Typography Design

The traditional understanding of typography emphasizes that the main function of type is readability; proper letter formation, clear words and easy-to-understand sentences are essential. However, this study shows that typography has emotional and psychological expressive power beyond mere legibility. Fonts are not just simple tools that convey textual information; they are also symbolic elements that reflect different emotions, personalities and cultural codes. Simple and formal characters like Arial symbolize corporate trust, while more friendly fonts like Chalkboard can create a warm and playful effect. These differences go beyond simple aesthetic choices to encompass deep cultural and psychological dynamics. This research explores these emotional and expressive properties of fonts from the perspective of semiotic theories and cognitive psychology. In addition, the emotional effects of fonts are visually demonstrated through original lettering studies. In a related part of the study, artificial intelligence systems were utilized to evaluate typographic emotional expression. The original lettering samples were shown to a visual generation and analysis system called DALL·E developed by OpenAI, and the emotional responses of the system to these typographic forms were analyzed. Thus, it was questioned how artificial intelligence interprets the emotions triggered by typographic elements and how much this overlaps with human perception. The analysis reveals that the meanings carried by fonts can be perceived not only by the human eye but also by technological tools. This examination points to the increasing role of technology and artificial intelligence in visual communication. As a result, typography can be considered as a strategic communication tool for conveying emotional, cultural and psychological messages, including the interaction of human and artificial intelligence.

Typography plays a pivotal role in shaping the visual fabric of a cityscape and its dynamics. This study systematically explores the intricate relationship between environmental typography and its contribution to the human interpretation of public spaces. It addresses a significant gap in the domain of urban science literature and has the potential to contribute to the development of more interactive urban spaces. Therefore, this research employs a twofold methodology, commencing with a comprehensive literature review followed by an experimental phase involving a distinctive approach termed 'perceptual experimentation' to elicit precise psychological responses. The study results demonstrate a significant preference for typographic elements, as revealed by a binomial test analysing 3,150 responses, highlighting a substantial influence of typography on user preferences. Furthermore, a chi-square test confirmed a strong relationship between typographic elements in urban environments and user preference. Regarding the interpretation of the built environment, 74.12% of responses were found to align with correct interpretations. Logistic regression analysis indicated that font style and color significantly influence interpretation, while material and size exert minimal. The study holds important practical implications for urban design, planning and psychology, as it advocates for the integration of typography to enhance the connectivity of public spaces with people.

I already have an article dedicated to punctuation marks; and it is published on the Academy’s website. The present article, in a certain sense, continues that publication, but brings a different emphasis: it considers the punctuation system as auxiliary to the primary set of signs that convey the main idea of a written text and are composed of words.
Our ancestors wrote only in words, placed one after another without spaces or auxiliary signs. This turned out to be insufficient; marks emerged that added meaning and coherence to such texts. This issue is not limited to punctuation alone; it is also accompanied by typographic, orthographic, and other sign systems. In this article, I merely touched upon this broader issue, which requires further attention and analysis. I hope to return to it in the future.

Open Design is a minimum guideline for the development of design projects management using free libre open source software (FLOSS). It was developed through years of work as a designer at the same time that with the incipient open source movement and was compiled due to the request of scholars of the Tactical Media movement being published in the Rhizome.net journal.

Cosa hanno in comune Alfred Hitchcock, i Blues Brothers, Ettore Scola, Jim Carrey, Shrek, Will Smith, Bruce Wayne, David Fincher, Johnny Depp, Wes Anderson, Gli Incredibili, Sharon Stone, David Cronenberg, Torrente, Michael Douglas, Orson Welles, Leonardo DiCaprio, i Minions, Billy Wilder, Deadpool, Willem Dafoe e Fritz Lang? Sono registi, attori e personaggi che hanno creato o interpretato film in cui compaiono dei biglietti da visita.

Con la prestigiosa prefazione del giornalista e scrittore Alessandro Comin, "Biglietti da visita nel cinema" è una raccolta di fotogrammi di film in cui compaiono biglietti da visita. Ogni pagina presenta un biglietto, con una breve scheda del film arricchita da dettagli sulla produzione, sul contesto della scena riportata e da un’analisi approfondita (quando la leggibilità lo permette) dei caratteri tipografici utilizzati.

Il saggio contiene anche una serie di infografiche che illustrano alcuni dati quantitativi sui font usati, sui generi cinematografici in cui compaiono, sui Paesi e anni di produzione, oltre ad un ricco glossario che introduce la terminologia del mondo della tipografia e della stampa.

El presente artículo de reflexión tiene por objetivo abordar el diseño de la página y por extensión del libro, a partir de experiencias de aula y profesionales, como un ejercicio integral que enriquece la diagramación al proponer un tratamiento tipográfico para la producción editorial, proceso que busca comunicar más que informar. El trabajo resume los resultados de la investigación desarrollada con el grupo de investigación Xisqua, titulada “Tiempo, Silencio y Espacio, Herramientas para la construcción de libros”. Como  factor de enlace entre el diseñador, la pieza diseñada y el lector se toma el concepto del tiempo, en aras de comprender ampliamente las posibilidades de uso de la letra. Se ejemplifican cada una de las condiciones posibles de la relación entre los mencionados elementos y se analizan las connotaciones de cada situación. Además, se ofrece al diseño tipográfico una fundamentación teórica que permite proyectar al diseño editorial más allá de lo determinado por la moda o los usos habituales. Como resultado de esta reflexión, el diseñador gráfico tiene acceso a un repertorio de recursos que aplicados al diseño, pueden potenciar las condiciones visuales de los textos diseñados para libros. Asimismo, desde lo teórico se aporta a la construcción de la semiosis del diseño editorial, mediante sentidos y significados surgidos del manejo formal de la palabra.

This study examined the influence of billboard advertising on electorate's voting decision during the 2019 Cross River State gubernatorial campaign. The study sought to ascertain the level of relevance attached to billboards as a means of political information by the electorates, to find out if the voters in Cross River State actually believed in the political messages presented on the billboards, as well as to ascertain if the electorate were actually influenced by the billboard messages. To achieve these, relevant concepts and empirical studies were reviewed and the agenda setting theory as well as the social marketing theory were adopted in the study to establish a workable theoretical framework. The study employed the mixed method with the questionnaire and interview inventory as the research instrument. Through multi-stage sampling, 399 respondents were selected for the survey from the three senatorial districts in Cross River state and 2 interviewees for in-depth interviews. The findings indicated among other things, that electorates in Cross River State were significantly influenced by their exposure to these billboards and most of them were persuaded not only by the messages but by the visual composition of the billboard. The study found out that the billboards are at a better advantage over the handheld printed communication media, which might be easily misplaced by an individual. In the light of the findings, the study concluded that the billboard can be used both for political campaigning and for political orientation/education. With these, it was recommended that billboards should be constructed with materials that will be able to withstand any weather condition without being damaged in order to sustain its messages. Its messages can also be written in local dialects in order to induce the desired results from the electorate. The study also recommended that the government should adopt billboards as major tools for political education and electoral orientation.

Como comunicar a uma pessoa específica, porém desconhecida e anônima, uma mensagem que a informe e seja por ela reconhecida? A questão norteou o projeto experimental 'achados e perdidos'campanha de recuperação de objetos perdidos em ambientes fechados (como escolas, hospitais e empresas)e estimulou as reflexões deste artigo que se desenvolve por meio da análise do processo de trabalho. A hipótese comum aos dois, projeto e artigo, é de que seja possível realizar uma comunicação tão pessoal e particularizada por meio da utilização de um padrão gráfico cuja composição formal se restrinja a elementos de síntese e universalidade, característicos da comunicação visual moderna. Com base na premissa formulada por Bruno Munari de que o comunicador visual precisa 'encontrar as imagens comuns a muitos' para construir suas mensagens, o artigo parte da conceituação do design para introduzir aspectos de semântica visual, linguagem gráfica e de metodologia de projeto. Entende-se que o exercício de associar conceitos e processo, teoria e prática, seja essencial ao designa partir da experiência do projeto, o artigo propõe uma elaboração sobre o material de análise que possa contribuir com a pesquisa em design de informação, principalmente no que se refere à construção de parâmetros para tal exercício. How to communicate to a specific person, yet unknown and anonymous, a message that informs and is recognized by this person? The question guided the experimental project 'lost and found'recovery campaign of lost objects indoors (such as schools, hospitals and businesses)and stimulated the reflections of this article that develops with the analysis of the work process. The hypothesis common to both, project and article, that it is possible to perform such personal and particularized communication through the use of a graphic pattern of which formal composition elements are restricted in the borders of synthetic and universal design limits, characteristic of modern visual communication. Based on the premise formulated by Bruno Munari that the visual communicator needs to 'find common images to many' to build his messages, the article begins from concepts of design to introduce aspects of visual semantics, graphic language and design methodology. It is believed that the exercise of associating concepts and process, theory and practice, is essential to designbased on the project experience, the article proposes an elaboration of the work process and its elements that might contribute to the research on information design, especially with respect to the building of the parameters required by such an exercise.

This study categorizes typefaces using the default font lists from various Computer Aided Design (CAD) software to provide students with foundational knowledge for lettering design. Having been conducted as a descriptive research, it enhances existing literature by focusing on educating students on the essentials of typeface selection. The research examines font lists from Microsoft Office Word, CorelDraw X5, CorelDraw 2020, Adobe Illustrator CS6, Adobe Photoshop CS6, Adobe Photoshop CS5, and LibreCAD Office 7.5, analyzing 28 typefaces displayed on a 12 by 7-inch screen with a resolution of 1366x768. The study involved ten male participants, aged 25 to 40, all with similar visual acuity tested without glasses. Findings highlight the importance of observation and classification in distinguishing similar-looking letterforms, emphasizing legibility and readability. The study notes that decorative typefaces have the lowest readability. Additionally, older versions of CorelDraw and Adobe Photoshop contain a broader range of typefaces, including many not found in newer versions, which only feature popular examples. These insights aim to familiarize students with the available typefaces in standard CAD software, thus aiding in idea generation for lettering design and reducing the need for extensive internet searches, particularly benefiting those affected by the digital divide.

In the time when technology is enabling cheaper printing costs, digital photography, advanced DTP software, the magazine market has never been more competitive. Flooding the newsstands, they strive to get attention of the customers. And one of the key elements of achieving that is their design. Magazine design is defined as controlled fusion of it’ s visual elements, with a special accent on the vital three - layout, picture and type. There are certain aesthetic rules for each of these elements. Through their application we gain a visually strong and attractive magazine. This paper examines those visual elements, their use and interaction.

Od kilku lat można zauważyć znaczny wzrost zainteresowania dizajnem i typografią. Zagadnienie projektowania stało się modne i popularne-świadczy o tym ilość kursów i szkoleń organizowanych przez uczelnie i prywatne firmy, ciągle wzrastająca liczba blogów i forów dyskusyjnych poświęconych szeroko pojętemu projektowaniu graficznemu oraz coraz liczniej pojawiające się publikacje branżowe. Te ostatnie można roboczo podzielić na trzy grupy: poradniki dla osób niezwiązanych wcześniej z typografią i dla osób stawiających pierwsze kroki na drodze projektowania publikacji, podręczniki dla profesjonalistów, czasem adresowane do studentów szkół artystycznych lub zawodowych oraz teksty teoretyczne, często poświęcone szczegółowym zagadnieniom specjalistycznym. Wszystkie te publikacje mogą obejmować bardzo szeroką tematykę: od problemów związanych z samym procesem reprodukcji poprzez zagadnienia dotyczące czytelności i estetyki druku aż po opracowania omawiające projektowanie graficzne publikacji zarówno papierowych, jak i elektronicznych. Wybór odpowiednich pozycji sprawia trudności szczególnie osobom rozpoczynającym dopiero pracę projektanta. Problem jest tym bardziej istotny, że w dzisiejszych czasach projektantami, składaczami, grafikami i operatorami DTP zostają nie tylko absolwenci odpowiednich szkół i uczelni, ale także liczne grono samouków opanowujących obsługę programów komputerowych i starających się niekiedy uzupełnić swoją wiedzę fachową. Często student 1 lub nowicjusz w fachu staje przed półką pełną publikacji branżowych i nie wie po co sięgnąć najpierw. W zależności od szczęścia lub porad bardziej doświadczonych kolegów decyduje się na reklamowaną książkę i doznaje zawodu, gdyż poradniki rzadko niosą rzetelną i sprawdzoną wiedzę, zaś publikacje specjalistyczne są zbyt trudne dla osób początkujących ze względu na specyficzną terminologię i złożoność zagadnień. Dlatego warto może pokrótce omówić dostępne na naszym rynku publikacje pod kątem ich przydatności na różnych etapach rozwoju młodego (a może i starszego) projektanta. Już na początku wypada uczynić pewną dygresję związaną z terminem "projektant", według niektórych, nadużywanym. Rzeczywiście, dawniej, gdy książka była dziełem zespołu wyspecjalizowanych pracowników wydawnictwa zakres kompetencji był bardzo ściśle określony. Stroną merytoryczną zajmował się redaktor prowadzący, który sprawdzał i akceptował pracę adiustatora i korektora, a także [1] Jako dydaktyk często spotykam się z takimi opiniami studentów.

Grafik tasarım çalışmalarında görsel bütünlüğün oluşturulması ve mesajın doğru bir şekilde algılanmasını sağlamak için uyulması gereken temel kurallardan birisi olan görsel hiyerarşi, tasarımda kullanılan grafik tasarım elemanları ile inşa edilmektedir. Bu elemanlar arasında yer alan boyut, renk ve çizgi değişkenlerinin ortak birleşim noktası olarak karşımıza çoğu zaman tipografi çıkmaktadır. Kısaca “Yazı tasarımı” olarak tanımlanan tipografi, oluşturulan grafik tasarım çalışmasında verilmek istenen bilginin bakan kişiye aktarılması sürecinde önemli bir role sahiptir. Basılı bir grafik tasarım ürünü olan kitapların içeriğini eksiksiz ve doğru yansıtması açısından kitapların kapak tasarımı sorunsuz bir hiyerarşik düzene sahip olmalıdır. Kitabın içindeki onlarca sayfalık bilginin özeti niteliğinde olan kitap kapağındaki temel tipografik malzeme, yazar ve kitap adıdır. Kapakta kullanılan imaj ile birlikte bu tipografik malzemenin kompozisyon bütünlüğü sağlaması için; renk, boyut, oran ve konum gibi değişkenlerin tasarıma doğru bir şekilde yansıtılması gerekmektedir. Yazılı bilginin anlamına uygun bir görsel ifade yakalayabilmek için, sadece doğru font türünün tercih edilmesi yeterli olmayacaktır. Doğru seçilmiş bir font genel kapak kompozisyonu ve ana görsel ile ilişikisi acısından da doğru renk, büyüklük ve konuma sahip olmalıdır. Kitabın türüne göre değişkenlik gösteren bu durum, farklı okuyucu kitleleri için de ayrıca değerlendirilmesi gereken bir süreçtir. Hazırlanan bu çalışmanın ilk bölümünde yazının tasarım içerisindeki görsel ifade gücü üzerinde durulmuştur. Okunaklılık ve okunabilirlik kavramları ile; espas, marj, satır arası ve renk tercihlerinin yazının algılanabilirliğine etkileri örnekler üzerinden değerlendirilmiştir. İkinci bölümde ise kapak tasarımlarında olması gereken temel unsurlar sıralanarak bu unsurların yerli ve yabancı örneklerdeki uygulama tercihleri incelenmiştir. Son bölümde ise 2022 yılı içinde, yerli yazarlara ait “çok satan kitaplar” listesindeki ilk üç kitabın kapakları tipografinin görsel hiyerarşi içindeki kullanımı çerçevesinde değerlendirilmiştir.

İletişimin temelinde yer alan bilgi aktarımı, kitap gibi basılı yayın ürünlerinde, çoğunlukla, yazı üzerinden gerçekleşmektedir. Basılı yayınlardaki bilgi aktarım sürecinin temel elemanı olan yazı/metin bu sebeple dikkatli ve hassas bir tasarım sürecinden geçirilmelidir.  Bu gereklilik üzerine inşa edilecek olan tipografik tercihler, iletişim sürecinde verilmek istenen mesajın “alıcı”ya sorunsuz ve hızlı bir şekilde iletilmesini sağlamaktadır.

Yazılı bilginin amaca uygun bir şekilde görselleştirilmesi, tasarlanması, stilize edilmesi şeklinde tanımlanabilecek olan tipografi, üstünde yer aldığı zemin yani sayfanın genel tasarımından bağımsız bir şekilde değerlendirilemez. Çünkü “yazı” kendi varoluş biçimi gereği, bir fon/zemin üzerinde yer almak zorundadır. Bu zemin ile tipografi arasındaki mecburi ilişki, basılı yayınlarda karşımıza genel bir ifade olarak “sayfa tasarımı” şeklinde çıkmaktadır. Grafik tasarım ürünlerinin hemen hepsinin ortak noktası olan sayfa tasarımı, çocuk yayınlarında yaş ve algıya bağlı olarak daha fazla önem kazanmaktadır.

Çocuk yayınlarında iç sayfa tasarımı yapılırken çocukların yaş ve bilgi düzeyini bilmek, tipografiye dair unsurları belirlerken kritik bir önem taşımaktadır. Bunun yanı sıra sayfanın fiziksel özellikleri de bu tasarım sürecinde etkin rol oynamaktadır.

Bu çalışmada mesaj ve yazı konuları üzerinde bazı önemli noktalara değinildikten sonra, çocuk yayınlarındaki sayfa tasarımı sürecinde göz ününe alınması gereken unsurlar irdelenecektir. Sayfa ebadı, kâğıt seçimi, sütun ve satır ölçüleri, font, punto, espas, ton, renk gibi konular çocuklara iletilecek olan mesajın onlara sıhhatli bir şekilde ulaşması ekseninde değerlendirilecektir.

Khazanah pernaskahan Nusantara adalah harta karun intelektual yang mencatat warisan budaya dan sejarah masyarakat Nusantara. Naskah-naskah Nusantara yang berupa manuskrip atau naskah kuno tersebut mengandung kekayaan informasi yang melimpah, mencakup berbagai aspek kehidupan, mulai dari sastra, agama, hingga ilmu pengetahuan yang menjadi saksi bisu sejarah dan budaya masyarakat Nusantara. Isinya tidak hanya terbatas pada kesusastraan belaka, tetapi juga berbagai bidang lain, seperti agama, sejarah, hukum, adat, obatobatan, teknik, dan lain-lain (Fathurahman, 2010). Naskah kuno Nusantara ditulis dalam berbagai bahasa dan beragam aksara yang mencerminkan keragaman budaya masyarakat Nusantara. Setiap bahasa dan aksara memiliki keunikan dan karakteristiknya sendiri sebagai manifestasi dari sejarah dan

In the article is discussed the reading process in its neurophysiologic, cognitive and psycholinguistic facets, the formation of reading efficiency as a cognitive skill and the role of typefaces in the acquisition of reading literacy in pre-school and primary school children.

В статията са изследвани някои от трудностите в процеса на придобиване на четивна грамотност. Разглеждат се опитите на изследователите да разрешат проблемите на дислексиците и да отговорят на специфичните им нужди, които изискват проектирането на специални шрифтове за четене.

In this article are examined some of the difficulties in the process of acquisition of reading literacy. The paper discusses the attempts of the researchers to solve the problems of the dyslexics and to answer their specific needs that require the design of special typefaces for reading.

As a print media, posters are often used as an information medium to convey its message. Horror films are films that seek to provoke emotions in the form of fear and horror from viewers. Storylines often involve themes of death, the supernatural, or mental illness. Typography is the art and science of arranging a rule consists of Persian writing letters - letters to convey a message simple rule, with the purpose of the message delivered in good and easy to digest and do not leave the beauty of artistic value rule as stated in the creation of the work. Rizal Mantovani besides known as the director of the video clip of the most sought after, the man who entered the film industry since 1992, is a director that produces many horror films. Starting with horror movie titled Jelangkung who made it into the top box office in 2001. ‘Kuntilanak Trilogy’ followed this where he won the best director award at the Bali International Film Festival for the film Kuntilanak3. Keywords: tipografi, pos...

Typography is of the utmost importance in Graphic Design. As the field evolved with the times, so is today's type practice almost exclusively done digitally. In an area where practice is crucial for students to comprehend the concepts, there is an opportunity to integrate digital tools with practical activities. We present TypeGym, an online platform for Typography training through interactive exercises in multiple important subjects of the area. These exercises are developed as a narrative of growing complexity, and allow for global or articulated training of specific topics of Typography, so that the user can develop their knowledge in the field according to their necessities.

Many fonts derive from stroke-based ancestry. Pressure applied to the pen or brush provided some variation in the stroke width, which defined a region on each side of a centreline. A simple representation of fonts as variable width strokes is presented in this paper. Advantages include a good first step toward typographic scaling (stroke width scales independently of overall scale factor), and preservation of topology at low resolutions (minimum stroke width can be enforced). A chief disadvantage is the lack of experience designing fonts in this paradigm, or building routines to convert from other paradigms.

يعد فن الخط العربي من أهم مظاهر فنون الحضارة الإسلامية ومن أبرز معالمها، فهو فنٌّ نُقل من خلاله كلام اللغة العربية المنطوق إلى صورة منظورة تنوعت عبر العصور في أنواع مختلفة من الخط العربي. وقد كانت مهمة تدوين القرآن الكريم منذ بداية نزول الوحي الدافع الأكبر للتطوير الجمالي في بنية الخط العربي، وتبارت الأجيال في ضبط صوره وأشكاله حتى وصلت به إلى نماذج محكَمَة متقنة، كما اجتهد علماء الخط في ايجاد قواعد بصرية جمالية توضح للخطاطين والنساخ ضوابط هذا الفن العريق؛ فتعددت أنواع الخط العربي وصار لكل خط قاعدته الخاصة حفاظًا على خصوصيته الجمالية، بل وتعدت تلك الضوابط إلى تخصيص قواعد استثنائية لبعض الكلمات في النوع الواحد. إن تلك الضوابط نَقَلت الخط عبر مراحل من الخط الموزون إلى المنسوب الذي استمر إلى يومنا هذا، وتعدّدت عبر هذه الرحلة التي اجتازت الألف سنة طرق ضبط الخط العربي، فبين الوزن بشعرة البرذون إلى الضبط بالنسبة للألف وحتى ميزان النقطة وغيرها تنوعت أدوات قياس وضبط فن الخط. ومع طول هذه الرحلة فإن مطلب التقّييد للضوابط والتركيز عليها خاصة في مقاسات الحروف كان في ازدياد مستمر، في حين تركت بعض الجوانب التي لم تخضع لهذه الضوابط، فالقاعدة ليست هي الغاية عند الخطاطين بل هي مجرد وسيلة مساعدة لتقدير نظر الخطاط تساعده في توظيف الحروف والكلمات في تكوين بصري يناسب الوظيفة التي كُتب من أجلها النص المكتوب.
      في هذه الورقة استعرض بعض أهم أدوات قياس وضبط قواعد الخط العربي، ونطاق فاعليتها وما لا تتطرق إلى ضبطه وتقييده هذه الأدوات، وأثر المقيَّد في الخط والطَّليق (غير المقيَّد) على المنتج الجمالي النهائي للخط العربي.

The article presents partial results of a research project. It aims to diagnose the state of typography didactics at Polish universities, determine how it can be taught to respond to contemporary challenges, and explore the current usage of the concept of typography and the principles of teaching developed by Krzysztof Lenk. As part of the research, we conducted in-depth interviews with 18 teachers from various types of high schools (fine arts academies, universities as well as practical schools), in this article we present an analysis of a selected thread of these interviews - the definition of typography. We singled out the most important, interesting or frequently repeated definitions of this design field in the respondents' statements, and attempted to answer the question of whether our interviewees refer to theoretical approaches established in the literature. We then analyzed whether, and if so, how this translates into their teaching activities, analyzing the content and form of the exercises they carry out as part of the subjects they teach, distinguishing, among other things, the four aspects to which they most often pay attention - the correct conduct of the design process, sensitivity to the form of the letter, the ability to build a structure of information and the use of the letter as a message.

If you show the Ethiopian alphabet to an American you meet on the street the chance that it would be guessed right is one in a hundred. Most of the people do not know that Ethiopians had developed beautiful and perfect alphabets and have been using them for thousands of years. Many wouldn't know that Ethiopians have their own printing presses and books such as the Amharic,Tigre and Oromo Bibles had been in print using these Ethiopian alphabets for over a century. Most of the people would not know that the Ethiopian child learns how to read and write the 400 or so phonetic Ge'ez characters along with the English alphabet in grade schools.

It is proposed to use irregularity, the scale invariant index based on the ideas of fractal geometry to assess the spatial features of font drawings. The index is sensitive to the shape of characters in the font, which affects text legibility. Preliminary results have shown promising application of the proposed index for classifying fonts by reading speeds.

Aksara Jawa merupakan Identitas budaya Nusantara yang bisa diangkat menjadi bagian dari perkembangan tipografi modern Indonesia. Namun tidak banyak desainer tipografi Indonesia memunculkan karya dengan Aksara Jawa sebagai stimulinya, sehingga tidak banyak, bahkan jarang typeface Indonesia yang mengangkat akar budaya Nusantara sebagai pondasi tipografi Indonesia. Perancangan ini diharapkan dapat memadukan aksara Jawa dengan perancangan tipografi modern, sehingga memunculkan typeface sebagai identitas Indonesia, adapun hasil akhir berupa perancangan font dan type specimen book. Kata kunci: typeface, tipografi, aksara Jawa, kebudayaan Indonesia

Art movements began after the industrial revolution, has brought a new dimension and lead artists and designers unprecedented forms and new different perceptions. This approach which was shaped though to art and design movement turned to an individual interrogation style witli postmodernism. Designers approached the problem with an intuitive way. emotionally closer, 􀀡ncl created conceptual works thought an experimental and individual approach. Typography conventionally used in graphic design which reshaped witli the usage of different techniques has developed a level of perception in art and design. In the 21st century 'thought' based on the association of art and design, without any doubt has began to shape with technology. Socio-cultural typographic installations in public spaces added value to the city and get a bit of peeling off the shadow of graphic design capitalism has transformed the phenomenon of contemporary art. Accordingly to tliree-dimensional installations has created consciousness in socio-cultural and carries the city and the people to the future.

In light of the rapid proliferation of typeface design in the digital era, what conceptual space provides impetus to the designer wishing to create a new typeface design? This paper will illustrate the creative process in the making of an individual type design. It will attempt to locate this process in the technical and semantic framework of current typographic debate. The paper documents the development of a typeface design and discusses the questions: Can a contemporary, digitally rendered sans-serif be imbued with some of the rhythmic and human visual qualities detected in handwriting? What are the evaluation mechanisms? .

This paper seeks to further our understanding of the affective impact of lettering and typography in the environment. This research is predicated in the relationship between physical environment and semantic (in this case, typographic) codes. Two contrasting urban areas are used to elucidate the concept of visual appropriateness and meaning and are investigated in order to elucidate the theory that lettering is significant to communicating feeling, identity and social status. This research presents evidence of how feelings towards lettering in relation to place are measured. A set of visuals from each of the two environments was tested using participant groups in order to investigate the concept of semantic understanding. The results are used to present a range of findings about perception of lettering and typography in the urban environment.

In light of the rapid proliferation of typeface design in the digital era, what conceptual space provides impetus to the designer wishing to create a new typeface design? This article will illustrate the creative process in the making of an individual type design. It will attempt to locate this process in the technical and semantic framework of current typographic debate. The article documents the development of a typeface design and discusses the questions: Can a contemporary, digitally rendered sans-serif  be imbued with some of the rhythmic and human visual qualities detected in handwriting? What are the evaluation mechanisms?

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

In television broadcasts, important information is often conveyed with short inscriptions. In such elements, the typeface, letter case, positioning, timing and colour combinations may affect the speed of information processing to the level of recognition. It is therefore necessary to choose an appropriate combination of these properties. In the present study, we were especially interested in the effects of applied colours in connection with the above-mentioned factors. The speed of recognising three-letter words was measured in different experimental conditions where the typeface of the inscription, its position and colour combination varied. Two typefaces (i.e. Calibri and Georgia), two letter cases (i.e. upper-case and lowercase), two positions (i.e. upper left and right) and four colour combinations (i.e. white on blue, blue on white, white on red and red on white) were tested. The results showed that colour combinations affected the speed of word processing to the level of recognition.

In typography form , the counterform is the area of a letter that is entirely or partially enclosed by a letter form or a symbol (the counter-space/the hole of). Letters containing closed counters include A, B, D, O, P, Q, R, a, b, d, e, g, o, p, and q. Lettersم, ه, ص,ض,ط,ظ,ف,ق, containing open counters include c, f, h, i, s etc.ب,ت,ث ,ج,ح,خ,د,ذ,ر,ز,س,ش,ع.غ.ک,ل, ن, ى  The digits 0, 4, 6, 8, and 9 also possess a counter. the aperture is the opening between an open counter and the outside of the letter. Typography form and counter form means negative and positive space in typography studies. Different typeface styles have different tendencies to use open or more closed apertures. although the letter typically functions as part of a word, individual letters are frequently combined into new forms and many configurations which can use especially in posters or printed ads Because of the conditions of the ease of the readability and the look. The Research is Aim to highlight the value of u...

Dieses Kapitel befasst sich mit grafischer Gestaltung im Bezug auf didaktische Materialien. Zu Beginn wird der Begriff des Grafikdesigns beleuchtet und dessen Nutzen für die Erstellung didaktischer Materialien aufgezeigt. Im Anschluss an einige Gestaltungsgrundlagen werden die Teilgebiete Typografie und Bildgestaltung näher betrachtet ebenso wie der Einsatz unterschiedlicher Bildtypen in der Wissensvermittlung. Abschließend wird das Gestaltungsraster als Hilfsmittel zur Koordination verschiedener Medientypen betrachtet.

The recent popularity of creative coding tools and Computational Creativity approaches are promoting a paradigm shift in the creation, development and production of Graphic Design artefacts. In this work, we present an evolutionary system for the automatic typesetting of typographic posters. This system is inspired by the letterpress typesetting process of the print houses in the earlier 19th century and employs lexicon-based approaches to recognise the semantic meaning of the posters' content. During the evolutionary process, poster designs are automatically created and evaluated according to three objectives: legibility, aesthetics, and semantics. The system allows the users to express their preferences by specifying the intended visual features for the output designs, selecting the preferable fitness assignment strategy, and controlling different aspects of the evaluation strategy. We implemented three automatic strategies to evaluate the fitness of the posters: a multi-criteria hardwired fitness function, a multi-objective optimisation approach, and a hybrid strategy that combines features from the previous two strategies. The experimental results demonstrate the ability of the presented system to generate typographic posters, from scratch, and show the impact of the different evaluation strategies on the evolved poster designs. Overall, this research reveals how Evolutionary Computation approaches can be employed to develop novel co-creative typesetting tools and enable the automatic creation of customised typographic designs. CCS CONCEPTS • Computing methodologies → Information extraction; • Theory of computation → Evolutionary algorithms; • Applied computing → Publishing; Arts and humanities.

Sanayi Devrimi birçok iş alanında olduğu gibi basım endistrisinde de yoğun bir makineleşme döneminin başlamasına neden olmuştur. Bu dönemin sonuçlarından bir tanesi de daktilonun icad edilmesidir. Hemen her yazım ve basım yönteminde olduğu gibi, daktilonun icadı da tipografik olarak bazı değişimlere neden olmuştur. 1980'li yıllara kadar yaşamımızda yer alan, daha sonra ise yerlerini bilgisayarlara bırakan daktilolar, kendilerine özgü "monospace" adı verilen bir yazı karakteri sistemi ile çalışırlar. Daktiloların günümüzdeki işlevsel kullanımları sona ermiş olsa da, monospace yazı karakterleri bilgisayarlara aktarılmış ve kullanımları devam etmiştir. Bu yazı karakterleri günümüzde yazılımcılar ve tasarımcılar tarafından kod ekranları, matematiksel tabloların olduğu faaliyet raporları vb. gibi özel alanlarda kullanılmaya devam etmektedir.

The Bitumen produced in the sources of Mesopotamia was one of the important minerals which use diversified due to its many advantages from ancient times up to the present. The production sources and its locations within the borders of Mesopotamia are considered among the most important areas of investment. There are many types of bitumen, each of which has its own use. The old Iraqi bitumen was distinguished from other types which produced outside Mesopotamia, according to the results of scientific research, by containing multiple chemical substances that helped it to have an effective property against moisture, salts, and other natural influences. Throughout periods, mesopotamia inhabitants had complete knowledge, gained through practical experience, of the stages of preparing bitumen and knowledge of the temperature of each type, and this was proven by the various results of archaeological excavations and specialized studies in this field.

semiótica peirciana, significação, tipografia No Brasil, os livros didáticos são instrumentos de ensino adotados pelas escolas públicas de Ensino Fundamental e Médio. Esses livros têm uma presença massiva no cotidiano dos estudantes do país, e foram escolhidos como objeto desta pesquisa. A seleção dos livros utilizados nas escolas públicas é feita pelo Ministério da Educação (MEC), por meio do Programa Nacional do Livro Didático (PNLD), do Governo Federal. No processo de desenvolvimento dos livros, cabe ao designer atuar como um projetista da comunicação verbo-visual, fazendo a mediação entre os conteúdos específicos e os leitores. Esta mediação se dá por meio do planejamento e execução do projeto gráfico. Para essa pesquisa, selecionaram-se dois livros didáticos de Letramento e Alfabetização destinados ao primeiro ano do Ensino Fundamental, para análise dos elementos de seu projeto gráfico, especialmente, os elementos tipográficos, considerando que é por meio desses últimos que a criança terá contato com as práticas de leitura. Foi selecionada a metodologia de análise da semiótica peirciana. Como resultados, destacam-se as diferenças, semelhanças e efeitos de significado dos projetos gráficos e tipográficos analisados.

Professional Graphic Design design is a creative and strategic process of visually communicating information, ideas, and messages through various forms of visual media. Graphic designers use a combination of art, typography, color theory, and layout techniques to create visually appealing and effective designs for a wide range of purposes, including marketing, branding, advertising, web design, print materials, and more. Here are some key aspects of Professional Graphic Design: Understanding the Brief: A professional graphic designer begins by thoroughly understanding the client's needs, goals, and target audience. This involves meetings with clients to gather information and create a design brief that outlines project requirements. Research: Before starting the design process, graphic designers research the industry, competition, and trends to ensure their work aligns with the client's goals and is relevant to the target audience. Conceptualization: Designers brainstorm and generate ideas for the project, considering various design elements such as layout, color schemes, typography, and imagery. Sketching and Wireframing: Initial concepts are often sketched or wireframed to visualize the layout and composition of the design. This helps in refining ideas and presenting concepts to the client for feedback. Digital Design Tools: Graphic designers use various software tools like Adobe Creative Suite (Photoshop, Illustrator, InDesign), CorelDRAW, Sketch, or Figma to create digital designs. These tools enable them to manipulate images, create vector graphics, and layout text and visuals. Typography: Choosing the right fonts and arranging text effectively is crucial in graphic design. Typography plays a significant role in conveying the message and establishing the design's overall tone. Color Theory: Graphic designers use color theory to select appropriate color schemes that evoke specific emotions or associations. Color choices can significantly impact the design's effectiveness. Visual Elements: Incorporating images, illustrations, icons, and other visual elements is essential to convey the intended message and enhance the overall aesthetic of the design. Layout and Composition: Arranging all design elements in a visually pleasing and balanced manner is a key skill in graphic design. Designers pay attention to the placement of text, images, and negative space. Feedback and Revisions: Graphic designers work

The recent popularity of creative coding tools and Computational Creativity approaches are promoting a paradigm shift in the creation, development and production of Graphic Design artefacts. In this work, we present an evolutionary system for the automatic typesetting of typographic posters. This system is inspired by the letterpress typesetting process of the print houses in the earlier 19th century and employs lexicon-based approaches to recognise the semantic meaning of the posters' content. During the evolutionary process, poster designs are automatically created and evaluated according to three objectives: legibility, aesthetics, and semantics. The system allows the users to express their preferences by specifying the intended visual features for the output designs, selecting the preferable fitness assignment strategy, and controlling different aspects of the evaluation strategy. We implemented three automatic strategies to evaluate the fitness of the posters: a multi-criteria hardwired fitness function, a multi-objective optimisation approach, and a hybrid strategy that combines features from the previous two strategies. The experimental results demonstrate the ability of the presented system to generate typographic posters, from scratch, and show the impact of the different evaluation strategies on the evolved poster designs. Overall, this research reveals how Evolutionary Computation approaches can be employed to develop novel co-creative typesetting tools and enable the automatic creation of customised typographic designs. CCS CONCEPTS • Computing methodologies → Information extraction; • Theory of computation → Evolutionary algorithms; • Applied computing → Publishing; Arts and humanities.