Dissertations / Theses on the topic 'Typography information'

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.

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.

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.

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.

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.

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).

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.

In the age of print, the book has been considered the criterial medium of communication. Western children have been taught to read books in culturally specific ways. For example, reading education as a field of academic enquiry has been at times based on the premise that print is the predominant medium for carrying author messages, and that these messages are relayed through linear organisations of alphabetic print codes in a left-to-right and top-to-bottom orthodoxy. But as the contemporary textual landscape is reshaped in a post-typographic age, it becomes important to recognise that print is now only one of many media channels in our culture. The thesis argues that the textual artefacts and accompaniments of a computer technology make a significant difference to the way in which texts are read. For example, interactive multimedia texts have created reading contexts where information is relayed through nonlinear and integrated compositions of multimedia. Additionally, digital structures require forms of interactivity which allow readers to take control over their reading in particular ways. These 'ways' are unlike anything possible with paginated text. In the day-to-day pedagogy of schools, reading remains almost exclusively bound to sets of protocols which restrict text and reading to the print page and enduring traditions of the author-controlled message and formulaic, linear structures. The study' s specific concerns are with the textual practices of two eight year old children in their home and school contexts. Although the study makes no claims to generalisibility, the male and female case studies are thought to be typical of many children of their age group. Indeed an extended implication of the study concerns the effects on children of discontinuities resulting from the predominance of electronically-based reading experiences at home, and the predominance of print reading experiences at school. The thesis foregrounds the inseparability of affective and cognitive elements in research about texts and reading. The effects of the human and textual environments on children are dynamic and powerful, and especially for young children, learning to read efficiently and meaningfully is dependent on their developing positive attitudes and emotional states. The study is therefore located at the intersection of technologically different texts, the cognitive reading processes which apply to them, and the affective factors which have influenced two children's reading. A case study methodology is employed to reveal the observable differences employed by the two subjects as they move across interactive multimedia digital texts, and exclusively print texts. The study is located in a contested field which necessitates some degree of clarification of the beliefs and foci of this thesis. Only a relatively short time ago it was inconceivable that anyone would see the need to argue passionately that books epitomize the experience of reading, or that digital texts degrade that experience (Birkerts, 1994). Today, however, there are those who would argue the redundancy of the print book (Stannard, 1997). The thesis makes no suggestion that educational practices associated with teaching children to read linear strings of print are obsolete, nor that the silent, solitary contemplation of the written word is now passe. Nor does the study suggest that the flexible text might be a means of relieving what have been for many readers, the traditional burdens entailed in unravelling alphabetic codes. While there can obviously be no embargo on the place of print texts in the classroom, there can be no parallel denial of the emerging importance of multimedia, digital texts in the community lives of children and adults. Therefore the study argues strongly for a radical, immediate extension of classroom texts, technologies and associated reading pedagogies.

Dissertation submitted for obtaining the degree of Master in Environmental Engineering
Over the last decades outbreaks of the bark beetle Ips typographus (L.) assumed a high importance in forestry due to the economic losses caused, amounting to 3 million m3 the volume of wood damaged in 2009 in Austria. In natural systems, such events result from a dynamic interaction among several factors, the integrated analysis of which can depict the predisposition level of a stand, or site, to I. typographus outbreaks. The objective of this thesis was the development of a Predisposition Model for Rosalia Forest, located in the state (Land) of Vienna in Austria. Wind and snow storms are two of the main factors that lead to a higher level of risk, as high quantities of fallen timber become available, constituting a favourable breeding habitat for I. typographus communities to proliferate. Terrain and stand related data can be translated into parameters that are registered and studied using Geographic Information Systems, in order to obtain predisposition results to wind and snow damage and ultimately overall predisposition assessments to insect infestations. Stand and site related parameters from spatial and inventory data were analysed and scored according to an Assessment System previously formulated. In order to allow for different analysis and adjustments the Model was developed in a mask-like structure. Results on predisposition for the Rosalia Forest were spatially analysed and statistically processed. It was concluded that the majority of the stand area fell in the Medium predisposition class. This was due to the diversified age structure of the stand as well as to a relatively low proportion of the host species Picea abies present in this site. The model developed not only allows for the assessment of bark beetle predisposition according to an Assessment System based on an extensive compilation of literature, but can also be used as a working tool for further sites and scenarios by entities aiming at the management of the risk of I. typographus infestations.

Cette recherche pose une question simple : Qui fait quoi dans le journal ? Nous y répondons partiellement en nous focalisant sur un domaine spécifique du continuum de fabrication de l’information : le prépresse. Il s’agit du moment où l’information fournie par les journalistes rédacteurs est matérialisée, dessinée par les journalistes secrétaires de rédaction (SR) dans les pages du quotidien. Cet espace nous permet de mettre en avant un collectif singulier dans le journal. Car jusqu’à la fin des années 1990 et la numérisation totale de la chaine de fabrication des quotidiens, les SR ne sont pas seuls responsables du prépresse, ils coopèrent quotidiennement avec des ouvriers : les typographes. Ainsi, SR et typographes « font » le journal ensemble. Or, nous considérons que ces gens sont à ce qu’ils font de manière distincte, et par conséquent nous nous attachons à décrire qui fait quoi comment. C’est-à-dire que nous observons ce qui est à faire – le journal – en étant attentif à la manière dont journalistes et ouvriers se lient ou non pour y parvenir. Cette étude de qui fait quoi comment dans le journal se décline en trois temps. Nous tentons tout d’abord de comprendre De quoi est fait le monde des typographes (1) : Quels sont leurs appuis pour composer leur goût pour être à ce qu’ils font ? Dans quoi peuvent-ils puiser pour être typographes comme ils l’entendent ? Nous nous demandons ensuite, de la même manière, De quoi est fait le monde des SR (2) ? Quel est l’équipement des SR pour composer leur monde ? Dans quels scripts peuvent-ils puiser pour être SR au mieux des possibles ? Ce parallèle entre ces journalistes particuliers et ces ouvriers pas comme les autres nous amène à élaborer le troisième volet de ce travail : SR et typographes composent-ils un monde commun (3) ? Il s’agit de déterminer si les frottements continus de ces deux manières d’être au monde partagent certains attachements. Nous présentons quelques exemples qui suggèrent qu’un monde commun a pu exister à certaines époques et de manière non linéaire, entre SR et typographes. À partir de notre terrain, nous débusquons des parcelles de ce monde commun grâce à un médiateur spécifique : la maquette du journal.Finalement, en décrivant qui fait quoi comment dans le journal via ce qui se passe à l’interface de sa matérialité, nous découvrons un objet collectif travaillé par un grand nombre de gens et de choses. Chaque jour, le journal est suffisamment flexible pour que s’y expriment différentes présences au monde, et suffisamment solide pour (con)tenir l’expression de son énonciation collective
To the simple question Who does what in a newspaper? this study – partially – answers by focusing on a particular aspect of the continuum of information production: the prepress – where the information provided by journalists is laid out and designed by sub-editors. This approach enables us to shed light on a unique collective of the newspaper. Indeed, until the end of the 90’s and the generalization of digitalization in the production lines of daily newspapers, sub-editors share their responsibilities and collaborate on a daily basis with a particular type of blue-collar workers: the typographers. In our opinion, sub-editors and typographers make the newspaper together, and in their own respective ways. How? What is there to do to make a newspaper, and how do – or don’t – journalists and blue-collars bind themselves to achieve their common goal?Our analysis of Who does what and how in a newspaper is divided into three parts. In a first part we describe The world of typographers (1). What supports do they lean on to work with their taste? What resources do they draw on to display their skills? In a similar way, in a second part we analyze The world of sub-editors (2). What is it made out of? What scripts do sub-editors turn to to perform at their best? A third part is dedicated to establishing parallels between these two distinctive worlds, wondering Do sub-editors and typographers form a common world (3)? Do these two ever-connected worlds share common bonds? The examples we present suggest that common worlds have existed at certain times and in non-linear ways. Our fieldwork provides us with fragments of this common world within a specific mediator: the layout.The description of who does what and how in a newspaper via what takes place at the crossroads of its material form enables us to reveal a collective object elaborated by a number of different people and things. Every day, newspapers are flexible enough to allow different perceptions to express themselves, and rigid enough to carry a collective formulation

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
The typography is shown as a primary element when it comes to the transmission of reports via text. In the case of patient information leaflets, typography and its bad articulation can result in an inefficient readability and thus the misunderstanding of the information contained therein (Hammerschmidt, 2014, p. 218). Therefore it is understood that the research in question is relevant because it seeks to understand how the typographic articulation adopted in the mobile application MedSUS impacts on reading the patient information leaflets and comprehension. For this, a usability test was performed with smartphone with regular users (patients) in order to evaluate the readability and readability of texts found in the medication package inserts. A cooperative evaluation was then carried out with technical users (medical) to find relevant problems related to the MedSUS application interface. As a result, there was an improvement of satisfaction of regular users regarding the use of the application with the improved typographic aspects and the technical users evaluated as being of low utility the application in question for the use in medical care. Finally, recommendations are presented for the use of typography in the presentation of texts of drug inserts in mobile application MedSUS.
A tipografia se mostra como elemento primordial quando se trata da transmissão da informação através de texto. Em se tratando de bulas de medicamentos, a tipografia e sua má articulação podem resultar em uma ineficiente leiturabilidade e assim no mal entendimento das informações ali contidas (HAMMERSCHMIDT, 2014, p. 218). Por isso entende-se que a pesquisa em questão é relevante pois visa compreender como a articulação tipográfica adotada no aplicativo móvel MedSUS impacta na leitura das bulas de medicamentos e na compreensão das mesmas. Para isso, foi realizado um teste de usabilidade com smartphone com usuários comuns (pacientes) com o objetivo de avaliar a legibilidade e leiturabilidade dos textos encontrados nas bulas dos medicamentos. Em seguida foi realizada uma avaliação cooperativa com usuários técnicos (médicos) que visou encontrar problemas relevantes e relacionados à interface do aplicativo MedSUS. Como resultados, obteve-se uma melhora na satisfação dos usuários comuns com relação ao uso do aplicativo com os aspectos tipográficos aperfeiçoados e os usuários técnicos avaliaram como sendo de baixa utilidade o aplicativo em questão para o uso em atendimento médico. Por fim, são apresentados recomendações para o uso da tipografia na apresentação de textos das bulas de medicamentos no aplicativo móvel MedSUS.

La recherche dont les résultats sont exposés dans ce mémoire a pour ambition de retracer l’histoire complète, dans le temps et dans l’espace, de ce nouveau média qu’est la pièce gothique. L’histoire totale de ces petits cahiers imprimés en lettres gothiques dès le dernier tiers du XVe siècle et tout au long du XVIe siècle montre combien ces livrets constituent des agents privilégiés de la transformation des rapports au pouvoir et de l’évolution de la culture à l’aube de la première modernité. Avec les pièces gothiques dont plus de 2 200 ont pu être recensées, naît un type de livre résolument nouveau. Précurseurs du genre des « nouvelles » (politiques, militaires et prodigieuses) et du « livre populaire », elles disséminent un éventail de petits textes en langue vernaculaire, dont elles permettent une circulation à une échelle inédite. Lancées par des éditeurs-imprimeurs pour s’adapter aux nouveaux mécanismes de production et de diffusion du livre que l’imprimerie a induits, ces brochures apparaissent comme le signe d’une appropriation et d’une adaptation de cette technologie de communication sociale qu’est le livre imprimé aux audaces et nécessités éditoriales et aux nouveaux besoins culturels. Au-delà des savoirs qu’elles divulguent, elles constituent en fait des vecteurs de normes et de valeurs qui concourent à façonner l’opinion, l’âme et le comportement de leurs lecteurs (et auditeurs). Elles contribuent ainsi au développement et au fonctionnement de deux structures indispensables et complémentaires à l’État moderne : celle de la légitimation idéologique et celle de l’opinion
This research gives an account of the history of the « pièces gothiques ». By focusing on the production of these means of thin French black-letter printed brochures from the 1470s to the end of the sixteenth century, it is shown that these booklets played a special role in the transformation of the relationship between their readers and the authorities, and in the evolution of culture during the Renaissance. The « pièces gothiques » (over 2 200 are known) were a new kind of inexpensive book for a large audience, and were spread in the form of a series of small texts printed in French, heralding the new genres of « newspaper » and « popular book ». They were produced by some editors who adapted their publication to the news mechanisms of production and distribution of books then being seen following the invention of the printing press. The « pièces gothiques » were a sign of the appropriation and adaptation of this new technology of social communication (i. E. , the printed book) to editorial audacity and necessity, as well as to new cultural needs. Apart from the spread of information, they also tended to inculcate some of the norms and values that shaped the opinions and behaviour of their readers (or listeners). These texts therefore contributed to the development and functioning of two essential and complementary structures of the modern state: ideological legitimization and opinion

Артемчук В. В. Удοскοналення управління підприємствοм на базі ERP-системи : кваліфікаційна робота магістра спеціальності 051 «Економіка» / наук. керівник П. В. Комазов. Запоріжжя : ЗНУ, 2021. 76 с.
UA : В кваліфікаційній роботі узагальненο теοретичні аспекти ефективнοсті впрοвадження ERP-систем на підприємстві. Прοаналізοванο екοнοмічну ефективність впрοвадження інфοрмаційних систем управління в пοліграфічній сфері. Запрοпοнοванο удοскοналення прοцесів управління типοграфією на базі ERP-cистеми.
EN : Theoretical aspects of the efficiency of ERP-systems implementation at the enterprise are generalized. The economic efficiency of the implementation of management information systems in the printing industry is analyzed. It is proposed to improve the processes of printing management on the basis of ERP-system.

Dissertação de Mestrado em Design e Multimédia apresentada à Faculdade de Ciências e Tecnologia
O cinema é uma importante forma de expressão artística que se tem tornado num dos mais importantes meios de comunicação dos dias de hoje. Em Portugal a produção cinematográfica é relativamente baixa e, para além disso, o cinema em Portugal está mais focado no cinema de autor do que comercial, o que faz com que haja algum distanciamento entre o público nacional e os seus cineastas. O festival Caminhos do Cinema Português tenta diminuir esse distanciamento ao criar eventos e sessões de cinema que facilitam o acesso do cinema português à população.Este trabalho foca-se na visualização da história do cinema português e da importância do festival Caminhos do Cinema Português dentro desta. O projeto consiste em analisar a história do cinema português contemporâneo relacionando intervenientes, audiências, prémios, festivais, financiamento e distribuidoras, e relacionar essa informação com a história do festival Caminhos do Cinema Português. É explorado de que modo se pode representar, através da visualização de informação, a história do cinema português e dos prémios dos filmes portugueses, e é analisado de que forma o festival ajudou e contribuiu para as carreiras de filmes e cineastas. Também é explorado de que forma se pode utilizar tipografia para representar dados na visualização de informação.Esta dissertação tem como objetivo desenvolver um modelo de série temporal interativo com a incorporação da tipografia, e que integre uma linguagem que possa ser aplicada em diversos meios.
Cinema is an important form of artistic expression that has become one of the most important means of communication. In Portugal, film production is relatively low and, in addition, cinema in Portugal is more focused on the artistic side than the commercial one, which means that there is a significant distance between the national audience and its filmmakers. The Caminhos do Cinema Português festival tries to reduce this distance by creating events and cinema sessions that facilitate the access of Portuguese cinema to the population in Portugal.This project focuses on visualizing the history of Portuguese cinema and the importance of the Caminhos do Cinema Português festival within it. The project consists of analyzing the history of contemporary Portuguese cinema, relating its stakeholders, audiences, awards, festivals, financing and distributors, and relating this information to the history of the Caminhos do Cinema Português festival. It explores how the history of Portuguese film production and Portuguese film awards can be represented, through the visualization of information, and it analyzes how the festival helped and contributed to the careers of films and filmmakers. It is also explored how typography can be used to represent data in the visualization of information.The objective of this dissertation is to develop an interactive time series visualization model with the incorporation of typography, and that integrates a language that can be applied in different media.