Academic literature on the topic 'Typographic space'
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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 providing the basis for social actors’ ideological ascriptions. Typography and typographic meaning formation are discussed within modern Russian urban space. It is argued that urban area enables addressing agency and interaction aspects of social communication. The city space provides access points for observing, shaping and interpreting meanings in the social context. As cases in point, the paper discusses the typefaces such as Antiqua font used in pre-revolutionary Russia, lettering imitating the font of Soviet newspapers, Handwriting font, and Stencil font and their embeddedness in current socio-cultural practice. The analysis uses advertising, social and commercial texts. The findings indicate that typography should be considered as a social meaning which results from indexical connections of a sign and the context it is used in. Semiotification of space allows observing stronger reflexivity and, therefore, metapragmatic activity of communicants.
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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 (February 28, 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 lainnya. Objek tipografi sans serif tiga dimensi diamati secara deskriptif terhadap karakteristik huruf secara keterbacaan, legibility, keterlihatan dan kejelasannya dengan metode pencarian data melalui observasi objek tipografi pada display nama identitas taman. Permanfaatan tipografi sans serif pada ruang publik kota hanya bersifat fungsional sebagai penguat identitas semata tidak ditujukan sebagai penguat karakter kultural maupun simbolis. Kata kunci: ruang publik, sans serif, taman kota Bandung, tipografi spasial AbstractThe use of three-dimensional spatial typography as a medium of information was commonly used, even in the city of Bandung in every park using a creative approach to environmental typography. Apart from its role as city lungs, public space city parks also became a space for the community to interact, psychological healing in the city community, and providing a modern sensation. City parks in Bandung are often using the spatial typographic approach of Sans Serif as; Tegal Lega Park, Senior Park, Photography Park, Petpark Park, Superhero Park, and other Parks. Three-dimensional sans serif typographical objects are observed descriptively to the characteristics of letters in readability, legibilities, visibility, and clarity with data search methods through the observation of typography objects on the display of park identity names. The utilization of Sans Serif typographic in public spaces is only functional as an identity and it's not intended as a cultural or symbolic character booster. Keywords: Bandung city park, public space, sans serif, spatial typography
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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 (July 1, 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 knowledge, imagination, wishes and desires. To conclude,the form of typography depends on the language of the text and its medium, referringback to spatial perception and each’s surroundings, contributing directly to its memoryconstruction.Until 1974, Portugal was a very closed country, which prevented a widespread visualhomogenisation of the urban. is fact led to the existence of an unusual typographicheritage, yet it is not connoted a specific typographic style. According to Balius (2013),further development on the reflection of the social impact of typography is needed. This article proposes to examine current signposts typography present on the city of Coimbra,Portugal, identifying and analysing shapes, types and typographic families of dominantand distinct letters, referring to the space analysis and its history, compared to the placeand the history of typography. is analysis enables history as an active object, allowingthe transmission of typographic legate beyond the scope of the design.
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Ayiter, Elif. "Space, Text and Hoopla." International Journal of Art, Culture and Design Technologies 3, no. 1 (January 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 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 about states of heightened engagement, wonder and ‘play’ through their manipulation or indeed simply by being immersed within the typographic conglomeration that constitutes their essences. This subject will be explored through the discussion of three such typographic playgrounds that the author has created in the metaverse; as well as through their visual documentation undertaken through numerous images/screenshots that are placed throughout this text.
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Turkkan, Halime. "The significance of typography in data visualization." Global Journal of Computer Sciences: Theory and Research 11, no. 1 (March 31, 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 with typographic concern were more favourable and visually more striking and preferable than the other 5 designs in terms of design disciplines. As in all areas of graphic design, it is argued that the power of typography is an indisputable concept in data visualization, which is seen as a sub-branch of information design. Keywords: data visualization; design; typography, significance, technology
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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 (February 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 объяснительные подходы в социолингвистике, лингвистической антропологии, дискурсивном анализе, в рамках нового направления лингвистического анализа, сформированного как типографическая лингвистика. Исследовательский вопрос в проведенном анализе связан с изучением того, как типографика становится неотделимой от социального контекста, в котором она воспринимается как типичная и порождающая определенные социально значимые смыслы. Анализ показывает, что типографика может становиться социальной эмблемой. В статье раскрываются объяснительные возможности понятия «ландшафт», которое в современных разработках используется для обозначения пространства, социально и дискурсивно сформированного. Это ключевое понятие для характеристики мультимодальной природы семиотического пространства. В перспективе социолингвистики, социальной семиотики обсуждаются понятия «семиотический ландшафт», «визуальный ландшафт», «типографический ландшафт», которые используются в современных разработках, и их объяснительный потенциал. Социальное значение типографики и ее индексальный характер анализируются в связи с ее включенностью в советский ландшафт в современном российском контексте. Термином «советский ландшафт» обозначается мультимодальное пространство, в котором взаимодействуют различные семиотические ресурсы, вербальные и визуальные знаки, тексты, визуальные изображения, символы, отсылающие к социокультурным практикам и (само)идентификации человека в советском социуме. Основным объектом анализа в рамках статьи являются типографика и текстовый шрифт, характерные для советского периода и распознаваемые как таковые социальными акторами. Материалом для анализа послужили мультимодальные тексты, состоящие из вербальных и визуальных знаков, используемые в современной российской социокультурной практике при создании рекламных, социальных и коммерческих сообщений. Показывается, как советская ностальгия и актуальность советских смыслов порождают социальную индексальность знака и типографическое значение как особый социальный индекс. Проведенный анализ подтверждает, что типографика имеет прецедентный характер, действует как один из семиотических инструментов оформления и распознавания смысла в социокультурной практике. This paper suggests a focus on the typography and the typographic design of the text. Typography is considered as a semiotic resource with a meaning-making potential. It may act as social index proving links to contexts and social environments in which these links become crucial for social actors. The paper argues that typographic forms reveal ideological ascriptions. These can be discussed as graphic ideologies or ideologies of graphics, which means a set of beliefs about the socially significant meaning of graphic variants. The theoretical and methodological foundations of the analysis are found in the modern investigations in social semiotics, multimodality, social indexicality, and thus are in line with explanatory approaches in sociolinguistics, linguistic anthropology, discourse analysis, typographic linguistics. The sociolinguistic theory and typographic linguistics provide a social meaning of visual signs or, in a more narrow sense, typographic meaning. This is a kind of pragmatic meaning, arising from the indexical links of the visual sign to the social context of its use. In this framework, the explanatory charge of the concept of landscape is revealed, which attracted many scholars to denote a multimodal, socially and discursively shaped space, both in the sense of a cultivated environment and also as ideological sites. The notion of landscape involves signs, situation, social actors and ideologies. Therefore, the concepts of semiotic landscape, visual landscape, typographic landscape, which are identified in modern researches, are discussed. The paper shows that typographic landscapes as semiotic products with a social meaning are framed and evaluated in a dynamic way. Typographic meaning is an interpretive phenomenon that derives from the communicative knowledge of interlocutors and is a result of an interactive ascription within a socially embedded practice. The research question is related to the study of how typography becomes, in Agha’s terms, a social emblem. It is investigated in connection with the Soviet landscape in the modern Russian urban context. The term “Soviet landscape” refers to a multimodal space in which various semiotic resources, verbal and visual signs, texts, visual images, symbols refer to the sociocultural practices and (self)identification of a person in the former Soviet society. The main object of the suggested analysis within this framework is the Soviet type, characteristic for the Soviet newspapers and framed as such by social actors in the modern context. The analysis is based on multimodal texts used in modern Russian socio-cultural practice when creating advertising, social, and commercial messages. Dealing with landscapes reveals how Soviet nostalgia and the relevance of Soviet meanings give rise to the social indexicality of the sign and to the typographic meaning as a special social index. The analysis shows that typography has a precedent nature, acts as one of the semiotic tools for meaning making in socio-cultural practice.
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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 (December 1, 2013): 209–20. http://dx.doi.org/10.1386/tear.11.3.209_1.
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Rasyid, Armiati. "PENGGUNAAN BAHASA INDONESIA DI RUANG PUBLIK DI KOTA GORONTALO." TELAGA BAHASA 7, no. 1 (January 15, 2020): 1–20. http://dx.doi.org/10.36843/tb.v7i1.64.
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AbstrakTulisan ini bertujuan mendeskripsikan keterkendalian penggunaan bahasa Indonesia dan bentuk kesalahan penggunaan bahasa Indonesia pada ruang publik di Kota Gorontalo. Kajian ini bersifat kuantitatif. Data dikumpulkan dengan cara observasi dan dokumentasi serta dianalisis dengan teknik persentase. Kajian ini menemukan keterkendalian penggunaan bahasa ruang publik di Kota Gorontalo berada pada kategori Terkendali C(wilayah yang penggunaan bahasa di ruang publik kurang terkendali: secara fisik kurang didominasi bahasa asing; mulai lebih banyak berbahasa Indonesia dengan penerapan kaidah dan tipografi yang mulai baik). Hal tersebut dapat dilihat pada aspek kebahasaan yang belum sepenuhnya mengutamakan penggunaan bahasa Indonesia karena memiliki masalah pada ejaan, pilihan kata, dan struktur kalimat. Berdasarkan aspek fisik kebahasaan,posisi, ukuran, dan warna huruf pun belum maksimal mendukungpengutamaan bahasa Indonesia.masih terdapat data yang menempatkan bahasa Indonesia sejajar/bersanding dengan posisi di bawah atau di atas bahasa asing atau bahasa daerah.Sementara itu, berdasarkah aspek tipografi kebahasaannya, bahan, desain, dankejelasan hurufnya sudah proporsional.Kata kunci: ruang publik, aspek kebahasaan, aspek fisik kebahasaan, aspek tipografi kebahasaan, terkendali This paper aims to describe the control of the use of Indonesian and the forms of misuse of Indonesian in public spaces in Gorontalo City. This study is quantitative. Data collected by observation and documentation and analyzed by percentage techniques. This study found that the control over the use of public space languages in Gorontalo City was in the Controlled C category (areas where the use of language in public spaces was less controlled: physically less dominated by foreign languages; started to speak more Indonesian with the application of rules and typography that began well). This can be seen in the linguistic aspects that have not fully prioritized the use of Indonesian because they have problems with spelling, choice of words, and sentence structure. Based on the physical aspects of language, position, size, and color of letters are not yet optimally support the priority of the Indonesian language. There are still data that place Indonesian in line with / position below or above a foreign language or regional language. Meanwhile, based on the typographic aspects of the language, the material, design, and clarity of the letters are proportional. Keywords: public space, linguistic aspects, physical aspects of linguistics, typographic aspects of language, controlled
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Siddiqui, Igor. "Slashed Interiors: Text/Space." Interiority 3, no. 1 (January 24, 2020): 5–20. http://dx.doi.org/10.7454/in.v3i1.73.
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This essay explores the relationship between text and space by considering the notion of writing interiors as a form of creative practice. The research focuses on the textual and spatial uses of the punctuation mark slash (/), as evidenced in a range of text-based works by Barbara Kruger, Glenn Ligon, Dom Sylvester Houédard, Anni Albers, and other artists. The first part of the essay surveys the typographic character’s varied uses in written language; the second part considers its role within artwork titles, namely how its presence shapes spatial interpretations of each artwork in question; in the third part, preceding the conclusion, the focus is on the use of the slash as a mark that is both material and graphic. The resulting interpretations support a call for a change in the conversation about the relationship between writing and interiors.
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 rather act as a backdrop to everyday life. It seems to go unnoticed. This dissertation aims to emphasise the importance of typography, text and narrative within not only our day-to-day functionings, but also in the architectural realm. It seeks an amalgamation of typography, museum and public space, and aspires to create a place where the seemingly unnoticed typeface can be showcased, propagated and made accessible. Copyright 2011, University of Pretoria. All rights reserved.Dissertation (MArch(Prof))--University of Pretoria, 2011.
Architecture
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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 ; des écritures extrêmement caractérisées sur le plan visuel sont représentées en même temps que des écritures graphiquement neutres, en observant les points de contact et les hybridations entre l'avant-garde et la tradition. Le discours croise intentionnellement différents auteurs et poèmes, au sein desquels se manifestent les mêmes déclinaisons d'une forme expressive, liée à la spatialité, progressivement abordée et décrite à travers des analyses textuelles ciblées. Les domaines d'interaction entre l'espace et la composante verbale des textes (rythme, son et intonation, syntaxe et structures argumentatives, sémantique) et les constantes rhétorico-linguistiques qui leur sont associées, sont mis en évidence. Une première partie théorique retrace historiquement le difficile chemin de l'inclusion des aspects autonomes - donc spatiaux - de l'écriture dans les études linguistiques et stylistiques. Quelques questions fondamentales sont exposées : le processus de lecture, le lien entre l'ouverture métrique et la diffusion des traits stylistiques graphiques au XXe siècle, le rapport avec la composante auditive du langage et avec les traits phoniques dans la poésie, la parenté de la spatialité avec le système de ponctuation. La perspective critique italienne est complétée par d'importantes contributions théoriques de la linguistique française. Des approfondissements sont consacrés aux rapports formels entre poésie, musique et cinéma, puis aux obligations graphiques imposées par la presse et aux rapports entre poètes et éditeurs pour le respect des choix de mise en page au moment de la publicationThe present work, based on Italian poetry from the second half of the 20th century, investigates graphic space as a stylistic tool. It proposes interpretative parameters and provides a catalog of forms with the aim of encouraging the reception of spatiality among the subjects of contemporary metrical studies. The research follows a general perspective while considering the peculiar directions of the Italian cultural-historical field. The corpus on which the work is based consists of around 40 authors. Extremely visually characterized poems are represented alongside graphically standard poems, observing points of contact and hybridizations between avant-garde and tradition. The discourse intentionally crosses various authors and poems, illustrating the same declinations of stylistic form related to spatiality. These are gradually approached and described through focused textual analyses. The research enhances the areas of interaction between space and the verbal component of texts (rhythm, sound and intonation, syntax and argumentative structures, semantics). Rhetorical-linguistic patterns are considered. The first part of the essay traces historically the path of the difficult integration of the spatial aspects of writing within linguistic and stylistic studies. Some fundamental issues are exposed: the process of reading, the link between the use of free metrics and the spread of graphic stylistic features in the twentieth century, the relationship with the aural component of language and with phonic features in poetry, the kinship of spatiality with the punctuation system. Specific insights are devoted to the formal relationships between poetry, music and film; then, to the graphic obligations imposed by the press and the relationship between poets and publishers in terms of mise en page choices at the time of publication
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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 JANEIROEsta 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 design propriamente dito. Começamos por expor diferentes idéias sobre este tópico, escolhendo, em seguida, três autores: Jan Tschichold, Emil Ruder e Wolfgang Weingart. Após um breve histórico, foram selecionados alguns exemplos práticos que demonstram as crenças gráficas de cada um. Depois deste mergulho no passado, a questão foi trazida para a contemporaneidade, estudando-a com base no ponto de vista de designers que também se preocuparam com o assunto. Foi realizado um estudo de caso de páginas duplas da Revista brasileira Gula, em que foram identificados elementos gráficos próximos tanto da racionalidade quanto da sensibilidade. Várias imagens foram reproduzidas no capítulo quatro, no qual é feita a análise gráfica do material. O objetivo desta dissertação foi levantar questões que possam contribuir para fomentar futuras discussões e pesquisas dentro de um assunto vital para o designer: as várias formas de pensar o manejo da tipografia no espaço.
This dissertation aims at establishing a discussion between two ways of thinking the solution of typography in the graphic space: the one in which the designer emphazises the sense and the one which focuses sensibility. Through an analysis of the meaning of modern and pos- modern eras, we first investigated the context which gave rise to those two ways of thinking. Subsequently, we examined the ideasof some authors concerning the best way of arranging typography in the graphic space, bringing the discussion to the design context. We started analysing different ideas on this topic, and then focusing in three authors: Jan Tschichold, Emil Ruder and Wolfgang Weingart. After a short historical review, some practical examples have been selected to demonstrate the graphic believes of each one. After that immersion in the past, we brought the question to contemporary times, studying it through the point of view of designers to whom this aspect was also important. A case study of spreads taken out from the brazilian magazine Gula was developed, in which graphic elements related both to racionality and sensibility, were identified. Various images were reproducted in the chapter four, in which a graphic analysis of the material was carried out. The objective of this dissertation was to raise some points that might help futures discussions and research over this vital point to the designer: the various ways of arranging typography in the space.
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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’approche sémiotique et l’approche plastique. Le corpus d’étude est centré sur des pièces d’art, et des livres d’artistes, en laissant une large place à l’art contemporain. Cela nous permet d’appréhender la manière dont le spectateur, le lecteur, reçoivent les images, lisent les « vides ». Enfin, notre travail personnel de plasticienne est également abordé, ce qui nous aide à nourrir et enrichir notre réflexion. Une première partie nous permet de mettre en évidence la mise en place d’un médium typographique. Les premiers à développer ces recherches et travaux sont Guillaume Apollinaire et Stéphane Mallarmé. Et ce sont tous les mouvements des avant-gardes du XXème siècle, qui vont en bénéficier : les cubistes, les futuristes italiens, les dadaïstes, les futuristes russes sont autant de mouvements de penseurs qui vont s’engager à créer un tournant dans l’art. Toute cette première partie nous permet de poser les bases des recherches plastiques incluant la typographie tel un médium et non un outil au service de l’information. Cela nous permet d’aborder, dans un deuxième temps, la place de la typographie au sein de l’art contemporain, et d’appréhender la manière dont les artistes d’aujourd’hui requestionnent ses limites. Dans une seconde partie nous mettons en évidence la façon dont ce médium typographique, est utilisé par les artistes contemporains. Nous le faisons tout au long de trois sous-parties, la première sur le signe typographique en lui-même et la question de l’écriture. La deuxième sous-partie, sur le support choisi et utilisé par l’artiste. Et la troisième sur l’utilisation et la mise en valeur de l’espace, voir comment cela influe sur la lisibilité de la pièce. Toute cette seconde partie nous laisse apprécier le travail d’artistes contemporains, de voir comment ils abordent la notion de signe typographique, quels sont leurs choix de supports et quels sont leurs positionnements face à la question de l’espace. Cette seconde partie, nous permet d’aborder dans une dernière partie, nos recherches personnelles de plasticienne. Dans cette troisième grande partie nous reprenons la même manière de procéder que dans la partie précédente, la première sous-partie nous permet d’expliquer la façon dont nous nous posons la question du signe typographique dans notre travail plastique. Dans la seconde sous-partie nous abordons notre rapport au support. Nous décidons de développer cela autour de l’objet livre, de ce qu’il représente, et la façon dont nous pouvons nous en jouer. La troisième, et dernière, sous-partie expose la façon dont nous nous posons la question de l’espace, du vide. Cette thèse est pour nous un prolongement de nos travaux artistiques. Nous voulons apporter, grâce à elle, une contribution à la sémiotique du signe. Une lecture nouvelle des œuvres des artistes contemporains qui utilisent le médium typographique dans leur travail et leurs recherches. Nous analysons leur rapport au signe, aux questions d’écriture. Nous prenons en compte leurs choix assumés de supports avec tout ce qu’ils impliquent de contribution au sens de l’œuvre. Enfin nous apprécions tout le travail réalisé autour du vide, de l’espace par ces artistes. La pluridisciplinarité des artistes d’aujourd’hui fait qu’ils sont conscients que tous ces choix (signe, support, espace) influent sur le regard du spectateur. Si l’un d’eux change, la lecture du regardeur se modifieThe question of the place of the writer, the poet, the artist, the reader, the spectator is essential to us during our studies in art school. We develop a publishing approach where typography takes center place. Diversion of the book object, apprehension of the notion of writing, our various plastic research also brings us to poetry. Our own plastic practice, centered on typography and its issues, is then linked to our theoretical research. They enrich each other.The corpus of study focuses on pieces of art, and artists' books, leaving a large space for contemporary art. This allows us to understand how the viewer, the reader, receive the images, read the "voids". Finally, our personal artistic work is also approached, which helps us to nourish and enrich our reflection.A first part allows us to show the setting up of a typographic medium. The first to develop this research and work are Guillaume Apollinaire and Stéphane Mallarmé. And it’s all the movements of the avant-gardes of the twentieth century, developing in their wake, who will benefit : Cubists, Italian Futurists, Dadaists, Russian Futurists are all artists and movements of thinkers who will want creating a turning point in art. All this first part allows us to fix the foundations of plastic research, this including typography as a medium and not a tool in the service of information. And this allows us to see, in a second time, the place of typography in the contemporary art, and especially to apprehend the way in which the artists of today question its limits. They are going to get the sign out of the book object and put it on all kinds of supports, they will also leave to this sign a void, a space that participates in the reading that will make the viewer.In a second part we highlight how this typographic medium, which we explain the emergence during the first part, is used by contemporary artists. We do this throughout three subparts, the first on the typographic sign itself and the question of writing. The second on the medium chosen and used by the artist, and the third on the use and enhancement of space. All this second part lets us appreciate the work of contemporary artists. To see how they approach the notion of typographic sign, what are their choice of support and what are their positions with regard to the question of space. The whole of this second part, stemming from the first one, allows us to approach in a third and last part, our work and our personal researches of plastic artist.In this third and last part we present our personal plastic researches. For that, we resume the same way of proceeding as in the preceding part : three sub-parts are put in place, the first on how the typographic sign is apprehended in our researches. The second on how we treat the support, finally the third is dedicated to the concept of space.The first sub-part allows us to explain the way we approach, and we ask ourselves the It is very important for us to make a link between our plastic and written research. This third part allows us this link. This thesis is for us an extension of our work of artistic creation.With this thesis, we want to make a contribution to the semiotics of the sign. A new reading of the works of contemporary artists who use the typographic medium in their work and research.We analyze their relationship to the sign, to the questions of writing. We take into account their assumed choice of different support they work with and all that they imply contribution to the meaning of the work. Finally we appreciate all the work done around the void, the space by these artists. The multidisciplinary nature of today's artists means that they are aware that all these choices (sign, support, space) influence the spectator's view. If one of them changes, the viewer's reading changes.And we also try to bring our personal vision to the plastic art. It is by proposing our own creations that we contribute to it
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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 space reveal clues to construction, movement, and play. Additionally, this participation unveils our awareness of space, and thus, reveals that our relationship with space exists in our acknowledgement of it—in our permitting of perception through conscious participation. To explore these ideas further, I will utilize typography to create immersive, sensory experiences that challenge interpretation through the application of human thought, or sensations, to non-living things and material states. This method will assist the observers to rationalize and create meaning within their own world through simplifying an experience in relation to self. Here, spatial language—like light, shadow, dimension, and proximity—will be exposed as a universal and innate part of our perception.
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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 image. The poetic form that du Bouchet explores renders perceptible the latent materiality of all text.
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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.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 графіки при проектуванні вуличної візуальної мови, яка стає певною кодованою системою спілкування міського суспільства.The paper presents the research results of socio-cultural aspects of urban typography. The purpose was to determine the visual techniques of urban typography that are used by artists in social street projects. In the course of studying the development of modern urban typography, a list of factors determining the visual filling of the urban space was determined. On the basis of the analysis of the analogues of social project, the types of characteristic sociocultural directed to the effective introduction of printing techniques into the visual space of the city were established. The essence and sequence of works are described in the design the street visual language that becomes a well-known coded communication system of urban society.
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. Alexandria, Australia]: 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. Amsterdam: Khatt Books, 2010.
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Woolman, Matt. Moving type: Designing for time and space. Amsterdam: BIS Publishers, 2000.
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Knight, Carolyn. Layout: Making it fit : finding the right balance between space and content. Gloucester, Mass: 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. Amsterdam: 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 cultural and social values and context - Using visual, gestural, and physical space - How time impacts type – looking at both historical context and using time as a medium - A wide range of non-Latin examples from Kanji characters, Thai scripts, and Devanagari scripts to Arabic calligraphy
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, 4–17. Paris: 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, 594–605. Cham: 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, 113–64. Cham: 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, 114–30. 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, 41–84. 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, 7–40. 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, 142–207. 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, 54—C2P94. 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, 101–28. 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.
Conference papers on the topic "Typographic space"
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Small, David, Suguru Ishizaki, and Muriel Cooper. "Typographic space." In Conference companion. New York, New York, USA: 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 perception in advertising, no one has yet investigated the effects of white space on text scanning. With that in mind, we examined whether white space could contribute to the effectiveness and speed of text scanning. We used eye-tracking technology to collect accurate quantitative and visual data. Although the results did not show that white space has a positive effect on scanning speed or text structure memorability, we have noted a difference in the eye-movement pattern, which raises hope and leads us to believe that further research is needed.
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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). Paris, France: 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 elements such as guidance and marking systems, symbols, graphics, pictograms, maps, panels, and typography. Environmental graphic design encompasses the planning, design, and presentation of graphic elements within communication systems deployed in both natural and constructed environments. This discipline encompasses guidance systems, markings, display designs, corporate identity graphics, urban design, pictogram design, store design, mapping, and thematic landscaping. Environmental graphic design has increasingly integrated into everyday life through the implementation of guidance and marking systems. Guidance designs enhance efficiency, create positive impressions, and foster a sense of safety in unfamiliar environments. Meanwhile, marking designs serve as visual indicators directing individuals towards their destinations. Presently, elements such as information, guidance, and signage facilitate communication between urban environments and inhabitants. Beyond their primary roles in guiding, informing, and delineating within cities, these elements play a crucial role in enhancing urban identity, improving legibility and coherence within the cityscape, and fostering a harmonious relationship between people and their urban surroundings. This study focuses on typography, a fundamental aspect of information design. Through an analysis of information, guidance, and marking systems, it becomes evident that elements such as signs, directional cues, symbols, pictograms, and traffic signs, integral to environmental graphic design, are closely interconnected with typography. This study conducted a thorough review of sources to ensure the provision of original and comprehensive content. The research primarily utilized printed visual sources, augmented by archival research, internet and library databases, books, magazines, articles, and theses. Findings were presented through detailed explanations, quotations, comparisons, and identification of common themes. This article comprises five stages. The first stage introduces the study, encompassing definitions of communication and graphic design, and an exploration of the concept of perception. The second stage defines the relationship between urban spaces and information design, discussing contemporary urban dynamics, urban identity, the intersection of urban spaces with graphic design, visual elements in urban environments, and the role of environmental graphic design. In the third stage, the study explores the role of typography in information design within urban contexts, defining information design principles, application areas, components such as typography, pictograms, symbols, emblems, and signs, and discussing criteria for readability and perceptibility in typographic analysis within information design. The fourth stage focuses on a typographic evaluation of routing systems through illustrative examples. Case studies of exemplary institutional guidance systems are examined, and recommendations for enhancing these systems are presented using tables and graphs. Finally, the study concludes with a summary of findings, evaluations, and proposed solutions
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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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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 communicate information. Digital reading is becoming our dominant mode of reading. Compared with traditional media, digital reading offers convenience, immediacy, and interactivity. From the Xerox Alto, the first system to have all of the contemporary Graphical User Interface (GUI) components, to the current apple iOS16 system, based on breakthroughs in science and technology, significant changes have occurred in interface functions and appearance. However, simultaneously, the content information carrier screen must stay within the rules of typography and follow the rules of standardization, readability, and aesthetics. This article focuses on the mobile base screen through the research of grid system, font and image of the existing interface design system, summarizes the fundamental purposes of typography which is to adapt to changes in reading scenarios, effectively convey information, and standardize typography for mobile applications for digital reading.
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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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