Academic literature on the topic 'Type Typefaces Typography'
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Journal articles on the topic "Type Typefaces Typography"
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Soyluçiçek, Seza. "The association of typography with form and content in digital games." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 216–23. http://dx.doi.org/10.18844/prosoc.v2i1.302.
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The aim of this study is to define the correct usage of the connection between the typographic elements in digital games and the form and content of game concept. In this work, the points to take into consideration while utilizing this connection correctly and the effective usage of typographic elements with game graphics will be scrutinized. Along with the character, object and environment design that is composed of the story and concept design which underlies the game design, the selection of the typeface in games is also one of the points to be considered. The typographic elements are substantial design elements of a game design along with the character, environment and level design. The typographic elements of a game are helpful to enable the connection between the user and the game and to direct the user in the game. In this sense, from the game's opening scene, the selection of typefaces that are used in logos, menus, and directions increases in importance. Moreover, in both visual and technical manners the usage of typography in games brings different approaches compared to the ones used in the printed media. To illuminate these topics, successful game examples will be analyzed. The selection of typefaces used in the examples will be looked at from the point of subject, concept and audience and the principles of the correct usage of typography will be mentioned. Along with these, the rareness of the resources about the usage of typography in game design raises the importance of this work.Keywords: Game design, typography, type face, user interface design.
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Franken, Gregor, Maruša Pangerc, and Klementina Možina. "Impact of Typeface and Colour Combinations on LCD Display Legibility." Emerging Science Journal 4, no. 6 (December 1, 2020): 436–42. http://dx.doi.org/10.28991/esj-2020-01243.
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The evolution of high resolution displays, especially liquid crystal displays (LCD), which are among the most commonly used ones, has contributed to a larger number of display readers. Regardless of high resolutions, problems in the legibility of typefaces still occur. Many typefaces may well be readable in print, but cause more difficulties when being read on displays. The aim of this study was to examine the influence of colour contrast on the legibility on LCDs to establish which type style is appropriate for a coloured text to be legible. Two different typefaces specially designed for display use were tested in a satisfactory light-dark contrast of five different colour combinations. The reading speed and fixations were analysed with an eye-tracking device Tobii 120X. Different texts were displayed on an LCD display. The results showed that the selection of a particular colour combination and contrast greatly affects the reading speed and legibility. Less visible colour combinations of text and background were read more slowly than the more contrasting or visible ones in both typefaces. At both typefaces, it was seen that at a slower reading speed, more fixations were needed and vice-versa. A transitional typeface gave a faster reading speed than a sans-serif typeface. An appropriate contrast, colour combination and used typography can facilitate legibility on displays. Doi: 10.28991/esj-2020-01243 Full Text: PDF
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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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Türkkan, Halime. "The significance of typography in data visualisation." Global Journal of Arts Education 10, no. 1 (February 28, 2020): 75–84. http://dx.doi.org/10.18844/gjae.v10i1.4736.
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With the development of technology and the dominance of the digital world, typography has become a critical issue. Information design systems are considered as one of the significant areas of graphic design. Big data provides important information on data visualisation. While presenting this information, the value that the script adds to the design will be examined in this study. The choice of typefaces, leading and kerning in typography, type hierarchy, harmony, balance, unity, the contrast between the visual elements and typography are the critical components of data visualisation. ‘Communication designers often err on the side of providing features that entertain and visually please audience's ability to receive or understand the message, in the hope that messages will be understood because they are associated with appealing features. Although designers often concentrate on visuals and aesthetics, at other times they hope to attract viewers by focusing clearly on valuable content. But too often both approaches impair the audience's ability to receive or understand the message’. In support of what Jacobson mentioned above in his book titled Information Design, this study aims to emphasise the undeniable importance of typography in data visualisation designed for informative purposes. Keywords: Typography, design, data visualisation
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Yuwono, Elisabeth Christine, and Maria Nala Damajanti. "The Benefits and Constraints of Service Learning on Typography Class: Street Vendors’ Banner Design Project." SHS Web of Conferences 59 (2018): 01010. http://dx.doi.org/10.1051/shsconf/20185901010.
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Typography subject focuses on exploring typefaces using typical software and applying it to an artwork, such as a poster, advertisement, etc. In 2016, Typography 2 applied service-learning for the first time. Students were divided into several groups to make banners for street vendors in Surabaya city. This paper aims to determine the benefits obtained by participants of Typography 2 with the service-learning. In addition, to know the constraints faced as an evaluation of service-learning implementation. This study used qualitative methods, by collecting data from students' reflection on Typography 2 service learning project. The students' reflection consists of the learning they get and the obstacles or constraints. The results from service-learning implementation show many benefits are obtained, both in terms of academic and non-academic. It seems that non-academic benefits reveal more than academic benefits. Obstacles and constraints also faced during the implementation can be a meaningful input for service-learning implementation in the future. Implementation of service-learning in Typography class provides the different type and enriches case study in design subject. It also provides an assertion that service-learning as a method of learning is very good and can be applied in courses or other subject areas.
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Noordyanto, Naufan, Sayatman Sayatman, and Nugrahardi Ramadhani. "Designing A Typeface by Adapting Are'Lancor : Madura Cultural Identity in Latin Letters." Ultimart: Jurnal Komunikasi Visual 15, no. 1 (June 27, 2022): 48–64. http://dx.doi.org/10.31937/ultimart.v15i1.2552.
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Arè' lancor, a type of sickle, is a traditional weapon and has become a Madurese cultural identity, especially in Pamekasan regency, Indonesia. Its important status in local history, folklore, and tradition, does not seem to be supported by the community with efforts to introduce Lancor through representative media to a wider audience. This research was conducted as a strategy to introduce lancor in a familiar and applicable visual language medium. The authors have conducted a typographic exploration by designing a set of typeface that contain elements of the visual character of are' lancor'. The design thinking process is used to achieve the design objectives: empathy, define, ideation, prototyping, and test/implementation. This study aims to construct knowledge about how the creative process and the stages of designing a typeface.
Keywords: typography; typeface; are’ lancor; madura; cultural; promotion
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Savoie, Alice. "The women behind Times New Roman." Journal of Design History 33, no. 3 (July 4, 2020): 209–24. http://dx.doi.org/10.1093/jdh/epaa025.
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Abstract The narrative behind the creation of Times New Roman, one of the most widely used typefaces in the western world, is well established and revolves around famous male figures of British typographic history. This article recognises the role played by the Monotype Type Drawing Office (TDO), and of its draughtswomen in particular, in the making of the typeface. While female figures are largely absent from type histories, this contribution emphasises the key role played by the women who worked on adapting Stanley Morison’s original idea for Times New Roman into a fully working, extensive type family. Based on original archival material, it discusses the background of these women, their working conditions, and the nature of their contribution to type-making. In a wider perspective, this article advocates a more inclusive and collaborative view of design history and of its narratives.
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Walker, Sue, and Linda Reynolds. "Serifs, sans serifs and infant characters in children’s reading books." Information Design Journal 11, no. 2-3 (December 31, 2003): 106–22. http://dx.doi.org/10.1075/idj.11.2.04wal.
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This paper describes part of the work of the Typographic Design for Children project at The University of Reading. The aim was to find out whether children found serif or sans serif types easier or more difficult to read, and whether they found text with infant characters (e.g. variants of ‘a’ and ‘g’) easier or more difficult to read. We listened to 6-year-old children reading in a classroom, using specially-designed, high quality test material set in Gill Sans and Century with and without infant characters. We also asked children for their views about the typefaces used. We used miscue analysis to study tapes of children’s reading to see whether more errors occurred in text set in a particular typeface. The substitution category of miscue was explored in more depth to see whether differences were attributable to typeface. The results show that children in our test group could read text set in Gill and Century equally well.
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Lumenta, Natalia Hasti. "Typeface "Garuda Batik" sebagai Duta Budaya Indonesia." Artika 1, no. 1 (May 25, 2015): 49–58. http://dx.doi.org/10.34148/artika.v1i1.28.
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The discovery of artifacts writings on various historical relics prove that typography has accompanied the development of human civilization and be a liaison between the times . Naturally, if the typography is referred to as a reliable means of communication because it is able to survive for centuries in establishing universal human interaction . The emergence of thousands of fonts and " experimental typography " on various types of media indicate that the function of typography as the expanding literacy has become the object of an experimental and artistic expression . Discretion of the function used to create a typeface that represents local knowledge of Javanese culture that was adapted from the classic batik motifs Garuda Yogyakarta style of the interior . Value mythical eagle valuable and unique artistic value of scratches batik canting an inspiration in the creation of the typeface Garuda Batik . The figure of the eagle that had accompanied the history of the Indonesian nation is at once the spirit of the nation's cultural heritage that should be preserved. Universal nature of typography is the right solution to communicate the values contained in the motif of Garuda in the global arena . Typeface Garuda Batik able to adapt to the lifestyle of modern society through its applications in various types of media , techniques , and visual styles are up to date . Typeface Batik Garuda is also a tangible manifestation of nationalism human visual communication design to create a national paradigm design work.
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Možina, Klementina, Sabina Bračko, Dorotea Kovačević, Barbara Blaznik, and Klemen Možina. "Legibility of prints on paper made from Japanese knotweed." BioResources 15, no. 2 (April 8, 2020): 3999–4015. http://dx.doi.org/10.15376/biores.15.2.3999-4015.
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The spread of invasive alien plant species (IAPS) is a leading reason for worldwide environmental change due to their effects on biodiversity and humans. Some valued goods from IAPS have been produced, e.g. paper that consists of cellulose fibres from Japanese knotweed. Therefore, the aim of this study was to establish the usability of this paper grade as a printing substrate, since it does not have ideal optical properties as it is expected from commercial office paper. Because it is widely used, inkjet printing technology was employed. Print permanence is essential, especially when printing documents. However, typographic characteristics must be considered to make a text more legible. Two widely used typefaces (Arial and Times) were tested in three commonly used type sizes (8 pt, 10 pt, and 12 pt). The results showed that the paper made from Japanese knotweed could have valuable properties and suitable legibility, especially when using typefaces with a moderate counter size, high x-height, and minimal differences in the letter stroke width to obtain an appropriate typographic tonal density with an adequate type size. Even after exposure to light, the texts printed in a proper type size and stroke width remained visible.
Dissertations / Theses on the topic "Type Typefaces Typography"
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Wang, Timothy Tien-Lou. "Fonts and Fluency: The Effects of Typeface Familiarity, Appropriateness, and Personality on Reader Judgments." Thesis, University of Canterbury. Department of Psychology, 2013. http://hdl.handle.net/10092/8405.
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The advent of digital typography has seen the printed letter permeate many aspects of our world, due to its function as the visual manifestation of verbal language. However, few scientific researchers have paid attention to these innocuous and ubiquitous characters. Furthermore, existing typeface research has generally been divided into two strands: For nearly ninety years, communicators (writing, marketing, business, and design professionals) have made attempts to investigate how typefaces of different classes and styles might indicate different personalities to the viewer, and explored the notion of typeface appropriateness. More recently, psychologists have taken advantage of word processing software to manipulate perceptual fluency by changing the fonts of different documents, finding several interesting effects. In this study, two experiments were conducted, with the aim of acknowledging and synthesizing both lines of inquiry. In Experiment 1, a restaurant menu was printed with either an easy-to-read, fluent font or a difficult-to-read, disfluent font. It was expected that reading the disfluent font would influence participants’ (n = 110) choices from the menu as well as certain judgments about the dishes. However, there was only one significant effect, whereby participants who read the disfluent font expected to enjoy their chosen dessert less than those who read the fluent font. In Experiment 2, participants (n = 94) judged a person of the opposite sex using the Big Five Inventory, a measure of human personality. The target photograph was paired with a name set in one of two fonts (familiar and unfamiliar). Female participants rated the target higher on the factor of Openness when the name was printed in the novel font. The results of the current study indicate that to some extent, document designers may safely continue selecting typefaces through intuition, and do not necessarily need the supplementation of additional empirical research.
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Hurlburt, Karin Yvonne. "An interview with Mac McGrew, American typeface historian and typographer /." Online version of thesis, 1996. http://hdl.handle.net/1850/11900.
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Bager, Freja. "Making a hybrid of Fraktur and Helvetica : Investigating typography's connection to power, from a historical perspective in a contemporary context." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76566.
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Throughout history and in today’s society, typography has been and still is without doubt a great part of communication. Behrens, an important designer from the modernist movement, believed that after architecture, typography provided “…the most characteristic picture of a period” and “…development of people”. Typography carries meaning and associations, built on the contexts and the design it is used in, that finally creates a typographic image. The Blackletter style Fraktur, and Helvetica were born to serve a purpose connected to power. Important for this research is to understand in detail, the origin of that power and its position: Blackletter portrays features of the Gothic architecture, expressing religious emotions and civic pride, intended for effective writing, and was predominant in religious and educational contexts. This improvement of writing was a necessity for the development of the society during the medieval times; for both educational and financial reasons. As Fraktur became a symbol of Germany, the today’s connotations towards oppression and Nazism were inevitable as the Third Reich continued to use it until it was banned in 1941. Meanwhile, the post war modernism in the 20th Century, sought objectivity, simplicity and readability in their design, to erase any carried meaning or associations that could have a misleading effect on the information. This period of time paved way for a corporate culture, with approaches towards rationalist and functionalist methods, that expresses authority and reliability. Achieving brand recognition for a wide range of products and contexts was required by the graphic designers. Through workshops that document people’s associations and comments on the shapes and typographic images that both Helvetica and Fraktur create, and visual research made in forms of sketching and adding Fraktur features to signs of institutions and public sectors, I have investigated Fraktur’s tainted image of oppression and political sentiments with the help of Helvetica as the contemporary norm.
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Nyström, Erika. "Typografisk makt : Hur värderas typografi?" Thesis, Konstfack, Grafisk Design & Illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6877.
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Typografi finns överallt. Det är en del av grafisk formgivning som är ramverket som vi på olika plattformar i media och i stadsbilden blir tilltalade och därigenom förstår omvärlden. Typografi påverkar i stor utsträckning hur vi tolkar ett innehåll och hur vi värderar allt från människor till åsikter. I mitt examensarbete "Typografisk makt" undersöker jag relationen mellan samhällets värderingar och typografi. Varför tar vi vissa typsnitt på allvar och andra ses som oseriösa? Jag har skrivit en essä och presenterar texten i två publikationer där jag med formgivningen vill kommentera olika sätt att förhålla sig till idéer om hur typografi bör fungera och se ut. I essän tar jag upp historiska aspekter som påverkat hur typografi värderas. Jag försöker även bena ut vilken roll egenskaper kopplade till kön har för roll i hur typografi värderas.Typography is everywhere. It speaks to us and makes us understand the world. Why do we regard some typefaces as serious/professional and some as less serious? My project is an investigation of the relation between the values of society and typography.
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Bednár, Peter. "Tvorba písma OpenType volně dostupnými softwarovými prostředky." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2011. http://www.nusl.cz/ntk/nusl-218848.
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In thesis themes of typography and computer font of OpenType format is described in details. At the beginning attention is paid to historical development of typeface, where stress is laid mainly on development of Roman and white letter with their characteristics. Having presented basis of typography work is concentrated on topic of digital font with emphasis on possibilities of OpenType format. Further its characteristics and advantages were listed compared to another formats and it was evaluated as format appropriate also for creating font in education process. Letterspacing and kerning were mentioned between basic graphical modifications in creating fonts. In theoretical part of the thesis they were examined in available programs designed for creating font in OpenType format. Except free available means into summary were included also commercial types due to absence of more advanced instruments and functions with free available applications. In evaluation was found that the most convenient for education is Fontlab Fontographer commercial program, free Type lite and Fontforge indicated for Open-source platform. Practical part of the thesis is focused on two chosen programs for creating main font characteristics. The goal was to detect if it is possible to reach identical results when using both programs. Fontographer program enabled to use wide tool palette dedicated to vector graphic processing by means of Adobe Illustrator similar instrument. In the case of Type lite program there were rather less instruments, what is sufficient for elementary work and familiarization with creating of digital typeface. Freeware shortage is basic absence of kerning, spacing or hinting functions. Comparing program possibilities, it falls that freeware programs based on OS Windows with their functionality are sufficient only for entry level users. The best option within free available programs is Fontforge for OS Linux which supports mentioned typographic functions. Fontographer was recommended for teaching of basic characteristics of OpenType font format. Another goal of the thesis was creating of recommended work procedure for creating basic characteristics of OpenType font for students, that is enclosed at the end of the thesis.
Books on the topic "Type Typefaces Typography"
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1978-, Strals Nolen, ed. Lettering & type: Creating letters and designing typefaces. New York: Princeton Architectural Press, 2009.
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Reči i slova: Tipografska pisma, 8-29. septembar 2005 = Words & letters : typefaces, September 8-29, 2005. Beograd: Muzej primenjene umetnosti, 2005.
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Tubaro, Antonio. Lettering: Studies and research on the evolution of writing and print typefaces. Milan, Italy: Istituto Europeo di Design, 1994.
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Ben, Day, and Meggs Philip B, eds. Typographic design: Form and communication. New York: Van Nostrand Reinhold, 1985.
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B, Meggs Philip, and Day Ben, eds. Typographic design: Form and communication. 4th ed. Hoboken, N.J: John Wiley & Sons, 2007.
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Ben, Day, and Meggs Philip B, eds. Typographic design: Form and communication. 2nd ed. New York: Van Nostrand Reinhold, 1993.
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Ben, Day, and Meggs Philip B, eds. Typographic design: Form and communication. 2nd ed. New York: John Wiley, 1993.
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B, Meggs Philip, and Day Ben, eds. Typographic design: Form and communication. 3rd ed. New York: John Wiley & Sons, 2002.
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B, Meggs Philip, and Carter Rob, eds. Typographic specimens: The great typefaces. New York: Van Nostrand Reinhold, 1993.
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Typeface: Classic typography for contemporary design. New York: Princeton Architectural Press, 2009.
Find full textBook chapters on the topic "Type Typefaces Typography"
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Luna, Paul. "2. Practical letters." In Typography: A Very Short Introduction, 17–39. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780199211296.003.0002.
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Written communication cannot rely on only one style of letter to function. A single alphabet might suffice if we were looking at Roman inscriptions, but in any kind of modern publication, we see a variety of letterforms coexist. The great strength of the Latin alphabet is its ability to be modulated typographically—the basic design can be varied by slope, weight, compression, and even by the addition of decoration. ‘Practical letters’ considers typographic terminology, the development of typefaces, the numerical systems used to describe the relationships between letter sizes, complex text typography, the mechanization of type, and how letters sit side by side to make words and lines of type.
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Wendorf, Richard. "Printing and Interpretation." In Printing History and Cultural Change, 210–36. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192898135.003.0007.
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This chapter examines the question of whether typography is an essential act of interpretation. It asks what happens when two different kinds of type (italic and roman) are combined; it interrogates Johanna Drucker’s conception of marked and unmarked texts; it examines W. J. T. Mitchell’s formulation of typography as a suturing of the literal and the figurative, producing an imagetext. Eighteenth-century commentators characterized typefaces in terms of gender: roman was masculine, italic had a soft and tender, feminine face. Typography that draws attention to itself rather than simply rendering entry into a writer’s text can be seen in William Morris’s Kelmscott Press edition of Chaucer. How then should scholars edit texts for scholarly or general audiences? The Twickenham edition of Pope’s poetry and the Yale edition of Johnson’s works provide case studies revealing these difficult decisions. This study argues for the intelligent use of italicized or capitalized nouns for modern editions for a general readership—a postmodern text for contemporary readers. Many eighteenth-century texts, moreover, are examples of Jerome McGann’s socialized text, as is the case in Robert Dodsley’s reprinting of poems in his famous collections. The choices he made had an impact on the presentation of the emerging literary canon. Canonization and modernization went hand in hand.
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"Glossary of Typefaces and Type Systems." In The Typographic Medium. The MIT Press, 2021. http://dx.doi.org/10.7551/mitpress/12532.003.0010.
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Luna, Paul. "7. Making typography legible." In Typography: A Very Short Introduction, 107–23. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780199211296.003.0007.
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Reading is a complex process whereby we identify and transform a written message into meaning so that we can respond to it. How do we evaluate how easy a piece of typography is to read? Investigations by psychologists into reading can identify the factors that make type legible under different circumstances, and suggest the best solutions to facilitate reading. Designers and psychologists working together can focus on user needs and, through iterative design, develop the most appropriate solutions. ‘Making typography legible’ explains the guidelines for legibility. There are several variables that affect legibility: the relationship of line length to line spacing, the arrangement of type, and the choice of typeface.
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Archer-Parré, Caroline, and Malcolm Dick. "Introduction." In John Baskerville, 1–8. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940643.003.0001.
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BASKERVILLE, with its well-considered ‘proportions and design, its methods of thickening or thinning parts of a letter, and its sharper and more horizontal treatment of serifs’,1 is one of the world’s most widely used, enduring and influential typefaces. It was created by John Baskerville (1707–75), a printer, entrepreneur and artist who changed the course of type design and made eighteenth-century Birmingham a town without typographic equal....
Conference papers on the topic "Type Typefaces Typography"
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Rauh, Patricija, Gregor Franken, and Klementina Možina. "Legibility analysis of self-designed typeface with eye-tracking device." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p90.
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Typography appears in every aspect of our lives. It is closely intertwined with the representation of information, communication, and our cultural and national identity. Until the invention of computer in printing, only a few typefaces were in use. Then, almost overnight, a flood of new typefaces appeared in different type styles or in their combinations. Nowadays, a vast number of tools is available for designing typefaces, enabling almost anyone to do it. Nevertheless, not every typeface is well designed and useful, i.e. legible. A successful type design requires following the established aesthetic and technical principles. Moreover, it should follow perceptual principles. This study was concerned with evaluating the legibility of various useful typefaces in comparison to a self-designed typeface. The self-designed typeface was not based only on the principles of good legibility. Its design was based also on the paintings by the Slovenian Art Nouveau and later Impressionist painter Matija Jama, whose 150th birthday is celebrated this year. The Impressionist painter’s typeface should not only have the qualities of artistic style, but also be usable, i.e. legible, for a longer text. To determine which type size is optimal for such a text, the test of legibility was conducted. The legibility of the self-designed typeface was analysed along with three other well-known and useful typefaces, i.e., an old style typeface (Minion), a transitional typeface (Bentham) and a sans serif typeface (Gill Sans). The reading speed and number of fixations were analysed using a Tobii 120X eyetracking device. Different texts in all four typefaces in three different type sizes (i.e. 16, 21 and 26 px) were displayed on a 24-inch LCD display. The twenty tested individuals were aged between 19 and 23 years. The results showed that the choice of a particular type size affected the reading speed and legibility. It was also found that for some typefaces, different type sizes, when read, require more fixations. The results of our study show that a self-designed typeface is useful, i.e. legible, at larger type sizes. An appropriate type style and size can improve legibility on displays.
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Ho, Amic. "Paradoxes in Typeface Design for creating new Digital Design Experience." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001437.
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Generally speaking, the paradox of design elements brought about by visual conflict can attract people's attention. Many designers apply similar ideas to their work. However, seldom do designers investigate the reasons behind the paradox of typography, as well as the approaches to creating this contradiction. The research question of this study refers to how the paradox of typography work for communication. The function of typography is not only to deliver messages but also to serve as the foundation for compositional communication. Letterforms were regarded as one of the most valuable graphic elements as they worked as the representations of language and organising type to serve multiple roles within a composition. This paper focuses on the experience of emotions created by typographic design, in particular, it also suggested an example to demonstrate how the experience of typographic designing related to the paradox of typography, built a hypothesis of why these may impact one another. Thus, the finding of this study provide a richer understanding of the design and the development of design projects.
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Agić, Ana, Lidija Mandić, and Nikolina Stanić Loknar. "Legibility of typefaces and preferences of text/background color variations in virtual environment." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p92.
Full textAbstract:
Text legibility is an important and influential aspect of multimedia, not only on usual multimedia reading devices (displays, tablets, and mobile phones) but also in three-dimensional virtual environments (VE). In VEs, text can be used for many purposes in accordance with the category of experience (gaming, architectural visualization, exhibition, education). Font type used can deteriorate the VE experience if the user has to strain his eyes so that he may correctly read what has been written. The purpose of this research is to examine different fonts in order to determine which properties of a typeface are more suitable for VE. Four different fonts have been tested in 10 font sizes at three viewing distances (5, 10, and 15 meters). Times New Roman as a representative of serif fonts, Helvetica as a non-serif font, Caveat as a representative of handwritten fonts, and Roboto as a font for digital use, initially developed for the Android operating system. Different typographic characteristics of fonts significantly affect readability in VE. Additionally, was explored how the color of the text and the background color influence text readability in 20 combinations. It is known that the relationship between text color and background color affects readability. Since VR is a relatively new medium, we wanted to determine which relationship between colors of text and background is the best and whether it follows some rules present on the web. The colors of the text were black and white, and the colors of the background were black, white and gray, red, green, pastel green, blue, pastel blue, yellow, pastel orange, and pastel pink. Results regarding text color/background color have shown that most participants preferred black text on white background, black text on a gray background, and white text on a pastel orange background. On the contrary, participants rated white text on a yellow background as the least preferable combination, accompanied by white text on a pastel green background.