subsequently structured case studies were undertaken in carefully selected external environments, whence a series of charts and macroscopic drawings were produced facilitating data collection and analysis by the researcher. Analysis of findings indicated that whereas in interior public spaces the combination of text and audio in messages was relatively well established, there were few examples of wayfinding design that employ a combination of text and audio design currently existing within the external environments investigated in the case studies. It was also indicated that signage overload and visual clutter made pedestrian wayfinding problematic in the urban environment. Speculative design proposals investigate possible solutions to these issues. From this practical and theoretical basis guidelines have been derived with a view to supporting practitioners in this new area.
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Klevgaard, Trond. "New typography in Scandinavia : domesticating theory and practice amongst the graphic trades, 1927-43." Thesis, Royal College of Art, 2018. http://researchonline.rca.ac.uk/3424/.
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This work provides the first extended account of New Typography’s path in Scandinavian countries, a topic which has yet to receive attention beyond a handful of articles and book chapters. Based on an exhaustive study of graphic trade journals published in Denmark, Norway and Sweden between the years of 1927 and 1943, it charts debate on New Typography and discusses the journals’ changing designs. Additional visual material has been sourced from a number of Scandinavian archives. In discussing the spread of New Typography’s theory and aesthetic from elsewhere in Europe, and then primarily from Germany, the thesis uses the concepts of domestication and networks, rather than those of diffusion or influence and centre–periphery. Dealing with a period in which the graphic designer had yet to appear as a professional figure, New Typography’s impact on a range of professional groups — all of which held responsibility for the design of graphic materials — is considered. Particular attention is paid to how the printing trade took up New Typography in its educational efforts to ‘heighten the trade’. However, the differing cultural, organisational and technological factors informing not only the practice of printers, but also that of architects, avant-garde artists, commercial artists, intellectuals and lay-out men, is detailed in order to understand how and why New Typography achieved different levels of penetration amongst these groups. Rather than facilitating an exchange of ideas across professional boundaries, the Scandinavian trade journals serving these various practitioner types formed parts of discreet international networks, more likely to report on developments within their particular trade or profession abroad, than on those occurring in related trades or professions at home. The last two chapters deal with how New Typography related to two major cultural and political forces in 1930s Scandinavia: Functionalism and Social Democracy. Commonly perceived as closely related, not only to one another, but to Scandinavian architecture and design of the period, the discussion of these two forces is used to relate typography to the wider design field. It will be argued that whilst initially separate strands, New Typography and Functionalism were quickly coflated, shifting the focus of debate from aesthetic matters to those of function. Taken up as a domestication strategy, this shift paradoxically allowed traditionalist views of typography to be put forward as more progressive than the teachings of Tschichold or the practices of the avant-garde. The use of photomontage was limited in a commercial context. This particular aspect of New Typography was thereby able to retain its radical political associations, and found prominent use in the discreet zones formed by the publications of Clartéist publishing house Mondes Forlag, publications associated with Functionalist architects and the graphic materials created for the Social Democratic parties’ youth and women’s groups. A clear organisational commitment to both Functionalism and New Typography was made by the Swedish cooperative society, Kooperativa Förbundet. It not only made pioneering use of Functionalism in architecture, but established a house style based on New Typography for its ‘konsum’ stores.
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Weisenmiller, Eric Michael. "A Study of the Readability of On-Screen Type." Diss., Virginia Tech, 1999. http://hdl.handle.net/10919/29400.
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This study examined the readability of fonts. More specifically, it investigated how four different fonts effected both reading rate and reading comprehension. The typefaces Georgia, Verdana, (which, according to their designers, optimize onscreen readability) Times, and Arial (both designed for digital output to hard copy) were displayed as treatments both on a computer screen and on paper. The purpose of the study was to determine whether sans serif and serif typefaces optimized for on-screen viewing significantly improve reading rate and reading comprehension. Comparisons were made among the typefaces using a categorical independent variable postmeasure-only research design to determine the level of dependent variables (rate, comprehension). The group means of each of twelve treatment groups (N=264) were analyzed using analyses of variance to determine if either of the variables (presentation mode or font) had a statistically significant effect upon reading rate and/or reading comprehension of a sample taken from a population of subjects attending a midwestern state university. No significant difference was found among reading speed or reading comprehension scores of subjects tested who read text which was typeset in any of the four typefaces. However, significant difference was found between the presentation modes used in the experiment.
Since it was found that 8-bit on-screen text was not significanly more readable than 600dpi text on paper, and 1-bit onscreen text was found to be significantly less readable than onscreen text and 600dpi text on paper, this research concludes that for purposes of ease of readability, onscreen text is better suited to be rendered as 8-bit onscreen text than 1-bit on-screen text. Also, the findings indicate that 8-bit on-screen text was not found to be significantly less readable than 600dpi text on paper. Also, due to the various typefaces currently being used in digital typography and the differing presentation media, further exploration of the readability of on-screen text should examine more fonts and screen display variables.Ph. D.
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Rocha, Ivan Terestschenko. "A metaphysical and linguistic approach to type design and typography /." Online version of thesis, 1993. http://hdl.handle.net/1850/11737.
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OLIVEIRA, ANA MANSUR DE. "TYPOGRAPHY IN SPACE: SENSE AND SENSIBILITY IN A GRAPHIC PROJECT." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7236@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEsta dissertação busca estabelecer uma discussão entre duas maneiras de pensar a solução da tipografia no projeto gráfico: aquela em que o designer privilegia a razão e aquela cujo foco é a sensibilidade. Através de uma análise do significado dos períodos moderno e pós-moderno, buscamos, inicialmente, investigar o contexto em que surgiram estas duas formas de pensar. Em seguida, examinamos o pensamento de alguns autores acerca da concepção mais correta do arranjo da tipografia no espaço gráfico, trazendo a discussão para o âmbito do design propriamente dito. Começamos por expor diferentes idéias sobre este tópico, escolhendo, em seguida, três autores: Jan Tschichold, Emil Ruder e Wolfgang Weingart. Após um breve histórico, foram selecionados alguns exemplos práticos que demonstram as crenças gráficas de cada um. Depois deste mergulho no passado, a questão foi trazida para a contemporaneidade, estudando-a com base no ponto de vista de designers que também se preocuparam com o assunto. Foi realizado um estudo de caso de páginas duplas da Revista brasileira Gula, em que foram identificados elementos gráficos próximos tanto da racionalidade quanto da sensibilidade. Várias imagens foram reproduzidas no capítulo quatro, no qual é feita a análise gráfica do material. O objetivo desta dissertação foi levantar questões que possam contribuir para fomentar futuras discussões e pesquisas dentro de um assunto vital para o designer: as várias formas de pensar o manejo da tipografia no espaço.
This dissertation aims at establishing a discussion between two ways of thinking the solution of typography in the graphic space: the one in which the designer emphazises the sense and the one which focuses sensibility. Through an analysis of the meaning of modern and pos- modern eras, we first investigated the context which gave rise to those two ways of thinking. Subsequently, we examined the ideasof some authors concerning the best way of arranging typography in the graphic space, bringing the discussion to the design context. We started analysing different ideas on this topic, and then focusing in three authors: Jan Tschichold, Emil Ruder and Wolfgang Weingart. After a short historical review, some practical examples have been selected to demonstrate the graphic believes of each one. After that immersion in the past, we brought the question to contemporary times, studying it through the point of view of designers to whom this aspect was also important. A case study of spreads taken out from the brazilian magazine Gula was developed, in which graphic elements related both to racionality and sensibility, were identified. Various images were reproducted in the chapter four, in which a graphic analysis of the material was carried out. The objective of this dissertation was to raise some points that might help futures discussions and research over this vital point to the designer: the various ways of arranging typography in the space.
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Cho, Peter Sungil. "Pliant type : development and temporal manipulation of expressive, malleable typography." Thesis, Massachusetts Institute of Technology, 1997. http://hdl.handle.net/1721.1/10553.
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Ford, Ann. "Typography As Performance: bringing the stage into the design process." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1590.
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Graphic design is historically a visual language consisting of text and image composed for the purposes of sending messages in print format. The voice of graphic design is typography—structuring and arranging letter forms into visual language. Over the past two decades, new communication formats such as motion and interaction have frequently been related to performance. My intention, however, is to explore how performance can influence typography in two and three dimensions, and even in digital environments.
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Pinkney, Alexander J. "Improving typography and minimising computation for documents with scalable layouts." Thesis, University of Nottingham, 2015. http://eprints.nottingham.ac.uk/28872/.
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Since the 1980s, two paradigms have dominated the representation of formatted electronic documents: flowable and fixed. Flowable formats, such as HTML, EPUB, or those used by word processors, allow documents to scale to any arbitrary page size, but typographical compromises must be made since the layout is computed in real time, and is re-computed each time the document is displayed. Conversely, fixed formats such as SVG or PDF are afforded the potential for arbitrarily complex typography, but are constrained to the fixed layout that is set at the time of creation. With the recent surge in popularity of low-powered portable reading devices -- from tablets to e-readers to mobile phones -- there is an expectation that documents should scale to any size, maintain their high-quality typography, and not provide unnecessary strain on an already overloaded battery. This thesis defines a novel paradigm for electronic document representation -- the Malleable Document -- whereby documents are partially typeset at the time of creation, leaving enough flexibility that their content can be flowed to arbitrary page sizes with minimal computation. One tradeoff encountered is that of increased file size, and this is addressed with a bespoke, computationally-light compression scheme. A sample implementation is presented that transforms documents from a source format into Malleable Document format, alongside a lightweight display engine that enables the documents to be viewed and resized on a wide range of devices, mobile and otherwise. Reviews of the technical aspects and a user study to evaluate the quality of the system's rendering and layout show that the Malleable Document paradigm is a promising alternative to both fixed and flowable formats, and builds upon the best of both approaches.
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Almusallam, Basma. "Developing an Arabic Typography Course for Visual Communication Design Students in the Middle East and North African Region." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397011962.
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Metz, Marilyn. "Preferences of consumers age 50+ for typography of product instruction labels." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42096.
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Fifty well-educated consumers over 50 years of age selected print variables within the safety zone for optimal print presentation. A Typography Variable Score (TVScore) matrix based on deviations from optimal print was developed in order to provide a means of assessing consumer product instruction labels. There was a significant correlation between the TVScore and participants' ratings of ease of reading and attractiveness of 40 product instruction labels presented. A modified Miscue Analysis procedure was developed and used to assess the influence of typography on the ease of reading of labels with different typography and TVScores. Participants who read the label with most deviations from optimal print, and therefore the highest TVScore, made significantly more reading miscues. Typography of product instruction labels is an important feature for ease of reading. The Typography Variable Score provides a reliable means of predicting ease of reading for well-educated consumers over 50 years of age.
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Lu, Amanda (Meng-Hsuan). "The Exploration of Static Typography for Expressing The Emotive Qualities of Music." The University of Waikato, 2009. http://hdl.handle.net/10289/2785.
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This thesis explores how the pure form of static typography can express the emotive qualities of music. More specifically, how typefaces/letterforms and typographic compositions can produce emotive associations; and whether combining both aspects can enhance the emotive value. Emotion, typography and music are the three core subject areas of this research. Using music as the medium to elicit emotions, the findings from this thesis indicate that typeface/letterform is the most effective aspect of static typography to express emotive qualities, followed by the combination of both typographic aspects, and typographic composition which has the least impact for emotive connections. Five influential factors affecting the process of emotive association between music and static typography has been found: 1) Association of typographic attributes and design principles to emotive qualities, 2) Direct association using emotive terms and adjectives, 3) Connotation through personal memory and imagination, 4) Association to human voice and human touch, and 5) Association to phonetic properties of music. Chapter 2 of this thesis presents a review of the literature from the three main subject areas. It begins from the psychology of emotions and the importance of emotional attachment in design. Next, the chapter discusses the visual logic and creation of emotions through the pure anatomy of letterforms and typographic experimentation. The third section continues with how music can evoke emotions and the analogy between the properties of music and typographic characteristics. Chapter 3 4 presents original research of this thesis, initiating with a formative pilot study where three music sequences were selected and three corresponding typographic compositions designed by the researcher. The method of matching one sequence to one design piece was employed. Chapter 4 continues with original research, where modification was made to the methodology to obtain more specific results. Each aspect of static typography was investigated individually. The combination of both aspects was also tested to examine whether it can enhance the emotive impact. Findings from this research intend to present fresh realization to graphic designers, typographers and type designers, highlighting the tangible and enduring essence of static typography, with its power to engage the audience on an emotive level.
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Zelman, Stephanie. "Letterforms, cultural forms : the interplay between graphic design, western culture and communications technologies since mid-century." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30232.
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Beginning with an understanding of the aesthetic and idealism of modern design, this thesis discusses the interrelationship between culture, technology and graphic design since mid-century. A review of the rise of postmodern critique, particularly as expressed through digital technologies, demonstrates how cultural shifts and developing communications technologies work in tandem to influence the emergence of visual systems. By revealing several underlying premises of modernity, it is shown that the linearity of modern design is a biased and limited theory of vision. This argument is reinforced by contrasting the modern conception of direct communication with alternative design practices that encourage readers to play a more active role in the interpretation of a message. However, the thesis ultimately returns to the fundamental principles of modernism to suggest that certain tenets of modernist thought should not be jettisoned so quickly, simply because digitization encourages open-ended viewing experiences.
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Nuttall, D. "English printers 1600-1700 and their supra-text roman and italic types." Thesis, University of Reading, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.370815.
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Menon, Sanjiv. "Interface impressions typographical impressions of early contact between Maori and Pakeha : this exegesis is submitted to Auckland University of Technology for the degree of Bachelor of Art & Design (Honours), October 2008 /." Abstract. Full exegesis, 2008.
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Exegesis (BA--Art and Design) -- AUT University, 2008.Disk contains images of artwork. Includes bibliographical references. Also held in print (xvi, 19 leaves : ill. ; 25 cm + 1 CD-ROM (4/3/4 in.)) in City Campus Theses Collection (T 686.224 MEN)
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Waller, R. "The typographic contribution to language : Towards a model of typographic genres and their underlying structures." Thesis, University of Reading, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.379721.
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Pacheco, Heliana Soneghet. "Typography in traditional poetry : methods of segmentation in narrative poems and sonnets." Thesis, University of Reading, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501348.
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The aim of this research is to investigate and analyse how narrative poems and sonnets, two types of traditional poetry, have been handled in books, in England, in terms of typographic presentation. It focuses on how far the earliest printed editions of a poem establish a pattern for its subsequent presentation, and how far other influences might determine the typographic form. The main focus of the analysis is segmentation, the visible division of the text into units which, to a greater or lesser extent, reflect its underlying structure. This division is seen through methods of segmentation in the opening and closing of the poem and, within the poem itself, through typographic features such as indentation, capitalization, line spaces and the placing of each poetic line on a new typographic line. These methods are related to the poetic whole, stanzas. rhyme scheme units, verse paragraphs and line.