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1
Chernyavskaya, Valeria E. "Typographic landscape in urban space: a sociolinguistic approach." Slovo.ru: Baltic accent 13, no. 4 (2022): 71–84. http://dx.doi.org/10.5922/2225-5346-2022-4-5.
Повний текст джерелаАнотація:
This paper suggests a sociolinguistic approach to typographic landscape analysis. Typography is discussed as a semiotic resource with meaning-making potential. The paper argues that typographic variation provides dynamic indexical links to social practice. It obtains its ‘social voice’ and becomes an integral part of the social context in which it is perceived as typical and able to generate particular socially loaded meanings. This research is in line with contemporary social semiotics, interactional linguistics, and discourse studies and is based on typographic meaning as a key notion providing the basis for social actors’ ideological ascriptions. Typography and typographic meaning formation are discussed within modern Russian urban space. It is argued that urban area enables addressing agency and interaction aspects of social communication. The city space provides access points for observing, shaping and interpreting meanings in the social context. As cases in point, the paper discusses the typefaces such as Antiqua font used in pre-revolutionary Russia, lettering imitating the font of Soviet newspapers, Handwriting font, and Stencil font and their embeddedness in current socio-cultural practice. The analysis uses advertising, social and commercial texts. The findings indicate that typography should be considered as a social meaning which results from indexical connections of a sign and the context it is used in. Semiotification of space allows observing stronger reflexivity and, therefore, metapragmatic activity of communicants.
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Arifrahara, Gema. "ANALISIS PENGGUNAAN TIPOGRAFI SPASIAL SANS SERIF DALAM RUANG PUBLIK TAMAN TEMATIK KOTA BANDUNG." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 7, no. 01 (February 28, 2021): 92–104. http://dx.doi.org/10.33633/andharupa.v7i01.3804.
Повний текст джерелаАнотація:
AbstrakPenggunaan tipografi spasial tiga dimensi sebagai media informasi sudah lazim adanya, bahkan di kota Bandung pada setiap taman saat ini menggunakan pendekatan kreatif environmental tipografi. Ruang publik taman kota selain berperan sebagai paru-paru kota juga berperan sebagai ruang interaksi masyarakat, sangat baik untuk psikologis masyarakat dan memberikan sensasi modern. Taman kota yang ada di kota Bandung hampir sering dijumpai menggunakan pendekatan tipografi spasial Sans Serif seperti pada; Taman Tegal Lega, Taman Lansia, Taman Fotography, Taman Petpark, Taman Superhero, dan Taman lainnya. Objek tipografi sans serif tiga dimensi diamati secara deskriptif terhadap karakteristik huruf secara keterbacaan, legibility, keterlihatan dan kejelasannya dengan metode pencarian data melalui observasi objek tipografi pada display nama identitas taman. Permanfaatan tipografi sans serif pada ruang publik kota hanya bersifat fungsional sebagai penguat identitas semata tidak ditujukan sebagai penguat karakter kultural maupun simbolis. Kata kunci: ruang publik, sans serif, taman kota Bandung, tipografi spasial AbstractThe use of three-dimensional spatial typography as a medium of information was commonly used, even in the city of Bandung in every park using a creative approach to environmental typography. Apart from its role as city lungs, public space city parks also became a space for the community to interact, psychological healing in the city community, and providing a modern sensation. City parks in Bandung are often using the spatial typographic approach of Sans Serif as; Tegal Lega Park, Senior Park, Photography Park, Petpark Park, Superhero Park, and other Parks. Three-dimensional sans serif typographical objects are observed descriptively to the characteristics of letters in readability, legibilities, visibility, and clarity with data search methods through the observation of typography objects on the display of park identity names. The utilization of Sans Serif typographic in public spaces is only functional as an identity and it's not intended as a cultural or symbolic character booster. Keywords: Bandung city park, public space, sans serif, spatial typography
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Miranda-Dos Santo, Tiago José. "Typography as a mediator of art, space, memory and presence on toponymy." Legado de Arquitectura y Diseño 14, no. 26 (July 1, 2019): 75. http://dx.doi.org/10.36677/legado.v14i26.14460.
Повний текст джерелаАнотація:
Communication through some media gives meaning to a message, or canexpress the desire to communicate. roughout history, typography has been atculture and written communication’s service, responding to the languages, cultures andsocieties’ evolution stimuli. Its history should be understood as the study, from thepolitical, philosophical and artistic point-of-view, of the several movements and thehistory of humanity. erefore, the proper use of typography demands mastery of itsform and use, in favour of its content, leaving space for a rational expression of thehuman world, built by his knowledge, imagination, wishes and desires. To conclude,the form of typography depends on the language of the text and its medium, referringback to spatial perception and each’s surroundings, contributing directly to its memoryconstruction.Until 1974, Portugal was a very closed country, which prevented a widespread visualhomogenisation of the urban. is fact led to the existence of an unusual typographicheritage, yet it is not connoted a specific typographic style. According to Balius (2013),further development on the reflection of the social impact of typography is needed. This article proposes to examine current signposts typography present on the city of Coimbra,Portugal, identifying and analysing shapes, types and typographic families of dominantand distinct letters, referring to the space analysis and its history, compared to the placeand the history of typography. is analysis enables history as an active object, allowingthe transmission of typographic legate beyond the scope of the design.
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Ayiter, Elif. "Space, Text and Hoopla." International Journal of Art, Culture and Design Technologies 3, no. 1 (January 2013): 12–25. http://dx.doi.org/10.4018/ijacdt.2013010102.
Повний текст джерелаАнотація:
This text attempts to delve into the creation of textual content as well as its visualization through typographic design mechanisms inside three dimensional virtual worlds known as the metaverse, with a particular focus upon the way in which such virtually three dimensional environments may place the usage of text within a context that stands in contradiction to its traditional one by creating an unexpected novel purpose: This takes a marked departure from the intrinsic attribute with which text has inherently been associated – namely the attribute of legibility. In such environments readability can be displaced through the usage of text and typography as playful devices that may manifest as visual structures the contents of which are meant to be understood through means other than reading – as it is understood in the traditional sense of the word. Instead, such spaces are aimed to bring about about states of heightened engagement, wonder and ‘play’ through their manipulation or indeed simply by being immersed within the typographic conglomeration that constitutes their essences. This subject will be explored through the discussion of three such typographic playgrounds that the author has created in the metaverse; as well as through their visual documentation undertaken through numerous images/screenshots that are placed throughout this text.
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Turkkan, Halime. "The significance of typography in data visualization." Global Journal of Computer Sciences: Theory and Research 11, no. 1 (March 31, 2021): 12–23. http://dx.doi.org/10.18844/gjcs.v11i1.5030.
Повний текст джерелаАнотація:
With the development of technology and the dominance of the digital world, typography has become a critical issue. Information design systems are considered as one of the significant areas of graphic design and big data provides essential information on data visualization. This research aims to analyse the effects of typographic elements on visualizing data in terms of visual communication, by discussing the value that typography gives to design space. The research discusses randomly selected 10 infographic design samples published in the last six months on google. From the results, 5 designs with typographic concern were more favourable and visually more striking and preferable than the other 5 designs in terms of design disciplines. As in all areas of graphic design, it is argued that the power of typography is an indisputable concept in data visualization, which is seen as a sub-branch of information design. Keywords: data visualization; design; typography, significance, technology
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Naismith, Jacqueline, and Annette O'Sullivan. "Letter-space: Typographic Translations of Urban Place." International Journal of Art & Design Education 30, no. 1 (February 2011): 133–43. http://dx.doi.org/10.1111/j.1476-8070.2011.01687.x.
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Чернявская, Валерия Евгеньевна. "TYPOGRAPHY AS SOCIAL INDEX: SOVIET LANDSCAPE IN THE MODERN RUSSIAN DISCOURSE." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 2(36) (February 28, 2023): 50–73. http://dx.doi.org/10.23951/2312-7899-2023-2-50-73.
Повний текст джерелаАнотація:
В рамках статьи обсуждаются типографика знака и типографский дизайн сообщения. Типографика рассматривается как социальный индекс, то есть особого рода прагматическое, социальное значение, возникающее на основе индексальных связей знака и характерного контекста его использования. Значимо, что форма знака распознается и используется в связи с активностью человека в социальном контексте и изучается в связи с типографической идеологией. Теоретико-методологические основания анализа созданы разработками в области мультимодальной социальной семиотики, социальной индексальности знака, опираются на объяснительные подходы в социолингвистике, лингвистической антропологии, дискурсивном анализе, в рамках нового направления лингвистического анализа, сформированного как типографическая лингвистика. Исследовательский вопрос в проведенном анализе связан с изучением того, как типографика становится неотделимой от социального контекста, в котором она воспринимается как типичная и порождающая определенные социально значимые смыслы. Анализ показывает, что типографика может становиться социальной эмблемой. В статье раскрываются объяснительные возможности понятия «ландшафт», которое в современных разработках используется для обозначения пространства, социально и дискурсивно сформированного. Это ключевое понятие для характеристики мультимодальной природы семиотического пространства. В перспективе социолингвистики, социальной семиотики обсуждаются понятия «семиотический ландшафт», «визуальный ландшафт», «типографический ландшафт», которые используются в современных разработках, и их объяснительный потенциал. Социальное значение типографики и ее индексальный характер анализируются в связи с ее включенностью в советский ландшафт в современном российском контексте. Термином «советский ландшафт» обозначается мультимодальное пространство, в котором взаимодействуют различные семиотические ресурсы, вербальные и визуальные знаки, тексты, визуальные изображения, символы, отсылающие к социокультурным практикам и (само)идентификации человека в советском социуме. Основным объектом анализа в рамках статьи являются типографика и текстовый шрифт, характерные для советского периода и распознаваемые как таковые социальными акторами. Материалом для анализа послужили мультимодальные тексты, состоящие из вербальных и визуальных знаков, используемые в современной российской социокультурной практике при создании рекламных, социальных и коммерческих сообщений. Показывается, как советская ностальгия и актуальность советских смыслов порождают социальную индексальность знака и типографическое значение как особый социальный индекс. Проведенный анализ подтверждает, что типографика имеет прецедентный характер, действует как один из семиотических инструментов оформления и распознавания смысла в социокультурной практике. This paper suggests a focus on the typography and the typographic design of the text. Typography is considered as a semiotic resource with a meaning-making potential. It may act as social index proving links to contexts and social environments in which these links become crucial for social actors. The paper argues that typographic forms reveal ideological ascriptions. These can be discussed as graphic ideologies or ideologies of graphics, which means a set of beliefs about the socially significant meaning of graphic variants. The theoretical and methodological foundations of the analysis are found in the modern investigations in social semiotics, multimodality, social indexicality, and thus are in line with explanatory approaches in sociolinguistics, linguistic anthropology, discourse analysis, typographic linguistics. The sociolinguistic theory and typographic linguistics provide a social meaning of visual signs or, in a more narrow sense, typographic meaning. This is a kind of pragmatic meaning, arising from the indexical links of the visual sign to the social context of its use. In this framework, the explanatory charge of the concept of landscape is revealed, which attracted many scholars to denote a multimodal, socially and discursively shaped space, both in the sense of a cultivated environment and also as ideological sites. The notion of landscape involves signs, situation, social actors and ideologies. Therefore, the concepts of semiotic landscape, visual landscape, typographic landscape, which are identified in modern researches, are discussed. The paper shows that typographic landscapes as semiotic products with a social meaning are framed and evaluated in a dynamic way. Typographic meaning is an interpretive phenomenon that derives from the communicative knowledge of interlocutors and is a result of an interactive ascription within a socially embedded practice. The research question is related to the study of how typography becomes, in Agha’s terms, a social emblem. It is investigated in connection with the Soviet landscape in the modern Russian urban context. The term “Soviet landscape” refers to a multimodal space in which various semiotic resources, verbal and visual signs, texts, visual images, symbols refer to the sociocultural practices and (self)identification of a person in the former Soviet society. The main object of the suggested analysis within this framework is the Soviet type, characteristic for the Soviet newspapers and framed as such by social actors in the modern context. The analysis is based on multimodal texts used in modern Russian socio-cultural practice when creating advertising, social, and commercial messages. Dealing with landscapes reveals how Soviet nostalgia and the relevance of Soviet meanings give rise to the social indexicality of the sign and to the typographic meaning as a special social index. The analysis shows that typography has a precedent nature, acts as one of the semiotic tools for meaning making in socio-cultural practice.
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Ayiter, Elif, Onur Yazıcıgil, Sina Cem Çetin, and Doruk Türkmen. "Deconstruction, legibility and space: Four experimental typographic practices." Technoetic Arts 11, no. 3 (December 1, 2013): 209–20. http://dx.doi.org/10.1386/tear.11.3.209_1.
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Rasyid, Armiati. "PENGGUNAAN BAHASA INDONESIA DI RUANG PUBLIK DI KOTA GORONTALO." TELAGA BAHASA 7, no. 1 (January 15, 2020): 1–20. http://dx.doi.org/10.36843/tb.v7i1.64.
Повний текст джерелаАнотація:
AbstrakTulisan ini bertujuan mendeskripsikan keterkendalian penggunaan bahasa Indonesia dan bentuk kesalahan penggunaan bahasa Indonesia pada ruang publik di Kota Gorontalo. Kajian ini bersifat kuantitatif. Data dikumpulkan dengan cara observasi dan dokumentasi serta dianalisis dengan teknik persentase. Kajian ini menemukan keterkendalian penggunaan bahasa ruang publik di Kota Gorontalo berada pada kategori Terkendali C(wilayah yang penggunaan bahasa di ruang publik kurang terkendali: secara fisik kurang didominasi bahasa asing; mulai lebih banyak berbahasa Indonesia dengan penerapan kaidah dan tipografi yang mulai baik). Hal tersebut dapat dilihat pada aspek kebahasaan yang belum sepenuhnya mengutamakan penggunaan bahasa Indonesia karena memiliki masalah pada ejaan, pilihan kata, dan struktur kalimat. Berdasarkan aspek fisik kebahasaan,posisi, ukuran, dan warna huruf pun belum maksimal mendukungpengutamaan bahasa Indonesia.masih terdapat data yang menempatkan bahasa Indonesia sejajar/bersanding dengan posisi di bawah atau di atas bahasa asing atau bahasa daerah.Sementara itu, berdasarkah aspek tipografi kebahasaannya, bahan, desain, dankejelasan hurufnya sudah proporsional.Kata kunci: ruang publik, aspek kebahasaan, aspek fisik kebahasaan, aspek tipografi kebahasaan, terkendali This paper aims to describe the control of the use of Indonesian and the forms of misuse of Indonesian in public spaces in Gorontalo City. This study is quantitative. Data collected by observation and documentation and analyzed by percentage techniques. This study found that the control over the use of public space languages in Gorontalo City was in the Controlled C category (areas where the use of language in public spaces was less controlled: physically less dominated by foreign languages; started to speak more Indonesian with the application of rules and typography that began well). This can be seen in the linguistic aspects that have not fully prioritized the use of Indonesian because they have problems with spelling, choice of words, and sentence structure. Based on the physical aspects of language, position, size, and color of letters are not yet optimally support the priority of the Indonesian language. There are still data that place Indonesian in line with / position below or above a foreign language or regional language. Meanwhile, based on the typographic aspects of the language, the material, design, and clarity of the letters are proportional. Keywords: public space, linguistic aspects, physical aspects of linguistics, typographic aspects of language, controlled
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Siddiqui, Igor. "Slashed Interiors: Text/Space." Interiority 3, no. 1 (January 24, 2020): 5–20. http://dx.doi.org/10.7454/in.v3i1.73.
Повний текст джерелаАнотація:
This essay explores the relationship between text and space by considering the notion of writing interiors as a form of creative practice. The research focuses on the textual and spatial uses of the punctuation mark slash (/), as evidenced in a range of text-based works by Barbara Kruger, Glenn Ligon, Dom Sylvester Houédard, Anni Albers, and other artists. The first part of the essay surveys the typographic character’s varied uses in written language; the second part considers its role within artwork titles, namely how its presence shapes spatial interpretations of each artwork in question; in the third part, preceding the conclusion, the focus is on the use of the slash as a mark that is both material and graphic. The resulting interpretations support a call for a change in the conversation about the relationship between writing and interiors.
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Lozo, Ivana. "Komunikacijski potencijal tipografije kod reklamnih poruka u tisku." Communication Management Review 9, no. 1 (June 14, 2024): 32–47. http://dx.doi.org/10.22522/cmr20240192.
Повний текст джерелаАнотація:
This paper deals with typography in advertising messages or advertising discourse, within which it can be considered a semiotic resource with its own meaning potential. In the first part of the paper, the characteristics, possibilities and limitations of message transmission in this type of advertising message are considered, then the specifics of the relationship between the visual and verbal part of the message, and the specifics of typography within such an advertising format. The second part of the work is dedicated to the theory and definition of typography, its intrinsic and extrinsic properties, then its functions from an advertising perspective, and the communication and meaning potential it possesses regardless of the text to which it is applied. Typography certainly affects the interpretation and reception of texts, and it can also have its own meaning independent of the semantics of the text, which is proven by reference to a number of relevant works. It is the resource that transmits information supraliminally, since we usually do not perceive fonts on a conscious level, but in the way we perceive background music in movies. Although typography is only one of several components of advertising messages in print, it is a segment that unites the textual and visual part of the message. Considering the advertising practice and the physical experience of the space, intrinsic and extrinsic typographic properties, it is possible to attribute to it certain meanings arising from them.
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Abdul Kadir, Norita, Norhafizah Abdul Rahman, and Nur Hisham Ibrahim. "Integrating the Typographic Landscape in Creating Interactive Spaces for a Holistic Learning Environment." Environment-Behaviour Proceedings Journal 5, no. 13 (March 24, 2020): 237–43. http://dx.doi.org/10.21834/e-bpj.v5i13.2107.
Повний текст джерелаАнотація:
This paper aims to identify the importance of the ideas on integrating Typographic Landscape in a campus environment. In creating interactive spaces that can create a holistic learning environment, an artistic approach has been developed. The design proposed is an installation of functional three-dimensional gigantic letters that will become a bench for students’ informal outdoor activities as part of sustainable initiatives that will beneficial to students in order to give adequate space for a learning environment. A quantitative method using questionnaires survey has been distributed to 160 students. The results of this study will provide a better understanding of the relationships between students' preference and landscape features and aim to enhance the quality of life in a campus environment.Keywords: Typographic landscape; learning environment; campus environment; interactive spaceeISSN: 2398-4287 © 2020. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.DOI: https://doi.org/10.21834/e-bpj.v5i13.2107
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Delsaerdt, Pierre. "Designing the Space of Linguistic Knowledge: A Typographic Analysis of Sixteenth-Century Dictionaries." Library Trends 61, no. 2 (2012): 325–46. http://dx.doi.org/10.1353/lib.2012.0034.
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Sgouromallis, Nikos. "Revisiting literary magazines through typographic aesthetics: The case of Planodion (1986–2012)." Journal of Greek Media & Culture 10, no. 1 (June 1, 2024): 35–53. http://dx.doi.org/10.1386/jgmc_00087_1.
Повний текст джерелаАнотація:
This article is concerned with the twofold identity of the literary magazine: as a material object, endowed with specific visual and tactile characteristics, and as a textual medium, active in the intellectual sphere. Moving beyond the traditional dichotomy between form and content and following a phenomenological approach, I examine the literary magazine as a multi-layered structure whose visual features (illustration, binding, vignettes and margins) work along its seemingly invisible aspects (form and content of text). I focus on Planodion magazine (1986–2012) and employing the work of Maurice Merleau-Ponty, I attempt to conceive the literary magazine as a living body, an expressive space capable of accommodating divergent experiences and meanings. Inquiring into the typographic aesthetics of the literary magazine, I also probe the boundaries separating discourse and image, and query their supposed autonomy.
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Setiawan, Arta Iman, Lisa Astria Milasari, and Ahmad Riza. "PERENCANAAN GEDUNG SENI LUKIS DI KOTA SAMARINDA." Jurnal Totem : Architecture, Environment, Region and Local Wisdom 2, no. 1 (April 29, 2021): 55. http://dx.doi.org/10.31293/ttm.v2i1.5490.
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Painting is one of two dimensions of art that is rarely found by the public. Samarinda has a variety of painting communities, including mural painting, graffiti painting and typographic painting. The background of this writing is due to the community's need to be able to know and learn about mural painting, graffiti and typography as well as providing facilities for the painting community in Samarinda City. The formulation of the problem in this study is how to plan the Painting Building in Samarinda City with a hybrid architecture approach to the building. So that the purpose of this research is to plan the Painting Building in Samarinda City which has complete painting facilities with a Hybrid Architecture approach to the building. Making this research using data collection methods with field observations and literature studies that support the theory of problem solving. The method used in this research is descriptive research methods and analytical research methods, descriptive research methods are primary data and secondary data, for the analysis method is a space program analysis, site analysis and analysis with a hybrid architecture approach with 3 stages namely, ectetic, manipulation, and merging. From the results of the discussion in the form of a total amount of space equal to KDB of 4,896 m2 and KDH of 11,424 m2, the land requirement used is 16,320 m2, for selected locations located on Jalan Kadrie Oening kec. Samarinda Ulu with a score of 14. In the analysis and concept emphasis is prioritized on building facades with basic shapes of circles and squares.Keywords: painting, building, hybrid
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Sucari, Jacobo. "Intersecciones entre Texto e Imagen: Alexander Kluge y el Tratado Iconográfico." Barcelona Investigación Arte Creación 9, no. 1 (February 3, 2021): 45. http://dx.doi.org/10.17583/brac.2021.5364.
Повний текст джерелаАнотація:
There is a field of intersection between text and image that throughout the history of cinema has been configured as a space of subtle architectures where the typographic sign (the letter) and its sound emission (the voice) in conjunction with the image, they form a terrain of new audiovisual grammars, a space for experimentation in the creation of meaning and original associations.Alexander Kluge's work is undoubtedly a special case in forcing this relationship between the dimensions of text and image, not only because he has dedicated much of his work to both disciplines, that of writer and that of filmmaker, but because in this space of intersection of the written word and the fluorescence of the image, a renewed dialogue emerges around the meaning of history and the always enriching links between the archive, the document, the function of memory and a critical view of the Present.This article emphasizes the semiotic characteristics of this relationship between text and image in Kluge's work, as well as his peculiar conception of the audiovisual treatise.
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Surname, Name, and Luciana Gunetti. "The Typographic City: Social Commitment and Graphic Design in the Urban Space in Two Late Modernist Italian Projects." Design Principles and Practices: An International Journal—Annual Review 5, no. 6 (2011): 489–98. http://dx.doi.org/10.18848/1833-1874/cgp/v05i06/38259.
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Atasoy, Seda Nur. "The Latest Trends in Graphic Design: Handmade Typographic Posters." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 29, 2017): 335–42. http://dx.doi.org/10.18844/prosoc.v4i11.2892.
Повний текст джерелаАнотація:
Modern art and design movements such as Art Nouveau, Art Deco and international Typographic Style emerged in Switzerland in the 1950s have been a major influence in the development of modern posters language. Today, this contemporary orientations are being developed and dealt with in a different dimension.Typography in posters is used within the image or the typographic elements themselves coming together and converting into a visual form. The failure of the image of the poster to convey the desired message quickly and dramatically, not to observe the spaces in the use of typographic elements, to pass in front of the image with the color of the font used, lack of simplicity may be mentioned as many problems that can be replicated. However typography is not only the gap between characters, text font and color. It is the conformity of letters with the design applied. It is the art of representing the work with letters. And in this representation designers have made different attempts to find the most accurate and newest and were directed to handmade posters in their search.In this research, basis of the problems of the orientation to the hand-crafted typographic posters which is a different quest spreading rapidly today and reasons pushing the designer to this new quest were examined and in the light of obtained findings, examples of typographic posters in new quests made by designers were presented. Keywords: handmade typography, typographic problem in posters, experimental typography.
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Kuznetsova, Evgenia Yu. "THE ROLE OF TYPOGRAPHICS IN THE DESIGN OF AN EXHIBITION SPACE. INTERACTION SCHEMES." Architecton: Proceedings of Higher Education, no. 2(70) (June 29, 2020): 15. http://dx.doi.org/10.47055/1990-4126-2020-2(70)-15.
Повний текст джерелаАнотація:
The article discusses the evolution of the role of typographics in the exhibition space from the generally accepted design of labels to the use of typography as the main artistic tool that demonstrates the conceptual intent of the exhibition. A significant amount of visual material was reviewed. Based on this review, graphic schemes of interaction between typography and exposition space were developed. The schemes show the dependence of the typography on the object being displayed and the focus of the exhibition.
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Loos, Ruth. "Reading Paths, Eye Drawings, and Word Islands: Movement in Un coup de dés." i-Perception 3, no. 1 (January 2012): 50–58. http://dx.doi.org/10.1068/i0446aap.
Повний текст джерелаАнотація:
In the framework of an artistic–scientific project on eye-movements during reading, my collaborators from the psychology department at the KU Leuven and I had a close look at the poem “Un coup de dés jamais n'abolira le hasard” (“A throw of the dice will never abolish chance”) by Stéphane Mallarmé. The poem is an intriguing example of nonlinear writing, of a typographic game with white and space, and of an interweaving of different reading lines. These specific features evoke multiple reading methods. The animation, Movement in Un coup de dés, created during the still-ongoing collaboration interweaves a horizontal and a vertical reading method, two spontaneous ways of reading that point at the poem's intriguing ambiguity. Not only are we interested in different methods of reading; the scientific representations of eye movements themselves are a rich source of images with much artistic potential. We explore eye movements as “eye drawings” in new images characterized both by a scientific and by an artistic perspective.
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Chuang, Yaliang, and Poyang David Huang. "Learning Subjective Knowledge with Designer-Like Thinking and Interactive Machine Teaching." Proceedings of the AAAI Symposium Series 3, no. 1 (May 20, 2024): 30–34. http://dx.doi.org/10.1609/aaaiss.v3i1.31175.
Повний текст джерелаАнотація:
Aesthetics is a crucial aspect of design that plays a critical role in the creation process and customers' perception of outcomes. However, aesthetic expressions are highly subjective and nuanced. It often relies on designers' experiences and many trials and errors to get it right. Our research first investigated how designers and artists curated aesthetic materials and utilized them in their daily practice. Based on the result, we applied Langley's human-like learning framework to develop an interactive Style Agent system. It aims to learn designers' aesthetic expertise and utilize AI's capability to empower practitioner's creativity. In this paper, we used typographic posters as examples and conducted a preliminary evaluation of our prototype. The results showed that our system provided a modular structure for effortlessly annotating users' subjective perceptions and making the visualizations easy to interpret through performance. Overall, it acts as a facilitator to help enhance their own aesthetic awareness and empowers them to expand their design space.
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Schoch, Richard W. ""We Do Nothing but Enact History": Thomas Carlyle Stages the Past." Nineteenth-Century Literature 54, no. 1 (June 1, 1999): 27–52. http://dx.doi.org/10.2307/2902996.
Повний текст джерелаАнотація:
While recent scholarly interest in the "theatricality" of Victorian culture has focused principally on novels, this essay widens that focus to include early-Victorian historical writing. Like his novelistic counterparts, Thomas Carlyle integrated pictorial and theatrical modes of representation into his historical essays despite harboring customary antitheatrical prejudices. In Past and Present, most particularly, Carlyle relied upon theatricality (as distinct from dramatization) as the surest means of providing his readers with the vibrant, animated, and enacted history that he promised them. This implicitly theatrical restoration of the past did not occur through a self-conscious mise-en-scène but through such basic elements of performance as bodily presence, pictorialism, and the organization of theatrical space. For Carlyle, no less than for his theatrical contemporaries, any purely narrative history was dead, linear, and typographic, while any enacted history-alive, solid, and corporeal-was inevitably theatrical. Through a close reading of passages from Past and Present, this essay illuminates correspondences between Carlyle's rhetorical embodiment of history and the staging of history in the Victorian theater.
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Hsieh, Shulan, and Alan Allport. "Shifting Attention in a Rapid Visual Search Paradigm." Perceptual and Motor Skills 79, no. 1 (August 1994): 315–35. http://dx.doi.org/10.2466/pms.1994.79.1.315.
Повний текст джерелаАнотація:
A method is introduced for studying shifts of attention in semantic space, testing 56 subjects in four experiments on a semantic monitoring task based on rapid, serial, visually presented (RSVP) word-sequences. Following a cue to shift attention, accuracy of semantic monitoring drops abruptly to a low level, then gradually recovers to reach preshift levels over successive stimuli in the RSVP sequence. Using this method, we compared two kinds of criterion-shifts, one requiring a set-reversal (‘reversal shifts’), the other involving a shift between orthogonally defined categories (‘orthogonal shifts’); no differences were found. We have also examined the difference in a shift between two different processing domains (semantic vs typographic) compared with a shift of criterion within the same processing domain. The results showed no differences for within- vs between-domain shifts. Finally, we studied the time-course of a semantic attention shift. Execution of a semantic shift did not follow an internally controlled time-course but was a direct function of the rate of stimulus presentation. No evidence was found for the operation of a ‘supervisory attentional system’ independent of external stimulus triggering.
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Manerova, Kristina V., and Robert V. Manerov. "MULTIMODAL TEXT TYPE MESSAGE IN THE TELEGRAM MESSENGER (BASED ON THE CHANNEL OF THE GERMAN PARTY AFD)." German Philology at the St Petersburg State University 12 (2022): 273–87. http://dx.doi.org/10.21638/spbu33.2022.114.
Повний текст джерелаАнотація:
Multimodality is a central property of modern communication spaces, presented in the form of websites, web channels, and messengers, where the user encounters written and spoken speech, sound, and image in their combination. By decoding information in a multimedia message, the user encounters elements of different modalities, coming through different forms of perception: iconic (textual), auditory and visual. The steps in decoding the elements of the modalities are reading the text typed in a large header, visualizing the pictures, recognizing the text format and font, and reading the content of the message. Elements of modalities, except sound, can be arranged in the communication space in a certain order to ensure the visibility of the message and increase the information content of the messages, e. g.: the image in a cohesive combination with text, using different types of typographic fonts, colors and symbols. Multimodality is the media backbone of the German channel of political party AfD, with more than 19,000 subscribers in the messenger Telegram. The corpus of examples is compiled from 310 messages between January and December 2021. Messages in Telegram are a multimodal text type. Most of the messages are direct critical against the policies pursued by the German parties in the government. The article considers the peculiarities of the use of lexical means (emotive vocabulary, metaphors, lexicon, slogan, formality) and pragma-stylistic means (exclamatives, rhetorical questions) in combination with the image in multimodal messages in the German-language channel of the political party AfD — Im Brennpunkt
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Le Bigot, Claude. "A(ho)rmar la lengua del poema: Ángel González o la dinámica del código." Prosemas 4 (February 19, 2020): 223. http://dx.doi.org/10.17811/prep.4.2019.223-240.
Повний текст джерелаАнотація:
Resumen: Este artículo pretende examinar la evolución del lenguaje poético de Ángel González, especialmente la transición desde los modelos codificados dentro de una tradición bien asentada (lira, canción, romance, soneto, elegía) hasta una subversión de las formas que, si bien se emparentan con el versolibrismo, mantienen lazos con lo canónico, no haciendo más que duplicar recursos surgidos con la modernidad: versos escalonados, sangrados, guiones. Todo lo que permite agujerear el texto es también portador de ritmo. La oposición medida / encabalgamiento, factor tensional de antiguo abolengo, se regenera bajo la pluma de Ángel González, al lado de otros procedimientos sintácticos, para crear una voz propia en la que se interpenetran lo culto y lo popular. Existe en Ángel González una forma de oralidad, inseparable del ritmo, como articulación de un hablante con su decir. Palabras clave: Ángel González; formas codificadas; ritmo; signos gráficos; versolibrismo. Abstract: This contribution proposes to examine the evolution of poetic language in Ángel González’s works, in particular the transition from models codified by a long-established tradition (lira, ballad, romance, sonnet, elegy) to a subversion of forms which —although it is akin to free verse— still borrows from the canonical form and seeks to tap literary processes born of modernity: stepped lines, blank spaces, dashes. Anything that allows to space out the text becomes a constitutive element of rhythm. Under Ángel González’s pen, new life is breathed into the antithesis between beat and enjambment, a long-established source of tension, revisited thanks to other syntactic devices so as to create an idiosyncratic voice commingling the erudite and the popular. A form of orality exists in Ángel González which is inseparable from rhythm as articulation between the poetic voice and its spoken word. Key words: Ángel González; canonical forms; rhythm; typographic signs; free verse.
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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.
Повний текст джерелаАнотація:
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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Kamynska, Sofiia, and Nataliia Voitovych. "CHARACTERISTICS OF THE GRAPHIC DESIGN OF WOMEN’S MAGAZINES OF GALICIA (late 19th – early 20th centuries)." Presoznavstvo. Press Studies, no. 2 (2023): 118–33. http://dx.doi.org/10.37222/2786-7552-2023-2-7.
Повний текст джерелаАнотація:
The study focuses on women’s periodical magazines in Galicia from the end of the 19th century and up to 1939, with the aim of analyzing the peculiarities of the graphic concept of printed editions and their design, which influenced the time and genre features of printing. The object of the study is the women’s periodicals of Galicia, in particular the editions «Nova Khata», «Zhinocha dolia», «Zhinocha Volia», «Zhinoche Dilo», «Zhinochyi Holos». The article pays attention to the graphic design of women’s magazines of that period, which, although they were not richly illustrated, used various graphic elements, portraits and fashionable clippings. Editors were aware of the importance of the appearance of magazines as a supplement to textual content, especially given the growing competition among magazines. In this context, the development of printing technologies, the growing interest in art and the modernization of design influenced the creation of aesthetically attractive magazines with unique features of graphic design. The cover of the magazine plays a key role in its graphic face, encouraging readers to pick the magazine up. It consists of the title, main photo, logo and other graphic elements. White space is an important element of design, creating a sense of space and facilitating the convenient perception of information. The use of symbols and icons helps to highlight special sections and emphasize key points. Graphic effects add depth and expressiveness to the design. Ensuring design consistency between different issues is an important aspect, creating unity and logical coherence throughout the publication. Categorization and structure help organize content and make it easier for readers to navigate. The compositional and graphic complex of the cover is crucially important, advertising the concept of the publication and reflecting the level of content. The results of the study indicate that editorial offices used a variety of typographic techniques to give magazines an original look, contributing to the strengthening of national consciousness and cultural self-expression. The study will contribute to understanding the development of the women’s press and its impact on the public life of Ukrainian society in Galicia in the specified period. Keywords: graphic design, women’s magazines, magazines of Galicia, design, graphic effects, magazine cover.
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Pogoretskaya, O. A. "Paralinguistic means of manipulative influence on the voter as exemplified by Dmitry Medvedev’s Telegram Channel." Linguistics & Polyglot Studies 9, no. 1 (March 31, 2023): 83–93. http://dx.doi.org/10.24833/2410-2423-2023-1-34-83-93.
Повний текст джерелаАнотація:
The article gives a general characteristic of polycode messengers, which represent an information space that connects different elements of the political system and creates conditions for continuous political communication. Communication through genre 2.0 formats becomes a means of manipulating mass consciousness through these information channels. The need for the analysis of polycode messengers is conditioned by their growing popularity as an arena of political struggle in the modern Russian-speaking information space.Special attention is paid to Telegram messenger due to the convenience of receiving and distributing information instantly, compressed form of delivery and possibility to interact with other voters on that platform.The objective of the study is to present and analyze the impact made on the addressee-actor within the information market of instant messaging service Telegram, to systematize and analyze the polycode media of written communication.An important factor in this context is the polycode organization of the information presented. The role of paralinguistic means of influencing the electorate is assessed based on Dmitry Medvedev’s official Telegram channel.The research material was based on the posts in the official Telegram channel in the period from March 18, 2022 to December 12, 2022 (193 postings).The main method of research is qualitative content analysis, which analyzes the paragraphematic means of written communication − the presentation of the text material and its graphic design, the text accompaniment by such non-verbal components as emoji. The article contains the description of the main paralinguistic means of communication which are based on the variability of the published material volume, typographic variations, upper case, quotation marks, list serve and emoji usage. The functions that emoji language performs in combination with a stand-alone verbal component are described.
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Putra, Wibisono Tegar Guna, and Diani Apsari. "Imagined Spaces Through Public Space Typography: Preliminary Studies Using Multimodal Ethnography." Jurnal Bahasa Rupa 6, no. 1 (October 28, 2022): 116–24. http://dx.doi.org/10.31598/bahasarupa.v6i1.1221.
Повний текст джерелаАнотація:
Text cannot be separated from its context, nor can the complexity of reality be reduced. The relationship of the text as a visual element between the imagined spaces that follow is what this study tries to explain further. In this article, the authors choose the quote, "Bumi Pasundan Lahir Ketika Tuhan Sedang Tersenyum" / (English: "Bumi Pasundan was created when God was smiling") which is classified as public space typography as the object of research. This discussion uses multimodal ethnography as a data search tool that will be analysed using discourse analysis to answer how quotes, as visual elements, are reproduced and depicted as a "beautiful" space through social media, creating a specific image of the imagined space.
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Iskandar, Ifan. "LINGUISTIC FEATURES OF ENGLISH STUDY PROGRAMS STUDENTS’ TEXT MESSAGES TO THEIR LECTURERS." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 19, no. 1 (January 31, 2020): 42–57. http://dx.doi.org/10.21009/bahtera.191.04.
Повний текст джерелаАнотація:
ABSTRACT
This study aims to examine the linguistic features of English and Indonesian languages in students’ text messages sent to their lecturers. Content analysis is employed and the data are the linguistic features identified in 1,521 students’ text messages delivered to the lecturers. The findings confirm the results of the former studies in that the typographic features of emoticons, letter deletion, rebus writing, and phonetic spelling and morphological features of initialism, abbreviation, reduplication, truncation, and casual style of spoken dictions are employed—the features linguistically creating a special register called textese recognized by non-standard form or textisms. The mechanics of languages are featured by the lack of compliance with the conventional usage of full stops, commas, and capitals; even less than ten percent of spaces considered inevitably used are not conventionally emploed. Dominant uses of one-claused sentences feature the syntax of the languages.
Keywords: linguistic features, text messaging, typography, morphology, and syntax.
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Kim, Young-Kook, and Seong-Hyeon Park. "Space Structure Character of Hangeul Typography." Journal of the Korea Contents Association 8, no. 3 (March 31, 2008): 86–96. http://dx.doi.org/10.5392/jkca.2008.8.3.086.
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Demirbas, Banu Özge. "Typographyin interactive spaces and the process of reading." New Trends and Issues Proceedings on Humanities and Social Sciences 3, no. 5 (July 7, 2017): 56–61. http://dx.doi.org/10.18844/prosoc.v3i5.1961.
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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.
Повний текст джерелаАнотація:
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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VAN NES, F. L. "Space, colour and typography on visual display terminals." Behaviour & Information Technology 5, no. 2 (April 1986): 99–118. http://dx.doi.org/10.1080/01449298608914504.
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AlObaydi, Basim Abbas Ali, Robin Mezher, and Haneen Al-Khatib. "The Effectiveness of Employing Typography in Designing Holograms and Murals to Spruce up Outdoors: A Case Study of Jordanian Cities." International Journal of Religion 5, no. 10 (July 6, 2024): 3144–61. http://dx.doi.org/10.61707/25788a50.
Повний текст джерелаАнотація:
The paper examines the degree of effectiveness of employing typography in designing holograms and murals to spruce up outdoors as a case study of Jordanian cities and the related challenges. The descriptive approach is adopted to review and provide data on the demographic characteristics of the research sample. The research population consists of all faculty members in private universities offering graphic design programs in Jordan. The results indicate that the use of typography as artistic holograms and murals to decorate outdoor spaces in Jordanian cities is of high importance and use. Also, the findings show that using typography in designing holograms and murals contributes to filling the void spaces and improving the appearance of the courtyards. The results also demonstrate that employing typography as a design art to decorate public spaces can enhance national belonging and national positivity among local communities. Given the results, the research recommends paying attention to the effectiveness of employing typography in designing holograms and murals to spruce up outdoors in Jordanian and non-Jordanian cities in future research.
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Hardoyo, A. B. "Visual Research of Rossi Cigarette Packaging by Bahasa Rupa Primadi Tabrani Methode." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 3 (December 1, 2022): 563–68. http://dx.doi.org/10.34010/icobest.v3i.186.
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The purpose of this research is to conduct an analysis of the Rossi brand cigarette packaging design. Cigarette packaging is interesting to study, because in Indonesia there are very many cigarettes circulating in the market, either with international brands or local brands, with large-scale or small-scale industries or home industries. The method used in this study is to measure using the theory of Primadi Tabrani Bahasa Rupa, with a research discussion carried out in the form of photo, typography, colour, and layout on Rossi brand cigarette packaging. Primadi Tabrani's theory of visual language is divided into two, namely NPM, namely Naturalist-Perspective-Momenopname and RWD, namely Space-Time-Flat. In this research on Rossi's cigarette packaging, the visual language used is Naturalist-Perspective-Momenopname. The results obtained from this research aim to get a conclusion about the visual impression on the packaging. From this research, it can be concluded that red is used to attract attention because it has the longest wavelength compared to other colors. Impressions are quickly displayed from a bold front photo and a thinner or transparent back photo. From the typographical element, the masculine impression does not look like on cigarette packaging in general, but a bold impression that can be seen. Meanwhile, from the layout side, the aggressive impression is visible.
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Utami, Ni Kadek Yuni, and Ni Made Sri Wahyuni Trisna. "ASPEK VISIBILITY, LEGIBILITY, DAN READABILITY DALAM DESAIN PAPAN NAMA PURA KAHYANGAN KAJA DESA ADAT PANJER DENPASAR." Jurnal Lentera Widya 3, no. 1 (December 22, 2021): 16–24. http://dx.doi.org/10.35886/lenterawidya.v3i1.273.
Повний текст джерелаАнотація:
The purpose of this report is to provide an explanation of the visibility, legibility and readability aspects in the design of the Kahyangan Kaja Temple sign board, Panjer Village, Denpasar. This report is part of the Community Service activities of the Bali Design and Business Institute in the manufacture of Environmental Facilities at Banjar Maniksaga, Panjer Village, Denpasar. The benefit of this report is that it pays attention to the condition of design facilities in public spaces, one of which is the Kahyangan Kaja Temple sign board which is owned by the people of Panjer Village as well as giving consideration in designing the public space sign board to the public. This report is carried out using a descriptive analysis method to describe the considerations of the visibility, legibility and readability aspects in terms of material selection, typography and placement in the design. With these considerations, it is hoped that the public will be more aware of the existence of the Kahyangan Temple and at the same time support the aesthetics of the Kahyangan Temple in Panjer Village, Denpasar, as well as provide an overview of the design aspects that support the optimization of the function of a nameplate in a public space.
Keywords: signboard, design, material, placement, typography, Kahyangan Kaja Temple, Panjer Village
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Brath, Richard, and Ebad Banissi. "Using Typography to Expand the Design Space of Data Visualization." She Ji: The Journal of Design, Economics, and Innovation 2, no. 1 (2016): 59–87. http://dx.doi.org/10.1016/j.sheji.2016.05.003.
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ALNEAIMI, NORA AHMED L. "MULTI-THEORETICAL EXPLICATION OF EXPERIMENTAL TYPOGRAPHY: THE CONTEXT OF 21ST CENTURY LITERARY TEXTS." Cognizance Journal of Multidisciplinary Studies 4, no. 6 (June 30, 2024): 467–601. http://dx.doi.org/10.47760/cognizance.2024.v04i06.029.
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This study is a multi-theoretical explication of selected 21st-century literary texts with a focus on determining how literary pieces with experimental typography can be analyzed which places emphasis on a literary primer that can be produced from the textual analysis, interpretation, and explication of the texts analyzed. This research study examines the significance of experimental typography in selected literary texts, specifically focusing on Tahereh Mafi’s Shatter Me Novel, Austin Kleon’s Newspaper Blackout, and shape poetry. The findings revealed that authors employ various types of experimental typography to convey additional layers of meaning in their works. The analysis of Tahereh Mafi's novel "Shatter Me" identifies the use of strikethrough, the management of space, and the unconventional use of mechanics as experimental typography techniques. In blackout poetry, the interaction between visual and textual elements through the use of semiotics plays a vital role in conveying the intended message. Shape poetry, on the other hand, integrates language, design, and visual representation to create a cohesive composition, offering a unique and visually engaging reading experience. Based on the findings, it is concluded that writers utilize multiple modalities manifested in experimental typography, embedding symbolism in literature. Readers must recognize these modalities and analyze their impact on literary elements to develop accurate interpretations. The study recommends further exploration of 21st-century literary analysis, emphasizing works incorporating experimental typography and innovative forms of literary expression. It suggests making a primer on experimental typography available to literature students to enhance their understanding of typography's expressive potential. Additionally, the study proposes exploring other modalities employed by modern writers and testing the primer's usability in schools to optimize its impact on students' learning experiences and curriculum enhancement. This research contributes to the understanding and appreciation of experimental typography in contemporary literature.
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Atzmon, Leslie. "Dimension and Typography: A Survey of Letterforms in Space and Time." Design and Culture 2, no. 1 (March 2010): 83–85. http://dx.doi.org/10.2752/175470710x12593419555289.
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YUE, Qin. "Optimization Strategies for Chinese-English Mixed Typography in Urban Spaces Based on User Reading Experience." Art and Society 3, no. 4 (August 2024): 70–75. http://dx.doi.org/10.56397/as.2024.08.08.
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This paper examines the current state and optimization strategies of Chinese-English mixed typography in urban spaces. It highlights that the current mixed typography of Chinese and English in urban spaces presents numerous issues, with improper integration adversely affecting the transmission of information and the user’s reading experience. Through case analysis, this paper proposes strategies such as the rational selection of fonts and layout, consideration of cultural differences and environmental adaptability, and the use of technological integration and innovative applications. These strategies aim to enhance the user’s reading experience, foster international exchange of urban culture, and promote innovative development in the field of design.
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Rahman, Zufishan, Jessel Johnson, Supriya Tripathi, and Dr J. Krithika. "THE FUTURE OF PACKAGING: MINIMALISM IN MODERN ERA." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 07, no. 10 (October 1, 2023): 1–11. http://dx.doi.org/10.55041/ijsrem26073.
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This article delves into the potential of minimalistic packaging designs as a future trend. Minimalism, a design philosophy valuing simplicity and the removal of unnecessary elements for a clean look, is applied to packaging. This involves using basic visual elements like color, typography, and graphics to create functional and uncluttered packaging. Such packaging employs limited colors, simple typography, and negative space to achieve an elegant and sophisticated appearance, gaining popularity recently. The study examines how minimalistic packaging contributes to sustainability by reducing waste and resource consumption. Moreover, it contends that such packaging imparts a sense of high functionality to products, ultimately enhancing their perceived value. Keywords: Packaging design, Minimalism, Sustainability, Functionality and Consumer perception.
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Georgiev, Georgi, Margarita Georgieva, Stelian Dimitrov, Martin Iliev, Vladislav Trenkin, Plamen Mirchev, and Sevdalin Belilov. "Remote Sensing Assessment of the Expansion of Ips typographus Attacks in the Chuprene Reserve, Western Balkan Range." Forests 13, no. 1 (January 1, 2022): 39. http://dx.doi.org/10.3390/f13010039.
Повний текст джерелаАнотація:
The Chuprene Reserve was created in 1973 to preserve the natural coniferous forests in the Western Balkan Range in Bulgaria. The first infestations by European spruce bark beetle (Ips typographus) were registered in Norway spruce (Picea abies) stands in the mid-1980s. The aim of this study is to assess the damages caused by I. typographus in the Chuprene Reserve using remote sensing techniques – unmanned aerial vehicle (UAV) images, airborne images, and satellite images of European Space Imaging (EUSI), combined with terrestrial verification. High-resolution images in four bands of the electromagnetic spectrum and in a standard RGB channel were taken in 2017 via a multispectral camera ‘Parrot Sequoia’, integrated with a specialized professional UAV system eBee ‘Flying Wing’. The health status of Norway spruce stands in the reserve was assessed with the normalized difference vegetation index, based on the digital mixing of imagery captured in the red and near infrared range. The dynamic of bark beetle attacks was studied in GIS on the basis of maps generated from photographic surveys, airborne images taken in 2011 and 2015, and satellite images from 2020. In the UAV-captured area (314.0 ha), the size of Norway spruce stands attacked by I. typographus increased from 7.6 ha (2.4%) in 2011 to 44.9 ha (14.3%) in 2020. The satellite images showed that on the entire territory of the Chuprene Reserve (1451.9 ha), I. typographus killed spruce trees on 137.4 ha, which is 9.6% of the total area.
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Leal Rodrigues, Sofia. "“Vision in motion”: László Moholy-Nagy and the Genesis of the Visual Book." Disegno, no. 1-2 (2021): 86–109. http://dx.doi.org/10.21096/disegno_2021_1-2slr.
Повний текст джерелаАнотація:
This essay aims to analyze the ways in which László Moholy-Nagy’s concepts of “new typography” and “typophoto” were essential to the creation of a new typology of publications: visual books, which have a strong image component, resulting from the popularization of photography and cinema. New typography was defined in 1923 by László Moholy-Nagy in a short text for the catalog of the Bauhaus exhibition Staatliches Bauhaus in Weimar 1919–1923. New typography resulted from a new graphical orientation by Bauhaus, influenced by the ideology of several avant-garde movements, such as De Stijl and Russian Constructivism, that celebrated simplification, geometrization and the advantages of modern technology to construct a visual language that could communicate clearly and in a universal manner. In Moholy-Nagy’s text, new typography called for an analysis of the relation between form and content through the collapsing of the “classic model” (the “old typography”) and the objective use of photography. In 1925, Moholy-Nagy introduced the notion of typophoto in Painting, Photography, Film to realize the “bioscopic book” of El Lissitzky, which is more visual than textual. In publications like the exhibition catalog Staatliches Bauhaus in Weimar 1919–1923 or the Bauhausbücher series, Moholy-Nagy puts both principles into practice, converting the book into a space of visual exploration, endowed with a cinematic dimension that comes close to his notion of “vision in motion”. Through the use of a qualitative research methodology, and based on a critical review of literature and the direct observation of case studies, this essay aims to show how Moholy-Nagy’s multidisciplinary legacy contributed to a paradigm shift in book design.
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Hostetler, Soo C. "Enhancing Visual Communication in Typographic Design: Arranging Forms, Formatting Grids, Utilizing Spaces, and Creating Rhythms." Design Principles and Practices: An International Journal—Annual Review 4, no. 4 (2010): 251–62. http://dx.doi.org/10.18848/1833-1874/cgp/v04i04/37942.
Повний текст джерела
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Gerungan, Ricky, Djeinnie Imbang, and Maya Pingkan Warouw. "Errors Use of Indonesian Language in Public Outdoor Media in Manado City." Edumaspul: Jurnal Pendidikan 8, no. 1 (March 1, 2024): 446–54. http://dx.doi.org/10.33487/edumaspul.v8i1.7669.
Повний текст джерелаАнотація:
The primary objective of this investigation is to scrutinize the utilization of the Indonesian language in outdoor media within Manado City, focusing on physical attributes, linguistic aspects, and the general application of the language in this specific context. Employing a qualitative research approach, the study centers its analysis on outdoor media installations situated in Manado, utilizing a sample size of 10 randomly selected images. The data collection process involves two main steps: firstly, gathering information on language usage in public spaces throughout Manado City, and subsequently, selecting ten data points that represent seven key aspects of Indonesian language prioritization. The findings of the study reveal two noteworthy outcomes: firstly, public space managers exhibit a preference for foreign languages over Indonesian in their language usage; and secondly, deviations from language rules are apparent, particularly in terms of spelling and word choice. The examination of Indonesian language use in outdoor media within Manado City indicates a presence of linguistic errors that defy established rules. Physically, there is a fusion of languages, comprising both Indonesian and foreign languages. While the language structure adheres to rules, imperfections persist in spelling and word selection. Despite these challenges, there is a positive trend in language typography, signaling an improvement in this specific aspect. In essence, the study underscores the existence of linguistic shortcomings in the public use of the Indonesian language in Manado City, encompassing discrepancies in language mixture, structural errors, and evolving typography practices
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Kurnain, Muhammad Agung, Edward Pandelaki, and Agung Dwiyanto. "TIPOLOGI PERUBAHAN RUANG PADA RUMAH PANGGUNG MASYARAKAT DESA PAGAR DEWA KECAMATAN WARKUK RANAU SELATAN." Jurnal Arsitektur ARCADE 7, no. 2 (July 1, 2023): 315. http://dx.doi.org/10.31848/arcade.v7i2.3133.
Повний текст джерелаАнотація:
Abstract: The house is the result of the culture of an ethnic group which produces specific dwellings based on tradition in the process of its formation. One manifestation of this cultural product is the Stilt House of the Ranau community, which is one of the tribes in South Sumatra Province, which is located in Pagar Dewa Village, Warkuk Ranau Selatan, Ogan Komering Ulu Selatan District. The people of the Pagar Dewa Village Stilt House are currently experiencing changes in space in the area below the house and the area above the house which forms a new spatial pattern with various factors causing the changes. The purpose of this study was to determine the typographical form of changes in the space on stilts in the Pagar Dewa village community, to determine the factors causing the changes in space and to categorize the forms of changes in space into several types of changes. This research uses a qualitative approach with descriptive methods. For the sampling technique, the sample was taken purposively random, with the Quota Sampling model, namely determining the leading key area and the key group (respondents) determined based on the hamlet that became the first hamlet to start civilization in Pagar Dewa Village (Dusun I), a hamlet that has educational facilities, bridges and other facilities. Religious (Dusun II), a hamlet that has a direct orientation towards the river and rice fields (Dusun VII). In this study, 3 forms of typography were obtained from the changes in the space on the stilt houses of the Pagar Dewa village community.Keyword: Tipology, Transformasion of Space, Stilt HouseAbstrak: Rumah merupakan sebuah hasil kebudayaan sebuah suku bangsa yang menghasilkan hunian yang spesifik berdasarkan tradisi dalam proses pembentukannya. Salah satu wujud dari hasil kebudayaan tersebut adalah Rumah Panggung masyarakat Ranau yang merupakan salah satu suku di Provinsi Sumatera Selatan yang berada di Desa Pagar Dewa Kecamatan Warkuk Ranau Selatan Kabupaten Ogan Komering Ulu Selatan. Rumah Panggung masyarakat desa Pagar Dewa saat ini banyak yang mengalami perubahan ruang pada area bawah rumah dan area atas rumah yang membentuk sebuah pola ruang baru dengan berbagai factor penyebab perubahannya. Tujuan dari penelitian ini adalah untuk mengetahui bentuk tipologi perubahan ruang rumah panggung masyarakat desa Pagar Dewa, mengetahui faktor penyebab perubahan ruang dan mengelompokan bentuk perubahan ruang tersebut menjadi beberapa tipe perubahan. Penelitian ini menggunakan pendekatan kualitatif dengan metode deskriptif. Teknik sampling Sampel diambil secara purposive random, dengan model Quota Sampling yaitu menetapkan terdahulu key area dan key group (responden) ditentukan berdasarkan Dusun yang menjadi Dusun Pertama memulai peradaban di Desa Pagar Dewa (Dusun I), Dusun yang memiliki fasiltas Pendidikan, Jembatan dan fasilitas Keagamaan (Dusun II), Dusun yang memiliki orientasi langsung ke arah sungai dan sawah (Dusun VII ). Pada penelitian ini mendapatkan 3 bentuk tipologi perubahan ruang rumah panggung masyarakat desa Pagar Dewa.Kata Kunci: Tipologi, Perubahan Ruang, Rumah Panggung
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Ajeng Wahyu, Nurul Alfiah, Budi Hermawan, and Ruswan Dallyono. "Bentuk Linguistik Pada Papan Iklan (Billboard) Di Jalan Protokol Kota Bandung." Journal on Education 7, no. 1 (August 6, 2024): 3525–32. http://dx.doi.org/10.31004/joe.v7i1.6947.
Повний текст джерелаАнотація:
The development of billboards in the city of Bandung presents a significant challenge in optimizing public space. One of the factors that needs attention is the linguistic form used in creating billboards. The linguistic form in billboards can affect the effectiveness of communication and the public's understanding of the desired message. The purpose of this study is to analyze the linguistic form of billboards in public spaces in the city of Bandung and to determine how these linguistic forms affect communication effectiveness. This research uses a qualitative method by collecting data through observations on the city of Bandung's protocol roads where billboards are located. The results of the study show that the linguistic form of billboards in the city of Bandung can be in the form of verbal linguistics and there are several factors that influence communication effectiveness, namely linguistic form, typography, linguistic patterns, and language structure.
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ÇAKICIOĞLU İLHAN, Fatoş, and Meryem YALÇIN. "EFFECTS OF ENVIRONMENTAL GRAPHIC DESIGN ISSUES AS A SUPPORTIVE SOURCE OF HOSPITAL SPATIAL PERCEPTION." INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, no. 21 (2020): 0. http://dx.doi.org/10.17365/tmd.2020.21.1.
Повний текст джерелаАнотація:
Aim: Increased awareness of creating design solutions that can meet the social and psychological needs of patients in healthcare spaces highlights research on the psychology of place-patient/ doctors/healthcare staff. Therefore, patient-oriented health space designs that provide a sense of trust and satisfaction to patients – along with a supportive approach to their treatment – are the points of departure in this study, while understanding the effects and experiences of design on patients. Environmental graphic design elements (photographs, illustrations, typography, and pictograms) in the interiors of hospitals emerge as the factors that shape the patient's spatial experience, such as orientation, information, and perception of a space. In this study, the effects of such design elements on user perception in health spaces were investigated, and these design criteria that play a role in determining and actively interacting with the environmental graphic design elements in hospital spaces are encountered. Based on the abovementioned facts, this research aims to contribute to the graphics in health spaces in the context of environmental graphic design, with experience covering both fields. Method: Three hospitals, which are sufficient in terms of environmental graphic design elements and have differences between them, were determined as the research places. The elements in these hospitals were photographed and surveyed on user groups (patients, doctors, health personnel) who experienced the places continuously or temporarily. Results and Conclusion: It was demonstrated by statistical data that the elements in the investigated places could not provide the expected effects as a whole. As a result, environmental graphic design applications that have a supportive design understanding in hospital spaces should have a holistic language, and that design understanding can only be demonstrated with the cooperation of architects, interior designers, graphic designers, and industrial designers.
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YAVUZ ÖDEN, Hülya. "GRAPHIC DESIGN SOLUTIONS APPLIED ON CHILDREN'S ROOM SURFACES IN INTERIOR DESIGN." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 8, no. 3 (May 25, 2021): 60–73. http://dx.doi.org/10.38064/eurssh.191.
Повний текст джерелаАнотація:
Design elements such as typography, illustration, and photography used in graphic design can also be used indoors on surfaces and reinforcement elements. Original designs support the creation of the identity of the place. It is of great importance to use visual arts in the space. One of the areas of design that greatly affects people in the illustration. Whatever the content of the illustration, it can include different visual styles that can be expressed artistically. The art of illustration can express difficult concepts quickly. For this reason, illustrations are used in different techniques. Thus, it can be used to create unique designs that can reveal the difference of the brand. The uniqueness of the illustration used in the interior design is also effective in the formation of space's own identity. Illustrations that are uniquely designed based on the user's wishes should be used. Instead of fashionable design trends, the application of the appropriate forms to the concept of the space ensures the creation of the original space. The research aims to examine the use of graphic elements used in interior design, which is one of the factors that affect the formation of children's identity, on space surfaces. Qualitative methods were used as a method, and a literature review was made on graphic design and space design for children. The analyzed examples are limited to the use of typography and illustration on the walls and reinforcement element surfaces in the interior design of the children's room. The application images in the personal archive were used. Besides, internet resources were searched and the samples of the children's room were examined.