Experimental Typography Research Articles

MULTI-THEORETICAL EXPLICATION OF EXPERIMENTAL TYPOGRAPHY: THE CONTEXT OF 21ST CENTURY LITERARY TEXTS

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.

SOLOMON TELINGATER’S AND ALEXANDER BEZYMENSKY’S KOMSOMOLIA: A PROPAGANDA COMIC STRIP OR A MASTERPIECE OF CONSTRUCTIVIST TYPOGRAPHIC ART?

The article provides a study of Komsomolia (1928) — a poem by Alexander Bezymensky set for print by Solomon Telingater. This text has been both long out of print and beyond the scope of critical attention both in Russia and beyond it, for almost a century. This book is reassessed here within the context of contemporary scholarship, as a specimen of literature of the 1920s, as a first-hand account of the life of members of the Komsomol (Young Communists Organization) during the years of the Russian Civil war, and last of all, as a masterpiece of Constructivist art which embodied the experimental typography of the Russian avant-­garde art. Transcending ideological bias, this article focuses on the realities of history and the most conspicuous markers of time which had influenced the contexts of the poem and informed its Romanticist drive. Using arguments from Bezymensky’s biography, the author argues that the view of Komsomolia as a Soviet propaganda comic strip, a narrative set in a sequence of simple pictures and photos, is too straightforward and can be extracted from the political expedience of its times. It were the polystylistics and polyphony of Komsomolia which informed its graphic art and formed the core of Telingater’s typographic experiment. Within this experimental space, the artist displays Komsomolia’s intricate architectonics and fascinating construction techniques, which makes use of such novel devices as photomontage, poetics of a cinematic frame, accentuating the text, figurative accidence, typographic drawing, as well as the visual optic of the ‘bioscopic book’.

Semantic Interpretation in Experimental Typography Creation

This research aims to reveal how to design by utilizing semantics to reinforce the meaning of a message through typography. The methods used in this research are: exposing, redefining, managing, prototyping, and trendspotting. The experiment was carried out by changing the nouns, verbs, and adjectives from the letters of the alphabet into visual semantics without changing the meaning of the words used. Semantic design for typography can be used by changing one or more letters into a visual form that still conveys the meaning and nature of the words used. The result of this study is the design of semantic interpretation in typography that strengthens and clarifies meaning. Design can be applied in turning letters into illustrative forms, whether it only uses one letter in a word or can also use more than one letter to strengthen the meaning of a word.
 Keywords: semantics, interpretation, typography

Williams, Helen. Laurence Sterne and the Eighteenth-Century Book

Williams, Helen. <i>Laurence Sterne and the Eighteenth-Century Book</i>

Pairing Sociology with Design

Students designed posters for the sociology course Crime, Justice, and Rebellion and the design course Experimental Typography. The sociology class situated crime and criminal justice reform in relation to family, peers, community, and institutions. In the design course, students looked to historical examples of protest art and were challenged to communicate issues of social, cultural, and political relevance through poster design. Students considered the promise and limitations of sociology and design through reflections. Some posters engage with ideas from assigned readings while other posters represent original student research. Student poster designs advocate for social justice and criminal justice reform.

.Compostmodernism: Textual Machinery Through Typography and Materiality in Mark Z. Danielewski’s The Familiar

This article defines “.compostmodernism” as a successor to postmodernism by explicating of Mark Z. Danielewski’s The Familiar as an example of .compostmodern textual machinery—a system of two interconnected “machines” (one abstract, the other physical) that are co-dependent and mobilized by the novel’s typography and materiality. Beginning by illustrating how The Familiar exemplifies .compostmodern textual machinery through its experimental typography which becomes the visual manifestation of literary cyber-consciousness, this article indicates how, in visually manifesting character cyber-consciousness, the novel’s typography actualizes the digitality of character interiority, ultimately drawing attention to the work’s status not only as literary artifice, but also as textual machinery. The demands of such experimental typography instantiate a physical relationship between reader and codex that emphasizes the novel’s materiality and requires the reader to engage with the text both physically and digitally. Ultimately, this digital engagement incorporates the internet not only as a crucial supplement for the reader to seek reference, translation apps, and supplementary (albeit obscure) Danielewski publications, but also as a medium for the reader to supplement the novel via social media output and online reading communities.

The Latest Trends in Graphic Design: Handmade Typographic Posters

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.

Poems in the World: The Ecopoetics of Anne Waldman’s Life Notes

This essay argues that Anne Waldman’s 1973 selected poems, Life Notes, articulates a vision of the environment that is positively and reparatively enmeshed with language and culture. Embracing the paradox at the heart of the best environmental writing, Life Notes reveals our natural environments to be at once legible and unknowable, and embodies this through experimental forms, language, and typography. This collection of poems, which has yet to be paid significant critical attention (despite Waldman’s renowned status as a poet), artfully mediates the relationship between word and world, giving voice, shape, and form to what we might call the poet’s ‘ecology of knowing’, per Eve Kosofsky Sedgwick’s formulation. Through a sustained process of imaginative elision of the human and nonhuman, I argue, Waldman illuminates the ways in which the ‘natural’ world is almost always touched by the human, and refutes the widely-held cultural fantasy that nature is self-evidently restorative or redemptive and thereby somehow at a remove from humankind. Life Notes, I suggest, is a ‘dissipative structure’, critically entangled with the everyday environment out of which it emerges and with which it remains ‘involved in a continual exchange of energy’ (Waldman).

ÜNİVERSİTELERDE GRAFİK TASARIM EĞİTİMİ VE ÖĞRENMEÖĞRETME SÜRECİ İÇİNDE “DENEYSEL TİPOGRAFİ” DERSİ

In today's perception of design, new trends and styles are diversified more regularly and in a more controlled manner. In this regard, the unlimited techniques that take place in today's contemporary design also shape university-level administration models for graphic design education. At the same time, these techniques provide students with the ability to display creative and original work, to correctly use technological facilities, to benefit from other disciplines and to adopt an experimental and analytical attitude, and can also turn into an effective method for reaching targeted information. In the research, the importance of the applications, practices and methods used in experimental typography, their contribution to the field of graphic design and visual communication are also underlined while the importance of experimental typography courses in graphic education is emphasized. In the general transfer of the research, while there are many visual and written information on the subject, the importance of experimental typography in graphic education was also investigated. It has been emphasized that the structural, contextual and formation-based data of the experimental typography are fully understood, however it is understood that its existence is the result of an experiment. It is tried to be underlined that experimental design is a design game as well as it contains research methods, but that this game is produced within the framework of a certain purpose and rules. The subject of typography has been evaluated in the context of principles and targets for experimental typography methods and has been handled within its determinative features. In conclusion; for typography education to reach a correct and powerful structure, it is necessary to reinforce the introduction of new ways of thinking, the detection of problems and alternative approaches for the development of typography.

EDITORIAL

It is the great honor for me to edit proceedings of “8th World Conference on Design and Arts (WCDA- 2019)”, 27 –29 June 2019, Tirana International Conference Centre, Tirana, Albania. This privileged scientific event has been contributing to the field of educational research for eight years.&#x0D; As the guest editor of this issue, I am glad to see variety of articles focusing on Art Management, Art and Corporate Identiy, Art and Media, Art and Advertising Design, Art and Globalization, Civil Society and Art, Community Arts, Experimental Typography, Fashion Design, Game Design and Cinema, Game Design and Art, Gastoronomy and Art, Industrial Design, Interactive Arts, Interactive Sound Design, Interior Design, Jewelry Design, New Media for Learning and Teaching, Packaging Design, Performing Arts, Sonic Sculptures, Sound Installations, Teacher Training, The Science of Arts, Typeface Design, Urban Culture and Art, Visual Culture and Art, etc..&#x0D; Furthermore, the conference is getting more international each year, which is an indicator that it is getting world widely known and recognized. Scholars from all over the world contribute to the conference. Special thanks are to all the reviewers, the members of the international editorial board, thepublisher, andthose involved in technicalprocesses.Wewouldlike tothank all whocontributed to every process to make this issue actualized. A total of 47 full papers or abstracts were submitted for this conference and each paper has been peer reviewed by the reviewers specialized in the related field. At the end of the review process, a total of 14 high quality research papers were selected and accepted for publication.&#x0D; &#x0D; I hope that you will enjoy reading the papers. Best Regards&#x0D; &#x0D; Guest Editors&#x0D; Prof. Dr. Ayse Cakir Ilhan, Ankara University, Turkey&#x0D; Editorial Assistant&#x0D; Zeynep Genc, Phd. Istanbul Aydin University, Istanbul, Turkey&#x0D;

EDITORIAL

It is the great honor for me to edit proceedings of “8th World Conference on Design and Arts (WCDA- 2019)”, 27 –29 June 2019, Tirana International Conference Centre, Tirana, Albania. This privileged scientific event has been contributing to the field of educational research for eight years.&#x0D; As the guest editor of this issue, I am glad to see variety of articles focusing on Art Management, Art and Corporate Identiy, Art and Media, Art and Advertising Design, Art and Globalization, Civil Society and Art, Community Arts, Experimental Typography, Fashion Design, Game Design and Cinema, Game Design and Art, Gastoronomy and Art, Industrial Design, Interactive Arts, Interactive Sound Design, Interior Design, Jewelry Design, New Media for Learning and Teaching, Packaging Design, Performing Arts, Sonic Sculptures, Sound Installations, Teacher Training, The Science of Arts, Typeface Design, Urban Culture and Art, Visual Culture and Art, etc..&#x0D; Furthermore, the conference is getting more international each year, which is an indicator that it is getting world widely known and recognized. Scholars from all over the world contribute to the conference. Special thanks are to all the reviewers, the members of the international editorial board, thepublisher, andthose involved in technicalprocesses.Wewouldlike tothank all whocontributed to every process to make this issue actualized. A total of 47 full papers or abstracts were submitted for this conference and each paper has been peer reviewed by the reviewers specialized in the related field. At the end of the review process, a total of 14 high quality research papers were selected and accepted for publication.&#x0D; &#x0D; I hope that you will enjoy reading the papers. Best Regards&#x0D; &#x0D; Guest Editors&#x0D; Prof. Dr. Ayse Cakir Ilhan, Ankara University, Turkey&#x0D; Editorial Assistant&#x0D; Zeynep Genc, Phd. Istanbul Aydin University, Istanbul, Turkey&#x0D;

Semiotics and Poetry: Toward a Taxonomy of Page Space

Semiotics and Poetry:Toward a Taxonomy of Page Space Owen Bullock (bio) My research into semiotics and the relational axes—syntagmatic and paradigmatic—has led me to consider how the use of page space may be conceptualized, toward a discussion of the specific uses of this important tool. Briefly, the syntagm is a sequential lexical unit (Saussure 121–22), whereas the paradigmatic axis has to do with less logical choices a poet makes around relationships between words, which occur outside the immediate "neighborhood" of the text (Pettit 8). The use of space is most commonly understood as syntagmatic (Chandler 110), though I have challenged this assertion, since there are cases where the use of space breaks the sequentiality of the syntagm (Bullock). The use of space may be considered a natural counterpart to any discussion of the line. It is sometimes helpful to isolate these two elements and sometimes of benefit to bring them together. Overall, it seems as though the topic of space is somewhat neglected, perhaps the lesser force in the hierarchy of this particular binary. Eleanor Berry, a noted commentator on Charles Olson's poetics, collates and categorizes his experiments with page space ("Visual"; "Emergence"), but I have encountered no other attempt in the literary field to systematically articulate the variety of effects that space can yield, and this is work that I would like to extend here. The article attempts a provisional taxonomy of the use of space via analysis of work by three contemporary New Zealand poets—Alistair Paterson, Alan Loney, and Michele Leggott—and is contrasted with Berry's work. Though a discussion of the use of line and space in any number of contemporary poets from New Zealand and elsewhere—Robert Sullivan, Lisa Samuels, Jen Crawford, Mei-mei Berssenbrugge, and so on—might yield interesting results, the work of the three poets discussed is especially susceptible to semiotic analysis. It denotes a range of experiments with page space and its intersection with form over long practice and is closely connected with Olson's ideas. Loney and Paterson are both much influenced by Olson—Loney notes the impact of The Maximus Poems on his writing (Wood), and Paterson's poetics is informed by it. Leggott was influenced by Louis Zukofsky, another poet who made significant experiments with page space. The use of space to score music is an idea described by Olson in "Projective Verse" (339) and discussed in the New Zealand context by C. K. Stead (153), Paterson ("New" 30–31) and Loney ("Influence" 92–98). It has often been the justification [End Page 224] for experimental typography but is in some ways a curious proposition that needs more investigation; I argue that scoring music is just one possible function of many. The materiality of the page is also associated with the long poem (McHale, Obligation 260–61), in which method and process are often made explicit. Each work discussed here is a long poem of at least three pages; some are book length. Berry categorizes twelve functions of visual form in Olson's early poetry, in response to what she calls his "prosody of page space"; the first of these includes the familiar "scoring for performance" ("Visual" 107–8; "Emergence" 58–59). In a footnote to an essay on erasure, Brian McHale identifies several uses of space in recent American poetry, as a form of graphic design, or performance notes (like silence in music), as "semanticised figures," or as nonvisual referents, such as "the void" ("Poetry" 278). I have found numerous examples in the work of each of the poets studied of intriguing uses of space, but they do not always concern the idea of scoring music. It should be noted that the link or relationship between the visual and aural in a poem is uncertain. For example, when pondering Apollinaire's famous concrete poem "Il Pleut," Johanna Drucker writes about the difficulty of deciding at what point the visual produces an aural effect (106). In the simplest sense, space may be understood as absence. We interpret gaps in texts by considering how they might be filled, or by giving them meaning as spaces (Culler, Structuralist 171); in so doing, we give...

Message from the Guest Editors

It is the great honor for me to edit proceedings of “6th World Conference on Design and Arts (WCDA 2017), 29 June–1 July 2017, University of Zagreb, Zagreb, Croatia. This privileged scientific event has been contributing to the field of educational research for six years. As the guest editor of this issue, I am glad to see variety of articles focusing on Art Management, Art and Corporate Identiy, Art and Media, Art and Advertising Design, Art and Globalization, Civil Society and Art, Community Arts, Experimental Typography, Fashion Design, Game Design and Cinema, Game Design and Art, Gastoronomy and Art, Industrial Design, Interactive Arts, Interactive Sound Design, Interior Design, Jewelry Design, New Media for Learning and Teaching, Packaging Design, Performing Arts, Sonic Sculptures, Sound Installations, Teacher Training, The Science of Arts, Typeface Design, Urban Culture and Art, Visual Culture and Art, etc.. Furthermore, the conference is getting more international each year, which is an indicator that it is getting world widely known and recognized. Scholars from all over the world contribute to the conference. Special thanks are to all the reviewers, the members of the international editorial board, the publisher, and those involved in technical processes. We would like to thank all who contributed to every process to make this issue actualized. A total of 88 full papers or abstracts were submitted for this conference and each paper has been peer reviewed by the reviewers specialized in the related field. At the end of the review process, a total of 37 high quality research papers were selected and accepted for publication. I hope that you will enjoy reading the papers. Best Regards

FICTION IN REVIEW

1 4 8 Y F I C T I O N I N R E V I E W G R E G J O H N S O N ‘‘If it looks funny on the page, I don’t read it,’’ said Flannery O’Connor of experimental fiction. This somewhat reactionary observation is in line with her aspersions on such authors as Virginia Woolf, whom she called ‘‘nuts’’ (though admitting this was an unfair characterization); and yet according to her biographer, Brad Gooch, she did admire such modernist works as James Joyce’s Dubliners (1914) and Franz Kafka’s The Metamorphosis (1915), masterpieces that ‘‘made it new’’ in terms of subject matter if not of literary form. Had O’Connor lived into the 1970s (she died in 1964, at age thirty-nine), it’s doubtful she would have cared for the self-reflexive fictions of John Barth, the poetic ri√s of Donald Barthelme, or any of the other myriad postmodernist works that have tested the boundaries of contemporary fictional practice. Though a staunch Roman Catholic, O’Connor in her correspondence did recommend some of the up-and-coming Jewish writers of her day, including the young Norman Mailer (whose work she called ‘‘very fine’’) and especially the relatively conventional BerH e r e I A m , by Jonathan Safran Foer (Farrar, Straus and Giroux, 571 pp., $28) 1 4 9 R nard Malamud. Upon first reading Malamud’s The Magic Barrel (1958), she wrote, ‘‘I have discovered a short-story writer who is better than any of them, including myself.’’ In another letter, she amplified: ‘‘The stories deal with Jews and they are the real thing. Really spiritual and very funny. Somebody was telling me yesterday that the reason Jews are ahead of Catholics in every intellectual pursuit is very simple: they have more brains. I believe it.’’ But O’Connor could get cranky after reading books with either extreme subject matter or what she saw as too much sexual frankness . Had she survived long enough to witness the sexual revolution and to encounter such a novel as Philip Roth’s star-making Portnoy’s Complaint (1969), no doubt she would have blown a gasket. Certainly it’s fanciful to imagine her reading the highly experimental yet ethically grounded books Jonathan Safran Foer has published so far – the novels Everything Is Illuminated (2002) and Extremely Loud and Incredibly Close (2005), along with the non- fiction work Eating Animals (2009) – but it seems likely that she would have appreciated Foer’s work for the same reason she did Malamud’s, even if Foer’s prose sometimes ‘‘looks funny on the page.’’ For his writing also evokes the spirituality and humor O’Connor liked in Malamud’s fiction. Foer’s obsession with Judaism , Israel, and Jewish identity are far removed from O’Connor’s abiding devotion to Catholicism, but she would no doubt have admired Foer’s interests in family tradition and religious principles , even if she did not share them. In his first novel, Everything Is Illuminated, Foer produced a double-stranded narrative in alternating chapters featuring a young man named Jonathan Safran Foer and his guide, Alex, who helps Foer (usually called ‘‘the hero’’) travel to Ukraine in order to find the young girl who saved his grandfather from the Nazi death camps. More serious subject matter it’s di≈cult to imagine, but the novel is also uproariously funny. For Alex is the most delightful and original mangler of the English language since Mrs. Malaprop , and he shows on almost every page that he is idiomatically challenged, to say the least: ‘‘When his train finally arrived, both of my legs were needles and nails from being an upright person for such a duration.’’ As he admits when he and Foer meet face to face, 1 5 0 J O H N S O N Y ‘‘I implore you to forgive my speaking of English. I am not so premium with it.’’ Foer’s second novel, Extremely Loud and Incredibly Close, displayed the kind of technical razzmatazz that O’Connor scorned, including experimental typography, blank pages, and oddly placed photographs. Yet this novel, too, was marked...

Algoritmo e tipografia

O objetivo deste artigo é descrever o processo de criação da fonte digital TEP (Tipografia Experimental Parametrizada), cujos desenhos foram produzidos com o auxílio de algoritmos, ou seja, códigos de programação. Os processos de parametrização e de seleção randômica norteiam as soluções possíveis na formação dos caracteres, que se organizam esteticamente sem o foco da legibilidade, apesar de ser possível a identificação das letras e dos números nos mesmos. O projeto TEP organiza os tipos como módulos visuais,que repetidos e manipulados por outros algoritmos geram padrões e/ou texturas.Importa salientar a experimentação prática como ação metodológica, que incorpora o inesperado formulado pela lógica computacional.

Image makers of British modernism: Dell & Wainwright at The Architectural Review

‘It used to be unkindly said of the modern school of architects before the war that they designed their buildings not to please clients or even themselves, but to please Dell & Wainwright. Unfair though this was, it paid a deserved compliment to Dell &Wainwright, the official photographers of The Architectural Review. It meant that their representations of modern buildings—resplendent in a perpetual mellow sunshine, beautifully composed within a frame of leafy branches or above a foreground dappled with shadows—when reproduced on the glossy pages of the Review came near to the ideal their designers had in their imaginations. They were the brave new world itself …’ This comment, published in the 13th June, 1946, Issue of the Architects’ Journal on the occasion of Mark O. Dell’s retirement, highlights both the expressive power and the influential nature of Dell & Wainwright’s photography. Their images were part of the Review’s 1930s campaign to promote modern architecture in Britain and given much prominence in the periodical’s pages, which had been reshaped by the Editor Hubert de Cronin Hastings and his team thanks to the use of experimental typography and innovative layouts. Many of the trademark features of Dell & Wainwright’s work had been introduced in architectural imagery by the ‘New Photography’, which had originated in continental Europe in the previous decade and encompassed both the ‘New Vision’ of Moholy-Nagy and Rodchenko, and the ‘New Objectivity’ of photographers such as Werner Mantz and Albert Renger-Patzsch. This paper examines the origins of Dell and Wainwright's partnership, their work for The Architectural Review and its critical reception, but also questions some of the most recurrent assumptions related to their photographic output, which was decidedly wider in range than is commonly believed.

Muutokset Aaro Hellaakosken"Vieras"-runon ulkoasussa

&#x0D; &#x0D; &#x0D; Changes in the Visual Form of Aaro Hellaakoski’s Poem ”Vieras” (”The Stranger”)&#x0D; The present article shows how genetic criticism (critique génétique) can enrich our understanding and interpretation of visual poetry by examining the manuscript, proofs and published versions of the poem ”Vieras” (” e Stranger”) from the typographically experimental collection Jää- peili (”Ice Mirror”, 1928) by the Finnish poet Aaro Hellaakoski (1893–1952). e collection is regarded as a forerunner of Finnish modernism, and particularly its experimental typography got successors only as late as in the 1960s. Besides omitting punctuation and upper case letters, Hellaakoski experiments with the auditory and visual dimensions of ”Vieras” by dividing metrical stanzas and line units into typographically separate groups. In his later selected poems Valitut runot (”Selected poems”, 1940) and Runot (” e Poems”, 1947), Hellaakoski stripped ”Vieras” from these experimental features. e examination of the manuscripts and proofs of ”Vieras” shows that Hellaakoski’s later revisions actually revert the poem to a form closer to its early, visually more traditional, manuscript versions. e article suggests, that it was probably the integrity of Jääpeili as a modernist collection that motivated Hellaakoski into the experimental typography and ortography of ”Vieras”. ese features became dispensable when the poem was released from the context of the collection.&#x0D; &#x0D; &#x0D;

Usage of experimental typography of book cover design in digital age

Hamish Muir says that, " Every type job is experiment" (P,Bil'ak, www.typotheque.com). Designers are using experimental approaches to book covers which is one of the many graphic design areas where we encounter with fonts and they are trying to keep their designs alive and different via innovative solutions. Typographic approaches are changing with today’s technological developments and experimental researches affects book covers too. Developments in software regarding design enable using many applications simultaneously. Experimental researches, discoveries and interpretation of typography and images in an unexpected way empower communication. Different is always appealing. Therefore designers choose to do attractive and marketable designs and lay the foundation of new on this path which started as experimental. Definition of typography, common application areas and book covers which is one of these areas will be examined within this study and analyzes about usage of experimental typography will be conducted. Experimental approach process, its result and affects will be investigated and findings about necessity of experimental typography will be tried to find.Keywords: experimental typography, digital age, book cover design.

Usage of experimental typography of book cover design in digital age

Hamish Muir says that, Every type job is experiment (P,Bil'ak, www.typotheque.com). Designers are using experimental approaches to book covers which is one of the many graphic design areas where we encounter with fonts and they are trying to keep their designs alive and different via innovative solutions. Typographic approaches are changing with today’s technological developments and experimental researches affects book covers too. Developments in software regarding design enable using many applications simultaneously. Experimental researches, discoveries and interpretation of typography and images in an unexpected way empower communication. Different is always appealing. Therefore designers choose to do attractive and marketable designs and lay the foundation of new on this path which started as experimental. Definition of typography, common application areas and book covers which is one of these areas will be examined within this study and analyzes about usage of experimental typography will be conducted. Experimental approach process, its result and affects will be investigated and findings about necessity of experimental typography will be tried to find.Keywords: experimental typography, digital age, book cover design.

Usage of experimental typography of book cover design in digital age

Hamish Muir says that, " Every type job is experiment" (P,Bil'ak, www.typotheque.com). Designers are using experimental approaches to book covers which is one of the many graphic design areas where we encounter with fonts and they are trying to keep their designs alive and different via innovative solutions. Typographic approaches are changing with today’s technological developments and experimental researches affects book covers too. Developments in software regarding design enable using many applications simultaneously. Experimental researches, discoveries and interpretation of typography and images in an unexpected way empower communication. Different is always appealing. Therefore designers choose to do attractive and marketable designs and lay the foundation of new on this path which started as experimental. Definition of typography, common application areas and book covers which is one of these areas will be examined within this study and analyzes about usage of experimental typography will be conducted. Experimental approach process, its result and affects will be investigated and findings about necessity of experimental typography will be tried to find.Keywords: experimental typography, digital age, book cover design.