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Journal articles on the topic 'Typeface design'
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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).
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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.
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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.
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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.
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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.
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Rahardja, Anita, and Dominique Rio Adiwijaya. "Seni Bicara Lewat Typeface Dekoratif dan Komposisi." Humaniora 5, no. 2 (October 30, 2014): 710. http://dx.doi.org/10.21512/humaniora.v5i2.3126.
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On this essay, the main topic is related to one of the branch in visual communication design, typography. In the early days, typography derives from hand writing, but nowadays, it has been developed digitally by means of computer. The presence of computers facilitate in making digital typefaces, especially decorative ones. This contributes to its quantities and vast distribution. Literature studies conducted to further understand the definitions and characteristics of digital typefaces. A decorative typeface owns a certain visual characteristic which in the end limits its usage. Certain characters in decorative typefaces often associated with particular moods or impressions, which can be used to deliver a message. Next is the ideation and visualization by students and teaching staffs in typography class using both analog and digital media to produce typographic compositions using decorative typefaces. The final step is to analyze the compositions to capture its intended message.
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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.
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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.
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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.
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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.
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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.
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Kurniawan, Dede. "ANALISIS SEMIOTIKA TIPOGRAFI: EKSISTENSI HELVETICA DALAM KARYA DESAIN." JURNAL Dasarrupa: Desain dan Seni Rupa 4, no. 2 (December 26, 2022): 43–50. http://dx.doi.org/10.52005/dasarrupa.v4i2.132.
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This study attempts to explore the existence of the Helvetica font in several design works by borrowing the typographical semiotic perspective offered by Theo van Leeuwen. This study applies qualitative research methods by collecting data from observations, interviews and documentation. The results show that the Helvetica font still exists in design works because of its neutral, neutral character in the sense of not taking sides in any of its meanings, for example only thin which can be interpreted as exclusive, luxurious or black which is interpreted as bold, arrogant. because Helvetica weights ultra light to extra black. Then the expansion is created and compressed (strongly narrowed), compressed (narrowed), and extended (expanded). This feature is commonly used for space requirements in a design work. The slope feature indicates that the Helvetica font has a regular type (upright), italic (italics). and curvature where Helvetica has a rounded version that allows Helvetica to be used for the needs of friendly, soft, and natural types of designs. The features in the Helvetica typeface can answer the design needs of any type, a typeface with neutral, readability and legibility characteristics that only present clear information and without exaggerated ornaments such as Decorative typefaces. This then allowed Helvetica to be included in several design works and made Helvetica itself still exist today.
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Walker, Sue, and Linda Reynolds. "Serifs, sans serifs and infant characters in children’s reading books." Information Design Journal 11, no. 2-3 (December 31, 2003): 106–22. http://dx.doi.org/10.1075/idj.11.2.04wal.
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This paper describes part of the work of the Typographic Design for Children project at The University of Reading. The aim was to find out whether children found serif or sans serif types easier or more difficult to read, and whether they found text with infant characters (e.g. variants of ‘a’ and ‘g’) easier or more difficult to read. We listened to 6-year-old children reading in a classroom, using specially-designed, high quality test material set in Gill Sans and Century with and without infant characters. We also asked children for their views about the typefaces used. We used miscue analysis to study tapes of children’s reading to see whether more errors occurred in text set in a particular typeface. The substitution category of miscue was explored in more depth to see whether differences were attributable to typeface. The results show that children in our test group could read text set in Gill and Century equally well.
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Quelhas, Vítor, Vasco Branco, and Paulo Heitlinger. "The languages of Typeface Design in Portugal." Strategic Design Research Journal 4, no. 2 (October 4, 2011): 84–92. http://dx.doi.org/10.4013/sdrj.2011.42.07.
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Pérez Mena, María. "The discourses of a typeface design project." grafica 5, no. 9 (January 12, 2017): 09. http://dx.doi.org/10.5565/rev/grafica.58.
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Schneider, Uwe. "DaType: a stroke-based typeface design system." Computers & Graphics 22, no. 4 (August 1998): 515–26. http://dx.doi.org/10.1016/s0097-8493(98)00049-1.
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Hening Yanuarsari, Dzuha, and Agus Setiawan. "Development of "Sam Contemporary Font" Typeface Based on Sam Poo Kong Temple Ornament." Gelar : Jurnal Seni Budaya 20, no. 2 (December 2, 2022): 85–91. http://dx.doi.org/10.33153/glr.v20i2.4452.
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The ornamental design found in the architectural building of the Sam Poo Kong Temple gives an oriental unique characteristic. As a cultural heritage tourism destination, Sam Poo Kong Temple is required to develop the concept of information as part of good public service for visitors. Typeface design is a form of visual message design that can represent the image of the designed visual object. The purpose of this research is to design and develop an ornament-based typeface design from the Sam Po Kong Temple. The method used in this research is a descriptive-qualitative method with the ATUMICS theory approach for designing the typeface. In this context, the researcher wishes to bring back the decorative relief motifs that exist in the Sam Poo Kong Temple as a building element for new media with the mission of strengthening the image of the Sam Poo Kong Temple.
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Irman, Ifdal. "PERANCANGAN TYPEFACE ITIAK PULANG PATANG." Melayu Arts and Performance Journal 3, no. 1 (April 4, 2020): 14. http://dx.doi.org/10.26887/mapj.v3i1.1338.
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The motif of itiak returns to patang is a sublime cultural heritage of Minangkabau. In Minangkabau society, there are three kinds of carvings that are inspired by nature. seen in the life of the Minangkabau people which still exist and are maintained until now. This idea was then developed into a concept for designing a visual typeface based on the back-to-back carving that has anatomical characters and the construction process is based on the rules in the typeface, so that this adaptation appears in Italic font. From engraved form to phonetic (single letter) its application as a font on a computer. After research and design, these ready-to-use fonts are socialized in the local area, prioritized at the education and government levels, which are used for the benefit of regional heads. The purpose of this design is to discuss and interpret the philosophical meaning contained in the carving, which reflects the life patterns of the Minangkabau people. This phenomenon is poured into the basic idea in creating an invincible typeface with the basic principles of typeface. This research method uses descriptive qualitative to reveal facts and circumstances by presenting what actually happened in the Minangkabau community. The approach used is a semiotic approach. Keywords: font, itiak pulang patang, italics.
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Noordyanto, Naufan, Sayatman Sayatman, and Nugrahardi Ramadhani. "Designing A Typeface by Adapting Are'Lancor : Madura Cultural Identity in Latin Letters." Ultimart: Jurnal Komunikasi Visual 15, no. 1 (June 27, 2022): 48–64. http://dx.doi.org/10.31937/ultimart.v15i1.2552.
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Arè' lancor, a type of sickle, is a traditional weapon and has become a Madurese cultural identity, especially in Pamekasan regency, Indonesia. Its important status in local history, folklore, and tradition, does not seem to be supported by the community with efforts to introduce Lancor through representative media to a wider audience. This research was conducted as a strategy to introduce lancor in a familiar and applicable visual language medium. The authors have conducted a typographic exploration by designing a set of typeface that contain elements of the visual character of are' lancor'. The design thinking process is used to achieve the design objectives: empathy, define, ideation, prototyping, and test/implementation. This study aims to construct knowledge about how the creative process and the stages of designing a typeface.
Keywords: typography; typeface; are’ lancor; madura; cultural; promotion
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Perdana, Aditya Bayu. "Ragam Langgam Aksara Jawa dari Manuskrip hingga Buku Cetak." Manuskripta 10, no. 1 (August 25, 2020): 1. http://dx.doi.org/10.33656/manuskripta.v10i1.140.
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Abstract: In its contemporary usage, the Javanese script is often introduced through a few serviceable yet unvaried typefaces which give an impression of monotony and lack of style capable of carrying various design expressions. This current state of style deficiency is unfortunate because a cursory survey on the history of the Javanese script up to the 20th century reveals a rich tradition of calligraphic and typographic styles. Throughout the island, many scribes used regional stylistic variations, sometimes with striking differences and unique quirks no longer seen in today’s writing. The introduction of printing and metal typefaced also brought western typographic practice into the design of the Javanese script, creating a unique design environment where Javanese and European traditions mingled. This paper would introduce the varied styles of the Javanese script in manuscripts and printed books from the 16th ce to the mid 20th ce in the hopes that it will enrich the contemporary use of the Javanese script.
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Abstrak: Dalam penggunaan terkini, aksara Jawa kerap diperkenalkan melalui sejumlah typefaces yang memadai namun sayangnya tidak bervariasi, sehingga contoh-contoh kontempora seringkali memberi kesan monoton dan kekurangan gaya yang mampu menyampaikan berbagai ekspresi desain. Hal ini sangat disayangkan karena napak tilas sejarah aksara Jawa hingga abad ke 20 menunjukkan tradisi kaligrafis dan tipografis yang sangat kaya. Di seantero pulau, juru tulis di berbagai daerah menggunakan variasi gayanya masing-masing. Terkadang dengan berbedaan yang sangat mencolok atau kekhasan tulis tidak lagi terlihat dalam penulisan masa kini. Kedatangan teknologi cetak dan metal typeface juga turut memperkenalkan aspek tipografis barat ke dalam desain aksara Jawa, hingga terciptalah suatu ranah desain yang unik dari persilangan tradisi tulis Jawa dan tipograf barat. Tulisan ini akan memberikan uraian singkat mengenai ragam langgam aksara Jawa pada naskah tulisan tangan dan cetak antar abad 16 M hingga 20 M awal sebagai perkenalan awal yang dapat memperkaya penerapan aksara Jawa di abad 21 M.
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Swaratama, Elfa, Achmad Zaki Yamani, and Emmareta Fauziah. "EFEKTIVITAS PERANCANGAN TYPEFACE DENGAN METODE IKONOGRAFI." Jurnal Bahasa Rupa 3, no. 2 (April 17, 2020): 117–23. http://dx.doi.org/10.31598/bahasarupa.v3i2.518.
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This article describes the typeface design method based on Dayak Iban tattoo. It uses iconographic theory from Erwin Panofsky and the evaluate it through a Likert survey on a scale of 1-5 using four aspects of assessment(similarity, uniqueness, readability, and legibility). Based on the iconographic analysis, this study categorizes Dayak tattoo motifs into three worlds, which are; The Upper World (Hornbill), Middle World (Tree of Life, Eggplant Flowers), and the Underworld (Dragon and Scorpion) will put on each letter anatomies. The evaluation stage found that the typeface has a 3.8 average level of uniqueness, readability, and legibility, although the level of similarity in this typeface with Dayak tattoo motifs needs to be increased again because of the score is just 3 of a maximum of 5.
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Keough, Barbara, Valerie L. Shalin, and Paul McKenna. "A Training Approach for Context-Sensitive Skills: An Example with Typeface Selection." Proceedings of the Human Factors Society Annual Meeting 36, no. 17 (October 1992): 1274–78. http://dx.doi.org/10.1518/107118192786749351.
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Cognitive task analysis and Computer Science have revolutionized training technology with intelligent tutoring systems (Wenger, 1987). However, some key assumptions determine the success of such systems: 1) Student knowledge is rule-based, so that performance may be evaluated according to the presence or absence of rules and 2) The computer and the student have access to the same information about the problem context. In the instructional task domain we are addressing–-typeface selection–-neither assumption is appropriate. Each selection emerges as an interaction with the parameters and contingencies of the particular problem (Suchman, 1987). Furthermore, an important property of typeface is its evocative or emotional power–-a property that cannot be represented adequately in a computer. Our objective is to develop a satisfactory compromise using computer-aided instruction, specifically for the domain of typeface selection. Following Clancey (1983) and Winograd & Flores (1986), we recognize that some of the knowledge we seek to train will simply not “be in” the computer. However, it may be reflected in the design and organization of training exercises, which set up a sensitivity to the important dimensions of the problem. We take advantage of the computer medium to demonstrate typeface and layout transformations of preprogrammed text examples, as well as text examples entered on-line by the student. In addition, a hypertext style menuing system allows the student to access any part of the system from any point. In this paper we provide a description of the system we have built for training in the domain of typeface selection, and discuss the relevance of this system for two applications concerns in human factors: 1) The design of messages for public display and 2) The training of context sensitive skill.
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Lumenta, Natalia Hasti. "Typeface "Garuda Batik" sebagai Duta Budaya Indonesia." Artika 1, no. 1 (May 25, 2015): 49–58. http://dx.doi.org/10.34148/artika.v1i1.28.
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The discovery of artifacts writings on various historical relics prove that typography has accompanied the development of human civilization and be a liaison between the times . Naturally, if the typography is referred to as a reliable means of communication because it is able to survive for centuries in establishing universal human interaction . The emergence of thousands of fonts and " experimental typography " on various types of media indicate that the function of typography as the expanding literacy has become the object of an experimental and artistic expression . Discretion of the function used to create a typeface that represents local knowledge of Javanese culture that was adapted from the classic batik motifs Garuda Yogyakarta style of the interior . Value mythical eagle valuable and unique artistic value of scratches batik canting an inspiration in the creation of the typeface Garuda Batik . The figure of the eagle that had accompanied the history of the Indonesian nation is at once the spirit of the nation's cultural heritage that should be preserved. Universal nature of typography is the right solution to communicate the values contained in the motif of Garuda in the global arena . Typeface Garuda Batik able to adapt to the lifestyle of modern society through its applications in various types of media , techniques , and visual styles are up to date . Typeface Batik Garuda is also a tangible manifestation of nationalism human visual communication design to create a national paradigm design work.
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Nhung Buon Krong, Tuyet, Van Ngoc Sang, and Mohamad Bin Bilal Ali. "Designing Cham Font Unicode Standard and Cham Keyboard." International Journal of Engineering & Technology 7, no. 2.29 (May 22, 2018): 853. http://dx.doi.org/10.14419/ijet.v7i2.29.14271.
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The main purpose of this research is to design and develop the Cham font for Unicode standard and Cham keyboard application. Research sample is divided into two groups and research instrument distributed into three forms of survey. The Cham font Unicode standard and the Cham keyboard (Chamkey) was developed using ADDIE model. This survey, the acceptance of Cham font, and Cham keyboard view by fifty-four respondents and the results showed that 100% respondents either agreed or strongly agreed with every statement. In order to evaluate Cham font typeface, we choose fifty-four participants include academics, experts and students to evaluate the typefaces of Cham font using two forms. All of them totally agreed that the typeface of Cham fonts were designed exactly for all alphanumeric Cham letters with the result for EFEO Cam Times is 99.12% and EFEO Cam Arial is 99.64%. Viewed by sixteen experts using Fuzzy Delphi for Cham keyboard application the results show that percentage of all items are 100%, more than what required (75%), the value of d for total construct is 0.08 (required d ≤ 0.2). Thus, it can be concluded that all sixteen experts have come to a consensus that the Cham keyboard is acceptable. In order to preserve and promote the cultural heritage as well as the language and Cham scripts of the United Nations Charter on Indigenous Peoples, we offer a solution for applying information technology in the issue of preserving the native language of the Cham in Vietnam. Hence, using technologies to design and develop for Cham fonts for Unicode standard and Cham keyboards application is not only theoretically significant but also practically significant.
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Savoie, Alice. "The women behind Times New Roman." Journal of Design History 33, no. 3 (July 4, 2020): 209–24. http://dx.doi.org/10.1093/jdh/epaa025.
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Abstract The narrative behind the creation of Times New Roman, one of the most widely used typefaces in the western world, is well established and revolves around famous male figures of British typographic history. This article recognises the role played by the Monotype Type Drawing Office (TDO), and of its draughtswomen in particular, in the making of the typeface. While female figures are largely absent from type histories, this contribution emphasises the key role played by the women who worked on adapting Stanley Morison’s original idea for Times New Roman into a fully working, extensive type family. Based on original archival material, it discusses the background of these women, their working conditions, and the nature of their contribution to type-making. In a wider perspective, this article advocates a more inclusive and collaborative view of design history and of its narratives.
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Soyluçiçek, Seza. "The association of typography with form and content in digital games." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 216–23. http://dx.doi.org/10.18844/prosoc.v2i1.302.
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The aim of this study is to define the correct usage of the connection between the typographic elements in digital games and the form and content of game concept. In this work, the points to take into consideration while utilizing this connection correctly and the effective usage of typographic elements with game graphics will be scrutinized. Along with the character, object and environment design that is composed of the story and concept design which underlies the game design, the selection of the typeface in games is also one of the points to be considered. The typographic elements are substantial design elements of a game design along with the character, environment and level design. The typographic elements of a game are helpful to enable the connection between the user and the game and to direct the user in the game. In this sense, from the game's opening scene, the selection of typefaces that are used in logos, menus, and directions increases in importance. Moreover, in both visual and technical manners the usage of typography in games brings different approaches compared to the ones used in the printed media. To illuminate these topics, successful game examples will be analyzed. The selection of typefaces used in the examples will be looked at from the point of subject, concept and audience and the principles of the correct usage of typography will be mentioned. Along with these, the rareness of the resources about the usage of typography in game design raises the importance of this work.Keywords: Game design, typography, type face, user interface design.
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Poon, Stephen T. F. "Typography Design’s New Trajectory Towards Visual Literacy for Digital Mediums." Studies in Media and Communication 9, no. 1 (January 20, 2021): 9. http://dx.doi.org/10.11114/smc.v9i1.5071.
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Typographic elements have a huge impact on how designed mediums affect visual literacy. This paper reviews the principles, perspectives and approaches in the production and function of typographic design visual media (print and digital), with the aim to understand the relationship between typographic design on digital mediums, with the aim of examining its influence on people’s ability to communicate ideas, meaning and messages effectively, while reflecting on its commercial implications for brands and marketers. Research via survey and a focus group implied there is a positive association between literacy and the application of graphic design and typography on digital communication mediums. Findings revealed that type design complements textual word elements to enhance cognition and understanding of messages. The integration of visual and texts facilitates reading, and for digital mediums, both legible layout and engaging typefaces are equally crucial. Graphic typeface for digital media, from smartphones to e-texts for learning, should apply visual hierarchy arrangement to achieve these objectives. Findings show typographic design is an essential aspect of social communication today, and digital designers play a fundamental role to enable audiences to improve their economic and social participation and gain its full advantages.
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Brideau, Kate, and Charles Berret. "A Brief Introduction to Impact: ‘The Meme Font’." Journal of Visual Culture 13, no. 3 (December 2014): 307–13. http://dx.doi.org/10.1177/1470412914544515.
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If you have ever seen an image macro, the chances are you’ve seen Impact, a typeface so commonly used in these memes that it could be called ‘the meme font’. Its ubiquity within image macros is largely overlooked, yet it contributes significantly to their structure, and raises productive questions about creativity and the balance of replication and variation in memes more generally. This article is a brief introduction to Impact – its design and its history – as it relates not only to the practice of typography, but also to the development of standards for operating systems and for the web. Impact, like internet memes themselves, tells a story of both standardization and innovation. This typeface lay largely dormant for decades after its design, but today it ensures its own proliferation through its fixed role in the production of image macros.
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Kinross, Robin, and Erik Spiekermann. "Conversation with Erik Spiekermann." Information Design Journal 7, no. 1 (January 1, 1993): 29–40. http://dx.doi.org/10.1075/idj.7.1.03kin.
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This conversation was recorded in Berlin in April 1992, in time snatched from a hectic working day. Erik Spiekermann is a German graphic designer, who has specialized in information design and typeface design. He worked in London in the 1970s, and since 1981 has worked in Berlin, as a partner in MetaDesign. In 1989, the practice expanded to become 'MetaDesign plus'. Spiekermann is also a partner in FontShop, established in 1989 as a retailer of typeface software, with branches in Europe and North America. The main topic of this conversation is the work being undertaken by MetaDesign for the transport authority in Berlin - the BVG. Other issues discussed are recent debates over typography and legibility, and the critical discussion of typography. In the course of the exchange, the real processes of design are exposed - in a way that more formal discourse cannot do. The text given here has been transcribed from the tape-recording, with minimum editing.
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Celhay, Franck, Jacqueline Boysselle, and Justin Cohen. "Food packages and communication through typeface design: The exoticism of exotypes." Food Quality and Preference 39 (January 2015): 167–75. http://dx.doi.org/10.1016/j.foodqual.2014.07.009.
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Beier, Sofie. "The Design Process Seen Through the Eyes of a Type Designer." Artifact 3, no. 4 (July 16, 2015): 8. http://dx.doi.org/10.14434/artifact.v3i4.6199.
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Through a historical overview of the influence designing had on the early days of printing, the paper finds the English printer and typefounder John Baskerville (1706-1775) to be the first real known type designer. Based on this assumption, the paper presents a model for how a contemporary design process is carried out, and reflects upon the relationship between this and the way Baskerville might have worked in the development of his historical innovating typeface style.
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Saryanto, Untung Adha. "KAJIAN KARAKTERISASI JENIS HURUF AVENIR DAN KAITANNYA DENGAN TINGKAT KETERBACAAN." Jurnal Dimensi Seni Rupa dan Desain 18, no. 1 (October 1, 2021): 75–92. http://dx.doi.org/10.25105/dim.v18i1.10603.
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AbstractThe Study of Avenir Typeface Characterization and Its Relation to the Legibility Level. This study focuses on the characterization of the Avenir typeface designed by Adrian Frutiger, a Swiss type designer. Characterization of a typeface is important and closely related to its level of legibility. In this study, the author uses a qualitative research methodology with data collection methods through literature studies from references (books, articles, journals or internet pages) to obtain relevant data related to Avenir and visual communication design and supporting theories. Observations were also made based on literature reviews and surveillance of many design works (graphics), internet pages and sites related to Avenir. The study of data in this study used pre-iconographic and iconographic studies. This study was written to be read and understood well, especially by academics as well as design and art practitioners.Keywords: type, design, characteristics, legibility AbstrakKajian Karakterisasi Jenis Huruf Avenir dan Kaitannya dengan Tingkat Keterbacaan. Kajian ini menitikberatkan fokus permasalahan pada karakterisasi jenis huruf Avenir yang dirancang oleh Adrian Frutiger, seorang type designer berkebangsaan Swis. Karakterisasi suatu jenis huruf penting dan berkaitan erat dengan tingkat keterbacaannya. Dalam penelitian ini penulis menggunakan metodologi penelitian kualitatif dengan metode pengumpulan data melalui studi pustaka dari referensi (buku, artikel, jurnal atau laman internet) untuk mendapat data yang relevan yang berhubungan dengan Avenir dan desain komunikasi visual dan teori-teori yang mendukung. Observasi juga dilakukan berdasarkan tinjauan pustaka dan pengamatan terhadap banyak karya desain (grafis), laman internet dan situs yang berkaitan dengan Avenir. Kajian data dalam penelitian ini menggunakan kajian pra-ikonografi dan ikonografi. Kajian ini ditulis untuk dapat dibaca dan dimengerti dengan baik, terutama oleh para akademisi serta praktisi desain dan seni.Kata kunci: huruf, desain, karakteristik, keterbacaan
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Carter, Kathy, and Neil Wiseman. "Designing in fives." Information Design Journal 5, no. 2 (January 1, 1987): 159–65. http://dx.doi.org/10.1075/idj.5.2.05car.
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This paper discusses a computer-assisted design system that makes use of multiple windowing, and its implementation f or typeface design. The system assigns each of five levels in the design task to a separate window, and allows the effect of changes made at any level to be seen in the other windows. The system is designed to be acceptable to designers and to avoid inhibiting their creativity.
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Sari, Ni Luh Desi In Diana, I. Wayan Mudra, and Ni Ketut Pande Sarjani. "Vernacular Typography Design of Bamboo Keben Craft as an Opportunity of Creating Digital Typeface." Harmonia: Journal of Arts Research and Education 22, no. 1 (July 1, 2022): 187–99. http://dx.doi.org/10.15294/harmonia.v22i1.34861.
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Keben for the Balinese is a medium that functions to package ceremonial facilities made of bamboo. Craftsmen in Kayubihi village, Bangli sub-district produce kebens with various designs of vernacular typography motifs that have the opportunity to be developed in the form of digital typefaces. This study aims to: (1) analyze the vernacular typographic design of the keben motif and its opportunities in the creation of digital typefaces; (2) analyze the meaning of keben in Kayubihi village in a socio-cultural context. Qualitative methods are used in this study. Typographic design principles consisting of legibility, readability, visibility, and clarity are used to analyze the vernacular typography of the keben motifs, while Saussure’s semiotic approach is used to give meaning to the keben of Kayubihi village from the spirit and the concept behind it. Data collection strategies were carried out by observation and interviews, online and offline. Meanwhile, data analysis was carried out by interpreting, namely interpreting in-depth the collected data according to the research objectives. The results show that the vernacular typography of the keben motifs was arranged alphabetically to form words as a symbol of identity. Geometric motifs inspired by the environment around the craftsmen can be classified into five groups: the sun, flowers, traditional fabrics, objects, and cultural symbols of Balinese Hinduism. These motifs can be developed into digital typefaces. Keben in Kayubihi village spiritually means creativity, preservation of culture and identity. This creativity can be used as a source of inspiration in designing typefaces that offer novelty. The vernacular typography design with the Keben motif is indigenous creativity, representing the identity of the local Balinese culture.
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Tian, Guyuan, and Yuanyuan Xu. "A Study on the Typeface Design method of Han Characters imitated Tangut." Advances in Education, Humanities and Social Science Research 1, no. 2 (September 20, 2022): 270. http://dx.doi.org/10.56028/aehssr.1.2.270.
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The Western Xia (1038-1227) was an ethnic regime in the northwest of China during the Song and Liao dynasties. Tangut is the concentrated expression of Tangut culture and Tangut art. It is the language used by the Xiang clan of Tangut party. The typography design of Chinese characters imitating the Tangut style is a new field of Chinese character typography design, which not only conveys the basic shape and meaning of Chinese characters, but also shows the beauty of blending with the aesthetic scale of Tangut style characters. Based on the analysis of the characteristics of Tangut characters in ancient books, this paper summarizes the characteristics of stroke structure with typical "Tangut style", and studies and explores the methods and rules of font design of Chinese characters imitating Tangut style combining with design practice.
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Tian, Guyuan, and Yuanyuan Xu. "A Study on the Typeface Design method of Han Characters imitated Tangut." Advances in Education, Humanities and Social Science Research 2, no. 1 (September 20, 2022): 270. http://dx.doi.org/10.56028/aehssr.2.1.270.
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The Western Xia (1038-1227) was an ethnic regime in the northwest of China during the Song and Liao dynasties. Tangut is the concentrated expression of Tangut culture and Tangut art. It is the language used by the Xiang clan of Tangut party. The typography design of Chinese characters imitating the Tangut style is a new field of Chinese character typography design, which not only conveys the basic shape and meaning of Chinese characters, but also shows the beauty of blending with the aesthetic scale of Tangut style characters. Based on the analysis of the characteristics of Tangut characters in ancient books, this paper summarizes the characteristics of stroke structure with typical "Tangut style", and studies and explores the methods and rules of font design of Chinese characters imitating Tangut style combining with design practice.
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Rowe, Aidan. "Participatory Action Research and design pedagogy: Perspectives for design education." Art, Design & Communication in Higher Education 19, no. 1 (April 1, 2020): 51–64. http://dx.doi.org/10.1386/adch_00013_1.
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Design’s scope of practice has grown from one that was traditionally defined by materials and processes to one where designers are working on some of the most pressing challenges of our times. Once a reactive, artefact-based practice (e.g. poster, typeface, chair, etc.), design is now being situated as a proactive, social and participatory practice focused on outcomes as much as artefacts. Historically, as an academic subject, professional practice and research area, design has suffered from a lack of formal, established research frameworks and theoretical practices. By drawing on established literature, this article makes the case for the use of methods and practices developed in Participatory Action Research (PAR) to inform and enrich design practice, research and particularly education. The article identifies three shared areas between PAR and design that offer an opportunity for further interrogation; these are: a central concern of working with people; the use of iteration and reflection; and the measuring of success through change.
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Waradya, Vera, and Arjo Bimo. "Inspirasi Origami dalam Desain Logo." Humaniora 4, no. 1 (April 30, 2013): 600. http://dx.doi.org/10.21512/humaniora.v4i1.3469.
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From time to time design trends have adapted in certain styles. One is the art of origami. It inspires many graphic designers in 2009, mainly design logo and typeface. Origami is the traditional Japanese folk art of paper folding, turning a piece of paper into a beautiful shape that is a work of art in itself. And with its simplicity and geometric shapes, origami logo design is used by companies who want to represent modern, delicacy, attention to detail, precision, and elegance.
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Jang,, Woong, and Nam Hoon Kim,. "A Study on Handwritten POP Advertising Design Expert Plans Typeface, Analysis and Improvement." Journal of Cultural Product and Design 49, no. 1 (June 30, 2017): 145–54. http://dx.doi.org/10.18555/kicpd.2017.49.14.
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Kim, Seoyeon, and Soojin Park. "Zuzana Licko’s Typeface Design Analyzed by Focusing on the Usage of Digital Medium." Journal of Basic Design & Art 23, no. 4 (August 31, 2022): 25–35. http://dx.doi.org/10.47294/ksbda.23.4.3.
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Reimer, Bryan, Bruce Mehler, Jonathan Dobres, Joseph F. Coughlin, Steve Matteson, David Gould, Nadine Chahine, and Vladimir Levantovsky. "Assessing the impact of typeface design in a text-rich automotive user interface." Ergonomics 57, no. 11 (July 30, 2014): 1643–58. http://dx.doi.org/10.1080/00140139.2014.940000.
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Murchie, Karen J., and Dylan Diomede. "Fundamentals of graphic design—essential tools for effective visual science communication." FACETS 5, no. 1 (January 1, 2020): 409–22. http://dx.doi.org/10.1139/facets-2018-0049.
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Guidance on improving the visual aspects of science communication range from “recipe”-style instructions to hyper-focused aspects of data visualization. Currently lacking in the peer-reviewed literature is a primer in graphic design tailored to a high-level overview of basic design principles and associated jargon related to layout, imagery, typeface, and colour. We illustrate why these aspects are important to effective communication. Further, we provide considerations on when to solicit professional assistance and what to expect when working with graphic designers. Having the fundamental principles of good design in your toolbox facilitates the production of effective visual communication related to your research and fruitful scientist–designer collaborations.
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Ko, Kwangeui. "A study of bricks engraved with Koguryo characters excavated from the Jian area." Paek-San Society 124 (December 31, 2022): 87–116. http://dx.doi.org/10.52557/tpsh.2022.124.87.
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We looked into bricks engraved with letters that were excavated from Cheonchuchong(千秋塚) and Taewangleung(太王陵) during the Koguryo period.
It is thought that four scribes were involved in the production of the bricks engraved with letters excavated from Cheonchuchong.
The first type is Aa type, Ab type, Ad type, the second type is Ac type, Ae type, Af type, the third type is Ag type, and the fourth type is Ba type and Bb type. These scribes share similar typefaces with each other and use their unique brushstrokes to show Koguryo's calligraphy character culture.
The bricks engraved with letters excavated from Taewangleung can be divided into two types, but they are likely to be the same person because of the similar font. In addition, there is a possibility that the writing style was related or influenced because the typeface was similar to the inscribed bricks excavated from Cheonchuchong.
The brick letters excavated from Cheonchuchong and Taewangleung stand out for their character design sense. This shows that the writing culture of Koguryo was recognized as writing art that utilized aesthetic sense rather than simply writing.
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Dobres, J., N. Chahine, B. Reimer, D. Gould, B. Mehler, B. Pugh, and S. Arredondo. "An Art Meets Science: Subtle Typeface Design Characteristics Affect Word Legibility in Brief Glances." Journal of Vision 14, no. 10 (August 22, 2014): 184. http://dx.doi.org/10.1167/14.10.184.
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Roh, Hyeon Sook. "Examining the Differences and Similarities in Typeface Design – Focused on the Case of Hana Bank -." Northeast Asian law journal 15, no. 3 (January 31, 2022): 627–53. http://dx.doi.org/10.19035/nal.2022.15.3.22.
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Dobres, Jonathan, Nadine Chahine, Bryan Reimer, David Gould, and Nan Zhao. "The effects of Chinese typeface design, stroke weight, and contrast polarity on glance based legibility." Displays 41 (January 2016): 42–49. http://dx.doi.org/10.1016/j.displa.2015.12.001.
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Kartika, Rina. "Memilih dan Memanfaatkan Tipografi." Humaniora 6, no. 3 (July 30, 2015): 312. http://dx.doi.org/10.21512/humaniora.v6i3.3352.
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Typography is one of the main components of a visual communication design work as a means to convey the message to its target audiences. In delivering the information, typography stabilizes visual and verbal aspect of the overall design. The understanding of the messages (including its related aspects, such as: product knowledge, target audience’s profile, media planning, etc) is the most important thing that will help define the combination of typeface needed. This study was conducted by observation, information gathering, and typography design study of several examples. Furthermore, the understanding of typography was linked on how to choose the right typography for visual design. Result showed that the combination should have a good balance of ‘legibility’ and ‘readability’. As a conclusion, a good typography design will deliver such perception, as well as express desired impression, in a visual communication design work.
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Łubocki, Jakub Maciej. "Pismo jako obiekt muzealny (na przykładzie zbiorów Działu Sztuki Wydawniczej Muzeum Narodowego we Wrocławiu)." Z Badań nad Książką i Księgozbiorami Historycznymi 16, no. 2 (July 29, 2022): 215–37. http://dx.doi.org/10.33077/uw.25448730.zbkh.2022.695.
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Writing systems and typefaces embodimented in any form (letter sketches, designs of typefaces, resources of sorts and matrices, prints and manuscripts, printing specimens, type foundries catalogues, typefaces specimens) are objects worth to become museum objects. Based on these, the museum will generate knowledge about script and lettering through: giving insight into conceptual work on designs of typefaces, acknowledging about history of development writing systems and typefaces, storaging of materials for the future correct digitization of the typeface, saving typefaces and writing systems from total annihilation. Hence: the catalogue of basic types of artefacts relevant to process of embodiment the script was present; the benefits that can result from the deliberate and conscious collecting of this type of artefacts as museum objects was outlined; the importance of the museum collection in research on script, typefaces and writing systems and its preservation as an element of heritage was indicated.
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Benney, Jonathan. "Decentralization of Political Design in China." Pacific Affairs 93, no. 4 (December 1, 2020): 709–34. http://dx.doi.org/10.5509/2020934709.
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Political posters, banners, and similar objects are extremely common in China. This article uses political design from contemporary China, particularly emphasizing the government's Chinese Dream campaign, to analyze what at first appears to be a paradox. The subjects of the various campaigns and the language they use are mandated by the central government and promoted through central and local publicity departments. However, the graphic aspects of these campaigns, such as the choice of colours, images, layout, and typeface, are much less strictly controlled, and are decided by local governments or authorities. This makes political design in China decentralized. Decentralized design is inconsistent with the principles of global marketing and with the PRC's reliance on set forms of political discourse, both of which rely on the assumption that uniformity will lead to more effective communication of messages and persuasion of the public. Evidence from local design campaigns indeed shows that Chinese political posters are often designed hastily and without expertise, resulting in strange and unpersuasive images. Despite this, the article shows that decentralized design is not paradoxical. This is largely because the Chinese party-state uses propaganda as a method of "signalling" its overall power, more than as a tool of indoctrination or persuasion about particular topics. The central government's reliance on incentives and metrics to regulate local authorities means that the production of propaganda is also a way in which local governments can signal their loyalty to the Centre.
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Kristanto, Michelle Caroline. "MEMBUAT DESAIN PACKAGING PRODUK BODY CARE REVEUSE." Jurnal VICIDI 11, no. 1 (June 30, 2021): 64–80. http://dx.doi.org/10.37715/vicidi.v11i1.1989.
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In increasing self-confidence in appearance, it is necessary to maintain a clean and healthy body by exfoliating the skin. Reveuse comes with a beauty product in the form of a natural body scrub cube that can treat skin efficiently and can increase the confidence of women aged 18 to 29 who love skincare. In an effort to solve these problems, Reveuse faces a problem in making a suitable design for the packaging of Reveuse body scrub products because the product being offered is a body scrub cube which is still not well known and recognized by the public. Therefore, the problem formulation of this journal is how to make packaging design for Reveuse body care products. The purpose of designing this final project is to create a packaging design for Reveuse body care products so that the product is easier to recognize as a beauty product and has its own charm. The research methods used were qualitative and quantitative through literature studies, interviews with three expert users, three extreme users, and a survey to 100 target audiences. Based on the results of a trial analysis of Reveuse's packaging design work, several designs will be revised, namely the use of Reveuse's main typeface and designs for packaging pouches that don't look like skincare products.
Keywords: Body Care, Packaging, Design Style, Color Palette, Typography
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S.T. Wang, Edward. "The influence of visual packaging design on perceived food product quality, value, and brand preference." International Journal of Retail & Distribution Management 41, no. 10 (September 2, 2013): 805–16. http://dx.doi.org/10.1108/ijrdm-12-2012-0113.
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Purpose – Although the increase in point-of-purchase decisions heightens the communication potential of food product packaging, empirical research on understanding how visual packaging affects consumers' subsequent product and brand evaluations and perceptions is scant. This study seeks to develop a theoretical model to show the effects of consumer attitudes toward visual food packaging on perceived product quality, product value, and brand preference. Design/methodology/approach – A self-administered questionnaire developed from the literature was conducted, and 315 undergraduate students participated in the study. Findings – The empirical results show that attitudes toward visual packaging directly influence consumer-perceived food product quality and brand preference. Perceived food product quality also directly and indirectly (through product value) affects brand preference. Originality/value – This paper offers directions for understanding the effects of visual packaging on positive consumer product and brand evaluations. Based on the study findings, food firms should emphasize the visual packaging design factors such as color, typeface, logo, graphics, and size to form consumers' positive perceptions and brand preference.