Typographic Design Research Articles

Integration and Visualization Analysis of Artificial Intelligence and Typography in Graphic Design

Despite the significance of artificial intelligence (AI) technology, professional and academic discussions rarely focus on developing analytical methods to better understand how AI integrates with other disciplines. This paper presents an entry analysis of data retrieved from Scopus using the keyword search (AI AND typography) across all fields, aiming to determine the extent of integration between AI technology and the discipline of typography. Specifically, the analysis concentrates on the subfield of design, exploring the relationship between AI and typography design (TD) within graphic design. The time frame spans from 2014 to 2024, covering a total of 10 years.

Multidimensional Perspectives on the Teaching and Practice of Typography Design

With the continuous deepening of teaching reforms in higher education, it is imperative to reform the teaching of art and design courses. Research has found that the current teaching of typography design in art and design courses has rigid teaching methods, students' operational abilities are relatively singular, and the teaching content is predominantly "Westernized," leading to poor student adaptability. This paper, from a multidimensional perspective, guides typography design course teaching and practice with the "Three E's" (Effect, Efficiency and Efficacy). It positions the teaching content of typography design as multidimensional and emotional, employing multidimensional and emotional design thinking to strengthen the visual information of Chinese culture and tap into students' creative potential, aiming to enhance their innovation and creativity abilities.

Rezension zu: Andrei Corbea-Hoișie/Rudolf Gräf (coord.): Limbă şi cultură germană în România (1918­1933). Realități postimperiale, discurs public și câmpuri culturale. Bd. I: 696 S. (978-973-46-9531-7), Band II: 728 S. (978-973-46-9532-4). Iași: Polirom 2023.20

Abstract The publication of a comprehensive account of the historical development of Romania’s cultural past must be acknowledged as an editorial event. This overview work on Romanian cultural and intellectual history in the inter-war period is impressive in terms of the quality of its content and typographical design, the breadth of its topics and the interdisciplinary combinations that document the formative influence of the German language and culture on Romanian cultural and intellectual history in a period marked by upheaval. Published in late summer 2023, the three-part handbook in large format, which is available in two volumes and an equally impressive 1,400 pages, explores the relationship between language, culture and identity from different perspectives.

The effect of combining typographic design and architectural design on creating a distinctive visual identity for Institutions.

The effect of combining typographic design and architectural design on creating a distinctive visual identity for Institutions.

Authorial Designs: Daniel Berkeley Updike, Edith Wharton, and Institutional Reciprocity in the American Literary Marketplace

Abstract: Daniel Berkeley Updike (1860–1941) was an American printer whose Merrymount Press began operating in the 1890s out of Boston, aspiring to standards set by William Morris's Kelmscott Press in England. Central to Updike's success was his relationship with the writer Edith Wharton. Updike oversaw typographical design for four of Wharton's earliest works: The Decoration of Houses (1897), The Greater Inclination (1899), Crucial Instances (1901), and Sanctuary (1903). This essay examines the relationship between Updike and Wharton with an eye for American institutional exchange and argues Updike's design schemes helped engineer her reputation as a serious literary figure.

Inspiration as a primary catalyst for the creative process of typography design

This research dealt with the definition of typography and its origins, how to design and the search for auxiliary elements in designing the typography and identifying the mechanisms for benefiting from inspiration and typography together, advertising in several fields such as: industrial design, graphic design, and the search for the shape of lines in typographic design. Therefore, the research problem is trying to answer About a number of questions The most important of which is why the typography does not receive enough attention and focus, despite its plastic aesthetics?. The aim of the research is to identify the extent of interest in typography design and focus despite its plastic aesthetics, to identify the auxiliary elements in designing the typography, and to identify the form that the letter may take in the typography. The research concluded that the designer must be aware of the relationship of the part to the part, which means the parts, shapes, colors, lines and surface values, and the relationship of the part to the part means the method in which each part of the design combines with the other to create a sense of the continuous link between these parts and to confirm its fullness, and it is possible to support the artist Unity and continuity between the parts of the design, taking into account the positive and negative spaces and the equality of importance between them, so he begins to design it with the negative space - the ground spaces. Keywords: typography, typography, design, typography inspiration

Glancing back at your hearing: Generating emotional calligraphy typography from musical rhythm

Typography design influences users’ reading experiences and emotional responses. Within the realm of Human–Computer Interaction (HCI), numerous researchers have focused on typography design by exploring the generation of parameterized typefaces, encompassing aspects such as character size, line spacing, and word spacing. However, scant attention has been given to non-parameterized typefaces, particularly calligraphy characters. Calligraphy, a profoundly expressive and quintessential art form in China, serves as a reflection of human emotions. Its association with music has garnered considerable attention within the field of HCI. In this paper, we introduce Inkphony, a system that leverages musical rhythm to generate calligraphy typography and its composition based on the conveyed emotion. Through empirical evaluations, we demonstrate the efficacy of our approach in accurately expressing varying levels of emotion, while also establishing a perceptible connection between typography and music. Our work aims to provide an intelligent cross-modal tool for music visualization and artistic creation, thereby contributing to the field of HCI.

Unknown Versions of Typographical Design of Elizabethan Bibles Published in Moscow in 1757—1762

The article analyzes previously unknown examples of the design of the Elizabethan Bible with additional engravings. We are talking about three monuments discovered by the author of this article in the collections of the Library of the Moscow Theological Academy of the Russian Orthodox Church and the Central Andrei Rublev Museum of Old Russian Culture and Art.The Elizabethan Bible (after the Empress Elizabeth Petrovna) is commonly referred to as the Bible, which was edited in preparation for a new edition and first published in St. Petersburg in 1751. The book was intended to be illustrated. The Synodal illustration design of the edition included 49 engravings on the Old Testament subjects (according to the number of the books of the Old Testament) was realized by the masters of the St. Petersburg Academy of Sciences, I.A. Sokolov and G.A. Kachalov based on the drawings by I.E. Grimmel in 1751—1753. The decorated copper boards became exemplary, and as they became worn, they were copied again by the masters of the Moscow Synodal Printing House, where 15 illustrated reprints with complete sets of engravings were published between 1756 and 1817. All cases of typographical design of the Bible editions are described in the reference works, and some scholarly publications of individual proprietary copies are undertaken. These are convolutions of printed text, illustrations made according to the Synodal design, and also individually published additional engravings of Western European origin. It is shown that the folios of the identified specimens correspond to the bibliographic descriptions of their corresponding editions in the reference works, with additional illustrations pasted into the folds. Copper engravings of the four Evangelists and King David may have been imprinted in copies directly at the Moscow Synodal Printing House, using prints made between 1745—1757 by the engravers A.F. Zubov and V.A. Ikonnikov.

Common Mistakes Made by Digital Typography Course Students in Typography Design with Adobe Illustrator Software and Best Practice Examples

Common Mistakes Made by Digital Typography Course Students in Typography Design with Adobe Illustrator Software and Best Practice Examples

Inside dyslexia: the contextual knowledge and methodology of a practice-led research through typographic design and autoethnography

There is increased interest in recent literature on the disfluency effect in an effort to contextualize the outcomes for typography research that is grounded in functional readability. Recently, a small group of typographic and legibility researchers have begun to call for more collaboration to generate knowledge that is useful and practical ( Thiessen, Beier & Keage, 2020). This article presents a practice-led design research project that utilises iterative drawing and typographic arrangements through an autoethnographic approach, to convey personal experience with dyslexia. The project reflects on the question: How can iterative drawing and typographic composition be used to graphically express one’s subjective dyslexic learning experience? As a secondary question that is particularly focused on practice, is how the project can contribute to provide insights to a non-dyslexic audience of the word comprehension and typographic disfluency facing people with dyslexic conditions. The research is informed by a range of contextual practice, practitioners, and literature, into the states and conditions of the dyslexic experience, the use of typographic adaption and Risograph printing. The project is grounded as a practice-led approach, where creative practice and research are complementary but distinctive. The research is based within the world of concern defined by practice while the practitioner researcher is at the centre of the research (Vear, 2022). To elicit a dyslexic perspective, the project employs autoethnography as a strategy for gathering and evidence interpretation through a critical illustration and typographic design process. The research contributes to current discourses to areas such as those related to the typographic principles of visual cuing and emphasis as well as other broader areas such as how we may be able to determine threshold for disfluency, and what impact graphical distractions have on the disfluency effect.

Besser spät als nie

Abstract After sixty years, the work on the Hamburg Klopstock edition is nearing completion. That is reason enough to recall the planned and unplanned, the institutional, material, financial and personal conditions under which this complete edition has become what currently distinguishes it from comparable German-language editions of poets. The conceptual and methodical characteristics are described that allow the Hamburg Klopstock edition to be classified in terms of the history of scholarly editing: the strong author-centrism in the volumes of the Works section of the edition; the explanations as a focus in the reader-friendly volumes of the correspondence as well as the methodical innovations in the Addenda section in the form of the genetic prose text representation (Addenda II) and the bibliographical description of the prints of Klopstock’s works based on the model of the Anglo-American analytical bibliography (Addenda III). The typographic design is another characteristic of this edition.

The implications of typographic design in bilingual picturebooks for hierarchies

Presentation of text in picturebooks is an under-investigated field that requires consideration in order to support readers and those selecting books for readers. A unique form of picturebook is the bilingual picturebook which presents a story in two languages. The complexities of language readability and legibility are increased in these books, with implications for reader perception of the typographic design. In this paper we outline considerations for the design and presentation of two languages in bilingual picturebooks. We provide a discussion and analysis of text layout in Māori-English bilingual picturebooks and present guidelines for authors, designers, and publishers as well providing recommendations for the required further investigation into typographic layout for bilingual picturebooks.

Tekstne vrste i tipografsko oblikovanje

Visual design, in addition to images, illustrations and drawings, includes typography, which is frequently considered a “weak code” because there are no established, strong connections between typographic elements and corresponding meanings. Typography can be viewed as a separate system of signs, regardless of the fact that meanings based on typographic design are largely conditioned by the context and the manner in which the text, images and other types of signs used in specific texts are interconnected. The aim of the paper is to analyse and show the correlation of individual text types and their typographic design on a corpus of media text types from the Croatian and English languages. This paper seeks to shed light on the under-explored area of the relationship between text types and typographic design, which opens up room for a whole range of interdisciplinary research, for example how typographically generated meanings can be translated, how recipients interpret typographic meanings etc.

Typographic design of outdoor signage, restaurant authenticity, and consumers’ willingness to dine: extending semiotic theory

PurposeRestaurants’ outdoor signage plays an irreplaceable role in attracting potential diners, as it conveys important functional and symbolic meanings of the businesses. The purpose of this study is to investigate the effect of typographic design elements of outdoor signage on consumers’ perceptions of authenticity. This study also tests the linkage between authenticity and willingness to dine, as well as the moderating effect of frequency of dining in ethnic restaurants on the relationship.Design/methodology/approachUsing a 2 (simplified vs traditional Chinese characters) × 2 (calligraphy vs computer font) × 2 (vertical vs horizontal text flow) between-subject design, the authors did two experiments with 786 Chinese diners. Restaurant authenticity and willingness to dine are dependent variables, and openness to ethnic cuisine is the control variable.FindingsDisplay characters and text flow significantly affect restaurant authenticity. Furthermore, the results of this study demonstrate that display characters interact with typeface to influence restaurant authenticity. Consumers’ perceived authenticity significantly increases their willingness to dine. The frequency of dining in ethnic restaurants moderates the relationship between restaurant authenticity and willingness to dine.Practical implicationsEthnic restaurateurs should pay attention to the outdoor signage design, as it affects potential consumers’ authenticity perceptions. Specifically, in Mainland China, traditional Chinese characters and vertical text direction increase potential consumers’ authenticity perceptions.Originality/valueThis study extends the semiotic theory and applies the cue–judgment–behavior model in the hospitality literature. This study also provides new understanding of authenticity by identifying the influence of typographic design on authenticity, which confirms the semiotic theory that certain semiotic cues affect consumers’ judgments.

Adapting Visual Representation of ‘Harimau Malaya’ through Line Drawing Artwork for Widebody Aircraft Livery Design

An aircraft livery design comprises comprehensive insignia that include colour, visual, and typographic identifiers. Stagecoaches, railroad trains, and steamships all appeared, and the term "livery" came to refer to the interior design of these vehicles. Parts of airline liveries have become increasingly intertwined with ground transportation, advertising, exclusive airport furnishings, airline promotional materials, and aircrew uniforms since the 1950s. These features began to appear on airline websites in the 1990s. This collection of idealistic livery designs is influenced by many elements set in a specific aesthetic; typographic designers precisely specify it as a logotype. This research aims to describe how an artwork painting of a Harimau Malaya subject is styled and adapted as a visual representation for an aircraft livery design.

A Study on the Typeface Design method of Han Characters imitated Tangut

The Western Xia (1038-1227) was an ethnic regime in the northwest of China during the Song and Liao dynasties. Tangut is the concentrated expression of Tangut culture and Tangut art. It is the language used by the Xiang clan of Tangut party. The typography design of Chinese characters imitating the Tangut style is a new field of Chinese character typography design, which not only conveys the basic shape and meaning of Chinese characters, but also shows the beauty of blending with the aesthetic scale of Tangut style characters. Based on the analysis of the characteristics of Tangut characters in ancient books, this paper summarizes the characteristics of stroke structure with typical "Tangut style", and studies and explores the methods and rules of font design of Chinese characters imitating Tangut style combining with design practice.

A Study on the Typeface Design method of Han Characters imitated Tangut

The Western Xia (1038-1227) was an ethnic regime in the northwest of China during the Song and Liao dynasties. Tangut is the concentrated expression of Tangut culture and Tangut art. It is the language used by the Xiang clan of Tangut party. The typography design of Chinese characters imitating the Tangut style is a new field of Chinese character typography design, which not only conveys the basic shape and meaning of Chinese characters, but also shows the beauty of blending with the aesthetic scale of Tangut style characters. Based on the analysis of the characteristics of Tangut characters in ancient books, this paper summarizes the characteristics of stroke structure with typical "Tangut style", and studies and explores the methods and rules of font design of Chinese characters imitating Tangut style combining with design practice.

The Role of Typography in Loki Serial Title

This research discusses the use of typography in the title of the Loki series. As a title design, the Loki series received unfavorable comments, especially on its aesthetics. The purpose of this study was to find out how typographic elements are applied in the title of the Loki series. This type of research is qualitative using content analysis methods. It is known that the title of Loki series puts forward functions in the typographic design. So that the design is able to represent the content of the message in the story.

Vernacular Typography Design of Bamboo Keben Craft as an Opportunity of Creating Digital Typeface

Keben for the Balinese is a medium that functions to package ceremonial facilities made of bamboo. Craftsmen in Kayubihi village, Bangli sub-district produce kebens with various designs of vernacular typography motifs that have the opportunity to be developed in the form of digital typefaces. This study aims to: (1) analyze the vernacular typographic design of the keben motif and its opportunities in the creation of digital typefaces; (2) analyze the meaning of keben in Kayubihi village in a socio-cultural context. Qualitative methods are used in this study. Typographic design principles consisting of legibility, readability, visibility, and clarity are used to analyze the vernacular typography of the keben motifs, while Saussure’s semiotic approach is used to give meaning to the keben of Kayubihi village from the spirit and the concept behind it. Data collection strategies were carried out by observation and interviews, online and offline. Meanwhile, data analysis was carried out by interpreting, namely interpreting in-depth the collected data according to the research objectives. The results show that the vernacular typography of the keben motifs was arranged alphabetically to form words as a symbol of identity. Geometric motifs inspired by the environment around the craftsmen can be classified into five groups: the sun, flowers, traditional fabrics, objects, and cultural symbols of Balinese Hinduism. These motifs can be developed into digital typefaces. Keben in Kayubihi village spiritually means creativity, preservation of culture and identity. This creativity can be used as a source of inspiration in designing typefaces that offer novelty. The vernacular typography design with the Keben motif is indigenous creativity, representing the identity of the local Balinese culture.

INNOVATORY CONSERVATISM IN ULTRA-ORTHODOX TYPOGRAPHY IN ISRAEL

The purpose of the article is to explore the differences in perceptions and approaches to typographic design among the various communities that make up Haredi society. In general, the shape of the letter will be affected by the division between religious and non-religious genres, as well as by the intra-Haredi social division between “Hasidim” and “Lithuanians”, the two dominant groups that make up the Haredi society, whose lifestyles differ in several areas. The proposed article is an additional tier to previous studies and investigates the Hebrew letter and its role in the world of journalism as conveying a message in the social-educationalideological context, even without referring to what is actually written. The study reveals and deciphers the power struggles and relations that exist in the ultra-Orthodox world through the images and through the mechanisms activated through them and their results, as part of the visual culture. The research methodology is based on the integrated use of general scientific methods: analytical, systematic, historical, and comparative. Conclusions. The daily and weekly Haredi press is considered as something that “under the circumstances” is needed and yet is a major player in the Haredi visual world. The Ashkenazi Haredi press is divided into defined sectors. The newspapers of the Hassidic communities preserve a long-standing typographic, advertising, intra-community tradition, based on the design style of Jewish newspapers from early twentieth-century Europe. The newspapers of the Lithuanian communities reflect the character of the public who read them, who are more modern in their lifestyle. Even though there is strict control over the content, these newspapers reflect modernism in their typographic layout and letter style selection. The newspapers in both groups undergo strict editing in both content and form, and their respective rabbinical councils work hard to adapt them to their respective readership. The choice of letter, colour, and composition are borrowed, among other things, from the world of clothing, which has many rules, and reflects what is happening within the community. The differences between the Hasidic and Lithuanian groups are evident in their attitude to the visual elements in the various types of printing and advertising. The Haredi public are proficient readers and are aware of the subtleties of the shape and size of the letter from an early age. Therefore, the letter serves both as content and form, and its use in the visual world is varied. In addition to being a tool for content, the letter will be used for an image, a Hebrew date, gematria and to create an atmosphere of sacred or secular, depending on the typographic choice.