Relevant bibliographies by topics / Typeface design

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Typeface design'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Typeface design.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Typeface design"

1

Bender, Walter, Ruth Ann Crespo, Peter J. Kennedy, and Richard Oakley. "CRT Typeface Design and Evaluation." Proceedings of the Human Factors Society Annual Meeting 31, no. 12 (September 1987): 1311–14. http://dx.doi.org/10.1177/154193128703101202.

Full text
Abstract:
Reading text from a video display screen is a relatively new modality of human communication. This new technology presents advantages and limitations never considered in the design of typefaces for printed communication. It is well known that people read faster from printed text than from a Cathode Ray Tube (CRT). This paper discusses some of the current work to improve CRT readability. Specifically, we have developed software to be used by a typography designer to design anti-aliased (or “grayscale”) CRT typefaces. A new anti-aliased typeface was designed and tested for readability. It was found that readability was significantly improved with this new typeface. This paper describes some of our recent work in this area. The typeface design software and examples of text rendered in a new typeface will be demonstrated on an analog color display.
APA, Harvard, Vancouver, ISO, and other styles
2

Schillo, Julia, and Mark Turin. "Applications and innovations in typeface design for North American Indigenous languages." Book 2.0 10, no. 1 (May 1, 2020): 71–98. http://dx.doi.org/10.1386/btwo_00021_1.

Full text
Abstract:
In this contribution, we draw attention to prevailing issues that many speakers of Indigenous North American languages face when typing their languages, and identify examples of typefaces that have been developed and harnessed by historically marginalized language communities. We offer an overview of the field of typeface design as it serves endangered and Indigenous languages in North America, and we identify a clear role for typeface designers in creating typefaces tailored to the needs of Indigenous languages and the communities who use them. While cross-platform consistency and reliability are basic requirements that readers and writers of dominant world languages rightly take for granted, they are still only sporadically implemented for Indigenous languages whose speakers and writing systems have been subjected to sustained oppression and marginalization. We see considerable innovation and promise in this field, and are encouraged by collaborations between type designers and members of Indigenous communities. Our goal is to identify enduring challenges and draw attention to positive innovations, applications and grounds for hope in the development of typefaces by and with speakers and writers of Indigenous languages in North America.
APA, Harvard, Vancouver, ISO, and other styles
3

Raden, Agung Zainal Muttakin. "ADAPTASI KEARIFAN LOKAL NUSANTARA PADA PERANCANGAN HURUF DIGITAL TAPIS DAN GORGA." Jurnal Budaya Nusantara 2, no. 2 (March 1, 2019): 267–71. http://dx.doi.org/10.36456/b.nusantara.vol2.no2.a1964.

Full text
Abstract:
Indonesia is a house of culture. Many tribes, language, art and traditional culture spread in the Indonesian regions. All of these have become a motto of Indonesia that is unity in diversity or Bhinneka Tunggal Ika. In relation to arts, it is recognized that before colonialism, Indonesia has several indigenous scripts in which the root of this typeface originating from south Indian. After colonialism, however, these indigenous scripts in Indonesia started to shifting direction to modern typeface. As a result, these indigenous scripts become endangered. In the meantime, the modern typeface is growing sustainable until nowadays. This research paper aims to design digital typefaces application with Lampung and north Sumatra local wisdom adaptation. The method in this research is descriptive analysis with typography approach. The result in this research is the production of digital typefaces with local wisdom forms which can be installed in computer.
APA, Harvard, Vancouver, ISO, and other styles
4

Harnoko, Irwan, and Dria Setiautami. "Pengaruh Tipografi pada Era Massimo Vignelli terhadap Tipografi Michael Bierut." Humaniora 2, no. 2 (October 31, 2011): 1368. http://dx.doi.org/10.21512/humaniora.v2i2.3201.

Full text
Abstract:
Massimo Vignelli is a senior graphic designer lived in New York, as a vocal modernism against post-modernism. His statement firmly opposing post-modernism in several occasions: interview in Helvetica the movie, typeradio, talkshow, and some articles in Looking Closer or AIGA Journal. Graphic design works of Massimo Vignelli reflected his characteristic, which is firmly choosing typeface. Typefaces of Vignelly are around 5 typefaces: Bodoni, Helvetica, Times Roman, Century, and Futura. The article uses formal analysis method. The writers collected materials about Michael Bierut, Massimo VIgnelli and Tibor Kalman from books and websites. The writers compare the typeface opinion of Massimo Vignelli (modernism designer), Michael Bierut designer (transition era designer from modernism to post-modernism), and Tibor Kalman (a designer in A Century of Graphic Design, as the influencer of Bierut’s betrayal over Vignelli).
APA, Harvard, Vancouver, ISO, and other styles
5

Beier, Sofie, and Kevin Larson. "How does typeface familiarity affect reading performance and reader preference?" Information Design Journal 20, no. 1 (September 23, 2013): 16–31. http://dx.doi.org/10.1075/idj.20.1.02bei.

Full text
Abstract:
Some typographers have proposed that typeface familiarity is defined by the amount of time that a reader has been exposed to a typeface design, while other typographers have proposed that familiarity is defined by the commonalities in letter shapes. These two hypotheses were tested by measuring the reading speed and preferences of participants. Participants were tested twice with common and uncommon letter shapes, once before and once after spending 20 minutes reading a story with the font. The results indicate that the exposure period has an effect on the speed of reading, but the uncommon letter shapes did not. Readers did not like the uncommon letter shapes. This has implications for the selection of type and the design of future typefaces.
APA, Harvard, Vancouver, ISO, and other styles
6

Zhang, Likun, Xiaoyan Li, Yi Tang, Fangbin Song, Tian Xia, and Wei Wang. "Contemporary Advertising Text Art Design and Effect Evaluation by IoT Deep Learning under the Smart City." Security and Communication Networks 2022 (July 22, 2022): 1–14. http://dx.doi.org/10.1155/2022/5161398.

Full text
Abstract:
This work intends to solve the problem that the current artistic typeface generation methods rely too much on manual intervention, lack novelty, and the single font local feature and the global feature extraction method cannot fully describe the font features. Firstly, it proposes a handwritten word recognition model based on generalized search trees (GIST) and the pyramid histogram of oriented gradient (PHOG). The local features and global features of the font are fused. Secondly, a model of automatic artistic typeface generation based on generative adversarial networks (GAN) is constructed, which can use hand-drawn fonts to automatically generate artistic typefaces in the desired style through training as needed. Finally, the generation of the huaniao typeface is used as an example. By constructing the dataset, the effectiveness of the two models is verified. The experimental results show the following: (1) The proposed handwritten character recognition model based on GIST and PHOG has a higher recognition rate of different fonts than the single GIST and PHOG features by more than 5.8%. The total recognition time is reduced by more than 49.4%, and the performance is improved significantly. (2) Compared with other popular algorithms, the constructed GAN-based automatic artistic typeface generation model has the best quality of the generation of huaniao on both the pencil sketch and the calligraphy character image dataset. Models have broad application prospects in contemporary advertising text art design. This study aims to provide important technical support for the automation of contemporary advertising text art design and the improvement of overall efficiency.
APA, Harvard, Vancouver, ISO, and other styles
7

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
8

Ouyang, Chao Ying, and Feng Liu. "The Typeface Details Design in Graphic Visual Communication Engineering." Applied Mechanics and Materials 170-173 (May 2012): 3296–99. http://dx.doi.org/10.4028/www.scientific.net/amm.170-173.3296.

Full text
Abstract:
This article describes the concept of the details in typeface design,the details in typeface design’ s effection in transmission power in graphic visual communication engineering. By the analysis of the graphic visual communication engineering examples,it has searched the use of the details in typeface design in graphic visual communication engineering design and the effection of the graphic visual communication engineering information’s transmission,and it also propose how to effectively use typeface design to improve the graphic visual communication engineering aesthetic content and effective communication of messages in graphic visual communication engineering,and reach to the ultimate goal in the last.
APA, Harvard, Vancouver, ISO, and other styles
9

Henderson, Pamela W., Joan L. Giese, and Joseph A. Cote. "Impression Management using Typeface Design." Journal of Marketing 68, no. 4 (October 2004): 60–72. http://dx.doi.org/10.1509/jmkg.68.4.60.42736.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Huang, Huiling, and Stephanie Q. Liu. "“Donate to help combat COVID-19!” How typeface affects the effectiveness of CSR marketing?" International Journal of Contemporary Hospitality Management 32, no. 10 (September 17, 2020): 3315–33. http://dx.doi.org/10.1108/ijchm-05-2020-0462.

Full text
Abstract:
Purpose Corporate social responsibility (CSR) marketing has become ubiquitous in the hospitality industry. The purpose of this paper is to examine the effectiveness of donation appeals containing warmth-focused versus competence-focused messages in hospitality CSR marketing. Moreover, we offer an innovative visual design strategy focusing on the typeface (handwritten vs machine-written) in donation appeals to encourage consumers’ donations and boost their brand loyalty. Design/methodology/approach This research used a 2 (message framing: warmth-focused vs competence-focused) × 2 (typeface: handwritten vs machine-written) between-subjects experimental design. Findings The findings suggest that donation appeals featuring warmth-focused messages combined with handwritten typeface and competence-focused messages combined with machine-written typeface can maximize donation intention and brand loyalty. Furthermore, results from the moderated mediation analyses indicate that brand trust is the psychological mechanism underlying these effects. Practical implications Hospitality managers should use typeface design, which is easy and inexpensive to manipulate, to enhance the effectiveness of CSR marketing. Specifically, for donation appeals featuring warmth-focused (competence-focused) messages, the handwritten (machine-written) typeface can boost consumers’ donation intention and brand loyalty. Originality/value To the best of the authors’ knowledge, this research is the first to reveal the competitive advantage of typeface design in hospitality CSR marketing. This research sheds light on the congruency effects of message framing and typeface design in donation appeals on consumers’ donation intention and brand loyalty while using the contemporary context of The Coronavirus Disease 2019 to test the theory.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Typeface design"

1

Harkins, Michael. "Contemporary processes of text typeface design." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13455/.

Full text
Abstract:
Text typeface design can often be a lengthy and solitary endeavour on the part of the designer. An endeavour for which, there is little in terms of guidance to draw upon regarding the design processes involved. This is not only a contemporary problem but also an historical one. Examination of extant accounts that reference text typeface design aided the orientation of this research (Literature Review 2.0). This identified the lack of documented knowledge specific to the design processes involved. Identifying expert and non-expert/emic and etic (Pike 1967) perspectives within the existing literature helped account for such paucity. In relation to this, the main research question developed is: Can knowledge of text typeface design process be revealed, and if so can this be explicated theoretically? A qualitative, Grounded Theory Methodology (Glaser & Strauss 1967) was adopted (Methodology 3.0), appropriate where often a ‘topic of interest has been relatively ignored in the literature’ (Goulding 2002, p.55). This research is specifically concerned with knowledge of design process relating to world-leading experts in the field. Data was derived via recorded in-depth interviews, these were transcribed, analysed and coded in accordance with Grounded Theory’s constant comparative method (Glaser & Strauss 1967, p.105). From the analysis, raised concepts and themes resolved in the generation of three unique Grounded Theory core categories, these have been named: Trajectorizing, Homologizing and Attenuating (chapters 4.0, 4.1, 4.2 and 4.3). The core categories describe how experts negotiate the initiation of design, relational qualities with respect to design and continual accretive refinement of design. The core categories combine to resolve together (chapters 5.0 and 6.0) as workable, conceptual theory that describes and explains text typeface design process generally. The developed theory this research contributes, is anticipated suitable to be applied as analytical and/or prescriptive tools for future study, research and pedagogy in the specific subject area. Beyond this, disciplines such as graphic design, typography, information design etc. may also benefit from this research.
APA, Harvard, Vancouver, ISO, and other styles
2

Phatanateacha, Pornprapha. "The Generation of Forms and Thai Typeface Design." VCU Scholars Compass, 2003. http://hdl.handle.net/10156/1691.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Morris, Taylor Javier. "A software automation framework for image-typeface matching in graphic design." Thesis, Massachusetts Institute of Technology, 2013. http://hdl.handle.net/1721.1/85480.

Full text
Abstract:
Thesis: S.M., Massachusetts Institute of Technology, Department of Mechanical Engineering, 2013.
Cataloged from PDF version of thesis.
Includes bibliographical references (pages 43-44).
This research proposes the framework for an automation tool that facilitates the graphic design process of image-font pairing or matching. Considering traditional graphic design principles, a multi-step software algorithm was developed to emulate the process of determining proportions and visual axes of both images and fonts. The algorithm then matches these visual markers using a decision hierarchy to produce a ranking of appropriate fonts from an existing font dataset. To test the algorithm, 8 benchmark images were selected with varying proportions and visual axes. To build the font data set, each image was manually analyzed through a traditional graphic design process and then two fonts per image with similar, matching characteristics were manually selected. The 8 benchmark images and 16 fonts were then used as inputs into the proposed matching software program. The results of the manually prescribed font-image pairings and calculated matches were then compared. Two images had the intended font in the top 4, two images had one of the intended fonts in the top 4, and 4 images had neither of the intended fonts in the top 4. An additional step in image-font pairing includes detail matching by determining curvature similarities. This detail analysis will affect the pairing outcomes and should be further investigated. This research began to analyze these details, and makes recommendations for continuing this work. Additional future directions for this work include incorporating a user-interface to the matching algorithm, introducing expert testing, and down-selecting the first font pool based on deviation.
by Taylor Javier Morris.
S.M.
APA, Harvard, Vancouver, ISO, and other styles
4

Cardinali, Luciano. "A tipografia customizada como elemento identitário em sistemas de identidades visuais. Um estudo sobre o desenvolvimento de fontes digitais personalizadas." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-26082015-103125/.

Full text
Abstract:
Esta dissertação investiga os procedimentos e métodos empregados por designers de tipos para a concepção e o desenvolvimento de fontes digitais customizadas, associadas exclusivamente a sistemas de identidades visuais corporativos, explorando o potencial expressivo dessas tipografias, procurando identificar seus atributos conotativos, históricos, culturais e emocionais, assim como os possíveis significados e interpretações que estas formas podem evocar, com atenção especial para a tipografia contemporânea. Fontes digitais são elementos centrais para a consolidação de uma identidade visual, além do importante papel em muitas outras especia- lidades do design gráfico. O objetivo prático desse estudo é delinear as decisões adotadas no processo do design e da estrutura formal de seis fontes digitais personalizadas, para uso corporativo exclusivo, baseando-se em informações coletadas diretamente dos designers envolvidos, em textos publicados e análises próprias. Em um sentido mais amplo, o estudo visa colaborar com designers e contratantes de serviços de design tipográfico, sobre a necessidade de uma atenção mais ponderada no momento da escolha ou adoção dos tipos que compõem uma deter-minada identidade visual, considerando a tipografia um agente consolidador de uma identidade autêntica, por meio das qualidades formais, expressivas e conotativas dos tipos. Apesar da subjetividade nas avaliações que o tema envolve, o resultado observado é que a tipografia tem condições de carregar e transmitir a identidade de uma instituição, até mesmo nas situações em que a própria marca está ausente, assumindo o papel de transportar, juntamente com o conteúdo da mensagem, valores, comportamentos e personalidade. Neste contexto, a tipografia corporativa customizada, ou seja, aquela desenvolvida e adaptada especialmente para este fim, desempenha um importante papel, o que esta dissertação busca elucidar.
This work studies the procedures and methods used by type designers for conceiving and developing custom digital fonts used exclusively in corporate identity systems. By exploring the expressive potential of these fonts and with regard to contemporary typography, the nvestigation tried to recognize their connotative, historical, cultural and emotional attributes as well as possible meanings and interpretations these shapes may evoke. Besides playing an important role in many graphic design areas, digital fonts are key elements to corporate identities. This study\'s goal is to outline the decisions adopted in the process of designing and creating the formal structures of six custom digital corporate fonts, based on nformation from their designers, in published texts and the author\'s own analyzes. In a broader sense, the study draws attention of designers and clients who hire type design services, on the need for a more careful choice and or adoption of fonts that make up a particular corporate dentity. Thereby, the typography should be considered as an authentic agent for consolidating that identity through its formal, expressive and connotative qualities. Despite the subjectivity in the evaluation, the outcome is that the typography is able to carry and transmit the identity of a company or nstitution even when the the logo is absent. Along with the content of the message, it takes on the role of carrying the values, behavior and personality of the brand. In this sense, the customized corporate font, that s, the font specially developed or adapted for that purpose is believed to play a fundamental role which this study sought to find out.
APA, Harvard, Vancouver, ISO, and other styles
5

Savoie, Alice. "International cross-currents in typeface design : France, Britain and the USA in the phototypesetting era." Thesis, University of Reading, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.627927.

Full text
Abstract:
This thesis considers the significance of phototypesetting, in particular as a transitional technology that re-thought the processes of metal type production and set many standards adopted by subsequent digital technologies, through the change that it brought about in the design and production of typefaces. The historical scope of the research focuses on the key decades of the 1950S, 1960s and 1970S, when phototypesetting established itself commercially, challenged the hegemony of hot-metal typesetting and became widespread, before the industry progressively migrated to digital technologies. Drawing on company and personal archives in France, the UK and the USA, the study explores the working practices developed by manufacturers in these countries, focusing specifically on the work undertaken by Linotype, Monotype and Lumitype-Photon, and the influential type designers who worked for them. The thesis documents the challenges faced by these three businesses in relation to type design, and identifies the new opportunities brought about by the new technologies. It highlights the various diverging strategies and working methods adopted by these manufacturers when devising a library of type designs for photocomposition, strategies which ranged from the adaptation of existing metal faces to the conception of new designs tailored for photocomposition. The processes for converting designs from metal to film, and the use of photographic techniques to develop innovative designs, are analysed through specific case studies that draw on primary sources. In addition, the attitude of type manufacturers towards intellectual property rights is illustrated, identifying the conflicting interests of established companies and newcomers to the typesetting market. The evolution of the status of type designers during the phototypesetting period is explored, casting new light on accepted narratives of the designer's role. In particular, the significance of collaboration between designers, engineers and manufacturers in driving forward typographical innovation at a time of technological turmoil is highlighted throughout the thesis.
APA, Harvard, Vancouver, ISO, and other styles
6

Nilsson, Beatrice. "En typsnittsdesigners arbetsprocess." Thesis, Högskolan Dalarna, Grafisk teknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-29869.

Full text
Abstract:
Denna studie undersöker, med hjälp av mailintervjuer, hur professionella typsnittsdesigners arbetsprocess ser ut. Detta skedde genom att svaren från respondenterna granskades, baserat på detta kunde likheter och gemensamma teman sökas. I slutändan så framträder en grov modell över hur deras arbetsprocess ser ut. Den blev generell då typsnittsdesignerna arbetar på aningen olika sätt även om det går att hitta en del likheter. När de kommer till yrket i sig så ser deltagarna ljust på framtiden, både med den tekniska utvecklingen och att det inte ser något slut för att fler typsnitt kommer skapas, då som i alla andra yrken där skapande står i fokus så finns det behov för både kontemporära tolkningar men också uppdaterande av de gamla typsnitten.
This study was constructed by using email interviews, it investigates the profession of the type designers. This was done by analyzing the answers from the interviews and searching for similarities and common themes. In the end a rough model of their work process was constructed, it became a bit general, since all type designs work a bit different, although there are some similarities. When it comes to the profession itself the participants sees a bright future, for both the technical development and that they see no end for more fonts to be created, as in all other professions where creation is in focus, there is a need for both contemporary interpretations but also updating the old fonts.
APA, Harvard, Vancouver, ISO, and other styles
7

Pineau, Joseph Roy. "Student preferences in screen design factors for Internet delivered college courses." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4190/.

Full text
Abstract:
Colleges and universities throughout the world are offering many of their courses via the Internet. Some institutions offer entire degrees online. This has ushered in a renewed interest in the debate on the effectiveness of non-traditional course delivery method. Numerous educational research studies have been conducted in an attempt to quantify that effectiveness. In any form of experimental research, control of variables is paramount. The rich multimedia capabilities of the World Wide Web give educators a wide variety of delivery media. However, with the exception of advice from artisans on design factors of the media, little research has been conducted with regard to the aesthetics of Web page design as viewed by the student. This study was conducted in an effort to establish student preferences with regard to two factors of Web page design as they might be used on those Web pages, background color and typeface used for text. In addition, it contains an analysis of whether or not there is an interaction between the two factors. Use of the results of this study should prove beneficial to both educators and educational researchers in their future endeavors.
APA, Harvard, Vancouver, ISO, and other styles
8

Куць, Ярослав, Наталія Дядюх-Богатько, and Софія Стець. "Особливості кириличних гарнітур у вітчизняному дизайні книги." Thesis, Київський національний університет технологій та дизайну, 2021. https://er.knutd.edu.ua/handle/123456789/18100.

Full text
Abstract:
Шрифтові рядки у багатьох народів світу є їх національною рисою, вони несуть ритм, настрій, характер етносу. Шрифтові гарнітури у наш час набувають тенденцій глобалізму. Відмінною рисою кириличних шрифтів є їх геометричність. Шрифт має орнаментальну структуру за рахунок пропорцій висоти і ширини. Шрифт, як орнаментальна структура будується на ритмі та повтореннях. Кирилиця немає повної бази встановлення графічних знаків рядкових літер, тому вона потребує подальшого розвитку: виносних та діакритичних елементів, округлостей. Школою з давніми традиціями розробки шрифтових гарнітур є Українська академія друкарства.
Font lines in many nations of the world are their national feature, they carry the rhythm, mood, character of the ethnic group. Font fonts are gaining globalism today. A distinctive feature of Cyrillic fonts is their geometry. The font has an ornamental structure due to the proportions of height and width. Font as an ornamental structure is based on rhythm and repetition. Cyrillic is not a complete base for the installation of graphic characters of lowercase letters, so it needs further development: remote and diacritical elements, roundness. The Ukrainian Academy of Printing is a school with long-standing traditions in the development of typefaces.
APA, Harvard, Vancouver, ISO, and other styles
9

Іваненко, Тетяна, and Михайло Опалєв. "Інноваційні шрифтові експерименти як засіб самовираження." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10387.

Full text
Abstract:
Розглянуто експериментальні прийоми у шрифтовому дизайні як соціокультурне явище та рефлексію на майбутнє. Результати дослідження побудовані на прикладі як професійних шрифтових проектів, так і роботах дизайнерів та художників, що не спеціалізуються на шрифтовій справі. Розглянуто прийоми трансформації морфологічних структур акцидентного шрифту, а також сучасні технічні прийоми виконання авторського задуму.
The experimental techniques in the font design are considered as a socio-cultural phenomenon and reflection for the future. The results of the study are based on an example of professional font projects, as well asworks by designers and artists who do not specialize in typeface design. Techniques of transformation of the morphological structures of the accident font, as well as modern technical methods of execution of the author's plan, are considered.
APA, Harvard, Vancouver, ISO, and other styles
10

Hopfingerová, Ivana. "Design jednotného vizuálního stylu výrobce traktorů." Master's thesis, Vysoké učení technické v Brně. Fakulta strojního inženýrství, 2010. http://www.nusl.cz/ntk/nusl-229253.

Full text
Abstract:
This diploma thesis deals with corporate identity of a tractor manufacturer. For this purpose fictive company called Haart was created. The endeavour of this corporate identity is to make an image of a reliable company which specialises in the production of high-quality agricultural machines. This is accomplished by an orange-grey colour scheme where orange stands for living (agricultural production) and grey refers to lifeless (tractor is a machine). The final corporate identity is presented next to company stationery, merchandise, orientation graphics and web page also on the tractor designed within the pre-diploma project. For advertising graphics needs typeface Haart was created. Part of this diploma project is also the creation of a design manual. It describes all elements of Haart‘s corporate identity.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Typeface design"

1

Type 1: Digital typeface design. New York: Universe Pub., 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Type 1: Digital typeface design. London: Laurence King, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Typeface: Classic typography for contemporary design. New York: Princeton Architectural Press, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Levin, Aaron, Karen Cheng, Sumner Stone, and Muriel Paris. Jean François Porchez: L'excellence typographique = the haute couture of typeface design. Gap]: Atelier Perrousseaux éditeur, 2014.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Russem, Michael, typographer, book designer, Creighton Sarah binder, Kat Ran Press, Stinehour Press, and Press Collection (Library of Congress), eds. Designing the mentoring stamp: An artist's commentary on theory, gesture, photography, composition, color, light, and the typeface Penumbra. [Florence, Massachusetts]: Kat Ran Press, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Printing, London College of. BA MPD Design History thesis 1990: Corporate typography from London Transport to the Face:a study of exclusive typeface design for use within specific visual identity systems. London: London College of Printing, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

1978-, Strals Nolen, ed. Lettering & type: Creating letters and designing typefaces. New York: Princeton Architectural Press, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

editor, Jenkinson Anna, ed. Tasty stories: Legendary food brands and their typefaces. Antwerp: Luster, 2014.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

University, De Montfort. Corporate design strategy: The visual identity, the logo, the logo colours, corporate typefaces, do's and don'ts. Leicester: De Montfort University, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Reči i slova: Tipografska pisma, 8-29. septembar 2005 = Words & letters : typefaces, September 8-29, 2005. Beograd: Muzej primenjene umetnosti, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Typeface design"

1

Harkins, Michael. "Processes of Text Typeface Design." In Contemporary Processes of Text Typeface Design, 24–27. New York, NY : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429284076-3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Padun, Abhijit, and Amarendra Kumar Das. "Typeface Design for Cultural Identity—An Exploration with Assamese Typeface Design and Its Future Scope." In Design for Tomorrow—Volume 1, 555–66. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-0041-8_46.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Velasco, Carlos, and Charles Spence. "The Role of Typeface in Packaging Design." In Multisensory Packaging, 79–101. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94977-2_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Harkins, Michael. "Introduction." In Contemporary Processes of Text Typeface Design, 1–7. New York, NY : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429284076-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Harkins, Michael. "Historical Context." In Contemporary Processes of Text Typeface Design, 8–23. New York, NY : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429284076-2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Harkins, Michael. "Trajectorizing." In Contemporary Processes of Text Typeface Design, 28–55. New York, NY : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429284076-4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Harkins, Michael. "Homologizing." In Contemporary Processes of Text Typeface Design, 56–78. New York, NY : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429284076-5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Harkins, Michael. "Attenuating." In Contemporary Processes of Text Typeface Design, 79–108. New York, NY : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429284076-6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Harkins, Michael. "Discussion." In Contemporary Processes of Text Typeface Design, 109–30. New York, NY : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429284076-7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Harkins, Michael. "Conclusion." In Contemporary Processes of Text Typeface Design, 131–37. New York, NY : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429284076-8.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Typeface design"

1

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
2

Leskovar, Zalka, and Nace Pušnik. "Design of typeface with constructivistic properties and renovation of promotional material for memorial room." 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-p91.

Full text
Abstract:
The diversity that occurs in the field of typography, more specifically in the planning and design of typefaces, plays an important role in our lives and in society more broadly. Therefore, purposeful product planning is important because it can facilitate our everyday communication and understanding of the environment. The goal of the collaborative project was to design a display typeface and use it in revised graphic products that, along with the typeface, fit the client, the Kosovel Memorial Room in Sežana, Slovenia. Srečko Kosovel is a well-known Slovenian poet whose work is representative of the cultural and social movement Constructivism. With new graphic products, we want to contribute to better publicity of Kosovel Memorial Room in Sežana. The theoretical part deals with the study and classification of typefaces in groups and larger sets. We also studied some basic properties of typefaces, contrast, stroke width and spacing, weight and height relationship within typefaces. We investigated the historical development of display typefaces, their properties, and their influence on various graphic products. Based on the content of the Kosovel Memorial Room, we examined the origin and development of the artistic avant-garde movement Constructivism abroad and in Slovenia. We highlighted important events in the life of Srečko Kosovel and familiarised ourselves with his work. Based on the client’s needs, the existing promotional material (brochure, posters, etc.) was analysed in more detail. In addition, we conceptually prepared the typeface design, drawing on his other graphic products. The display typeface was used in revised graphic products that we designed in collaboration with the client. The final products were presented in February 2022 and will continue to promote Srečko Kosovel’s work.
APA, Harvard, Vancouver, ISO, and other styles
3

Žarko, Jelena, and Uroš Nedeljković. "The effect of controlling the weight variable on the typeface attribute assessment." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p80.

Full text
Abstract:
Certain characteristics specific for typeface design initiate different impressions on observers, but here arises a research problem where we cannot identify what specific or universal characteristics of the typeface initiate the impressions on certain attributes. A common problem encountered in previous researches is that fonts may vary in many variables and at the same time differ in width, weight, contrast, and structure. Therefore, it is difficult to determine and isolate which universal and specific characteristics of the typeface affect the impression. The subject of this paper is the isolation of the weight variable and the investigation of its relationship with typeface personality attributes. The main goal of this paper is to provide empirical support for theoretical assumptions, building on previous researches on the typeface personality and typographic rhetoric to show how specific typographic characteristics influence the experience of writing itself.
APA, Harvard, Vancouver, ISO, and other styles
4

Weintrop, David, and Uri Wilensky. "Between a Block and a Typeface." In IDC '17: Interaction Design and Children. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3078072.3079715.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Li, Ying, and Ching Y. Suen. "Typeface personality traits and their design characteristics." In the 8th IAPR International Workshop. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1815330.1815360.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
7

Rudolf, Maja, Irena Bates, Ivana Plazonić, Valentina Radić Seleš, Katja Petric Maretić, and Marija Magdalena Mendeš. "Evaluation of the line and edge quality of printed letters on recycled paper with straw pulp." 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-p33.

Full text
Abstract:
Traditional papermaking is based on the use of an aqueous suspension consisting of cellulose fibres obtained by processing wood, non-wood plants or waste paper. With growing environmental concerns regarding deforestation and CO2 production, the paper industry has been always looking for new sources of non-wood pulp that would produce papers of similar quality to those made from wood pulp. Cereal straw from wheat, barley or triticale crops that remains on fields as a residue after grain harvesting has proven to be a good substitute for virgin wood fibres needed in the production of recycled paper. In this study, the quality of printed text on recycled paper with added straw pulp is evaluated mainly based on the line and edge characteristics of the printed letters. For this purpose, three types of laboratory paper substrates were first prepared using recycled wood pulp with the addition of 30% wheat, barley, or triticale straw pulp. The same letter pattern was printed with black ink on each paper substrate at a standard size of 12 pt with two common typefaces: Arial and Times New Roman. The quality of the printed letters was assessed through the measured print quality parameters such as blurriness, raggedness, fill and contrast. The resulting measurements were compared with the results obtained on the reference and control samples made exclusively from recycled wood pulp as a substrate from laboratory and commercial production. In terms of fill and contrast values, the uniformity of lines printed on the recycled papers with added straw pulp is the same or very similar to the reference and control papers. Letters printed in Arial (sans-serif) typeface show slightly better reproduction quality than letters printed in Times New Roman (serif) typeface. The measured parameters blurriness and raggedness of all laboratory-made paper substrates (with and without straw pulp) had similar values between 0.17 mm and 0.20 mm, resulting in a very similar reproduction quality compared to the reference paper substrate.
APA, Harvard, Vancouver, ISO, and other styles
8

Lopes, Daniel, João Correia, and Penousal Machado. "Adea - Evolving glyphs for aiding creativity in typeface design." In GECCO '20: Genetic and Evolutionary Computation Conference. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3377929.3389964.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Matsukida, Hirotsugu, and Hiroyuki Fujioka. "Design of Cursive Handwriting Characters with Nonlinear Typeface Reshaping Transformation." In 2013 Eighth International Conference on Broadband and Wireless Computing, Communication and Applications (BWCCA). IEEE, 2013. http://dx.doi.org/10.1109/bwcca.2013.106.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Hong, Ying. "Western Mainstream Computer Typeface for Large Amounts of Information Design." In 2010 International Conference on Machine Vision and Human-Machine Interface (MVHI 2010). IEEE, 2010. http://dx.doi.org/10.1109/mvhi.2010.124.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Typeface design' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography