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Dissertations / Theses on the topic 'Typeface design'
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Harkins, Michael. "Contemporary processes of text typeface design." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13455/.
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Text typeface design can often be a lengthy and solitary endeavour on the part of the designer. An endeavour for which, there is little in terms of guidance to draw upon regarding the design processes involved. This is not only a contemporary problem but also an historical one. Examination of extant accounts that reference text typeface design aided the orientation of this research (Literature Review 2.0). This identified the lack of documented knowledge specific to the design processes involved. Identifying expert and non-expert/emic and etic (Pike 1967) perspectives within the existing literature helped account for such paucity. In relation to this, the main research question developed is: Can knowledge of text typeface design process be revealed, and if so can this be explicated theoretically? A qualitative, Grounded Theory Methodology (Glaser & Strauss 1967) was adopted (Methodology 3.0), appropriate where often a ‘topic of interest has been relatively ignored in the literature’ (Goulding 2002, p.55). This research is specifically concerned with knowledge of design process relating to world-leading experts in the field. Data was derived via recorded in-depth interviews, these were transcribed, analysed and coded in accordance with Grounded Theory’s constant comparative method (Glaser & Strauss 1967, p.105). From the analysis, raised concepts and themes resolved in the generation of three unique Grounded Theory core categories, these have been named: Trajectorizing, Homologizing and Attenuating (chapters 4.0, 4.1, 4.2 and 4.3). The core categories describe how experts negotiate the initiation of design, relational qualities with respect to design and continual accretive refinement of design. The core categories combine to resolve together (chapters 5.0 and 6.0) as workable, conceptual theory that describes and explains text typeface design process generally. The developed theory this research contributes, is anticipated suitable to be applied as analytical and/or prescriptive tools for future study, research and pedagogy in the specific subject area. Beyond this, disciplines such as graphic design, typography, information design etc. may also benefit from this research.
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Phatanateacha, Pornprapha. "The Generation of Forms and Thai Typeface Design." VCU Scholars Compass, 2003. http://hdl.handle.net/10156/1691.
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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.
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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.
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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/.
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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.
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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.
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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.
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Nilsson, Beatrice. "En typsnittsdesigners arbetsprocess." Thesis, Högskolan Dalarna, Grafisk teknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-29869.
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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.
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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/.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Irma, Puškarević. "Model efektnosti tipografije u štampanim oglasima." Phd thesis, Univerzitet u Novom Sadu, Fakultet tehničkih nauka u Novom Sadu, 2018. https://www.cris.uns.ac.rs/record.jsf?recordId=107717&source=NDLTD&language=en.
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U okviru disertacije predložen je nacrt za generisanje efektne kompleksnostištampanog oglasa na osnovu generisanja kompleksnih tipografskih odlika igenerisanja kompleksnosti slike. Predmet disertacije predstavljao je razvojmodela efektnosti tipografije u štampanim oglasima na osnovu uticajasemantičih odlika, odnosno kompleksnih odlika formalnih atributa slovnogznaka. Predložen model dopunjuje postojeći prilaz uloge tipografije uoglašavanju u okviru segmenta uticaja kompleksnih oblika tipografskog pisma.Na osnovu predloženog modela projektuje se onlajn aplikacija za procenuefektnosti odnosa između kompleksnih tipografskih odlika i slike koja imapraktični značaj za proces grafičkog dizajna.This dissertation proposes a framework for generating effective complexity of printadvertisements based on the generated complexity of typeface properties and imagecomplexity. The subject area of the dissertation was a development of a model for theeffectiveness of typography in print advertisements. The model takes into account theeffects of typeface semantic properties i.e. complex features of the letter’s formalattributes. This approach updates the existing model of the role of typography inadvertising. Specifically, it updates the category on the influence of the formcomplexity. Furthermore, based on the proposed model, a concept fora n onlineapplication is presented. The purpose of the application a practical assistance forgraphic designers which provides information on the effectiveness of the relationshipbetween the complex typeface properties and image complexity.
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Pihalskaya, Ala. "Формы репрезентации повседневности в белорусском плакате 1966-1980 годов." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130627_103154-50380.
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В исследовании Формы репрезентации повседневности в белорусском плакате 1966-1980 годов Пигальской Аллы, ставится цель выявить формы репрезентации повседневности в белорусских плакатах, в период наиболее массового их выпуска на территории Беларуси.
Исследование базируется на антрополого-социологической трактовке повседневности Мишеля де Серто; анализе визуальной репрезентации, согласно конструктивистскому подходу визуальных исследований Стюарта Холла с элементами семиотического анализа фигуративного и пластического уровней визуального сообщения.
Исследование культуры повседневности М. де Серто как одновременное существование устной и письменной парадигм, задающих логику выполнения разрозненных повседневных практик, позволил рассматривать белорусские плакаты в контексте устного и письменного типов коммуникаци. Письменный тип коммуникации актуализирует культурные механизмы, которые структурируются относительно “закона”, частной собственности, дифференциации пространства, техник индивидуализации. Устный тип коммуникации ориентирован на воспроизведение знакомого и понятного, поддерживающего целостность коллектива, в котором недопустимо нарушение “неписанных” правил и норм. Доминирование устной парадигмы в советской культуре позволяет реконструировать логику выполнения художественных практик.
В исследовании показано, что использование в белорусском плакате 1966-1980-х фигуративных и пластических средств обусловлено доминированием устной парадигмой, поэтому характерны... [полный текст, см. далее]Alos Pihalskayos tyrime Kasdienybės reprezentavimo formos Baltarusijos plakatuose 1966-1980 metais keliamas tikslas išryškinti kasdienybės reprezentavimo formas Baltarusijos plakatuose, aktyviausiu jų leidybos periodu Baltarusijos teritorijoje. Tyrimas yra tarpdisciplininio pobūdžio, nes remiasi Michelio de Certeau pasiūlyta antropologine-sociologine kasdienybės traktuote; vizualinio reprezentavimo analize, kuri atitinka Stuarto Hallo konstruktyvistinį požiūrį į vizualinius tyrimus, turintį semiotinės figūratyvinio ir plastiško vizualinio pranešimo lygmenų analizės elementų. M. de Certeau požiūris į kasdienybės kultūrą kaip į kartu egzistuojančias žodinę ir rašytinę paradigmas, lemiančias skirtingų kasdienybės praktikų įgyvendinimo logiką, leido pažvelgti į baltarusiškus plakatus žodinės ir rašytinės komunikacijos tipų kontekste. Rašytinės komunikacijos tipas aktualizuoja kultūrinius mechanizmus, kurie struktūriškai siejasi su „teise“, privačia nuosavybe, erdvės diferencijavimu, individualizacijos technikomis. Žodinis komunikacijos tipas orientuotas atkartoti tai, kas žinoma ir suprantama, kas palaiko kolektyvo vientisumą, jame neleistina pažeisti „nerašytų“ taisyklių bei normų. Žodinės paradigmos dominavimas sovietinėje kultūroje leidžia rekonstruoti meninių praktikų atlikimo logiką. Tyrime parodyta, kad figūratyvinių ir plastiškų priemonių 1966-1980 m. baltarusiškuose plakatuose naudojimą sąlygojo žodinės paradigmos dominavimas, todėl jiems būdingi nekintantys teksto ir... [toliau žr. visą tekstą]
The aim of the dissertation Forms of Everyday Representation in Belarus posters 1966-1980 completed by Ala Pihalskaya, is to identify forms of representation of the everyday in Belarusian posters, when they were most actively produced on a mass scale in Belarus. The research is interdisciplinary in nature, since it is based on the anthropological and sociological interpretation of the everyday proposed by Michel de Certeau, while the analysis of visual representation is made according to the constructivist approach in visual studies developed by Stuart Hall, with elements of the semiotic analysis of the figurative and plastic levels of the visual message. The analytical model of the investigation of everyday life proposed by Michel de Certeau, which posits the simultaneous existence of oral and written paradigms that explain the logic of disparate everyday practices, make it possible to study Belarusian posters in the context of oral and written types of communication. The written paradigm actualizes cultural mechanisms that are structured according to "law", private property, the "conquest" of space and individualization, while the oral paradigm is focused on the repetition of the familiar. In a culture where the oral type of communication dominates, "law" and private property do not matter, whereas everything that can maintain the integrity of the collective as a unity is highly appreciated. The study shows that the figurative and plastic properties conform to the oral... [to full text]
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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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Lund, Ole. "Knowledge construction in typography the case of legibility research and the legibility of sans serif typefaces /." Thesis, Online version, 1999. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.301973.
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Lekka, Helena. "Linotype's design of new Greek typefaces for photocomposition in the Greek printing market, 1970-1980." Thesis, University of Reading, 2018. http://centaur.reading.ac.uk/79821/.
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This thesis explores Linotype’s design of new Greek typefaces for photocomposition in the Greek printing market between 1970 and 1980. The thesis draws on original archival research and interviews in Greece, the U.K. and the U.S. in order to build a reliable picture of the design and manufacture of the typefaces. Specifically, it seeks to establish: the reasons that prompted Linotype to embark on a programme of Greek type design; whether this design work constituted a programme, and if so how it came about; the role of the Athens Publishing Center in facilitating Linotype’s efforts to enter the nascent photocomposition market; and which typefaces were developed, and their design process discovered through the documentary evidence of the people who contributed to their design and manufacture. The collaboration of Linotype staff, whose combined expertise included type design, printing technology and business, with their local agent and their clients lies at the heart of this research and is discussed throughout the thesis. This allows conclusions to be drawn about the relationship of the new Greek type designs to the Latin typefaces they were extensively modelled on. The thesis contributes new information to the existing literature on Greek typographic history in the second half of the twentieth century, and aims to facilitate a greater understanding of the role of photocomposition in Greek typography and printing, which is a subject that has been little touched upon in the available literature in this field.
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Li, Ying. "Typeface personality traits and their design characteristics." Thesis, 2009. http://spectrum.library.concordia.ca/976758/1/MR71016.pdf.
Full textAbstract:
Typography is a critical tool in visual communication. Selecting the appropriate typeface to express and communicate a message is very important. Since most studies on typeface design concentrate on typeface legibility and readability, this thesis focuses on the visual expression of typefaces and their design characteristics. The relationship between typefaces and their personality traits including legible, cheerful, fearful, creative, attractive, formal, sloppy, relaxed, friendly and confident are investigated. A font survey about twenty four typefaces and ten personality traits is conducted and a series of statistical analyses are performed to discover the correlation between typefaces and their personality traits. As a result, the number of studied typefaces is reduced from twenty four to fifteen and these fifteen typefaces are categorized into four groups according to their personality traits and typographical features. Typeface design characteristics, such as x-height proportion, ascender and descender proportion, font weight, stroke design, counter design as well as character space of these fifteen typefaces are studied in depth. Typeface design characteristics of four different groups are summarized. In addition, the aesthetic design characteristics of studied typefaces are analyzed. The appropriate uses of each of the four groups are discussed.
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"Comparing Serif and Sans Serif Typeface Pairings on Maps." 2018. http://hdl.handle.net/2286/R.I.49064.
Full textAbstract:
abstract: When cartographers and graphic designers create maps they choose typefaces. Often, serif and sans serif typefaces are paired together to represent different information on a map. Typefaces have a communicated tone and choosing the correct typeface combination to send the intended message can be challenging. The purpose of this study was to create an analysis of the aesthetic characteristics of typeface pairings to assist map creators when choosing typefaces. An online survey was utilized to collect responses from graphic designers who have been trained in at least one year or more in design from a higher education institution. There were 30 participants in the study and they scored 24 typeface pairings, 12 differentiating and 12 superfamily, on 48 maps. Scoring was done on eight aesthetic characteristics: friendly, whimsical, cheap, neutral, bland, corporate, serious and modern. The researcher conducted an analysis of each typeface’s microaesthetics and then compared these to the survey’s scored aesthetic characteristics. It was concluded that there are many factors that go into comparing the typeface pairings of serif and sans serif typeface combinations. However, a selection of a superfamily typeface pairing is better than selecting a differentiating pairing. Future research should focus on conducting studies with a varying amount of typeface styles. Also, to include less maps per survey and a survey completion status bar.Dissertation/Thesis
Masters Thesis Engineering 2018
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Tung, Ji-Hong, and 董基宏. "A STUDY OF HORIZONTAL LAYOUT DESIGN IN TYPEFACE, INTERWORD." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/70508615196970861025.
Full text
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Clarke, James Daniel. "LARCHITYPE: Design guidelines and concept for a landscape architecture typeface." Thesis, 2013. http://hdl.handle.net/10214/6646.
Full textAbstract:
Typefaces contain explicit and implicit character in their appearance. They are valuable to the designer to convey an appropriate rhetorical voice. Typefaces can be powerful expressions for the persona of user groups and their specialized information. This interpretive exploratory study looked at design as research. Textual data was collected from several sources that revealed typeface trends. As a precedent, Helvetica and Times used on National Park plans forecasted Parks Canada’s preference for Helvetica Neue as the current display font family. The second case study revealed several recurrent typefaces used for titles and headings on Canadian Society of Landscape Architects’ professional journals. Lastly, survey data about landscape architects’ current typeface preferences showed a trend for certain styles and persistent connotations. The personality and physical characteristics of these preferences were synthesized into design guidelines and a typeface concept. This representative landscape architecture typeface is intended to promote professional salience and unity.The continuity of this thesis will generate a digital design resulting in the release of a typeface taking approximately two years. The author will engage with professionals within landscape architecture and typography to ensure that the typeface development and assessment is holistic and fulfills the recommendations outlined by the key informant and popular literature.
Landscape Architecture Alumni Award
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HUNG, I.-TZU, and 洪藝慈. "Research on the Characteristics of Sutras Ancient Printing Typeface & Editing Design." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/78982942271918254482.
Full textAbstract:
博士國立雲林科技大學
設計學研究所
104
This research mainly focused on the Dikan edition of “Jiaxing Tripitaka”, a collection of 401 engraved rare books from the Wangli period of the Ming Dynasty to the early stage of the Qing Dynasty listed in the category of Zi-Bu-Shi-Jia-Lei and collected by the National Central Library, and “Hongjiao Tripitaka,” a 470 lead-character-printed rare books from the period between the 14th and the 18th year of the Meiji Dynasty in Japan listed in the category of Zi-Bu-Shi-Jia-Lei-Jin-Lu- Lun- Shu and collected by the National Palace Museum. This research was conducted through document comparison. Main structure of this research utilizes Editorial design concept from modern design as a starting point and, with the support of achievements from related fields of “Edition Study” as its basis, explores universal characteristics in the forms of typeface at that time through actual observation, organization, Comparison and documentation. Research methods mainly focus on actual investigations. They verify and compare word characters presented in books at that time using Yong Tze Eight-Stroke Methodology as well as Han Tze basic strokes and structures for the purpose of a clear understanding of differences. In the meantime, they also explore differences and similarities among research subjects’ respective editing elements from the perspective of modern editing and design principles in order to verify editing characteristics. Research results find characteristics in typeface and editing as follows: 1.Typefaces of “Jiaxing Tripitaka” and “Hongjiao Tripitaka” both come with characteristics of obvious thin horizontal strokes and thickened vertical strokes. 2.Yao (hook) strokes in most engraved words of“Jiaxing Tripitaka” obviously still preserve arc shape which exists in penmanship words. “Hongjiao Tripitaka” was made through brass casting and therefore shapes of its Yao (hook) strokes are relatively more clear-cut. These strokes are connected by straight slanted lines and they come with the prototype of modern day Ming Typeface. 3.Most of Jiaxing Tripitaka’s side bars are in the form of “surrounding dual bars,” while the ones for Hongjiao Tripitaka are all in the form of “surrounding dual bars.” 4.Bookmark of “Jiaxing Tripitaka” and “Hongjiao Tripitaka” both come with similar to copyright page of modern day books. 5.Existence of “Jiaxing Tripitaka” and “Hongjiao Tripitaka” both come with Sutras print.
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Hsu, Hsiu-Hui, and 徐秀惠. "Design of Whole-Style Materials Using Seal Cutting Typeface and the Materials Application." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/57025892390345449103.
Full textAbstract:
碩士萬能科技大學
材料科學與工程研究所
102
The study will apply element of Chinese culture (poem and seal cutting typeface) to whole-design & clothing, giving the whole-design the new cultural style and texture. Display Chinese words by various type and source material, in order to get out of the fixed impression and make the beauty of Chinese words into whole-design. Through this search to performance Chinese Culture by various ways, make beauty of Chinese words and poem alive between past and future. The inspiration of this search is seal cutting typeface with 歐陽修's poem "春深雨過西湖好", combine computerized embroidery with color impress for showing the season and atmosphere in this poem. And the idea of the textile is from seal cutting typeface in colors, apply for the clothing and whole-design.
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吳信慧. "Elementary School Art Class Typeface Design of Chinese Character Instruction - for the Fourth Grade Students." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/2397e4.
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碩士國立新竹教育大學
藝術教育與創作碩士班
104
Elementary School Art Class Typeface Design of Chinese Character Instruction - for the Fourth Grade Students Visual culture permeates our everyday life. Chinese chararcters are part of our life,culture and heritage. This study will use visualculture as a point of reference to our research in the designing of Chinese chararcters. This study will proceed in both wriiten and action based methods. Once implemented, the researcher will have to take notes through observation, self reflection, student notes, lecture videos, student interviews and any other relevant information. Through the result as presented in anaylsis of the research,the researcher might come to a final conclusion. Purpose of this study:1.Use visual culture to help design courses for chinese chararcters. 2.Combination of both language and art courses to invoke lessons on art classes for designing chinese chararcters. 3.To study the results of students involved in art classes for designing chinese chararcters. Results of this study: 1.From a standpoint of visual culture, it can be used to design courses for chinese chararcters, using visual images in daily life as a medium for increasing student involvement; and through teacher student interaction, it can increase student’s ability to think deeper. Every student will experience different learning curves individually. 2.A combination of language and art instruction can be utilised in the courses for designing chinese characters.After the students well equipped from their systematic courses in language recognition , the teacher could also be a bridge between language and art instruction,both Language and Art can complement each other. 3.Studends could have a leaening experience as self-centered and enjoy cntical thinking brought forward by this chinese character art design course, where students use creative art as a method could present self-worth. And when instructive content and intent is not easily expressible, we could to use language to make more creative and enriching . Keyword：Visual Culture Art Education, Chinese chararcters, Typeface Design, Elementary School Art Class, Self Identity
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Serin, Efecan. "Accessible Font. A typeface for teaching strategies of autistic individuals based on latin script." Master's thesis, 2019. http://hdl.handle.net/10400.8/4034.
Full textAbstract:
The present research is based on studies in the areas of psychology, pedagogy and design. It was investigated the reading process and reading education strategies of individuals with autism spectrum disorders (ASD) with the purpose of developing a
typographic system to assist pedagogues and to develop educational aids appropriate for child's reading problems. It was used interdisciplinary research methodology in this thesis with literature study, interviews with experts and a survey study. The survey was based on the opinions and experiences of special education teachers and the following findings were presented:
• The student with autism may have difficulties learning to read.
• They may mistake similar letters with each other, for example b and p, due to the
similarity in letter shape.
• Their reading pattern may be characterized by impaired or normal delayed reading
pattern.
According to the combined results of special education teachers’ common opinions, legibility studies and literature study, the prototype of a typeface for individuals with autism, learning disabilities was developed. The Accessible Typeface v.1, v.2, v.3, v.4, v.5 family has been developed with the intention to ease individuals ability to learn reading and minimize mistakes in reading. However, before being implemented, this font family should be tested to conclude whether it is beneficial or not to teach an individual who has an autism or learning disabilities in reading.
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Asillazanci, Zeynep. "Understanding the Problems of the Support of an Endangered Language in Typography: Proposal of a Typeface That Supports the Laz Language." Master's thesis, 2018. http://hdl.handle.net/10400.26/22318.
Full textAbstract:
This project addresses the diacritic-based literary problems of the endangered Laz language and has aimed to design a typeface that supports non-Unicode letters in Lazoglu alphabet. In the first part of this project, language erosion has been examined by taking into account the ‘The Atlas of the World’s Language in Danger’ document published by Unesco. On the following part, reference is made to the relation between language and writing, and the evolution of writing and typography. In the third step, history of the Latin-based Laz alphabets is examined from the Soviet era to the formation process of the present Lazoglu Alphabet. The misuse of non-Unicode letters in the Lazoglu alphabet by literate Lazes has been analyzed with utilizing handwriting samples, existed typefaces and printed matters. The design process of the Helimisi typeface is detailed from the early sketches until the digitization of the glyphs with the Glyphs software. Firstly the diacritic alternatives have been designed by taking into account that the form and position of diacritics affect legibility as much as the main form components of the typeface. The project was terminated by making kerning and spacing adjustments after the uppercases, lowercases, punctuation marks and numbers were designed.
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Uhlířová, Martina. "Typografie web designu." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-352565.
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Typography is one of the most important elements of web design and marketing. Good typography makes web design more appealing, which is important for readers in evaluating titles and the quality of text. The aim of this thesis is to provide a characterization of good and bad typography. I will use this characterization to identify modern typographical trends in a digital background. In the theoretical part, I will describe the basic features of typography. In the practical part, I will distinguish appealing typography and visual smog, and find specific examples demonstrating typographical trends in web design.
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WU, AN-AN, and 吳安安. "The Effect of Different Typefaces Design on Consumer Preference and Perceived Price." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/2755kp.
Full textAbstract:
碩士國立高雄師範大學
工業設計學系
106
Packaging design elements incorporated patterns, exterior, words, color, lines, decoration, arrangement, designing. Customers and designers are known for conveying product information and intrinsic value through words. Additionally, it is of great importance that wording is smoothly in line with the product value and aesthetic appeal. The perceptions of potential clients vary from wording design, cultural diversity and uniqueness of the native countries so their significance can not be underestimated. The primary aim of this research is to compare the difference of perceived price and satisfaction toward various language characters targeting the groups of Taiwanese, Chinese and Japanese customers. The languages of characters include Japanese, traditional and simplified Chinese, English, and each comes with five different fonts respectively. They are Song style, Black, circular, running and regular fonts. There are four fonts in English words, which are Serif, San Serif, Script and Black letter fonts. The aforementioned fonts constitute nineteen word fonts. With the aid of two-way ANOVA, mixed design, we are capable of figuring out different countries perceived price and discrepancies in customers’ satisfaction in terms of packaging design elements and word fonts. The findings has demonstrated that Taiwanese subjects showed more degree of preference and perceived price than the others toward Japanese fonts. Japanese Song-style fonts and English Script Font scored considerably higher points both on customers’ satisfaction and perceived price. The result is applicable to the customers of three different nationalities. Japanese and Chinese subjects showed more degree of preference and perceived price toward Chinese running-style and regular fonts. We aim to provide the marketing personnel with constructive feedback through our findings.
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謝方鈞. "A Creative Study on Emotional Expressions in Chinese Characters- Usage of New Typefaces in Promotional Posters Design." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/ds7njm.
Full textAbstract:
碩士國立臺灣師範大學
美術學系
97
Abstract In an attempt to analyze emotional expressions in Chinese characters, to compose relevant typefaces, and to use typography techniques in designing posters, this research is mainly concerned with emotional expressions in Chinese characters and Chinese character-style typography posters. An experimental design is conducted with respect to the analyses. I. Analysis on emotional expressions in Chinese characters: Emotional expressions in Chinese characters have been largely influenced by their forms and history. There are actually six different types of emotional expressions in Chinese characters: 1. Elegant; 2. Solemn; 3. Contemporary; 4. Firm; 5. Classic, and; 6. Soft. II. Analysis on Chinese character-style typography posters: Chinese character-style typography posters can be further divided into four major categories and fifteen sub-categories: 1. the primary form: close-ups of characters, close-ups of part of the characters, combinations of characters, character formations. 2. the transformation: alterations of structure of characters, alterations of space usage of characters, decomposition and rearrangement of characters. 3. the adornment: exterior adornment, embedded images in characters, texture variations. III. Experimental design: Two specific typefaces are used into experimental poster designs. This paper expounded explicitly the concepts, the processes, and the final artworks. Techniques such as variations of typeface and virtual character frames are also given thorough emphasis. Keywords: Type design, Typography