Relevant bibliographies by topics / Typographic space

Contents

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

Academic literature on the topic 'Typographic space'

Author: Grafiati
Published: 11 January 2025
Last updated: 19 July 2025

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Journal articles on the topic "Typographic space"

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Chernyavskaya, Valeria E. "Typographic landscape in urban space: a sociolinguistic approach." Slovo.ru: Baltic accent 13, no. 4 (2022): 71–84. http://dx.doi.org/10.5922/2225-5346-2022-4-5.

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This paper suggests a sociolinguistic approach to typographic landscape analysis. Typography is discussed as a semiotic resource with meaning-making potential. The paper argues that typographic variation provides dynamic indexical links to social practice. It obtains its ‘social voice’ and becomes an integral part of the social context in which it is perceived as typical and able to generate particular socially loaded meanings. This research is in line with contemporary social semiotics, interactional linguistics, and discourse studies and is based on typographic meaning as a key notion provid
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Miranda-Dos Santo, Tiago José. "Typography as a mediator of art, space, memory and presence on toponymy." Legado de Arquitectura y Diseño 14, no. 26 (2019): 75. http://dx.doi.org/10.36677/legado.v14i26.14460.

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Communication through some media gives meaning to a message, or canexpress the desire to communicate. roughout history, typography has been atculture and written communication’s service, responding to the languages, cultures andsocieties’ evolution stimuli. Its history should be understood as the study, from thepolitical, philosophical and artistic point-of-view, of the several movements and thehistory of humanity. erefore, the proper use of typography demands mastery of itsform and use, in favour of its content, leaving space for a rational expression of thehuman world, built by his knowled
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Arifrahara, Gema. "ANALISIS PENGGUNAAN TIPOGRAFI SPASIAL SANS SERIF DALAM RUANG PUBLIK TAMAN TEMATIK KOTA BANDUNG." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 7, no. 01 (2021): 92–104. http://dx.doi.org/10.33633/andharupa.v7i01.3804.

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AbstrakPenggunaan tipografi spasial tiga dimensi sebagai media informasi sudah lazim adanya, bahkan di kota Bandung pada setiap taman saat ini menggunakan pendekatan kreatif environmental tipografi. Ruang publik taman kota selain berperan sebagai paru-paru kota juga berperan sebagai ruang interaksi masyarakat, sangat baik untuk psikologis masyarakat dan memberikan sensasi modern. Taman kota yang ada di kota Bandung hampir sering dijumpai menggunakan pendekatan tipografi spasial Sans Serif seperti pada; Taman Tegal Lega, Taman Lansia, Taman Fotography, Taman Petpark, Taman Superhero, dan Taman
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Ayiter, Elif. "Space, Text and Hoopla." International Journal of Art, Culture and Design Technologies 3, no. 1 (2013): 12–25. http://dx.doi.org/10.4018/ijacdt.2013010102.

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This text attempts to delve into the creation of textual content as well as its visualization through typographic design mechanisms inside three dimensional virtual worlds known as the metaverse, with a particular focus upon the way in which such virtually three dimensional environments may place the usage of text within a context that stands in contradiction to its traditional one by creating an unexpected novel purpose: This takes a marked departure from the intrinsic attribute with which text has inherently been associated – namely the attribute of legibility. In such environments readabili
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Turkkan, Halime. "The significance of typography in data visualization." Global Journal of Computer Sciences: Theory and Research 11, no. 1 (2021): 12–23. http://dx.doi.org/10.18844/gjcs.v11i1.5030.

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With the development of technology and the dominance of the digital world, typography has become a critical issue. Information design systems are considered as one of the significant areas of graphic design and big data provides essential information on data visualization. This research aims to analyse the effects of typographic elements on visualizing data in terms of visual communication, by discussing the value that typography gives to design space. The research discusses randomly selected 10 infographic design samples published in the last six months on google. From the results, 5 designs
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Udris-Borodavko, Natalia. "Principles of Clothes' Typographic Decoration as a Trend in Modern Fashion Design." Demiurge: Ideas, Technologies, Perspectives of Design 2, no. 2 (2019): 216–28. https://doi.org/10.31866/2617-7951.2.2.2019.189728.

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The aim of the study is to find patterns in the design of typographic compositions for the decoration of clothing, formulate generic recommendations for their design, to study the socio-cultural aspects of this approach in the design of clothing. Research methods. Empirical method, method of analysis, comparison and generalization are applied. Scientific novelty. For the first time, the experience of typographic decor in clothing design 2010–2019 has been generalized in terms of the modernism and postmodernism concepts. The techniques and compositions’ artistic featu
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Naismith, Jacqueline, and Annette O'Sullivan. "Letter-space: Typographic Translations of Urban Place." International Journal of Art & Design Education 30, no. 1 (2011): 133–43. http://dx.doi.org/10.1111/j.1476-8070.2011.01687.x.

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Чернявская, Валерия Евгеньевна. "TYPOGRAPHY AS SOCIAL INDEX: SOVIET LANDSCAPE IN THE MODERN RUSSIAN DISCOURSE." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 2(36) (February 28, 2023): 50–73. http://dx.doi.org/10.23951/2312-7899-2023-2-50-73.

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В рамках статьи обсуждаются типографика знака и типографский дизайн сообщения. Типографика рассматривается как социальный индекс, то есть особого рода прагматическое, социальное значение, возникающее на основе индексальных связей знака и характерного контекста его использования. Значимо, что форма знака распознается и используется в связи с активностью человека в социальном контексте и изучается в связи с типографической идеологией. Теоретико-методологические основания анализа созданы разработками в области мультимодальной социальной семиотики, социальной индексальности знака, опираются на объ
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Ayiter, Elif, Onur Yazıcıgil, Sina Cem Çetin, and Doruk Türkmen. "Deconstruction, legibility and space: Four experimental typographic practices." Technoetic Arts 11, no. 3 (2013): 209–20. http://dx.doi.org/10.1386/tear.11.3.209_1.

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Giddens, Thomas. "Sentences Matter: Law and the Typographic Imaginary." CounterText 11, no. 1 (2025): 94–113. https://doi.org/10.3366/count.2025.0374.

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Bringing together jurisliterature – the literary genre of legal judgment – and the typographic imaginary of early printed books, this paper engages the entangled material-literary quality of judicial sentencing. In this understanding ‘sentencing’ is not merely the allocation of punishment to criminals, but a general practice of ‘mattering’ the law in typographic form. The terminology of ‘mattering’ highlights both the material quality of law and the significance of this materiality, following insights from new materialism. In short, sentences matter (to) legality. The sentencing of the law is
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Dissertations / Theses on the topic "Typographic space"

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Pieterse, George F. "Scripted : an urban museum of typography." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/29902.

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Reading allows for the construction of a new world within the mind as one centralises and processes the literature. Flipping from one page to the next the language and the typography guides and informs this spatial construction and directs us through this new world. It creates an intangible architecture of the mind. In the physical realm however, we experience the real world directly and blatantly without the aid of texts and narratives. In this life the relationship between text and space is inverted. Here text and narrative do not inform the construction and tactile experience of space but r
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Barbisan, Elisa. "Spazio grafico e stile. Un'indagine attraverso la poesia italiana del secondo Novecento." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL100.

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La thèse - centrée sur la poésie italienne de la seconde moitié du XXe siècle - étudie l'espace graphique en tant qu'outil stylistique, en proposant des paramètres d'interprétation et en fournissant un catalogue de formes. L'objectif est de favoriser la réception de la spatialité parmi les objets et les instruments d'investigation du raisonnement métrique et stylistique contemporain. La recherche suit une perspective générale tout en considérant les orientations particulières du champ historico-culturel italien. Le corpus sur lequel se base le travail est constitué d'une quarantaine d'auteurs
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OLIVEIRA, ANA MANSUR DE. "TYPOGRAPHY IN SPACE: SENSE AND SENSIBILITY IN A GRAPHIC PROJECT." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2005. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=7236@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>Esta dissertação busca estabelecer uma discussão entre duas maneiras de pensar a solução da tipografia no projeto gráfico: aquela em que o designer privilegia a razão e aquela cujo foco é a sensibilidade. Através de uma análise do significado dos períodos moderno e pós-moderno, buscamos, inicialmente, investigar o contexto em que surgiram estas duas formas de pensar. Em seguida, examinamos o pensamento de alguns autores acerca da concepção mais correta do arranjo da tipografia no espaço gráfico, trazendo a discussão para o âmbito do
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Vacher, Camille. "Vides, espaces typographiques dans l'art : Une approche sémiotique." Thesis, Limoges, 2018. http://www.theses.fr/2018LIMO0022/document.

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La question de la place de l’écrivain, du poète, de l’artiste, du lecteur, du spectateur s’impose à nous au cours de nos études en école d’art. Nous développons alors toute une démarche en édition où la typographie prend une place centrale. Détournement de l’objet livre, appréhension de la notion d’écriture, nos différentes recherches plastiques nous amène également à la poésie. Notre propre pratique plastique, centrée sur la typographie et ses enjeux, se lie alors à nos recherches théoriques. Elles s’enrichissent l’une l’autre. Dans cette démarche nous souhaitons faire un pont entre l’approch
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Lee, Dong Hyun. "Effective use of negative space in graphic design /." Online version of thesis, 2007. http://hdl.handle.net/1850/4625.

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Birand, Can. "Self-reference Through White Space in Graphic Design." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1577.

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In the graphic design, successful use of white space provides the designed object with a strong reference to its material quality and internal structure. Showing the paper breaks the wall between the design and the viewer, and gives the audience a better understanding of the construction of graphic design. White space is devoid representation, which leads the work to become completely honest about its materiality. This project explores different methods and processes for creating aesthetic/conceptual integrity in graphic design by using white space as a primary device.
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White, Kelley. "Space: A Discovery of Visual Language." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2487.

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Space is a visual communicator. The act of perceiving space is a neurological soiree that projects and negotiates meaning in our constructed world. The poetry that we observe within space is tied directly to our emotions and to previous experience. Within ourselves, we each have particular feelings, unconscious or not, relating to height, length, and depth, as well as light and shadow. For example, a long, narrow hallway may elicit anxiety, while an open, sunlit nave in a cathedral may bring about feelings of serenity and joy. Our observations and interactions within the perceptual confines of
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Simmons, Sandra. "Perceiving Matter in Notes on Space, Undated (Log 3) by André du Bouchet, Fontfroide-le-Haut, Fata Morgana, 2000." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4389/.

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This study of the graphic field in notes on space, undated (log 3) focuses on how the white emptiness of a page plays a structural role in the articulation of dissociated fragments of notes. According to the criteria of three theorists (Genette, Lapacherie, Baetens), the distinction between non-linear and tabular proves to be non-exclusive in this particular work. Ostensibly, this non-figurative writing instigates interactive contemplation and lends itself to multiple entries, like an object one contemplates from every possible visual perspective without ever constructing a representation or i
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Brenner, Gladys. "From Constructivism to Deconstructivism." VCU Scholars Compass, 1990. http://hdl.handle.net/10156/1334.

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Thesis (M.F.A.)--Virginia Commonwealth University, 1990.<br>Title on page 6. Two folded displays. Prepared for: Dept. of Communication Arts and Design. Includes bibliographical references. Also available online.
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Костанда, Марина. "Соціокультурний аспект урбаністичної графіки". Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10784.

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Надано результати дослідження соціокультурного аспекту урбаністичної графіки та каліграфії. Метою роботи стало визначення візуальних прийомів урбаністичної графіки, застосованих в соціальних вуличних проектах. В ході дослідження розвитку сучасної урбаністичної графіки визначено перелік чинників, які обумовлюють візуальне наповнення урбаністичного простору. На основі аналізу аналогів соціальних проектів встановлено перелік характерних соціокультурних напрямків ефективного впровадження графічних прийомів у візуальний простір міста. Охарактеризовано сутність візуальних прийомів урбаністичної граф
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Books on the topic "Typographic space"

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Gowing, Mark, Ben DuVall, and Paul Schmelzer. Ficciones typografika 1642: Typographic exploration in a public space. Formist, 2019.

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Foundation, Khatt, ed. Typographic matchmaking in the city: Propositions for a pluralistic public space = voorstellen voor een pluralistische openbare ruimte. Khatt Books, 2010.

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Woolman, Matt. Moving type: Designing for time and space. BIS Publishers, 2000.

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Knight, Carolyn. Layout: Making it fit : finding the right balance between space and content. Rockport, 2003.

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Rebecca, Hagen, and ScienceDirect (Online service), eds. White space is not your enemy: A beginner's guide to communicating visually through graphic, Web & multimedia design. Focal Press/Elsevier, 2010.

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Space As Language: The Properties of Typographic Space. Cambridge University Press, 2023.

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Space As Language: The Properties of Typographic Space. Cambridge University Press, 2023.

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Space As Language: The Properties of Typographic Space. Cambridge University Press, 2023.

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Type Spaces: Typography in a Three-Dimensional Space. Gingko Press, Incorporated, 2014.

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Cinelli, Mia. Giving Type Meaning. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350255869.

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When we encounter type, how do we understand what it means? How is the tone of type influenced by how it is set, when it is made, and where it exists? What part does visual language play? Considering social, spatial, and temporal contexts, this text informs and inspires students, educators, and professionals looking to engage more deeply with the type they use and see. Featuring case studies, diverse typographic practices, and interviews with practicing artists and designers, Giving Type Meaning serves to inform how and why we understand what type says. The book includes: - The importance of c
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Book chapters on the topic "Typographic space"

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Kadir, Norita Abdul, Norhafizah Abdul Rahman, Nur Hisham Ibrahim, and Syahrul Nizam Shaari. "Sustainable Campus: An Installation of Typographic Landscape Design in Outdoor Communal Space." In Advances in Social Science, Education and Humanities Research. Atlantis Press SARL, 2024. http://dx.doi.org/10.2991/978-2-38476-293-4_2.

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dos Reis, Jorge. "Typographic Strategies in Urban Space: Three Artists in the Field of Contemporary Art Using Typography as Their Own Proper Raw Material." In Springer Series in Design and Innovation. Springer Nature Switzerland, 2022. http://dx.doi.org/10.1007/978-3-031-20364-0_50.

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Fisher-Høyrem, Stefan. "News: The Pursuit of Immediacy." In Rethinking Secular Time in Victorian England. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-09285-5_4.

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AbstractUnderpinning the Victorian public sphere was a network characterized by an intense pursuit of immediacy. By creating an abstract and ‘empty’ space where the public might observe and participate in ongoing events on a societal scale, this network served to establish public opinion as a source of political legitimacy. The telegraph, the development of professional journalistic skill sets, and the extraction of colonial natural resources made it possible to extend the news network beyond regional and national borders. The uniform typographical ‘form of news’ characterizing Victorian daily newspapers was an effect of specific technological adjustments needed to move newsworthy events across vast distances without interruption or distortion. In this way, the news network mediated a secular time independent of motion.
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Ayiter, Elif. "Playing With Text in Space." In Advances in Media, Entertainment, and the Arts. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-5023-5.ch006.

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This chapter delves into the creation of text and its visualization through typographic design inside three-dimensional virtual worlds known as the metaverse, with a particular focus upon the way in which these environments may place the usage of text within a context that stands in contradiction to its traditional one – namely legibility. Readability can be displaced through the usage of text and typography as playful devices that may manifest as visual structures, the contents of which are meant to be understood through means other than reading – as it is understood in the traditional sense of the word. Instead, such spaces are aimed to bring about states of heightened engagement, wonder, and “play” by being immersed within the typographic conglomerations that constitute their essences. This subject is explored through the discussion of three such typographic playgrounds that the authors created in the metaverse.
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Shtutin, Leo. "Defamiliarizing the Page." In Spatiality and Subjecthood in Mallarmé, Apollinaire, Maeterlinck, and Jarry. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198821854.003.0002.

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Chapter 2 focuses on Mallarmé’s Un coup de dés and Apollinaire’s calligrammes—works that defamiliarize page-space by undermining various (naturalized) conventions of paginal configuration. Many of the calligrammes are non-linear, having no ‘beginning’ or ‘end’; Un coup de dés is more accurately described as multi-cursal, its typographical hierarchy generating a network of forking paths that presents a formidable challenge to the first-time reader. Mallarmé and Apollinaire transform page-space from an inert ground into an integral component of the text; the syntax of Un cup de dés and the calligrammes is not merely verbal but visual, and calls for spatio-textual parsing. The chapter concludes with a comparative analysis of the ways in which Mallarmé and Apollinaire manipulate the institutional frame of the page, comprised of a series of typographic and spatial norms endemic to conventionally printed texts.
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"27 Typographic Space: A Fusion of Design and Technology." In HCI Remixed. The MIT Press, 2007. http://dx.doi.org/10.7551/mitpress/7455.003.0035.

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Shtutin, Leo. "Space and Subject as Historically Contingent." In Spatiality and Subjecthood in Mallarmé, Apollinaire, Maeterlinck, and Jarry. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198821854.003.0001.

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Chapter 1 serves as a kind of overture, introducing the book’s recurring themes and motifs: spatiality, subjecthood, embodiment, dynamics of spectatorship and reading, and so on. My purpose here is threefold: to contextualize the work of my four principal authors in relation to the fin-de-siècle period; to situate the fin de siècle itself in a broader historico-philosophical context; and, finally, to demonstrate that said practices reflect a particular, historically contingent understanding of space and subject. Opening the chapter with a discussion of Newtonian absolute space, the Cartesian ego, and the dualisms of subject/object and self/world, I evaluate the fin-de-siècle problematization of these notions with reference to my quartet of authors, and to the period’s scenographic and typographic practices generally. The aforementioned recorporealization of reader and spectator is then examined in this light.
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Matore, Daniel. "Olson Among the Letterers." In The Graphics of Verse. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192857217.003.0004.

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Abstract The third chapter is concerned with the seminal experiments of Charles Olson, a key transitional figure between early modernism and postwar poetry. The first section, ‘The New Ear, Breath Stops, and the Beats’, argues that the breath poetics of ‘Projective Verse’ for which Olson has become famous are supplanted by the labour of typography when he writes The Maximus Poems. In ‘“A full graphics-knowing man”: Black Mountain College and Ben Shahn’s Print Shop’, I argue that Olson conceives of mid-century America as mired in the advertising culture’s graphical malaise; with lithographer Ben Shahn, he envisages Black Mountain College as a centre of typographical resistance and re-education. Olson also becomes preoccupied with the poet’s interactions with the typographer and the printer. In ‘The Poet and the Typographer: Frances Motz Boldereff, David Jones, and the Labour of Verse’, I argue that this question of poetics comes to life in Olson’s relationship with the typographer Frances Motz Boldereff. Measuring space is figured as an art of verse, which is manifested in Olson’s drafting and compositional practices. Olson begins to conceive of typography as key to the work of poetry. His critique of discourse and Aristotelian logic convinces him that language needs to be spatialized, I argue in ‘“Metric then is mapping”: Olson, Prynne, and the Language of Space’. Through his correspondence with J. H. Prynne, Olson formulates the grammar of a spatial language. Typographical calculations, though, rather than the syntactical complexities formulated with Prynne, form the spatial language of The Maximus Poems. In the final section, ‘Literal, real realty: Typography, Topology and Property’, I claim that Olson’s later verse and essays rewrite poetics in metaphysical terms modelled after the philosophy of Alfred North Whitehead. I argue that territory and ownership is critiqued through the typography of Olson’s poetry. Experimental typography, I conclude, is how Olson attempts to offer a true map of the world, apprised of buried geology and history.
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Sawday, Jonathan. "Inky Faces and an Empty World." In Blanks, Print, Space, and Void in English Renaissance Literature. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192845641.003.0003.

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Abstract Starting with a discussion of the role of whiteness in typographic layout, and the gradual “opening up” of the page in the Renaissance, this chapter examines the role played by the technology of print in constructing ideas of a racially inflected sense of blackness and whiteness. The chapter looks at the production of black books or pages in England in the early seventeenth century, before considering representations of Blackness on the stage and in court masques (Shakespeare and Ben Jonson). The “inky” language of the print process is related to emerging ideas about race and skin color in the early modern period. In the second half of the chapter, the construction of blank, empty, or white spaces on printed maps in the seventeenth and eighteenth centuries is examined, showing how these “fictions of emptiness” contributed to the beginnings of European colonialism.
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Dworkin, Craig. "Webster’s New Collegiate and the Poetry of Clark Coolidge and Bernadette Mayer." In Dictionary Poetics. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823287987.003.0005.

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Chapter 4 focuses on two books: The Cave, by Clark Coolidge and Bernadette Mayer (published in 2009), and Coolidge’s The Maintains (1974). Attending to the collaborations’ claims of negative ontology and the shifting nexus of particular terms reveals the intertext at the heart of the book: Carl Andre’s contemporaneous sculpture Equivalents I-VIII. Indeed, the chapter follows the implications of the collaboration’s proposals to make an argument for considering the book itself as sculpture. Following from that sculptural reading, and the book’s equation of caverns and dictionaries, the chapter turns to The Maintains, alongside its dictionary source text, in order to detail the way in which it excavates the dictionary with an understanding of the reference book’s physical, typographic and sculptural space.
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Conference papers on the topic "Typographic space"

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Small, David, Suguru Ishizaki, and Muriel Cooper. "Typographic space." In Conference companion. ACM Press, 1994. http://dx.doi.org/10.1145/259963.260437.

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Rath, Kyle. "The illusive type: Hunting typographic simulacra." In Nordes 2023: This Space Left Intentionally Blank. Nordes, 2023. http://dx.doi.org/10.21606/nordes.2023.28.

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Jovančić, Kata, Neda Milić Keresteš, and Uroš Nedeljković. "Influence of white space on text scanning." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p79.

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Among its many roles, typography also serves to make a text more legible and readable, allowing the reader to follow the content flow with more ease. Typographic hierarchy, in turn, with its use of different logical and visual tools, serves to establish an order of importance of different text elements. To emphasize certain elements – i.e. create eye-catchers, typographers usually resort to making bigger and bolder items. In this paper we wish to examine whether white space can also serve as a means of emphasis. While several studies have already proven that white space influences consumer per
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Timpany, Claire Louise. "The space between us: how designers and the general population see typographic emphasis." In Design Research Society Conference 2020. Design Research Society, 2020. http://dx.doi.org/10.21606/drs.2020.258.

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Martiningrum, Indyah. "The Meaning of Typographic Design in Malang Urban Space: Based on Signs and Objects Relations." In International International Conference of Heritage & Culture in Integrated Rural-Urban Context (HUNIAN 2019). Atlantis Press, 2020. http://dx.doi.org/10.2991/aer.k.200729.019.

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Çetin Bigat, Ekrem. "EXPLORING GUIDANCE AND SIGNING SYSTEMS IN ENVIRONMENTAL GRAPHIC DESIGN AS INFORMATIONAL DESIGN: A STUDY USING GRAPHIC DESIGN EXAMPLES." In INTERNATIONAL SYMPOSIUM ON GRAPHIC ENGINEERING AND DESIGN. UNIVERSITY OF NOVI SAD FACULTY OF TECHNICAL SCIENCES DEPARTMENT OF GRAPHIC ENGINEERING AND DESIGN 21000 Novi Sad, Trg Dositeja Obradovića 6, 2024. http://dx.doi.org/10.24867/grid-2024-p66.

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Knowledge means power. Having knowledge has empowered human beings and provided new opportunities throughout history. Nowadays, with technological developments, accessing information has become easy for everyone. "Information Design” has emerged as an interdisciplinary field facilitating efficient access to necessary information and transforming complex data into comprehensible formats for broad audiences. Its primary objective is to ensure accessibility and understanding of intricate information. Currently, information design actively guides and simplifies information transfer through visual
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Koryakina, G. M., and S. A. Bondarchuk. "FEATURES OF TEACHING TYPOGRAPHY DESIGN STUDENTS (ON THE EXAMPLE OF THE LAYOUT OF THE ALBUM OF GRAPHIC WORKS T.I. BERBASH «TRISTAN AND ISOLDE»)." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.40.

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This article discusses the basic features and key points of teaching typography to design students on the example of the layout of a multi-page publication, which is an art album of graphic works by T. I. Berbes «Tristan and Isolde».
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Tamulevich, S. V. "SPECIFICITY OF DESIGNING THE CATALOG OF THE ETHNOGRAPHIC COLLECTION OF THE MUSEUM AS AN OBJECT OF GRAPHIC DESIGN." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.19.

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The article discusses the design features of the ethnographic catalog on the example of the project of the multi-page publication «Nanai» Khabarovsk Museum of Local Lore named after N.I. Grodekova. The author defines the purpose and target audience of the museum catalog, describes the relationship between design and content - the interaction of elements of end-to-end design and spread, color, illustrations and typography with text, ways to solve the information and logistics catalog by visual means, traditions and current trends in the implementation of navigation through the publication.
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Maragiannis, Anastasios, and Emmanouil Kanellos. "Typographical Experimental Research in Audiovisual Spaces [T.E.R.A.S. lab]." In Electronic Visualisation and the Arts (EVA 2011). BCS Learning & Development, 2011. http://dx.doi.org/10.14236/ewic/eva2011.56.

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Cui, Mengxi, Chao Zheng, Wenning Shi, and Zihao Wang. "Research of the Typography Design for Digital Reading on Mobile Devices." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003368.

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Typography is the art and technique of arranging typeface and space to make written language legible, readable and appealing when displayed. Typography can be traced back to humans consciously arranging elements, such as text and graphics, on a plane according to specific rules to convey a message effectively. Typography requires that the content be normative, readable, and aesthetically pleasing, which can effectively help improve the reading speed, optimize the efficiency of information transmission, and enhance the audience's visual perception. Digital media has changed how we access and co
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