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Journal articles on the topic 'Type Typefaces Typography'
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1
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.
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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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Kim, Namoo. "Creating Expressive and Experimental Typography and Typeface by Utilizing Scriptographer: Focused on Rush Type and Celestial Type." Journal of the Korea Contents Association 15, no. 6 (June 28, 2015): 203–14. http://dx.doi.org/10.5392/jkca.2015.15.06.203.
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Leonidas, Gerry. "Enabling Modernity: Innovation in Original Modulated Greek Typefaces, 1998–2007." Philological Encounters 3, no. 4 (November 27, 2018): 412–40. http://dx.doi.org/10.1163/24519197-12340055.
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Abstract This article discusses the associations with tradition, modernity, innovation, and revivalism contained within, and enabled by, three seminal Greek typefaces for continuous reading in a modulated style, developed from 1998 onwards outside Greece. It starts with an analysis of the historical model of types cut by Firmin Didot; this style was later adopted by the Monotype Corporation for hot-metal composition, and survived across technologies well into the digital era. It provides a reference point for subsequent work, and informed new digital typefaces, starting with Adobe Systems’ Minion Pro (1998). The article discusses Adobe’s programme of developing large typographic families with Greek complements, which explicitly pushed the design envelope with each iteration. It examines the approaches taken for features such as the first pairing of monotonic and polytonic diacritics, the pioneering of functionally correct diacritics over small capitals, and their impact on wider practice. Parallel efforts that reinforced this trend by Microsoft, as well as notable independent work, are referenced in the context of active explorations of the relationship between Latin and Greek styles by non-Greek designers. The article concludes that the period between 1998–2007 has been revolutionary for Greek typefaces for continuous text.
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Drucker, Johanna. "Letterpress Language: Typography as a Medium for the Visual Representation of Language." Leonardo 41, no. 1 (February 2008): 65–74. http://dx.doi.org/10.1162/leon.2008.41.1.65.
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This examination of three works by Johanna Drucker, 26 '76 (1976), from A to Z (1977) and Against Fiction (1983), all printed letterpress, focuses on the formal properties of typography and its capacity to extend the meaning of a written text. Handsetting metal type necessarily focuses one's attention on the specificity of written language as a sequence of discrete letters. Each has properties of size, weight and shape; and placement and type styles can be widely varied. The technical constraints of letterpress tend to conserve the norm in the representation of language: line after straight line of a single typeface. The author's intention in deviating from these norms has been to extend, rather than negate or deny, the possibilities of meaning by encouraging plural readings at the levels of the word, the line and the page. Other issues such as the relation of language to experience, to literary tradition or to the social context in which it is produced are investigated.
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Razmjoo, Seyyed Ayatollah, Mehdi Haseli Songhori, and Alireza Bahremand. "The Effect of Two Attention-drawing Techniques on Learning English Idioms." Journal of Language Teaching and Research 7, no. 5 (September 1, 2016): 1043. http://dx.doi.org/10.17507/jltr.0705.28.
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This study investigated the effectiveness of three methods for teaching idioms. Sixty two intermediate EFL learners from a language school in Kerman were divided into three classes to be taught in three conditions: the etymological elaboration experimental group (N=20) was taught 16 target idioms in a text along with the etymology of each idiom; the typographic salience experimental group (N=20) was taught the same text as the previous group but the 16 target idioms were in boldfaced type and red; and the traditional control group (N=22) was taught the same text in plain typeface with no etymology for idioms. The participants in the three groups were not informed about the posttest and the delayed posttest. The results of the comparison between the posttest and the delayed posttest scores of all the three groups indicate that the participants in etymological elaboration outperformed the participants in the other two groups in terms of idioms’ retention and recall. These findings are suggestive that the most effective method of teaching idioms vis-a-vis their retention and recall is etymological elaboration.
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Paras Duhan. "Origin of Brahmi Script from Logographic Elements: An Analysis." Integrated Journal for Research in Arts and Humanities 2, no. 5 (September 5, 2022): 18–24. http://dx.doi.org/10.55544/ijrah.2.5.4.
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When it comes to language and literature, the richness of a culture can only be comprehended via reading and listening. Brahmi is believed to have been responsible for the script of all northern Indian languages except for Urdu. The result of a lengthy and tedious process. There are currently over 200 different languages and dialects spoken throughout India. Some are extensively employed, while others are only found in a single location of the country or planet. Only twenty-two of these amendments has made it into the text of our country's founding constitution. In addition to Braj Bhasha, Avadhi who is spoken in the Oudh region, Bhojpuri, Magadhi, and Maithili which is spoken in Mithila, Rajasthani who is spoken in Rajasthan, and Khadi Boli which is spoken around Delhi. A substantial number of people speak Hindi in its various forms. Another script, known as Brahmi, was also established in the region during this period and was used throughout India and the rest of South Asia at the same time.
Even though historians, archaeologists, and epigraphists have been interested in Brahmi Script for centuries, the script's varied forms, structures, and typographical peculiarities as an alphabet have been mostly overlooked and never examined. Within the scope of this paper, we shall look at the origins of the Brahmi script as a type of logography. Historical appreciation for the distinct anatomical symmetry and phonetic logic of the Brahmi script exists. This has led some outsiders to think that it is an import, yet a consensus has developed over time. "Brahmi" is no longer thought to be a stolen script, but rather an Indigenous one that developed over time. Brahmi is a typographic entity that is basic yet graceful, bold yet lyric, distinct yet easy to recall, symmetrical with decent legibility even when scaled-down, and generally easy to recognise when touched on with closed eyes as a typographic entity. Brahmi is a typeface with a wide range of distinct features. This study investigates the history of the Brahmi script as a logographic element.
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Ivanenko, T. "International Student Competition on Font and Calligraphy Pangram: Origins, Development, Prospects." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 02 (October 2021): 218–35. http://dx.doi.org/10.33625/visnik2021.02.218.
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The article analyzes the experience of holding the Pangram International Student Competition on Font and Calligraphy in the context of the phenomenon of festivals and competitions that popularize the art of type in the cultural space of Ukraine and the world. The purpose of the article is a retrospective review of the five year existence of the competition, its statistical analysis, results and prospects. This study was carried out in the framework of the celebration of the 100th anniversary of KSADA. Its idea is related to the determination of one of the directions of the Academy’s development in the future. The field of international creative competitions is diverse and constantly evolving. The most famous professional type design competitions are Morisawa Type Design Competition, TDC Typeface Design Competition, GRANSHAN Type Design Competition, where designers present their latest developments in type design. The article dwells on the problem of the implementation of creative ideas of art university students through participation in competitions, creative actions, festivals. It was noted that the practice of announcing such competitions is an example of encouraging young people to be creative, and it is an opportunity to find talented labor potential for organizations. The author examines the features of the main type festivals held in Ukraine in different years, namely: Cyrillic Holiday, Ruthenia, Space of Letters. The state of the research of the problem is analyzed. The author emphasizes that the phenomenon of creative actions, festivals and competitions is insufficiently studied in scientific terms. Although they are widely highlighted by local and regional Internet media as significant events, which demonstrates the interest of society. Special attention is payed to the background, development and transformation of the Pangram competition. The main idea of the competition is to give the opportunity to demonstrate the font ideas of students of art higher education institutions from different countries. The competition also promotes the exchange of experience of font schools in Ukraine and other countries, popularizes the role of calligraphy, type and typography disciplines in higher education institutions. The author highlights such conditions and mechanisms of the competition as topics, nominations and categories, event format, the jury and evaluation criteria, partners, and awards. It was noted that the selected remote format proved to be successful in the global pandemic. At the present stage of the development of the art of font and calligraphy in general and in Ukraine in particular, the student competition is a progressive phenomenon of bringing teaching methods beyond the walls of higher education institutions. The present study is important for understanding the trends in modern type design and calligraphy in terms of the formation of Ukrainian identity and the design culture in general.
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Appel, Charlotte. "Titler, typografi og andre tilpasninger." Fund og Forskning i Det Kongelige Biblioteks Samlinger 59 (January 4, 2020): 71. http://dx.doi.org/10.7146/fof.v59i0.123731.
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Charlotte Appel: Titles, typography and other adjustments. A study of Morten Hallager as a media-savvy publisher of Danish books for children during the last decades of the eighteenth century
This article investigates the involvement of Morten Hallager (1740–1803) in the book business, and how he contributed to shaping a new commodity in Denmark: books for children. Until recently, Hallager has not attracted much scholarly attention due to a traditional focus on authors who made original contributions to Danish literature. However, Hallager’s combined experience as a printer (1771–84), a schoolteacher (from 1785) and an expert in German and French gave him a unique background to act as a transnational agent, introducing European Enlightenment literature for children (by J. H. Campe, C. K. J. Dassel, K. T. Thieme, A. Berquin etc.) to Danish readers.
After an outline of Hallager’s life and career, the article presents a survey of his publications. He was particularly active as an author, translator, compiler and publisher of books for children c.1791–1804 (his last books were published posthumously), and during this period he published 38 individual titles – and 57 editions in all (including 19 second or later editions) – corresponding to c.11 per cent of all Danish titles for a young readership. Four main types of intervention that characterise Hallager’s books for children are analysed. First, he took great care over titles and the contents of title pages. Most of them would include an explicit reference to ‘child’, ‘children’ or ‘youth’, and Hallager would present himself as a schoolteacher and thus an expert in the field. Next, when it came to the physical appearance of the books, Hallager made use of his professional know-how. His initial success, a small reader in sextodecimo from 1791 (reprinted ten times), for example, demonstrated how he made choices concerning format, typeface etc. Third, Hallager made a number of pedagogical adjustments to the translated texts, reflecting his ambition to be as specific and concrete as possible and also to include variety, so that his young readers were never bored. Fourth, the article maps his impressive range of strategies with regard to translating, transforming and ‘localising’ foreign texts, so that they would become more digestible and relevant for a Danish audience.
Finally, the conclusion argues that Hallager’s experience in every role and every position within Robert Darnton’s famous communication circuit (1982) was a key to his success – and may explain his wish to explicate his publishing strategies in great detail. For this reason, a study of Hallager’s publications provides us with new insights not only into his own book business but also into the emerging market for children’s books in general.
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Carmin, Jim. "The typographic desk reference: TDR, Theodore Rosendorf, New Castle, DE: Oak Knoll Press, 2009. 136 p. ill. ISBN 9781584562313. $45.00 (hardcover) - Type: a visual history of typefaces and graphic styles. Vol.1, 1628-1900, Edited by Cees W. de Jong, Alston W. Purvis and Jan Tholenaar, Hong Kong: Taschen, 2009. 360 p. ill. ISBN 9783836511018. $59.99 (hardcover)." Art Libraries Journal 35, no. 4 (2010): 43–44. http://dx.doi.org/10.1017/s0307472200016679.
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Soyluçiçek, Seza. "The association of typography with form and content in digital games." Global Journal on Humanities and Social Sciences, February 19, 2016. http://dx.doi.org/10.18844/gjhss.v0i0.302.
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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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Elesini, Urška Stanković, Sara Pančur, and Klementina Možina. "Qualitative and quantitative evaluation of text printed with flexography on woven labels." Textile Research Journal, December 29, 2020, 004051752098174. http://dx.doi.org/10.1177/0040517520981740.
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Even though textile labels are not often the subject of research, their quality must not be neglected. Printed typographic elements (i.e. letters and texts) must be visible regardless of textile ribbons and typeface or type size to be printed. Thus, the aim of the research was to qualitatively and quantitatively analyze and evaluate the text printed with flexography in two different typefaces (Helvetica and Verdana) in three different type sizes (4, 6 and 8 point) on five textile ribbons made of polyester and polyester/cotton mixture in two different weaves (plain and satin). The results of our research showed that the quality of printed letters is influenced by the properties of textile ribbons as well as by the chosen typographic features. When textile ribbons were composed of polyester filaments, the quality of prints was better than in the case of the mixed composition with cotton fibers. The coating and previously dyed textile ribbons had a positive influence on the quality of printed letters. The typeface Verdana gave more distinct and contrasted printed letters than Helvetica. The quality of printed letters (measured by the cover factor) decreased with the reduced type size; letters (and text) in a smaller type size (4 point) were hence, depending on the properties of textile ribbons, less visible.
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Lelis, Catarina, Sandra Leitão, Óscar Mealha, and Ben Dunning. "Typography: the constant vector of dynamic logos." Visual Communication, December 22, 2020, 147035722096677. http://dx.doi.org/10.1177/1470357220966775.
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Visual identities can be constructed from a number of elements which together can be described as the Visual Identity System (VIS). Typography is one of the VIS’s central elements. Typically, the VIS elements have been considered as static and associated with prescribable visual mandates; however, the hypermodernity paradigm boosted the notion of mobility in everything – and brands are no exception. Brand logos now change in shape, colour, wear different textures and sit on top of a variety of backgrounds. All this incredible flexibility has implications for their typographical elements too. In the empirical part of this research, 50 dynamic logos were selected, grouped according to Van Nes’ categories in Dynamic Identities: How to Create a Living Brand (2012) and the changes in their typographic components were analysed under the Multilingual Typeface Anatomy Terminology framework (Amado, 2012), firstly by the researchers, and then by a group of independent coders. It was verified that dynamic logos present a consistent pattern regarding typography since they preserve consistency through type’s structural axes. This result led to a set of recommendations for both designers working with type in the context of the (re)design of dynamic logos, and academics preparing the next generation of brand designers. This research aimed at identifying the typographical inroads in brands with dynamic logos and is a relevant contribution to the perception of how the anatomy of type can define visual consistency.
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Avni, Shani. "Ismar David’s Quest for Original Hebrew Typographic Signs." Visible Language 53, no. 1 (October 6, 2021). http://dx.doi.org/10.34314/vl.v53i1.4623.
Full textAbstract:
Ismar David was a prolific calligrapher, type designer, graphic designer, and illustrator who also engaged in architectural design and taught calligraphy. He studied applied arts in Berlin, emigrating to Jerusalem in 1932 and to New York in 1952. From the 1930s to the 1990s, he created a wealth of unique designs, most importantly the David Hebrew typeface family. It was the first comprehensive Hebrew typeface family, comprising nine styles that include a true Hebrew italic style and a monolinear style, equivalent to a Latin sans serif. David Hebrew provides an example of how a research-based design process can help negotiate the tension between old and new, leading to an innovative, well-informed design solution. David not only excelled in his groundbreaking approach to Hebrew type design for existing glyphs, but he went a step further, expanding the character set. After David completed the design of his typeface family in 1954, it was partially cast for machine composition by the Intertype Corporation. During that period, David relocated to New York to pursue his creative career.