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Low vision readers depend on magnification, but magnification reduces the amount of text that can be overviewed and hampers text navigation. In this study, we evaluate the effects that font variations letter spacing, letter width, and letter boldness have on low vision reading. We tested 20 low-vision patients with age-related macular degeneration (AMD) and used the Radner Reading Chart, which measures reading acuity (logRAD), maximum reading speed, and critical print size. The results demonstrated a small, but measurable effect of letter spacing and letter width on reading acuity near critical font sizes. [ABSTRACT FROM AUTHOR]

Copyright of Physicochemical Problems of Mineral Processing is the property of Oficyna Wydawnicza Politechniki Wroclawskiej and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Scientists working at the intersection of cognitive psychology and education have developed theoretically-grounded methods to help people learn. One important yet counterintuitive finding is that making information harder to learn – that is, creating desirable difficulties – benefits learners. Some studies suggest that simply presenting information in a difficult-to-read font could serve as a desirable difficulty and therefore promote learning. To address this possibility, we examined the extent to which Sans Forgetica, a newly developed font, improves memory performance – as the creators of the font claim. Across four experiments, we set out to replicate unpublished findings by the font's creators. Subjects read information in Sans Forgetica or Arial, and rated how difficult the information was to read (Experiment 1) or attempted to recall the information (Experiments 2–4). Although subjects rated Sans Forgetica as being more difficult to read than Arial, Sans Forgetica led to equivalent memory performance, and sometimes even impaired it. These findings suggest that although Sans Forgetica promotes a feeling of disfluency, it does not create a desirable difficulty or benefit memory. [ABSTRACT FROM AUTHOR]

This paper introduces the problem of automatic font pairing. Font pairing is an important design task that is difficult for novices. Given a font selection for one part of a document (e.g., header), our goal is to recommend a font to be used in another part (e.g., body) such that the two fonts used together look visually pleasing. There are three main challenges in font pairing. First, this is a fine-grained problem, in which the subtle distinctions between fonts may be important. Second, rules and conventions of font pairing given by human experts are difficult to formalize. Third, font pairing is an asymmetric problem in that the roles played by header and body fonts are not interchangeable. To address these challenges, we propose automatic font pairing through learning visual relationships from large-scale human-generated font pairs. We introduce a new database for font pairing constructed from millions of PDF documents available on the Internet. We propose two font pairing algorithms: dual-space $k$ -NN and asymmetric similarity metric learning (ASML). These two methods automatically learn fine-grained relationships from large-scale data. We also investigate several baseline methods based on the rules from professional designers. Experiments and user studies demonstrate the effectiveness of our proposed dataset and methods. [ABSTRACT FROM AUTHOR]

Over the last years, several studies have suggested a possible link between dyslexia and deficits in low-level visual processing (e.g., excessive crowding). At the same time, specially designed "dyslexia-friendly" fonts appeared on the market. This class of fonts presents two main features: the particular graphic characteristics of the letterform designed to avoid confusion between similarly shaped letters, and wider inter-letter and inter-word spacing to limit crowding. The literature testing the efficacy of "dyslexia-friendly" fonts in improving reading accuracy and increasing reading speed is controversial. We evaluated the impact of letterform (with vs. without dyslexia-friendly graphic features), inter-letter spacing (standard vs. increased), and inter-word spacing (standard vs. increased) on reading accuracy and speed. Two groups of 64 children each, with and without dyslexia, read aloud 8 equivalent texts. The data collected failed to show any effect from the letterform. As regards spacing, the data showed that reading speed is impaired by an increase in inter-letter spacing not combined with an adequate increase in inter-word spacing. [ABSTRACT FROM AUTHOR]

Typography plays an increasingly important role in today's dynamic digital interfaces. Graphic designers and interface engineers have more typographic options than ever before. Sorting through this maze of design choices can be a daunting task. Here we present the results of an experiment comparing differences in glance-based legibility between eight popular sans-serif typefaces. The results show typography to be more than a matter of taste, especially in safety critical contexts such as in-vehicle interfaces. Our work provides both a method and rationale for using glanceable typefaces, as well as actionable information to guide design decisions for optimised usability in the fast-paced mobile world in which information is increasingly consumed in a few short glances. Practitioner summary: There is presently no accepted scientific method for comparing font legibility under time-pressure, in 'glanceable' interfaces such as automotive displays and smartphone notifications. A 'bake-off' method is demonstrated with eight popular sans-serif typefaces. The results produce actionable information to guide design decisions when information must be consumed at-a-glance. Abbreviations: DOT: department of transportation; FAA: Federal Aviation Administration; GHz: gigahertz; Hz: hertz; IEC: International Electrotechnical Commission; ISO: International Organization for Standardization; LCD: liquid crystal display; MIT: Massachusetts Institute of Technology; ms: milliseconds; OS: operating system [ABSTRACT FROM AUTHOR]

This paper offers a rationale for the typefaces chosen for the publication Technologies of Romance: Part II written by Paul O’Kane and celebrated at a symposium held at the Science Museum in November 2018. In setting out this rationale the paper broadens its considerations to reflect on the extent to which typefaces might in themselves usefully be considered as technologies of Romance. It locates the practice of noting in print the typeface used in a given publication both historically and within contemporary practice. The recording of the decisions informing the making of a book starts to hint at the nature of the book itself as a technology, and allows for some discussion of the values of ‘making’ books within both past and present contexts of production, including the challenge of digital readers. Elaboration on the decisions concerning the use of a given typeface for a publication then opens out a discussion of the intention behind selection, and both the functional and emotional ambitions of the typeface choice. The associative aims informing selection of a typeface are explored against an understanding of the associative embedding of meaning within aspects of the terminology of typefaces, as well as the scripts they represent and their designed forms. The paper explores for example the imperial associations embedded in the character shapes of the basic letterforms, as well as the technological implications of the terms such as uppercase and lowercase and the problematic colonial implications of the term ‘Latin’ to describe the script in question. In considering the archival possibilities of typefaces as technologies the paper concludes by reflecting on examples of digital typeface design practice, which have actively sought to re-imagine a previous era of letterpress typesetting technology and the possibilities for investigating ongoing Romantic ideals within this very particular and highly specialised design discipline.

To inform our knowledge of the typographical variables of stroke weight, letter width, and letter spacing, and their effects on different age groups and reading scenarios, we used Radner Reading Chart, where we measured reading speed at different sizes, to compare the fonts KBH Text, KBH Display, and Gill Sans Light. The experiment showed that for older participants, reading Gill Sans resulted in faster reading speed compared to KBH Text. However, Gill Sans could not be recognized at small sizes by either the younger or older participants. For critical print size (CPS), older participants were better at reading small print sizes at a regular reading speed when the text was set in KBH Text than when it was set in Gill Sans. The findings indicate that older readers are more sensitive to font legibility differences than younger readers. We discuss the implications of different reading scenarios putting different demands on the fonts as well as the perspective of older readers benefitting from certain visual qualities of fonts. [ABSTRACT FROM AUTHOR]

Seal is a tool to prove an individual or group. Guk-Sae and Eo-Bo uses typeface to represent their names or titles, which change from tensile to tensile and have varied from time to time. Although the Korean alphabet currently uses Hangul, it had used Chinese characters before Hun-Min-Jeong-Um was created in 1443. All seals and royal seal before the Korean Seal of State were made in Chinese characters. This thesis analyzes the concept of typography through the royal seal, and the subject of this study is ‘Sugang Emperor’ which is the only eight-letter version seal of the Joseon Dynasty's various royal seal. Bo-Yeong, which is shown in Bo-Myeon has artistic value with beautiful typeface and proportions, which is worth research. It examines the features of the Korean seal, analyzes and studies the typeface shape and features from the typographic perspective of the "Sugang Emperor Bo-Yeong," or writing. [ABSTRACT FROM AUTHOR]

This paper offers a rationale for the typefaces chosen for the publication Technologies of Romance: Part II written by Paul O'Kane and celebrated at a symposium held at the Science Museum in November 2018. In setting out this rationale the paper broadens its considerations to reflect on the extent to which typefaces might in themselves usefully be considered as technologies of Romance. It locates the practice of noting in print the typeface used in a given publication both historically and within contemporary practice. The recording of the decisions informing the making of a book starts to hint at the nature of the book itself as a technology, and allows for some discussion of the values of 'making' books within both past and present contexts of production, including the challenge of digital readers. Elaboration on the decisions concerning the use of a given typeface for a publication then opens out a discussion of the intention behind selection, and both the functional and emotional ambitions of the typeface choice. The associative aims informing selection of a typeface are explored against an understanding of the associative embedding of meaning within aspects of the terminology of typefaces, as well as the scripts they represent and their designed forms. The paper explores for example the imperial associations embedded in the character shapes of the basic letterforms, as well as the technological implications of the terms such as uppercase and lowercase and the problematic colonial implications of the term 'Latin' to describe the script in question. In considering the archival possibilities of typefaces as technologies the paper concludes by reflecting on examples of digital typeface design practice, which have actively sought to re-imagine a previous era of letterpress typesetting technology and the possibilities for investigating ongoing Romantic ideals within this very particular and highly specialised design discipline. [ABSTRACT FROM AUTHOR]

Instant messaging is a popular form of text-based communication. However, text-based messaging lacks the ability to communicate nonverbal information such as that conveyed through facial expressions and voice tones, although a multitude of emotions may underlie the text of a conversation between participants. In this paper, we propose an approach that uses typefaces to communicate emotions. We investigated which typefaces are useful for delivering emotions and introduced these typefaces into a mobile chat app. We conducted a survey to demonstrate how changes in the typeface of a message affected the meaning of the message conveyed. Our user study provides an understanding of the actual user experience with the application. The results show that the use of multiple typefaces in a message can affect and intensify the valence received by users and the use of multiple typefaces elicited an active response and brought about a livelier mood during texting. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Prior evidence has indicated that the act of producing a word aloud is more effortful than reading a word silently, and this effort is related to the subsequent memory advantage for produced words. In the current study, we further examined the contributions of reading effort to the overall production effect by making silent reading more effortful. To do this, participants studied words that were presented in standard lowercase font format and words that were presented in an aLtErNaTiNg CaSe font format (which should be more effortful to read). Half of the words in each font condition were read aloud, and half were read silently. Participants completed an old/new recognition test. Experiment 1 was conducted online; Experiment 2 was conducted in-lab and recorded reading times at study to confirm that alternating case font slows reading. In both experiments, we found a production effect in recognition that was uninfluenced by font type. We also found that alternating case font selectively increased recollection (but not familiarity) relative to lowercase font. Thus, the additional time to read words in a disfluent font does not appear to interact with memory benefit of producing words aloud.

The aim of this study is to examine the basic vertical letters based on the opinions of the primary school teachers. This qualitative research study employed phenomenology as a research method. Critical sampling and appropriate sampling methods were used in determining the participants. The participants of the study consisted of 111 classroom teachers working in primary schools in Yozgat city center. In the determination of the participants, the service life as a criterion has been determined as at least 10 years. Semi-structured interview form was used as data collection tool. The researcher has prepared a semi-structured interview form called "vertical basic writing letters writing form". Data were collected in November 2018. 111 class teachers were interviewed with semi-structured interview form. Two types of analysis technique were used for data analysis. Frequency (f) and percentage (%) were used for quantitative data analysis. Content analysis was used to analyze the qualitative data. As a result of sdudy, 89% of the teachers think that the capital letter A is appropriate. It is seen that 11% did not approve of the big letter A. The eligibility for capital letter I is 96%. Eligibility for capital letter J is 84%. The eligibility rate for all other capital letters is 100%. The conformity rate of lowercase letters after capital letters was examined. It is seen that the rate of conformity of the lowercase letter is 97%. Eligibility of small letter f is 62%. The rate of compliance with the letter l (lemon) is 65%. Conformity rate of small t is 81%. The compliance rate of all other lowercase letters is 100%. [ABSTRACT FROM AUTHOR]

Turks used Gokturk alphabet, Sogdian alphabet and Uyghur alphabet which they developed from the first two in their daily life and engraved them on their monumental works for centuries. Upon the death of his brother Kul Tigin, Bilge Khagan from Gokturks had these words engraved on the monument erected for the memory of his brother: mDTiXT: YTUgHb / Bengü taş tokıtdım / I had this eternal stone engraved (Alyılmaz, 2005, pp. 12-13), which shows that writing is applied diligently to plastic arts. Moreover, it was the beginning of the numerous eternal monumental works to be created in the later years across the area extending from Central Asia to Anatolia. One of the countless monuments merged with writing of Turks is the Tepsi Minaret built by the Saltukids in Erzurum. The aim of this study is to address the spectacular kufic calligraphy, which we can see through photographs taken from certain angles, on the Tepsi Minaret as a whole by means of information technology. This paper shows the position of the kufic characters on the minaret through 3D-modeled designs, examines the character anatomy typographically and with respect to the order of the bricks, and tries to create a True Type Font folder based on the script on the monument. [ABSTRACT FROM AUTHOR]

Recent research studies have shown that increased letter spacing has a positive effect on the reading ability of dyslexic individuals. This study aims to investigate the effect of spacing on the readability of different fonts for children with and without dyslexia. Results did not support the hypothesis of better performance among children with dyslexia when reading text in Dyslexie than in other fonts. They, however, revealed that only spacing plays a role in enhancing dyslexic individuals' reading performance because Dyslexie and the Times New Roman interspaced font have no difference. Furthermore, the negative effect of the unfriendly fonts Times New Roman Italic and Curlz MT was eliminated through increased interletter spacing. [ABSTRACT FROM AUTHOR]

Introduction: Low-quality text passages require more attention to comprehend, thereby reducing resources towards concentration. It was also shown that fonts played a role in the better understanding and comprehension of the materials read. Inversely, font size had only a small impact on the participants to recall information from a text. On the contrary, it was found that despite the participant's higher confidence to remember information if it was in a larger font, the differences in actual recall were minimal. Objective: The aim of the research was to study the effect of font style and size on memory among the pre-clinical medical students in Universiti Kuala Lumpur Royal College of Medicine Perak (UniKL RCMP). Methodology: This was a crosssectional study done at UniKL RCMP by a simple random sampling of 136 MBBS preclinical students of Universiti Kuala Lumpur Royal College of Medicine Perak (The study included a 5-minute test on memory and a structured questionnaire and data analysis by using SPSS ANOVA. Results & Discussion: Among the 4 font styles studied, 'Serif' was found to be the most preferred one for the memorization (32.4%) compared to the other types of fonts tested - 'Script' (29.4%), 'San Serif' (25%) and 'Monospace' (13.2%). The least preferred font with the lowest mean score was Monospace (4.08) followed by Script (4.32), Serif (4.45) and San Serif (4.46). Conclusion: Easily readable fonts required less effort to decipher the word, hence resulted in better comprehension and memory. Font style affected memory, but font size had no significant effect on memory contrary to the belief that the bigger is better. [ABSTRACT FROM AUTHOR]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Past research in marketing has shown metacognitive ease affects product evaluation, yet little is known about whether it also affects the persuasiveness of travel texts. Through three experiments, the authors show metacognitive ease induced by font (italic or non-italic style, typeface, and color grey or black) affects people's perceptions of a tour, while tourism motivation determines the direction of the effect. Results indicate that when a proposed tour offers relaxation/rest, easy-to-read (vs. difficult-to-read) font increases preference for the tour (i.e., willingness to pay); but when a tour offers adventure/excitement, difficult-to-read (vs. easy-to-read) font increases preference for it. The samples sizes ranged from 138 to 205 Chinese student/adult respondents. [ABSTRACT FROM AUTHOR]

In two experiments, the claim was tested that the font "Dyslexie", specifically designed for people with dyslexia, eases reading performance of children with (and without) dyslexia. Three questions were investigated. (1) Does the Dyslexie font lead to faster and/or more accurate reading? (2) Do children have a preference for the Dyslexie font? And, (3) is font preference related to reading performance? In Experiment 1, children with dyslexia (n = 170) did not read text written in Dyslexie font faster or more accurately than in Arial font. The majority preferred reading in Arial and preference was not related to reading performance. In Experiment 2, children with (n = 102) and without dyslexia (n = 45) read word lists in three different font types (Dyslexie, Arial, Times New Roman). Words written in Dyslexie font were not read faster or more accurately. Moreover, participants showed a preference for the fonts Arial and Times New Roman rather than Dyslexie, and again, preference was not related to reading performance. These experiments clearly justify the conclusion that the Dyslexie font neither benefits nor impedes the reading process of children with and without dyslexia. [ABSTRACT FROM AUTHOR]