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Journal articles on the topic 'The typography'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

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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Miranda-Dos Santo, Tiago José. "Typography as a mediator of art, space, memory and presence on toponymy." Legado de Arquitectura y Diseño 14, no. 26 (July 1, 2019): 75. http://dx.doi.org/10.36677/legado.v14i26.14460.

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Communication through some media gives meaning to a message, or canexpress the desire to communicate. roughout history, typography has been atculture and written communication’s service, responding to the languages, cultures andsocieties’ evolution stimuli. Its history should be understood as the study, from thepolitical, philosophical and artistic point-of-view, of the several movements and thehistory of humanity. erefore, the proper use of typography demands mastery of itsform and use, in favour of its content, leaving space for a rational expression of thehuman world, built by his knowledge, imagination, wishes and desires. To conclude,the form of typography depends on the language of the text and its medium, referringback to spatial perception and each’s surroundings, contributing directly to its memoryconstruction.Until 1974, Portugal was a very closed country, which prevented a widespread visualhomogenisation of the urban. is fact led to the existence of an unusual typographicheritage, yet it is not connoted a specific typographic style. According to Balius (2013),further development on the reflection of the social impact of typography is needed. This article proposes to examine current signposts typography present on the city of Coimbra,Portugal, identifying and analysing shapes, types and typographic families of dominantand distinct letters, referring to the space analysis and its history, compared to the placeand the history of typography. is analysis enables history as an active object, allowingthe transmission of typographic legate beyond the scope of the design.

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Özkal, Özlem. "Ottoman Foundations of Turkish Typography: A Field Theory Approach." Design Issues 34, no. 3 (July 2018): 59–75. http://dx.doi.org/10.1162/desi_a_00497.

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This paper examines the formation of the field of typography in the Ottoman Empire from within a field-based perspective. By approaching typography as a strategic action field, it analyzes the typographic environment and its various actors from mid-nineteenth to early twentieth centuries according to the criteria of field formation. Through explicatory historical evidence, it demonstrates that the field of typography was in the process of formation in the late Ottoman period.

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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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Brüning, Gerrit, and Dietmar Pravida. "Dramatische ‹mise en page› in Handschrift und Druck." editio 34, no. 1 (November 1, 2020): 123–41. http://dx.doi.org/10.1515/editio-2020-0007.

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AbstractThe paper compares the typography of the first edition of Goethe’s collected writings 1787–1790 with the layout (‹mise en page›) of the manuscript copies from which the print was set. It tries to establish the textual authority of particular typographic devices for print dramas such as the indications of scenes, stage directions, and speech prefixes by tracing their relation to the manuscript setting copies and their development in subsequent volumes of the print edition, but especially for the tragedy Torquato Tasso. It turns out that print typography is sensitive to the manuscript record but shows substantial tendencies to introducing additional typographic hierarchy, thereby underlining outward form, i. e. external characteristics of classicist drama. Later editions published during Goethe’s lifetime seem to go much further in this direction. The consequences for the typographic setup in critical editions of Goethe’s dramas are discussed.

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Talandová, Petra, and Jiří Rybička. "The influence of education on chosen typographical characteristics perception in documents." Acta Universitatis Agriculturae et Silviculturae Mendelianae Brunensis 56, no. 6 (2008): 189–98. http://dx.doi.org/10.11118/actaun200856060189.

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This paper concentrates on the problems of documents quality evaluation and perception. It presents the results of our own research which was made at our faculty in last months. The research was aimed at marketing materials, their quality and their evaluation by customers. After another comparative research we have concentrated on the question of typography and its evaluation by customers. It has been proved that typography, although not very visible for many readers, does influence readers' evaluation of the whole document.Quality evaluation is influenced by what readers usually see around them but also by what are they taught at schools. For that reason we should influence readers and teach them how should be documents designed. Future specialist should know about this problem.Aim of the research was to find how typography influences readers and whether is the typographic quality evaluation influenced by teaching at school. We have been comparing two groups of respondents, of which one was influenced by typography education and one was not. Respondent were asked to fill in a questionnaire which concentrated on right and wrong characteristic of the text. Result analysis has proved that the group influenced by typography lessons had better results. These conclusions will be applied in the new education plan for an innovation of education courses.

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Hausmann, Raoul, and John Cullars. "Typography." Design Issues 14, no. 3 (1998): 71. http://dx.doi.org/10.2307/1511897.

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Metcalf, Allan. "Typography." Dictionaries: Journal of the Dictionary Society of North America 17, no. 1 (1996): 17–28. http://dx.doi.org/10.1353/dic.1996.0018.

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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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Rahardja, Anita, and Dominique Rio Adiwijaya. "Seni Bicara Lewat Typeface Dekoratif dan Komposisi." Humaniora 5, no. 2 (October 30, 2014): 710. http://dx.doi.org/10.21512/humaniora.v5i2.3126.

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On this essay, the main topic is related to one of the branch in visual communication design, typography. In the early days, typography derives from hand writing, but nowadays, it has been developed digitally by means of computer. The presence of computers facilitate in making digital typefaces, especially decorative ones. This contributes to its quantities and vast distribution. Literature studies conducted to further understand the definitions and characteristics of digital typefaces. A decorative typeface owns a certain visual characteristic which in the end limits its usage. Certain characters in decorative typefaces often associated with particular moods or impressions, which can be used to deliver a message. Next is the ideation and visualization by students and teaching staffs in typography class using both analog and digital media to produce typographic compositions using decorative typefaces. The final step is to analyze the compositions to capture its intended message.

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Arifrahara, Gema. "ANALISIS PENGGUNAAN TIPOGRAFI SPASIAL SANS SERIF DALAM RUANG PUBLIK TAMAN TEMATIK KOTA BANDUNG." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 7, no. 01 (February 28, 2021): 92–104. http://dx.doi.org/10.33633/andharupa.v7i01.3804.

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AbstrakPenggunaan tipografi spasial tiga dimensi sebagai media informasi sudah lazim adanya, bahkan di kota Bandung pada setiap taman saat ini menggunakan pendekatan kreatif environmental tipografi. Ruang publik taman kota selain berperan sebagai paru-paru kota juga berperan sebagai ruang interaksi masyarakat, sangat baik untuk psikologis masyarakat dan memberikan sensasi modern. Taman kota yang ada di kota Bandung hampir sering dijumpai menggunakan pendekatan tipografi spasial Sans Serif seperti pada; Taman Tegal Lega, Taman Lansia, Taman Fotography, Taman Petpark, Taman Superhero, dan Taman lainnya. Objek tipografi sans serif tiga dimensi diamati secara deskriptif terhadap karakteristik huruf secara keterbacaan, legibility, keterlihatan dan kejelasannya dengan metode pencarian data melalui observasi objek tipografi pada display nama identitas taman. Permanfaatan tipografi sans serif pada ruang publik kota hanya bersifat fungsional sebagai penguat identitas semata tidak ditujukan sebagai penguat karakter kultural maupun simbolis. Kata kunci: ruang publik, sans serif, taman kota Bandung, tipografi spasial AbstractThe use of three-dimensional spatial typography as a medium of information was commonly used, even in the city of Bandung in every park using a creative approach to environmental typography. Apart from its role as city lungs, public space city parks also became a space for the community to interact, psychological healing in the city community, and providing a modern sensation. City parks in Bandung are often using the spatial typographic approach of Sans Serif as; Tegal Lega Park, Senior Park, Photography Park, Petpark Park, Superhero Park, and other Parks. Three-dimensional sans serif typographical objects are observed descriptively to the characteristics of letters in readability, legibilities, visibility, and clarity with data search methods through the observation of typography objects on the display of park identity names. The utilization of Sans Serif typographic in public spaces is only functional as an identity and it's not intended as a cultural or symbolic character booster. Keywords: Bandung city park, public space, sans serif, spatial typography

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Krzak-Weiss, Katarzyna. "Jak Emil Zegadłowicz o typografii gawędził. Uwagi na marginesie poznańskiej edycji "Gawędy poety z typografem" z 1929 roku." Studia o Książce i Informacji (dawniej: Bibliotekoznawstwo) 37 (June 26, 2019): 149–62. http://dx.doi.org/10.19195/2300-7729.37.11.

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How Emil Zegadłowicz discoursed about typography. Comments on the margin of the Poznań Edition of Gawęda poety z typografem of 1929The present text is based on a book by Emil Zegadłowicz published in 1929 by the poet’s friend, Jan Kuglin. Gawęda poety z typografem [Discourse between a poet and a typographer] was delivered for the first time during the Third Congress of Polish Bibliophiles that took place in Lwów in 1928. Its individual fragments are a point of departure for reflections upon typography at the turn of the twentieth century, especially the beautiful book trend initiated at that time as well as the bibliophile publishing houses and editions that emerged in its wake.

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Yeo, Jesvin Puayhwa. "Beyond Typography." International Journal of the Book 8, no. 2 (2011): 25–36. http://dx.doi.org/10.18848/1447-9516/cgp/v08i02/36866.

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Yeo, Jesvin Puayhwa, and Rene Fengming Sim. "Beyond Typography." International Journal of the Book 9, no. 4 (2012): 87–96. http://dx.doi.org/10.18848/1447-9516/cgp/v09i04/36957.

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Vance, Valerie J. "Typography 101." Business Communication Quarterly 59, no. 4 (December 1996): 132–34. http://dx.doi.org/10.1177/108056999605900415.

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DRURY, SARAH. "BOOK TYPOGRAPHY." Art Book 13, no. 1 (February 2006): 43. http://dx.doi.org/10.1111/j.1467-8357.2006.00640.x.

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Cuming, Geoffrey. "Liturgical typography." Information Design Journal 6, no. 1 (January 1, 1990): 89–92. http://dx.doi.org/10.1075/idj.6.1.06cum.

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She is older than the rocks among which she sits ; like the vampire, she has been dead many times, and learned the secrets of the grave ; and has been a diver in deep seas, and keeps their fallen day about her ; and trafficked for strange webs with Eastern merchants : and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary ; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has moulded the changing lineaments, and tinged the eyelids and the hands.

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Billard, Thomas J. "Citizen typography and political brands in the 2016 US presidential election campaign." Marketing Theory 18, no. 3 (March 15, 2018): 421–31. http://dx.doi.org/10.1177/1470593118763982.

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The 2016 presidential campaign between Hillary Clinton and Donald Trump saw citizen typography emerge in highly visible and highly impactful ways, particularly as the candidates made seemingly little attempt to maintain full control over their visual brand identities. But what does the surprising significance of typography in this recent campaign reveal about marketing and citizen participation in politics, about political brand management in a networked media environment and about typography’s role as a key pillar of branded political communication? This essay offers two key concepts: the networking of political brands and an emerging logic of participatory aesthetics – both of which point to a decentralization of traditional ‘brand management’ in favour of affectively driven political engagement through visual communications disseminated over communication networks.

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Waldeck, Mila. "Typography and nationalism: The past and modernism under Nazi rule." Journal of Visual Political Communication 6, no. 1 (June 1, 2020): 37–80. http://dx.doi.org/10.1386/jvpc_00003_1.

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In 1941, the Nazi regime revoked the long-established convention of typesetting German texts in Fraktur styles.1 This study examines the significance of the messages conveyed by letterforms in Nazi propaganda and the extent to which the regime put into practice its professed typographic policies. Taking into account different audiences and channels, it focuses on books by the Ahnenerbe institute controlled by Heinrich Himmler, the women’s magazine NS-Frauen-Warte and the newspaper Völkischer Beobachter. Fraktur styles seem to have functioned as the main letterforms of the blood and soil ideology, but another strand of Nazi typography departed from Fraktur and probably translated the importance of the Oera Linda book and the Codex Aesinas in the image of a supposedly ‘Aryan’ past. Meanwhile, the Nazi propaganda incorporated forms and norms that it appropriated from modernist typography, a topic implicitly raised in the dispute between Max Bill and Jan Tschichold in 1946. Typography functioned as an instrument for exclusion, racial discrimination and gender stereotyping and to mark the boundaries of the ‘Aryan’ community, challenging the notion of print-language as intrinsically inclusive expressed in Benedict Anderson’s Imagined Communities.

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Solpera, Jan. "The Typography of the Landfras Printing Works." Acta Musei Nationalis Pragae – Historia litterarum 63, no. 3-4 (2019): 71–80. http://dx.doi.org/10.2478/amnpsc-2018-0010.

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The article focuses on the typefaces used in the Landfras printing works in Jindřichův Hradec throughout the 19th century. The production of this printing works reflected the transformation of the printing craft workshop into an industrial enterprise. In the history of the development of the typeface, the 19th century is the most interesting period. At its beginning, the transformation of the dynamic Renaissance Antiqua into the rational Classicist Antiqua was completed. In the next years, typographic font was used not only for education but more and more for advertisements. Roughly from the middle of the century, a period of historicism appeared in typography as well, involving virtually an eruption of all kinds of decorative letter shapes and ornaments. At the end of the 19th century, a new artistic style, Art Nouveau, emerged. This was the end of one epoch and the beginning of another in the history of this printing works. Concerning the typography of the 19th century, one can say that it is so ugly that it is beautiful. The same applies to the typefaces of the time. The interest in these highly emotional typefaces was revived again in the 1960s, when it led to the creation of a number of interesting products in the areas of book typography, cultural posters and record sleeves.

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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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Carina, Rina. "PENGGUNAAN HURUF DEKORATIF DALAM TIPOGRAFI KINETIS." Jurnal Dimensi DKV Seni Rupa dan Desain 4, no. 1 (April 1, 2019): 17. http://dx.doi.org/10.25105/jdd.v4i1.4558.

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<strong>Abstract</strong><br />The Decorative Letters Application in Kinetic Typography. Typography is a design element that is very important and widely used in animation, which is known as kinetic typography, where the letters move and become the main visual element in conveying information. Decorative letters are now more diverse, some are easy to read, but many of them are difficult to read. The developing of decorative lettes will certainly affect the visual. The purpose of this study is to see the development of decorative letters<br />application in kinetic typography. This art-based research uses qualitative research method by analyze the decorative letters as design elements based on basic typographic theory. The result is a conclusion of the achievement of delivering information through the decorative letters, especially in kinetic typography and open to further study.<br />Hope that this research can enrich designer’s references in applying typography as an important and informative design element.<br /><div> </div><div> </div><strong>Abstrak</strong><br />Penggunaan Huruf Dekoratif dalam Tipografi Kinetis. Tipografi merupakan sebuah elemen desain yang sangat penting dan banyak digunakan dalam media animasi, yang dikenal dengan sebutan tipografi kinetis, di mana huruf-huruf tersebut bergerak dan menjadi elemen visual utama dalam menyampaikan sebuah informasi. Bentuk huruf dekoratif pun kini semakin beragam, ada yang mudah dibaca, namun tidak sedikit<br />yang sulit dibaca. Semakin banyaknya suguhan bentuk huruf dekoratif tentunya akan mempengaruhi desain visual yang dihasilkan. Tujuan dari penelitian ini adalah untuk mengetahui perkembangan penggunaan huruf dekoratif pada tipografi kinetis. Penelitian berbasis seni ini menggunakan metode riset kualitatif, dengan menganalisis huruf dekoratif sebagai elemen desain berdasarkan teori dasar tipografi. Hasil dari<br />penelitian ini adalah berupa kesimpulan mengenai keberhasilan penyampaian informasi melalui huruf dekoratif, khususnya dalam karya tipografi kinetis dan terbuka untuk penelitian lebih lanjut. Melalui penelitian ini diharapkan dapat memperkaya referensi para desainer dalam menggunakan tipografi sebagai elemen desain yang penting dan<br />informatif.<br /><br />

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Schwitters, Kurt. "Designed Typography (1928)." Design Issues 9, no. 2 (1993): 66. http://dx.doi.org/10.2307/1511676.

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Miles, John. "Typography for journals." Learned Publishing 7, no. 1 (January 1994): 11–16. http://dx.doi.org/10.1002/leap/70003.

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Salonen, Liisa, and Summer Powell. "Typography, Meet Furniture." Visual Communication 4, no. 2 (June 2005): 179–85. http://dx.doi.org/10.1177/1470357205053400.

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Rybicka, Jiri. "TEX and Typography." Zpravodaj Československého sdružení uživatelů TeXu 18, no. 3 (2008): 104–9. http://dx.doi.org/10.5300/2008-3/104.

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Waller, Robert. "Language and typography." Information Design Journal 7, no. 1 (January 1, 1993): 91–92. http://dx.doi.org/10.1075/idj.7.1.14wal.

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Clark, Malcolm. "Computers and typography." Information Design Journal 7, no. 2 (January 1, 1993): 161–66. http://dx.doi.org/10.1075/idj.7.2.12cla.

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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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Kartika, Rina. "Memilih dan Memanfaatkan Tipografi." Humaniora 6, no. 3 (July 30, 2015): 312. http://dx.doi.org/10.21512/humaniora.v6i3.3352.

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Typography is one of the main components of a visual communication design work as a means to convey the message to its target audiences. In delivering the information, typography stabilizes visual and verbal aspect of the overall design. The understanding of the messages (including its related aspects, such as: product knowledge, target audience’s profile, media planning, etc) is the most important thing that will help define the combination of typeface needed. This study was conducted by observation, information gathering, and typography design study of several examples. Furthermore, the understanding of typography was linked on how to choose the right typography for visual design. Result showed that the combination should have a good balance of ‘legibility’ and ‘readability’. As a conclusion, a good typography design will deliver such perception, as well as express desired impression, in a visual communication design work.

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Unsworth, Len, Alejandra Meneses, Maili Ow González, and Guillermo Castillo. "Analysing the Semiotic Potential of Typographic Resources in Picture Books in English and in Translation." International Research in Children's Literature 7, no. 2 (December 2014): 117–35. http://dx.doi.org/10.3366/ircl.2014.0127.

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Picture books frequently make use of distinctive typography to indicate emphasis or evaluative expression, distinguish particular characters and contribute to the interpretive possibilities of the narrative in a variety of ways. However, the potential significance of typography is not always taken into account in discussion of the interpretation of children's literature or in picture book translation. In this paper we investigate the influence of typography in interaction with language choices on the interpretive possibilities of Oliver Jeffers' picture book STUCK (2011) and discuss the interpretive impact of the different typography and language choices in the Spanish translation, ATRAPADOS ( Jeffers, 2012 ). Our investigation is informed by recent semiotic work on typography and accounts of evaluative resources in English, drawing on systemic functional linguistics and its application to researching the literary narrative techniques of picture books. Our analyses illuminate the relationships among the narrative genre, grammar, typography and thematic interpretation of the texts and how the latter is influenced by translation. The importance of further exploration of typography in picture books and extension to the ‘animated’ typographical resources in electronic versions of picture books is briefly noted.

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Setiautami, Dria. "Eksperimen Tipografi dalam Visual untuk Anak." Humaniora 2, no. 1 (April 30, 2011): 311. http://dx.doi.org/10.21512/humaniora.v2i1.3011.

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Typography is one of the elements design, which can make children learn it as an image or as text. Article explores the impacts of typography for childrens. For children’s interest we have to make the experiment visual with a big fun expression. The fact is the shape of typography can’t be changed, that’s why we have to know how to change them and get another expression to another form. With the fun experimental typography we can make one of edutainment kit books for the children.

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Ahn, Yeohyun, and Ge Jin. "TYPE+CODE II: A Code-Driven Typography." Leonardo 49, no. 2 (April 2016): 168. http://dx.doi.org/10.1162/leon_a_01062.

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TYPE+CODE II explores the aesthetic of an experimental code-driven typography created with the Processing programming language. It crosses boundaries between calligraphy, graphic art, typography and computer art. TYPE+CODE II reinterprets typography by combining aspects of traditional hand-drawn calligraphy with contemporary elements based on mathematical expressions and algorithms.

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Tanamas, Tan Hendry, and Lina Purnama. "GALERI SENI TIPOGRAFI." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 1, no. 1 (September 9, 2019): 400. http://dx.doi.org/10.24912/stupa.v1i1.3956.

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Seiring dengan perkembangan zaman, seni menjadi sebuah hal yang semakin dibutuhkan kehadirannya dalam kehidupan masyarakat. Di zaman sekarang ini, penggunaan seni dalam kehidupan sehari-hari seperti pada iklan, film, dan lainnya semakin nyata. Salah satu seni yang berkembang dengan pesat di Kota Jakarta dan Indonesia adalah seni typography. Perkembangan komunitas typography yang semakin luas dan tidak adanya wadah beraktivitas bagi komunitas ini menjadi aspek yang harus dipenuhi oleh sebuah kota Jakarta sebagai kota metropolis. Saat ini belum ada bangunan arsitektur yang bertemekan typography di Jakarta dan bahkan di dunia. Dengan melihat minat typography yang terus berkembang pesat maka ini menjadi kesempatan bagi Jakarta untuk menyediakan sebuah ruang wisata typography bertemakan Architourism yang dapat menjadi pendongkrak kepariwisataan Jakarta dan Indonesia tidak hanya dalam skala dalam negeri tapi juga internasional.

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Kinross, Robin. "The nuts of'em." Information Design Journal 8, no. 3 (January 1, 1996): 219–27. http://dx.doi.org/10.1075/idj.8.3.03kin.

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The typographer Anthony Froshaug worked intermittently as a teacher in Britain and Germany, from the late 1940s through to the 1980s. He was unusual in bringing the experience of typesetting and printing to design teaching, and in his wide set of intellectual interests. Froshaug's contribution was a notable if somewhat subterranean element in the development of education in typography in Britain, especially in the steps towards its modernization that were made in the 1960s and 1970s.

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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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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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Papadopoulou, Maria, Polyxeni Manoli, and Elisavet Zifkou. "Typography, How Noticeable Is It?: Preschoolers Detecting Typographic Elements in Illustrated Books." International Journal of Early Childhood Learning 20, no. 2 (2014): 23–36. http://dx.doi.org/10.18848/2327-7939/cgp/v20i02/58950.

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Ho, Amic G. "Emotional Typography: The Effectiveness of Current Typographic Design Categories in Eliciting Emotion." International Journal of Visual Design 11, no. 2 (2017): 37–44. http://dx.doi.org/10.18848/2325-1581/cgp/v11i02/37-44.

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Pochinskaya, Irina. "The Influence of Patriarch Nikon’s Church Reforms on the Development of the Moscow Printing Court." Przegląd Wschodnioeuropejski 10, no. 1 (June 30, 2019): 13–36. http://dx.doi.org/10.31648/pw.4408.

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On the basis of documents from the archive of the Book Printing Chancellery, this article examines the changes that occurred in the main typography of the Muscovite state between 1620 and 1675. Measures taken to optimise the process of printing led to this establishment becoming highly lucrative. Using a comparative analysis of the net cost of books and their sales price, we are able to pin point the surplus value of production between 1630 and the beginning of the 1650s. All this changed with Patriarch Nikon’s church reforms, which began with the correction of religious texts: this had a direct impact on the activities of the Printing Court. Analysis of the typography’s work after the reforms leads us to the conclusion that the changes interrupted the rapid development of the Moscow Printing Court and its transformation into a large and profitable enterprise. In the second half of the 17th century, the typography began to receive subsidies: by the beginning of the 18th century, it had entered a period of severe crisis which pushed it to the very brink.

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Espejo Cala, Carmen. "Advertising typography: full writing." Questiones Publicitarias, no. 5 (July 31, 1996): 94. http://dx.doi.org/10.5565/rev/qp.262.

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Carter, Matthew. "Typography and Current Technologies." Design Quarterly, no. 148 (1990): 55. http://dx.doi.org/10.2307/4091233.

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Witten, Ian H. "Elements of computer typography." International Journal of Man-Machine Studies 23, no. 6 (December 1985): 623–87. http://dx.doi.org/10.1016/s0020-7373(85)80062-6.

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Simeone, Luca. "Learning from Interstitial Typography." Leonardo 44, no. 5 (October 2011): 466–67. http://dx.doi.org/10.1162/leon_a_00264.

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McCarthy, Steven. "Digital Typography at Stanford." She Ji: The Journal of Design, Economics, and Innovation 6, no. 4 (2020): 546–60. http://dx.doi.org/10.1016/j.sheji.2020.08.006.

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Amert, Kay. "BOOK REVIEW:The New Typography." Visual Communication Quarterly 13, no. 3 (September 2006): 188–92. http://dx.doi.org/10.1207/s15551407vcq1303_6.

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Wong, Bang. "Points of view: Typography." Nature Methods 8, no. 4 (March 30, 2011): 277. http://dx.doi.org/10.1038/nmeth0411-277.

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Paneth-Pollak, Tessa. "Hans Arp's Counter-Typography." Art History 42, no. 1 (January 25, 2019): 94–125. http://dx.doi.org/10.1111/1467-8365.12415.

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Shirreffs, S. "Typography and the alphabet." Cartographic Journal 30, no. 2 (December 1993): 97–103. http://dx.doi.org/10.1179/caj.1993.30.2.97.

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The Staff of the VCQ. "Typography: A Website Journey." Visual Communication Quarterly 15, no. 1-2 (April 2008): 129–35. http://dx.doi.org/10.1080/15551390801914652.

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