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Journal articles on the topic 'Typography information'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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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.

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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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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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7

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

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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.

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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.

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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.

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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.

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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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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.

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<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 />

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11

Joshi, Yateendra. "a. Typography for lawyers." Information Design Journal 19, no. 2 (December 31, 2011): 172–73. http://dx.doi.org/10.1075/idj.19.2.07jos.

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12

Janssen, Frans A. "The Rectangle in Typography." Quaerendo 40, no. 1 (2010): 1–25. http://dx.doi.org/10.1163/001495210x12561886980310.

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13

Türkkan, Halime. "The significance of typography in data visualisation." Global Journal of Arts Education 10, no. 1 (February 28, 2020): 75–84. http://dx.doi.org/10.18844/gjae.v10i1.4736.

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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. Big data provides important information on data visualisation. While presenting this information, the value that the script adds to the design will be examined in this study. The choice of typefaces, leading and kerning in typography, type hierarchy, harmony, balance, unity, the contrast between the visual elements and typography are the critical components of data visualisation. ‘Communication designers often err on the side of providing features that entertain and visually please audience's ability to receive or understand the message, in the hope that messages will be understood because they are associated with appealing features. Although designers often concentrate on visuals and aesthetics, at other times they hope to attract viewers by focusing clearly on valuable content. But too often both approaches impair the audience's ability to receive or understand the message’. In support of what Jacobson mentioned above in his book titled Information Design, this study aims to emphasise the undeniable importance of typography in data visualisation designed for informative purposes. Keywords: Typography, design, data visualisation

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14

Turgut, Ozden Pektas. "Expressive Typography as a Visualisation of Ideas." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 28, 2017): 164–70. http://dx.doi.org/10.18844/prosoc.v4i11.2871.

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Typography is the designed form where the transfer of ideas and information with the help of signs is done. Typography invites to read the text, reveals the meaning of the text, links the text to other visual elements and creates appropriate reading conditions. In addition to communicating information and messages through an understandable form language, it also carries the claim of being an element expressed as a style, personality, and visual language. In this sense, it is important to arrange the typographical characters, such as font, form, colour, space in the media, in an effective way of conveying the message. Typography influences the pleasure of gazing than reading, which is carried out as a visual communication tool not only in the function of reading but also in form. In this context, expressive typography is an art form where text is highly visual or type becomes an image. Letters are not just abstract symbols, carriers of meaning; they are also real, physical shapes. In this paper, the chosen quotes show the main idea with some limitations. It is allowed to use any kind of typeface, just black/white colour in three pages. The comparison of qualitative research methods of students’ results shows the effects of expressive typography on the visualisation of the words as a result of this research. Keywords: Typography, expressive typography, graphic design, visual communication.

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15

Lommen, Mathieu. "Typography in the Netherlands, 1990." Quaerendo 22, no. 3 (1992): 219–27. http://dx.doi.org/10.1163/157006992x00290.

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16

Cockx-Indestege, E. "Typography in the Netherlands 1991." Quaerendo 23, no. 2 (1993): 145–60. http://dx.doi.org/10.1163/157006993x00046.

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Lommen, Mathieu. "Typography in the Netherlands 1993." Quaerendo 24, no. 2 (1994): 149–60. http://dx.doi.org/10.1163/157006994x00252.

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18

van Leeuwen, Theo. "Towards a semiotics of typography." Information Design Journal 14, no. 2 (July 7, 2006): 139–55. http://dx.doi.org/10.1075/idj.14.2.06lee.

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This article outlines a social semiotic approach to analysing the ideational, interpersonal and textual meaning potentials of letter forms, drawing on Jakobson’s distinctive feature analysis and Lakoff and Johnson’s theory of experiential metaphor. Distinctive features are recognized and applied to the analysis of examples: weight, expansion, slope, curvature, connectivity, orientation and regularity.

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19

Stiff, Paul. "The end of the line." Information Design Journal 8, no. 2 (January 1, 1995): 125–52. http://dx.doi.org/10.1075/idj.8.2.03sti.

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This article is about encounters between electronic publishing and typography, seen through the lens of one issue: decisions about ending lines in typeset text. Computer scientists working in electronic publishing have long pressed typographers to explain the thinking behind their practice. But craft knowledge, represented by typographers, has so far largely remained mute. An apparently minor issue in typographic decision-making -whether to typeset text in justified or unjustified mode -reveals some of the situated reasoning which informs reflective design practice. The following questions are surveyed: What are the characteristics of unjustified setting? For what purpose is it used? How effective is it? How is it done in practice? Why has it been a subject of argument among typographers? Examining these questions tells something about the intricacy of typographic decision-making, and is a forcible reminder of the materiality of designing.

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20

Hammerschmidt, Christopher. "Typography in patient information leaflets for mobile devices." Information Design Journal 21, no. 3 (December 31, 2014): 244–59. http://dx.doi.org/10.1075/idj.21.3.07ham.

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21

Crawford, Walt. "Beyond courier: Good writing deserves good typography." Library Hi Tech 8, no. 3 (March 1990): 93–111. http://dx.doi.org/10.1108/eb047803.

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22

Cleaver, Philip. "Compendia of confusion." Information Design Journal 6, no. 3 (January 1, 1991): 229–36. http://dx.doi.org/10.1075/idj.6.3.05cle.

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Some DTP users want typographic tuition not only to improve design skills but also to help them deal with 'clients' who now want to control layout and design decisions. Other users may lack motivation to study because they feel they can achieve results that satisfy themselves and their 'clients' without typographic knowledge. Selected type tutorial books are examined and judged to ignore the motivated learner's particular need for methods of working that synthesize the elements of typography with the tasks they have to perform. For other potential learners, they do not provide the missing motivation. Two recent tutorial books use, respectively, a graphically motivating approach and a synthetic, systematic approach. The latter is judged not only to meet motivated learners' needs but also to provide the elements of an approach through which 'clients', including writers, could begin to realise DTP'S potential for integrating the composition of text and its display on the page.

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23

Stern, Arden. "Freaks of Fancy, Revisited: Nineteenth-Century Ornamented Typography in the Twenty-First Century." Design Issues 32, no. 4 (October 2016): 76–90. http://dx.doi.org/10.1162/desi_a_00418.

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This article offers a historical analysis of 21st-century American engagements with 19th-century ornamented typography, demonstrating how this form of historicist practice constructs purposeful continuities between past and present by aligning 19th- and 21st-century modes of production. These alignments, balanced on fraught cultural divisions between handmade/machine-made and authentic/artificial, are resolutely ahistorical yet speak volumes about the dynamics of information capitalism, deindustrialization, and recession in recent US history. The analysis focuses upon two genres of neo-19th-century typographic revivals: heritage letterpress fetishism, which invokes an imagined return to authentic handcraft, and revivalist authentications of digital design practice, in which designers use the old to confer legitimacy upon the new.

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24

Ravelli, Louise J., and Sue Starfield. "Typography and disciplinary identity in academic writing." Information Design Journal 16, no. 2 (August 1, 2008): 133–47. http://dx.doi.org/10.1075/idj.16.1.06rav.

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Ravelli, Louise J., and Sue Starfield. "Typography and disciplinary identity in academic writing." Information Design Journal 16, no. 2 (August 4, 2008): 133–47. http://dx.doi.org/10.1075/idj.16.2.06rav.

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This paper examines the potential significance of typographic variation in the front pages of a corpus of Humanities and Social Sciences doctoral theses. Some account is taken of the linguistic content of these pages, but the primary focus is on typographic resources such as font choice, salience, and layout. It is found that there is a strong association between the nature of the typographic choices and the disciplinary orientation. Specifically, the more marked semiotic resources are likely to be associated with theses which are oriented towards the “New Humanities”, that is, adopting a more subjective approach to research.

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Black, Alison. "From desktop publishing to computer assisted typography." Information Design Journal 5, no. 3 (January 1, 1989): 247–50. http://dx.doi.org/10.1075/idj.5.3.06bla.

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FLOOD, JOHN L. "Nationalistic Currents in Early German Typography." Library s6-15, no. 2 (1993): 125–41. http://dx.doi.org/10.1093/library/s6-15.2.125.

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28

Franzia, Elda. "TINJAUAN TIPOGRAFIS PADA SAMPUL MUKA MAJALAH FEMINA." Jurnal Dimensi Seni Rupa dan Desain 8, no. 2 (September 1, 2011): 45–61. http://dx.doi.org/10.25105/dim.v8i2.989.

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Abstract The Typographic Review of Femina Magazine's COver. The changing forms of communication brough us to the developing of printed mass media nowdays. For magazine typography is one of the important visual elemnt in cover, besidea other visual elements such as image, colour and lay out. Not just in convey verbal and visual information to the magazine's readers through massages and idea, but also through conotative meanings Femina magazines has been developing it,s face since first time published until now, including typographic developmnet of it's cover. This typography review of Femina magazine's cover will takes about typeface that used as the identity of Femina and the typeface development in coverline, which are using and the hierarchy in coverline, and also the using of color which affects conotative meaning of cover as a whole. In the end, choosing and the using of typeface on magazine's cover connect to the lifestyle of the readers Abstrak Tinjauan Tipografis pada Sampul Majalah Femina, Perubahan bentuk komunikasi dari lisan menjadi tulisan menghantarkan kita pada perkembangan media massa cetak masa kini. Pada majalah, tipografi merupakan elemen visual penting yang terdapat pada sampul muka, di samping elemn viual lainnya seperti image, warna dan tata letaknya. Melalui tipografi, informasi verbal dan visual disampaikan kepada pembaca majalah tersebut memalui pesan dan gagasan yang dibawanya serta kesan atau citra secara visual yang disampaikan olehnya. Majalah Femina telah mengalami perkembangan dalam perwajahannya sejak awal terbutnya sampai sekarang. termask perkembangan tipografi pada sampul mukanya. Tinjauan tipografis pada sampul muka majalah Femina ini akan membahas mengenai jenis huruf yang digunakan sebagai identitas Femina dan perkembangan jenis huruf yang digunakan sebagai coverline, yaitu penggunaan dan hierarki coverline serta penggunaan warna yang mempengaruhi citra visual dari tampilan keseluruhan. Pemilihan dan penggunaan jenis huruf pada sampul majalah pada akhirnya terkait erat dengan gaya hidup masa kini pembacanya

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Kinross, Robin, and Erik Spiekermann. "Conversation with Erik Spiekermann." Information Design Journal 7, no. 1 (January 1, 1993): 29–40. http://dx.doi.org/10.1075/idj.7.1.03kin.

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This conversation was recorded in Berlin in April 1992, in time snatched from a hectic working day. Erik Spiekermann is a German graphic designer, who has specialized in information design and typeface design. He worked in London in the 1970s, and since 1981 has worked in Berlin, as a partner in MetaDesign. In 1989, the practice expanded to become 'MetaDesign plus'. Spiekermann is also a partner in FontShop, established in 1989 as a retailer of typeface software, with branches in Europe and North America. The main topic of this conversation is the work being undertaken by MetaDesign for the transport authority in Berlin - the BVG. Other issues discussed are recent debates over typography and legibility, and the critical discussion of typography. In the course of the exchange, the real processes of design are exposed - in a way that more formal discourse cannot do. The text given here has been transcribed from the tape-recording, with minimum editing.

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30

Repucho, Ewa. "The book collection of Jan Kuglin as a source for research on the aesthetics of print in the 20th century." Z Badań nad Książką i Księgozbiorami Historycznymi 13 (December 26, 2019): 327–45. http://dx.doi.org/10.33077/uw.25448730.zbkh.2019.170.

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The paper describes a somewhat forgotten book collection of the outstanding Wrocław editor Jan Kuglin, in terms of the editions on print aesthetics contained therein. The collection, which is a reflection of Kuglin’s scientific passions, contains many valuable books in German, English, Polish, Russian and Czech in the field of book and printing history, editing, book design, typography, writing, graphic techniques, polygraphy, paper industry, bookbinding, etc. In the book collection of Kuglin one can find editions being examples of a perfect typography. Thus, the collection stored in the Library of the Institute of Information and Library Science of the University of Wrocław is an excellent source for research on the aesthetics of printing in the 20th century.

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Kirschenbaum, Matthew. "Lucid Mapping: Information Landscaping and Three-Dimensional Writing Spaces." Leonardo 32, no. 4 (August 1999): 261–68. http://dx.doi.org/10.1162/002409499553406.

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This paper documents an interactive graphics installation entitled Lucid Mapping and Codex Transformissions in the Z-Buffer. Lucid Mapping uses the Virtual Reality Modeling Language to explore textual and narrative possibilities within three-dimensional (3D) electronic environments. The author describes the creative rationale and technical design of the work and places it within the context of other applications of 3D text and typography in the digital arts and the scientific visualization communities. The author also considers the implications of 3D textual environments on visual language and communication, and discriminates among a range of different visual/ rhetorical strategies that such environments can sustain.

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Julianto, Julianto. "Pesona Form Driven dari Tipografi pada Kemasan Makanan dan Minuman." Humaniora 1, no. 2 (October 31, 2010): 685. http://dx.doi.org/10.21512/humaniora.v1i2.2909.

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Letters or widely known in the designer community design as typography, is the most essential design element, because it has a double function, as both the language of verbal and also visual language. Its presence in the design world often dominates the portion of the design. It is also often evident in many information media, and capable of persuading its audience through the enchanting beauty (form driven), both types of letter itself and its well-ordered structure, designed by a designer. This also occur in food and beverage packaging, which when people make very careful decisions, since it involves preferences or consumption of their own choice, is an added value if their favorite food/drink is packed with a cool typography design.

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Sulistiyawati, Puri, Dwi Puji Prabowo, and Dimas Irawan Ihya' Ulumuddin. "Perancangan Media Pembelajaran Berbasis Audio Visual untuk Mata Kuliah Tipografi pada Program Studi Desain Komunikasi Visual Universitas Dian Nuswantoro." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 3, no. 01 (February 28, 2017): 69–80. http://dx.doi.org/10.33633/andharupa.v3i01.1335.

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Abstrak Tipografi merupakan salah satu mata kuliah pada bidang desain komunikasi visual yang mengutamakan aspek visual. Namun berdasarkan hasil observasi diketahui bahwa media pembelajaran yang selama ini digunakan kurang efektif karena kurangnya pemanfaatan teknologi informasi, sehingga mahasiswa kurang maksimal dalam memahami materi kuliah yang disampaikan oleh pengajar. Perkembangan teknologi informasi saat ini banyak memberikan dampak positif bagi kemajuan bidang pendidikan diantaranya dapat digunakan untuk mendukung media dalam proses pembelajaran. Tujuan penelitian ini adalah merancang media pembelajaran untuk mata kuliah tipografi dengan memanfaatkan teknologi informasi yaitu media audio visual. Metode yang digunakan dalam penelitian ini adalah Research and Development dengan pendekatan model ADDIE (Analysis, Design, Development, Implementation, Evaluation). Dengan diciptakannya media pembelajaran audio visual ini diharapkan proses pembelajaran mata kuliah Tipografi dapat lebih efektif dan materi kuliah lebih mudah dipahami oleh mahasiswa. Kata Kunci : audio visual, media pembelajaran, tipografi AbstractTypography is one of the subjects in the field of visual communication design that prioritizes the visual aspect. However, based on the observation note that the media has been used less effective because the lack of use information technology, so students can't understand the course material that explained by lecturers. Today, the development of information technology is being positive impact for the advancement of education which can be used to support the media in the learning process. The purpose of this research is to design learning media for the course of typography by utilizing information technology, called audio-visual media. The method that used in this research is Research and Development with ADDIE model (Analysis, Design, Development, Implementation, Evaluation). With the creation of audio-visual learning media is expected Typography learning courses can be more effective and the course material more easily understood by students. Keyword : audio visual, instructional media, typography

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Pereira, Fabio Mariano Cruz, and Priscila Lena Farias. "Information, typography and persuasion in Brazilian late 19th and early 20th century ephemera." Information Design Journal 25, no. 2 (December 31, 2019): 171–91. http://dx.doi.org/10.1075/idj.25.2.03per.

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Abstract This paper aims at a better understanding of the informational structure of late 19th and early 20th century ephemera through an analysis of recurrent informative and persuasive elements in a set of printed artifacts produced in São Paulo and Rio de Janeiro. The research methods adopted involved gathering, describing and comparing verbal and visual information found in those artifacts. Recurrent graphic elements, employed not only for providing information but also for characterizing and differentiating competing companies were found, suggesting that Brazilian printers were making use of graphic elements to promote their services and visually communicate the identity of their businesses.

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Qudratina, Qudratina, and Condra Antoni. "VISUALISASI PESAN GIZI SEIMBANG MENGGUNAKAN ASPEK SPATIAL, TEMPORAL, LIVE ACTION, DAN TYPOGRAPHY." JOURNAL OF DIGITAL EDUCATION, COMMUNICATION, AND ARTS (DECA) 1, no. 2 (August 30, 2018): 75–90. http://dx.doi.org/10.30871/deca.v1i2.828.

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Public Service Advertisement have an important role in disseminating information to public. Along with the development of information and communication technology, the delivery of information such as Public Service Advertisement is also more interactive and modern. This is seen by the number of Public Service Advertisement using motion graphic techniques. Motion graphics are graphics that use video or animation to create the illusion of motion or transformation. Motion graphic based of Public Service Advertisement is simple in messaging, easy to absorb information and more appealing to the public. One of the information presented using motion graphic of Public Service Advertisement is about “Pedoman Gizi Seimbang”. Motion graphics of Public Service Advertisement raises the topic of “Pedoman Gizi Seimbang” which is aimed at the community, especially housewife who acts as the observer of foof consumed by all family. Desaigned of “Pedoman Gizi Seimbang” applied some aspects in motion graphics. These aspects are spatial, temporal, live action, and typography. The research will use Villamil-Molina (1997) development method which each stage is interconnected and has an important role. Stages of the method are development, pre-preduction, production, post-production, and delivery. The software used in this research is Adobe Illustrator CS6, Adobe After Effects CC 2018, and Adobe Premiere CS6. The results of this research indicate that motion graphic Pedoman Gizi Seimbang that apply spatial, temporal, live action, and typography aspects get response “Sangat Setuju” from respondents which is proved by the final value of interpretation of 83.62%.

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Risvantry, Ucha, and Fuad Erdansyah. "Analisis Desain Brosur Pendidikan pada Sekolah Dasar Islam Terpadu Al – Munadi Medan." Journal of Education, Humaniora and Social Sciences (JEHSS) 3, no. 1 (August 8, 2020): 153–60. http://dx.doi.org/10.34007/jehss.v3i1.242.

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This study aims to analyze the design of the SDIT AL - Munadi Medan brochure for the period 2014 - 2019 by knowing the color, layout and typography of the brochure. The research method uses descriptive qualitative by collecting various information about the brochure design of SDIT AL - Munadi Medan for the period of 2014 - 2019. The population in this study is the design of brochures for the period 2014 - 2019 amounting to 6 brochures at SDIT AL - Munadi Medan. The sample in this study used saturated sampling in which the entire population was sampled, in order to obtain data regarding the analysis of the design brochure SDIT AL - Munadi Medan. After collecting data through observation research instruments, interviews and documentation, the results of the study show the results of the SDIT AL - Munadi Medan brochure design for the period 2014 - 2019 from the color of the brochure, brochure layout, and brochure typography.

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Rafiei, Maryam, and Jamshid Arasteh. "An Approach to the Effects of Modern Art on the Evolution of Iranian Contemporary Typography." Religación. Revista de Ciencias Sociales y Humanidades 5, no. 23 (March 31, 2020): 189–96. http://dx.doi.org/10.46652/rgn.v5i23.617.

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Today, letter design is no longer just a way to convey information, its visual and structural features is not limited to a particular aspect of visual language, in addition, the design of letters is a method that is always influenced by the content and thought, it is placed in different cultural and social conditions and reflected in unlimited aesthetic forms. Situation that occurs with Iranian literature that owes its value to the writings and the words. On the other hand, in the field of art, especially the art of letter design, it is this writing that plays the central role. Almost more than a century ago, new and modern phenomena slowly came to Iran, and Iranian artists began to use modern art. What is gleaned from the research is the introduction of typography as a powerful and usable tool not only in the international community but also as an art of communication on the Iranian border and examining its most important function; visual communication and the transfer of information and content. It is also discovered how the forms of typography evolve and its impact on contemporary Iranian art. The descriptive research work was carried out through the process of reviewing and collecting information from the library documents.

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Ruki, Ulli Aulia, and Amarena Nediari. "Penerapan Tipografi dalam Sistem Signage pada Interior Ruang Publik." Humaniora 5, no. 2 (October 30, 2014): 822. http://dx.doi.org/10.21512/humaniora.v5i2.3139.

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Signage system is applied in interior public spaces with consideration to the basic of typography. The objective of signage system is to provide the user convenience in public spaces in order to reach destination while the user is in the building. The basic requirements for designing signage system are legibility and readability. There are still designers who are not aware about the importance of designing a signage system so that sometimes it is found only as decorative element. It is necessary to make the best use of the purpose of signage design, so an interior design should be more carefully in conducting research related to the application of signage system in public spaces. The applied typography has to be considered by its size, placement, colors, and materials to be used. This research used design thinking goal grid method that is suitable to examine the signage system in order to complete design objectives. Article focuses on how to design the signage system to accommodate information that was useful for the user in public space. At the end, there would be identified signage system’s function in interior public spaces as information, guidance, identification as well as safety regulation.

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Burnhill, Peter. "Outside the whale." Information Design Journal 8, no. 3 (January 1, 1996): 195–218. http://dx.doi.org/10.1075/idj.8.3.02bur.

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In the 1960s, design education in the United Kingdom was in a state of flux. It was changing from a more or less egalitarian system, first established in the 1830s, to one which sought to separate the sheep from the goats on academic lines at a time when a more comprehensive system was being developed in schools of general education. This account tells of a design course in the 'vocational' sector of the new system which made typography its central design discipline.

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Taylor, Pier. "Gebiedsbranding van de KennisAs Ede-Wageningen." TMG Journal for Media History 19, no. 2 (December 9, 2016): 1. http://dx.doi.org/10.18146/2213-7653.2016.269.

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This essay discusses the proposed design for informational objects for the place branding of the Food Innovation Strip Ede-Wageningen. The Food Innovation Strip Ede-Wageningen is the knowledge center of the FoodValley Region, one of the regions taking part in the top sectors policy, developed in 2011 by the Dutch government. The branding aims to convincingly convey that this region holds many companies, organizations and knowledge institutes working together towards sustainable innovations for the Agri-food sector within the framework of healthier food and a healthier living environment. This essay offers an inside view, from concept development to prototype, of the research behind the spatial and typographical design for the informational objects for the Food Innovation Strip. Although Agri-food is the primary focus for the design, the research is also based on information about typography and how typography is implemented in related fields such as illustration, spatial design and design in the context of new media.

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Lund, Ole. "In black & white: an r&d report on typography and legibility." Information Design Journal 8, no. 1 (January 1, 1995): 91–95. http://dx.doi.org/10.1075/idj.8.1.11lun.

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McKitterick, David. "Old Faces and New Acquaintances: Typography and the Association of Ideas." Papers of the Bibliographical Society of America 87, no. 2 (June 1993): 163–86. http://dx.doi.org/10.1086/pbsa.87.2.24304764.

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Petretta, Julia. "Arabic sign design." Information Design Journal 21, no. 1 (December 31, 2014): 18–33. http://dx.doi.org/10.1075/idj.21.1.04pet.

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In the Middle East, the Arabic script is omnipresent and has an ample impact on the built environment. The calligraphic Arabic script is extremely flexible, making its text representation economic. However, in physical signs, calligraphy is replaced by Arabic typography, whose type choices may not capture the full flexibility of the Arabic script. Additionally, the graphic logic of dual language sign systems is not as straightforward when applied in Arabic, since the Arabic reads in two directions: right to left for the script and left to right for the numerals. Multi-script signage involving Arabic requires a heightened sensitivity regarding the information sequence.

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Spitzmüller, Jürgen. "(De)Signing Authority: The Indexical Dimension of Typography in Academic Communication." Design Issues 37, no. 4 (2021): 46–58. http://dx.doi.org/10.1162/desi_a_00657.

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Abstract Graphics in scientific communication are not just a means to elegantly convey, condense, or systematize “facts.” As any form of communication, they are bound to, or enregistered in, the discursive context of previous uses. Graphics, thus, do not only visualize information (in an iconic or symbolic way), they also contextualize (i.e., index) the practices, communities, and genres of particular fields and thereby serve as effective emblems of scholarly identity. This article elaborates on the indexical or emblematic dimension of academic graphic design. Drawing on sociolinguistic theory of social positioning and identification, it will be argued how graphic design is a disciplinary practice in the double sense of the word.

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Bateman, John, Thomas Kamps, Jörg Kleinz, and Klaus Reichenberger. "Towards Constructive Text, Diagram, and Layout Generation for Information Presentation." Computational Linguistics 27, no. 3 (September 2001): 409–49. http://dx.doi.org/10.1162/089120101317066131.

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Combining elements appropriately within a coherent page layout is a well-recognized and crucial aspect of sophisticated information presentation. The precise function and nature of layout has not, however, been sufficiently addressed within computational approaches; attention is often restricted to relatively local issues of typography and text-formatting, leaving broader issues of layout unaddressed. In this paper we focus on the selection and function of layout in pages that appropriately combine textual and graphical representation styles to yield coherent presentation designs. We demonstrate that layout offers a rich resource for achieving presentational coherence, alongside more traditional resources such as text-formatting and the text-internal marking of discourse connections. We also introduce an integrated approach to layout, text, and diagram generation. Our approach is developed on the basis of a preliminary empirical investigation of professionally produced layouts, followed by implementation within a prototype information system in the area of art history.

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Sless, David. "Review of “Typography and Language in Everyday Life: Prescription and Practice” by Sue Walker." Information Design Journal 11, no. 2-3 (December 31, 2003): 281–83. http://dx.doi.org/10.1075/idj.11.2.35sle.

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Green, Thomas R. G. "R. M. Baecker and A. Marcus, Human factors and typography for more readable programs." Information Design Journal 6, no. 2 (January 1, 1990): 179–82. http://dx.doi.org/10.1075/idj.6.2.07gre.

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Rennie, David. "How much to write." Information Design Journal 6, no. 2 (January 1, 1990): 169–77. http://dx.doi.org/10.1075/idj.6.2.05ren.

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Readers complain that documents are too long. But people also complain when documents are not comprehensive. We have used an analogy with travel to develop a flexible approach to length called 10/100/1000. This means arranging information so that people can easily find the more important things - 10 words on a topic, then 100, then 1000 and so on. The 10/100/1000 approach provides a rationale for many familiar features of documents and a means of measuring and developing them. The paper explains how the approach should improve information retrieval. It also illustrates some ways of using typography and layout to apply the approach within documents.

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Woloszyn, Maíra, and Berenice Santos Gonçalves. "Dimensões e fatores de aplicação da tipografia em livros digitais | Typography application dimensions and factors in digital books." InfoDesign - Revista Brasileira de Design da Informação 15, no. 1 (August 28, 2018): 80–96. http://dx.doi.org/10.51358/id.v15i1.635.

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A tipografia está presente no desenvolvimento histórico do livro. Responsável por compor textos, esse recurso é considerado elemento essencial no design de publicações. A partir da inserção em meios digitais, as publicações passaram a incluir em seu escopo diversas potencialidade oferecidas pelas mídias digitais. Nesse sentido, percebe-se que o design das publicações digitais depende de um escopo de conhecimentos específicos, diferenciado das publicações impressas. Assim, evidencia-se que a forma de apresentação e configuração dos textos em livros digitais, ou seja, na aplicação da tipografia, requer adaptações. Desta forma, a presente pesquisa teve por objetivo designar os principais fatores de aplicação da tipografia em livros digitais. Para tanto, a pesquisa percorreu quatro fases: revisão de literatura, estudo prospectivo, análise de exemplares e resultados e discussões. Como resultado, chegou-se aos fatores de aplicação da tipografia em livros digitais que visam contribuir no desenvolvimento de projetos deste tipo de artefato. Os fatores foram sistematizados em quatro dimensões, a saber: formal, de composição, técnica e tecnológica. A dimensão formal reúne fatores relacionados à forma das letras, e as composições de palavras, frases e parágrafos de texto. A dimensão de composição trata da hierarquia da informação e da relação do texto com as demais mídias presentes na página. A dimensão técnica aborda fatores específicos das fontes e, por sua vez, a dimensão tecnológica reflete procedimentos e ações da tipografia no contexto digital.*****Typography is present in the book’s historical development. Responsible for composing texts, this resource is considered an essential element in the publishing design. With digital medias, the publishing began to include in their scope several potentialities offered by this media. In this sense, it is perceived that the digital publishing design depends on a specific scope of knowledge, different from printed publishing. Thus, is evident that the texts presentation and configuration in digital books, that is, typography application, requires adaptations. In this way, the present research aimed to designate the main typography application factors in digital books. For this, the research covered four phases: literature review, prospective study, analysis of samples, results and discussions. As a result, it reached four dimensions, composed by typography application factors in digital books. These four dimensions aim to contribute in the development digital books design, namely: formal, composition, technical and technological. The formal dimension brings together factors related of letters, and the compositions of words, phrases and paragraphs of text. The composition dimension deals with the information hierarchy and the relationship between text and other media present in page. The technical dimension addresses specific factors about typefaces and, in turn, the technological dimension reflects procedures and actions that involves typography as an interactive element in digital context.

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Twomey, Cheryl. "An analysis of patient information leaflets supplied with medicines sold by pharmacists in the United Kingdom." Library and Information Research 25, no. 80 (August 12, 2009): 3–12. http://dx.doi.org/10.29173/lirg119.

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The primary aim of this exploratory study was to analyse the design factors contributing to the reading ease and comprehension of medicinal information leaflets. Good practice guidelines on general typography and layout were chosen from the literature and compared with European Commission guidelines on preparing package leaflets. The suitability of the guidelines for evaluating package inserts was investigated using leaflets accompanying thirteen different medicines available from pharmacies. With minor revision, the design recommendations were appropriate for developing over the counter medicinal leaflets. There was general agreement that simplicity is the key to good information design. It was concluded that the design of readable medicinal package inserts is a complex, process. Consumer participation is essential and advice from a professional designer highly desirable.

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