Relevant bibliographies by topics / Typography information

Academic literature on the topic 'Typography information'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Typography information.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Typography information"

1

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.

Full text
Abstract:
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
APA, Harvard, Vancouver, ISO, and other styles
2

Yordanova, Radimira. "Typography and Letter. Introduction and Essence." Cultural and Historical Heritage: Preservation, Presentation, Digitalization 8, no. 1 (June 30, 2022): 255–67. http://dx.doi.org/10.55630/kinj.2022.080122.

Full text
Abstract:
We can consider typography as a method by which information reaches a group of recipients. Letters are inseparable of our everyday life. Historically, we all know the metamorphoses of written signs to look the way they do today. From naturalism to abstraction, from complex communication systems known to a handful of enlightened people, to increasingly logical systems of writing. Historically, we define typography as art and craft of designing letters. Letters that should be printed on physical media. Nowadays, the context in which typography is used is more complex. All arranged letters, regardless of medium (carrying a conventional meaning is not even mandatory), which reach the recipient has a typographic dimension.
APA, Harvard, Vancouver, ISO, and other styles
3

Cuming, Geoffrey. "Liturgical typography." Information Design Journal 6, no. 1 (January 1, 1990): 89–92. http://dx.doi.org/10.1075/idj.6.1.06cum.

Full text
Abstract:
She is older than the rocks among which she sits ; like the vampire, she has been dead many times, and learned the secrets of the grave ; and has been a diver in deep seas, and keeps their fallen day about her ; and trafficked for strange webs with Eastern merchants : and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary ; and all this has been to her but as the sound of lyres and flutes, and lives only in the delicacy with which it has moulded the changing lineaments, and tinged the eyelids and the hands.
APA, Harvard, Vancouver, ISO, and other styles
4

Ucherek, Dorota. "Od cudzysłowów ostrych do chorągiewki." Z Badań nad Książką i Księgozbiorami Historycznymi 16, no. 2 (July 29, 2022): 239–68. http://dx.doi.org/10.33077/uw.25448730.zbkh.2022.698.

Full text
Abstract:
The aim of the article is to answer the question in what situations and contexts departing from traditional typographic and editorial norms and conventions turns out to be fortunate, as well as to present the mechanisms of introducing non-traditional solutions among readers and on the market, and thus shaping typographic and editorial usus. After defining the basic terms for the article: typographic and editorial usus, typography itself and the concept of a congenial book, traditional Polish typographic layouts and editorial solutions are presented on the example of the quarterly “Pamiętnik Literacki” (“Literary Memoir”) and the series Biblioteka Narodowa (National Library). Next, 11 representative publications on typography, prepared by the d2d.pl company, are analysed from this angle. The analysis covers such aspects of layout as the parameters of headings, text alignment, the function of highlights, the method of isolating quotations, the use of margins, pagination, types of figures, the location of footnotes, the form of their numbers and references in the main text, the use of first and second degree quotation marks, as well as the appearance of ornaments. The analysis leads to the conclusion that in the case of books dealing with typography, preserving their original typographic form was the best possible choice, because this form, no less than the content of the text itself, conveys information about the views and recommendations of the authors. The introduction of such solutions to the Polish publishing market and to the readers’ awareness by a publishing house respected in the editorial environment undoubtedly influences the typographic and editorial usus, and it can be expected that in time it will also transform the related norms.
APA, Harvard, Vancouver, ISO, and other styles
5

Waller, Robert. "Language and typography." Information Design Journal 7, no. 1 (January 1, 1993): 91–92. http://dx.doi.org/10.1075/idj.7.1.14wal.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Clark, Malcolm. "Computers and typography." Information Design Journal 7, no. 2 (January 1, 1993): 161–66. http://dx.doi.org/10.1075/idj.7.2.12cla.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Kartika, Rina. "Memilih dan Memanfaatkan Tipografi." Humaniora 6, no. 3 (July 30, 2015): 312. http://dx.doi.org/10.21512/humaniora.v6i3.3352.

Full text
Abstract:
Typography is one of the main components of a visual communication design work as a means to convey the message to its target audiences. In delivering the information, typography stabilizes visual and verbal aspect of the overall design. The understanding of the messages (including its related aspects, such as: product knowledge, target audience’s profile, media planning, etc) is the most important thing that will help define the combination of typeface needed. This study was conducted by observation, information gathering, and typography design study of several examples. Furthermore, the understanding of typography was linked on how to choose the right typography for visual design. Result showed that the combination should have a good balance of ‘legibility’ and ‘readability’. As a conclusion, a good typography design will deliver such perception, as well as express desired impression, in a visual communication design work.
APA, Harvard, Vancouver, ISO, and other styles
8

Kinross, Robin. "The nuts of'em." Information Design Journal 8, no. 3 (January 1, 1996): 219–27. http://dx.doi.org/10.1075/idj.8.3.03kin.

Full text
Abstract:
The typographer Anthony Froshaug worked intermittently as a teacher in Britain and Germany, from the late 1940s through to the 1980s. He was unusual in bringing the experience of typesetting and printing to design teaching, and in his wide set of intellectual interests. Froshaug's contribution was a notable if somewhat subterranean element in the development of education in typography in Britain, especially in the steps towards its modernization that were made in the 1960s and 1970s.
APA, Harvard, Vancouver, ISO, and other styles
9

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.

Full text
Abstract:
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
APA, Harvard, Vancouver, ISO, and other styles
10

Carina, Rina. "PENGGUNAAN HURUF DEKORATIF DALAM TIPOGRAFI KINETIS." Jurnal Dimensi DKV Seni Rupa dan Desain 4, no. 1 (April 1, 2019): 17. http://dx.doi.org/10.25105/jdd.v4i1.4558.

Full text
Abstract:
<strong>Abstract</strong><br />The Decorative Letters Application in Kinetic Typography. Typography is a design element that is very important and widely used in animation, which is known as kinetic typography, where the letters move and become the main visual element in conveying information. Decorative letters are now more diverse, some are easy to read, but many of them are difficult to read. The developing of decorative lettes will certainly affect the visual. The purpose of this study is to see the development of decorative letters<br />application in kinetic typography. This art-based research uses qualitative research method by analyze the decorative letters as design elements based on basic typographic theory. The result is a conclusion of the achievement of delivering information through the decorative letters, especially in kinetic typography and open to further study.<br />Hope that this research can enrich designer’s references in applying typography as an important and informative design element.<br /><div> </div><div> </div><strong>Abstrak</strong><br />Penggunaan Huruf Dekoratif dalam Tipografi Kinetis. Tipografi merupakan sebuah elemen desain yang sangat penting dan banyak digunakan dalam media animasi, yang dikenal dengan sebutan tipografi kinetis, di mana huruf-huruf tersebut bergerak dan menjadi elemen visual utama dalam menyampaikan sebuah informasi. Bentuk huruf dekoratif pun kini semakin beragam, ada yang mudah dibaca, namun tidak sedikit<br />yang sulit dibaca. Semakin banyaknya suguhan bentuk huruf dekoratif tentunya akan mempengaruhi desain visual yang dihasilkan. Tujuan dari penelitian ini adalah untuk mengetahui perkembangan penggunaan huruf dekoratif pada tipografi kinetis. Penelitian berbasis seni ini menggunakan metode riset kualitatif, dengan menganalisis huruf dekoratif sebagai elemen desain berdasarkan teori dasar tipografi. Hasil dari<br />penelitian ini adalah berupa kesimpulan mengenai keberhasilan penyampaian informasi melalui huruf dekoratif, khususnya dalam karya tipografi kinetis dan terbuka untuk penelitian lebih lanjut. Melalui penelitian ini diharapkan dapat memperkaya referensi para desainer dalam menggunakan tipografi sebagai elemen desain yang penting dan<br />informatif.<br /><br />
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Typography information"

1

Bland, Mark. "Johnson, Stansby and english typography 1579-1623." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319114.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Pinkney, Alexander J. "Improving typography and minimising computation for documents with scalable layouts." Thesis, University of Nottingham, 2015. http://eprints.nottingham.ac.uk/28872/.

Full text
Abstract:
Since the 1980s, two paradigms have dominated the representation of formatted electronic documents: flowable and fixed. Flowable formats, such as HTML, EPUB, or those used by word processors, allow documents to scale to any arbitrary page size, but typographical compromises must be made since the layout is computed in real time, and is re-computed each time the document is displayed. Conversely, fixed formats such as SVG or PDF are afforded the potential for arbitrarily complex typography, but are constrained to the fixed layout that is set at the time of creation. With the recent surge in popularity of low-powered portable reading devices -- from tablets to e-readers to mobile phones -- there is an expectation that documents should scale to any size, maintain their high-quality typography, and not provide unnecessary strain on an already overloaded battery. This thesis defines a novel paradigm for electronic document representation -- the Malleable Document -- whereby documents are partially typeset at the time of creation, leaving enough flexibility that their content can be flowed to arbitrary page sizes with minimal computation. One tradeoff encountered is that of increased file size, and this is addressed with a bespoke, computationally-light compression scheme. A sample implementation is presented that transforms documents from a source format into Malleable Document format, alongside a lightweight display engine that enables the documents to be viewed and resized on a wide range of devices, mobile and otherwise. Reviews of the technical aspects and a user study to evaluate the quality of the system's rendering and layout show that the Malleable Document paradigm is a promising alternative to both fixed and flowable formats, and builds upon the best of both approaches.
APA, Harvard, Vancouver, ISO, and other styles
3

Bergman, Anna, and Tina Gustawsson. "Att designa efter typsnitt : En kvalitativ studie om typografins kraft och betydelse i designprocessen." Thesis, Högskolan Väst, Avd för medier och design, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-15660.

Full text
Abstract:
Denna uppsats behandlar frågorna om hur och varför ett typsnitt kan förmedla ett visst intryck, en känsla eller tonalitet på en webbsidas rubriker. Samt betydelsen av, som designer eller annan yrkesverksam inom området, att ha kännedom och medvetenhet kring typsnitt. Vi valde en kvalitav metod utifrån våra frågeställningar. Genom intervjuer och en fokusgrupp ämnar vi undersöka tre typsnitt från tre olika typsnittsfamiljer. Typsnitten vi specificerat oss på är Roboto (sans serif), La Parisienne (regular skript) samt Fifty four (display/dekorativ). Teoretiska utgångspunkter hämtas från tidigare studier inom ämnet, litteratur av sakkunniga samt data från empirisk undersökning som vi samlat in från intervjuer och en fokusgrupp. En webbsida, utvecklad i WordPress har varit ett praktiskt moment och har fungerat som en plattform för vår undersökning genom att presentera våra olika rubrikers typsnitt. Resultatet från vår undersökning visade att våra valda typsnitt på rubrikerna tolkades likvärdigt och att det är främst formen som avgör. Studien tydliggör även att typsnitt kan tolkas utifrån person och personlighetsdrag, genom grundkänslor, tidigare associationer, konnotation och majoritetens överensstämmande svar. Vi ser att kunskap om typsnitt har en central roll i den tidiga designprocessen. Med detta i åtanke blir det viktigt för designern att kunna behärska typografi och förstå dess kraft.
This essay addresses the questions about how and why a font can convey a certain impression, feeling or tonality on a website's headings. As well as the importance of being a designer or other professionals in the field, to have knowledge and awareness of fonts. We have chosen a qualitative method based on our questions. Through interviews and a focus group, we intend to study three fonts from three different fontfamilies. Roboto (sans serif), La Parisienne (regular script) and Fifty four (display /decorative). Theories are obtained from previous studies in the subject, we refer to literature by experts and the data comes from our empirical research that we have collected from our interviews and the focus group. We have developed a website in WordPress, that has been a practical element and has served as a platform for our research by presenting the fonts of our various headings. The results of this study showed that our selected fonts of the headlines were interpreted equally by our informants and everyone answers that it depends on what kind of a typeface it is. Fonts can be interpreted from many different perspectives, the form of a font affects people's interpretation a lot but also interpreted based on personality traits, through basic feelings, past associations, connotation and the majority's response which was consistent. The knowledge of fonts plays a central role in the early design process and it becomes important for a web designer to be able to master typography and understand its powers.
APA, Harvard, Vancouver, ISO, and other styles
4

Лєбєдєв, Вадим Сергійович. "Міжнародний стиль у дизайні плакату." Thesis, Національний авіаційний університет, 2021. https://er.nau.edu.ua/handle/NAU/50176.

Full text
Abstract:
Міжнародний типографський стиль, також відомий як швейцарський стиль, розроблений у Швейцарії в 1950-х роках, який підкреслює чистоту, читабельність та об’єктивність. Відмітними ознаками стилю є асиметричні макети, використання сітки, шрифтів без засічок та вирівнювання тексту по лівому краю. Стиль також пов'язаний з перевагою фотографії замість ілюстрацій або малюнків. Цей стиль у мистецтві, архітектурі та культурі став «міжнародним» стилем після 1950-х років, і його використовували художники з усього світу. Доповідь присвячено розкриттю основних аспектів швейцарського стилю.
The international typographic style, also known as the Swiss style, was developed in Switzerland in the 1950s, emphasizing purity, readability and objectivity. Distinctive features of the style are asymmetrical layouts, the use of a grid, serif fonts and text alignment on the left edge. Style is also associated with the preference of photography over illustrations or drawings. This style became an "international" style in art, architecture and culture after the 1950s, and was used by artists from all over the world. The report reveals the main aspects of the Swiss style.
APA, Harvard, Vancouver, ISO, and other styles
5

Matsdotter, Freja, and Lellah Johanna Turesson. "Typographical trust issues : The impact of font types on trust in the context of online banking websites." Thesis, Högskolan Dalarna, Informatik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:du-30580.

Full text
Abstract:
The purpose of this study was to examine if font choices affect how text and sender are perceived in the context of online banking websites. Large amounts of money are invested to produce effective design units; therefore, graphic designers need to be aware of how their font choices impact the readers’ perception of text. This study aimed to raise awareness around the impact of fonts and to create a helpful report that can guide designers in their font choices. Previous research on the subject argues that typography is a critical tool in visual communication, and that selecting an appropriate typeface is very important. Studies have shown how readers are aware of the difference in appropriateness between different font and text matches. Shaikh, Chaparro and Fox (2006) found serif and sans serif fonts to be the most appropriate in most situations while scripts were appropriate only for scrapbooking and e-greetings and modern display fonts were perceived as rude or coarse. The methods used in the present study were a Literature Study, two Focus Groups, a Quantitative Web Survey and two Visual Content Analyses. The results show that font choices do affect perception of the sender in this context. The most appropriate fonts were strict and structured, but not boring, non-decorative and had a medium x-height in relation to cap height.
Syftet med denna studie var att undersöka om val av teckensnitt påverkar hur text och avsändare uppfattas i samband med internetbankers webbplatser. Stora summor investeras för att producera effektiva designenheter; därför behöver grafiska designers vara medvetna om hur deras val av teckensnitt påverkar läsarens uppfattning av text. Målet med denna studie var att öka medvetenheten kring påverkan av teckensnitt och att skapa en användbar rapport som kan guida designers i deras val av teckensnitt. Tidigare studier inom ämnet argumenterar för hur typografi är ett avgörande verktyg inom visuell kommunikation och hur valet av ett passande teckensnitt är av mycket stor vikt. Undersökningar har visat på att läsare är medvetna om skillnaden i hur väl olika kombinationer teckensnitt och text fungerar. I en studie av Shaikh, Chaparro och Fox (2006) lyfts seriff och sanseriff som de mest passande i flest situationer medan skripter enbart passade bra för scrapbooking och e-hälsningar och moderna ”modern display”- teckensnitt uppfattades som oförskämda eller grova. I föreliggande studie användes en litteraturstudie, två fokusgrupper, en kvantitativ webbenkät och två visuella innehållsanalyser. Resultaten visar på att valet av teckensnitt påverkar hur mottagaren uppfattar sändaren i denna kontext. De teckensnitt som ansågs mest passande var strikta och strukturerade men inte tråkiga, utan dekorativa element och med en medelhög x-höjd i förhållande till versalhöjd.
APA, Harvard, Vancouver, ISO, and other styles
6

Markkula, Aino-Maija, and Sally Hansson. "Färgens och typografins inverkan på tillförlitlighet till e-handelswebbsidor ur ett konsumentperspektiv." Thesis, Högskolan Dalarna, Institutionen för information och teknik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:du-37317.

Full text
Abstract:
SyAet med denna studie var a< förstå hur konsumenter i Sverige med olika könsroller och åldrarupplever elektroniska (e-) handelswebbsidor som =llförlitliga baserat på den visuella designen.SyAet besvarades genom a< undersöka färg- och typografins påverkan på upplevd =llförlitlighet före-handelswebbsidor, u=från konsumentens perspek=v.År 2021 används e-handeltjänster alltmer för a< köpa produkter. Företag kan numera nå ut =ll fleroch större målgrupper genom e-handel då företagets geografiska belägenhet inte längre äravgörande för kunden. EAersom e-handelsmarknaden växer och konkurrensen blir allt hårdare, ärdet vik=gt a< företagen är medvetna om dess visuella presenta=on på webbsidan för a< fåkonsumenternas =llit. Resultat av =digare studier visar a< färg och typografiska val är vik=ga faktorerför huruvida en webbsida upplevs =llförlitlig. Tidigare forskning visar även på hur olika kön och åldrarförhåller sig =ll internet och hur olika deras användningsmönster ter sig vad gäller teknologi.Denna studie uUördes med hjälp av en visuell innehållsanalys och en enkätundersökning. Resultatenfrån den visuella innehållsanalysen gav verktyg =ll a< skapa fik=va webbsidor med olika färg ochtypsni<, som vidare användes i enkätundersökningen. Totalt tolv e-handelswebbsidor skapades =llenkätundersökningen för a< utreda vilken färg samt typsni< som upplevs vara mest =llförlitlig.Studien indikerade jämna resultat mellan åldersgrupper samt könsroller vad gäller upplevelse av=llförlitlighet u=från färg- och typografival på e-handelswebbsidor. Resultatet visade tendenser =lla< den orangea samt gula webbdesignen upplevdes minst =llförlitliga enligt respondenterna i dennastudie. Något mer =llförlitliga upplevdes färgerna grön, blå, röd och rosa. Studien indikerade a<sanserif-typsni< ansågs något mer trovärdigt än seriff-typsni<.
The purpose of this study was to understand how credible consumers in Sweden with differentgender roles and ages perceived electronic (e-) commerce websites based on the visual design. Thepurpose was answered by examining the impact of colour and typography on perceived credibilityof e-commerce webpages from the consumers’ perspec=ve.In 2021, e-commerce services are increasingly being used to purchase products. Businesses cannowadays reach a much larger market through e-commerce, as the geographical loca=on of thecompany is not anymore cri=cal to customer availability. As the e-commerce market grows evenlarger, companies should be more aware of their visual presenta=on on the website to gainconsumer trust. Previous studies show that colour and typographic choices are important factors inwhether a webpage is perceived trustworthy. Previous research gives insight to how different genderroles and age groups relate to the internet and have different usage pa<erns.This study was carried out using a visual content analysis and a ques=onnaire. The results of thevisual content analysis gave the prerequisites for crea=on of the fic=onal webpage layouts withdifferent colours and typefaces that were further used in the ques=onnaire. A total of twelve ecommercewebpage were created for the ques=onnaire to inves=gate which colours and typefacesare experienced to be most credible.The study indicated even results between age groups and gender roles in terms of experience ofcredibility regarding colour and typography choices on e-commerce websites. The results showedtendencies that the orange as well as yellow webdesigns were the least credible according torespondents in this study. Green, blue, red, and pink were considered more credible than orangeand yellow designs. The study also indicated that sans serif typeface was considered slightly morecredible than serif typeface.
APA, Harvard, Vancouver, ISO, and other styles
7

Zajaczkowski, Erica Lea. "Information, Design, and Technology:How They Work Together to Inform a Museum Visitor." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1407780595.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Vorster, Lize. "Shared mental models as a cultural phenomenon : fact or fiction? Using the card-sorting method to investigate the shared mental models of web users." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1049.

Full text
Abstract:
Assignment (MPhil (Afrikaans and Dutch))--University of Stellenbosch, 2006.
ENGLISH ABSTRACT: In this study, the mental models of the target audience of the FACT web site (official Stellenbosch University HIV/Aids web site) were investigated and compared with the structure of the web site (representing the mental model of the expert). The target audience were divided into six groups representing three different race groups (white, coloured and black) and the two sexes (male and female).
APA, Harvard, Vancouver, ISO, and other styles
9

Ericson, Jessica, and Aurora Hammam. "Har den digitala pizzamenyn en genomtänkt stil? : En analys av lågprispizzeriors design av menyer." Thesis, Högskolan Dalarna, Informatik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-34252.

Full text
Abstract:
Det finns studier som anger rekommendationer för att designa en väl utformad restaurangmeny. Syftet med rapporten är att undersöka om pizzeriapersonal och formgivare designar digitala pizzamenyer genom medvetna val utifrån de designprinciper och designrekommendationer som finns. Undersökningen är ett kvalitativt forskningsarbete där kartläggning har använts som strategi. Datainsamlingsmetoderna som har använts är litteratursökning, visuell innehållsanalys, gruppintervjuer och semistrukturerade intervjuer för att kunna besvara frågeställningarna. Resultaten från undersökningen påvisar bland annat att pizzeriapersonalen anser att deras menydesign inte överensstämmer med varumärket. Personalen och kunderna har även olika uppfattningar om vad varumärkena står för. Trots att pizzeriornas varumärke inte stämmer överens med designen uppfyller menyerna kundernas förväntan. Slutsatserna visar bland annat att det finns gemensamma och särskiljande grafiska element. De flesta lågprispizzerior har inte ett genomtänkt varumärke samt att det inte finns en medvetenhet angående de designprinciper och designrekommendationerna hos pizzeriapersonal eller formgivare.
For the creation of restaurant menus there are studies that show which recommendations you should use to achieve a well-designed menu. The purpose of the study is to investigate whether pizzeria personnel and designers create digital pizza menus consciously from the design recommendations that exists. This study is a qualitative research work and we have used a survey as strategy. Data collection methods that have been used to answer the study questions are literature search, a visual content analysis, group interviews and semi-structured interviews. One result from the interviews showed that the pizzeria personnel thinks that their menu design does not match their brand. The pizzeria personnel and customers have different perceptions about what the brand stands for. The group interviews show that the digital menus live up to customers expectation and their experience of the low-price pizza. The conclusions show that there are common and distinctive graphical elements. Most low-price pizzerias do not have a well thought out branding, although the pizzeria personnel and designers do not have consciousness regarding the design principles and recommendations.
APA, Harvard, Vancouver, ISO, and other styles
10

Meyer, Oliver [Verfasser]. "aTool — Typographie als Quelle der Textstruktur / Oliver Meyer." Aachen : Shaker, 2006. http://d-nb.info/1170529178/34.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Typography information"

1

Rein, Houkes, and Sullivan Peter, eds. Information design and infographics. Rotterdam: European Institute for Research and Development of Graphic Communications, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Tselentis, Jason. The graphic designer's electronic-media manual: How to apply visual design principles to engage users on desktop, tablet, and mobile websites. Beverly, Mass: Rockport Publishers, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Information design as principled action: Making information accessible, relevant, understandable, and usable. Champaign, Illinois, USA: Common Ground Publishing LLC, 2015.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

1978-, Michaels Adam, ed. The electric information age book: McLuhan/Agel/Fiore and the experimental paperback. New York: Princeton Architectural Press, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Search: The graphics Web guide : interface, typography, illustration, photography, animation, film & video. London: Laurence King, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Search: The graphics Web guide : interface, typography, illustration, photography, animation, film & video. New York: Universe Publishing, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Street, Rita. Creative newsletters & annual reports: Designing information. Gloucester, Mass: Rockport Publishers, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Roger, Hersch, André Jacques 1938-, Brown Heather, and International Conference on Raster Imaging and Digital Typography (4th : 1998 : Saint-Malo, France), eds. Electronic publishing, artistic imaging, and digital typography: 7th International Conference on Electronic Publishing, EP '98 held jointly with the 4th International Conference on Raster Imaging and Digital Typography, RIDT '98, St. Malo, France, March/April 1998 : proceedings. New York: Springer, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Weber, Wibke. Kompendium Informationsdesign. Berlin: Springer, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Informational diagram collection. Tokyo, Japan: PIE Books, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Typography information"

1

Fuß, Christian, Felix Gatzemeier, Michael Kirchhof, and Oliver Meyer. "Inferring Structure Information from Typography." In Digital Documents: Systems and Principles, 44–55. Berlin, Heidelberg: Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-39916-2_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Brooks, Terrence A. "The effect of textual aesthetics on information retrieval." In Electronic Publishing, Artistic Imaging, and Digital Typography, 454–63. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/bfb0053291.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Paradis, François, Anne-Marie Vercoustre, and Brendan Hills. "A virtual document interpreter for reuse of information." In Electronic Publishing, Artistic Imaging, and Digital Typography, 487–98. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/bfb0053294.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Rahman, Mizanur, Md Salah Uddin, Md Samaun Hasan, Apurba Ghosh, Sadia Afrin Boby, Arif Ahmed, Shah Muhammad Sadiur Rahman, and Shaikh Muhammad Allayear. "Anatomical Analysis Between Two Languages Alphabets: Visually Typographic Test Transformation in Morphological Approaches." In Communications in Computer and Information Science, 330–39. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-6634-9_30.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Rebelo, Sérgio M., João Bicker, and Penousal Machado. "Evolutionary Typesetting: An Automatic Approach Towards the Generation of Typographic Posters from Tweets." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 343–62. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73426-8_21.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Luna, Paul. "6. Emotion or information?" In Typography: A Very Short Introduction, 91–105. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780199211296.003.0006.

Full text
Abstract:
We are surrounded by a typographic environment. Typography is present not just in the printed matter that we read, but also in all our interactions with computers and mobile devices, with street signs and shop fronts. Typography has multiple personalities. As well as identifying and imparting information, typography is associative, and designers use it to influence our view of the messages we are reading. In this way, typography can be considered a creative endeavour. Typography is also the mechanized presentation of language. In this way, it is subservient to the structures of the messages it presents. ‘Emotion or information?’ considers how these different aspects of typography can be reconciled.
APA, Harvard, Vancouver, ISO, and other styles
7

Luna, Paul. "8. Positive typography." In Typography: A Very Short Introduction, 125–37. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780199211296.003.0008.

Full text
Abstract:
What should we keep in mind while designing, and what are the benefits of designing in a multimedia, global era? ‘Positive typography’ explains that the designer needs to listen to, and act for, the reader. It is also essential to recognize that design is always a team activity and it is important that there is communication of design priorities within a team. Typography’s function of organizing our world of incessant information through visual form is as important as it ever was, and fortunately it is much more widely taught, understood, and appreciated now that the tools of typographic production and reproduction are in so many hands.
APA, Harvard, Vancouver, ISO, and other styles
8

"Type as visual / type as information." In Advanced Typography. Bloomsbury Visual Arts, 2020. http://dx.doi.org/10.5040/9781350055940.ch-004.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Quindós, Tania, and Elena González-Miranda. "Typography and Geometry in an information graphic." In 2CO Communicating Complexity. Contributions from the 2017 Tenerife Conference, 252–53. Vicerrectorado de Docencia. Universidad de La Laguna. Servicio de Publicaciones de la Universidad de La Laguna, 2020. http://dx.doi.org/10.25145/b.2cocommunicating.2020.028.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Luna, Paul. "5. Picture language." In Typography: A Very Short Introduction, 79–89. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780199211296.003.0005.

Full text
Abstract:
For centuries, images were regarded as inferior to language and seen as an embellishment or decoration, despite their undoubted power to transmit information. This held back the development of graphical presentations of data, because numbers in tables were seen as more trustworthy. The presentation of statistics in charts only began at the end of the eighteenth century. ‘Picture language’ concentrates on a component shared by data visualization and wider graphic communication—the symbol—a graphic object used to represent a concept, action, instruction, or object. It considers how we recognize symbols and how they are used: in symbol sets and to present data.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Typography information"

1

Shirsekar, Siddhesh Sushil. "Education with braille and typography." In 2017 1st International Conference on Intelligent Systems and Information Management (ICISIM). IEEE, 2017. http://dx.doi.org/10.1109/icisim.2017.8122146.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Lessa, Washington Dias. "Two 1973 researches on Brazilian Vernacular Typography." In 6th Information Design International Conference. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/designpro-cidi-134.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Stolley, Karl. "Enhancing CSS Instruction with Objective Typography." In SIGITE '20: The 21st Annual Conference on Information Technology Education. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3368308.3415439.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Klohn, Sara Copetti, and Fabiano de Vargas Scherer. "Relations between typography and pictograms in signage project." In 6th Information Design International Conference. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/designpro-cidi-13.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Silva, Sérgio Luciano da. "Incorporating Cyrillic typography to the multi-script design methodology." In 6th Information Design International Conference. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/designpro-cidi-135.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Kronemberger, Dominique, and Mirella De Menezes Migliari. "Typography in soap opera logotypes and the visual representation of stories." In 6th Information Design International Conference. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/designpro-cidi-183.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Silva, Sérgio Antônio, and Emerson Nunes Eller. "Still applied semiotic? Or further: the sign tool to sign information, a method for the development of typographic projects based in vernacular typography." In 6th Information Design International Conference. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/designpro-cidi-85.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Figueiredo, Marcela de, and Edna Cunha Lima. "The Use of Tuscan Typography From the Victorian Age Until Present Times." In 6th Information Design International Conference. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/designpro-cidi-174.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Nunes, Cleyton, Bianca Rodrigues, and Adriano Ferraiuoli. "The designer''s role in the promotion and rescue of brazilian''s xylograph culture in typography." In 6th Information Design International Conference. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/designpro-cidi-156.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Liang, Qiqi, and Huan Zhang. "A Study on the Application of Modularization Theory to Chinese Typography Design*." In 2022 IEEE/ACIS 22nd International Conference on Computer and Information Science (ICIS). IEEE, 2022. http://dx.doi.org/10.1109/icis54925.2022.9882503.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Typography information' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography