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The article deals with the development of the Czech typographic usage and its reflection in professional manuals and industry standards. In particular, it focuses on the formulation of typographic rules with regard to their obligation to the user, monitors the ratio of descriptiveness or prescriptiveness and the impact of Anglophone typography on Czech typography. It also focuses clashes of linguistically (semantically) and visually based arguments, which affect the resulting typographic practice. Attention is focused mainly on typographic phenomena directly related to the orthographic standard and commonly included in it. [ABSTRACT FROM AUTHOR]

Copyright of Akademik Sanat is the property of Ankara Haci Bayram Veli University 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.)

Copyright of Kepes is the property of Universidad de Caldas 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.)

Even though textile labels are not often the subject of research, their quality must not be neglected. Printed typographic elements (i.e. letters and texts) must be visible regardless of textile ribbons and typeface or type size to be printed. Thus, the aim of the research was to qualitatively and quantitatively analyze and evaluate the text printed with flexography in two different typefaces (Helvetica and Verdana) in three different type sizes (4, 6 and 8 point) on five textile ribbons made of polyester and polyester/cotton mixture in two different weaves (plain and satin). The results of our research showed that the quality of printed letters is influenced by the properties of textile ribbons as well as by the chosen typographic features. When textile ribbons were composed of polyester filaments, the quality of prints was better than in the case of the mixed composition with cotton fibers. The coating and previously dyed textile ribbons had a positive influence on the quality of printed letters. The typeface Verdana gave more distinct and contrasted printed letters than Helvetica. The quality of printed letters (measured by the cover factor) decreased with the reduced type size; letters (and text) in a smaller type size (4 point) were hence, depending on the properties of textile ribbons, less visible. [ABSTRACT FROM AUTHOR]

Copyright of Documentación de las Ciencias de la Información is the property of Universidad Complutense de Madrid 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.)

The article focuses on the selected examples of the blurring of a book's genre status by means of specific editorial solutions, such as the use of a spatial layout of the text, the differentiation of fonts, the selection of printing paper, the cover design etc. This mechanism is discussed on the example of six experimental works of contemporary Polish non-fiction literature. Books by Filip Springer and Jarosław Mikołajewski, bordering upon literary reportage, show how the use of typography enhances the formal hybridity or even amorphousness of the text. In turn, Mariusz Szczygieł and Wojciech Tochman, their documentary narratives, emphasize the mutual synergy between the physical components of the book, which undermines the standard genre classification. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University 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.)

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University 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.)

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts 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.)

In this paper, we argue that books materialize cultural values and constitute a field of political and social dispute. We disregard the idea of typographic transparency and emphasize its semantic dimension, in order to understand the use of typography in book covers. Thus, we identified contrasts in common sense gender performativity and performativity present in feminist book covers. Finally, we realized a survey with women regarding semantic values assigned, firstly, to letterforms alone and, then, to letterforms in designed covers of five contemporary feminist books. Based on the survey results mainly made of semantic differential scales, we present the variety of confluences and divergences of interpretations of letterforms. Despite the diversity of results, none of the covers leans towards the hegemonic gender performativity staged in common sense. [ABSTRACT FROM AUTHOR]

This article aims to identify legibility guidelines for aged and low vision people, in order to analyze how information design is applied in formatting rules for nutrition facts labels, according to the Brazilian legislation. Taking into account the national public health scenario, with growing numbers of obesity and overweight, food labeling may perform an important role in guiding healthier nutritional choices. It is relevant to look at the aged population, since trends estimate its growth during the next decades. Given that ageing is often related to visual deterioration, we have selected guidelines for aged readers as well as for low vision readers. The comparative analysis of such guidelines with topics addressed by the Brazilian legislation on the format of nutrition facts labels presented compliance for some points and deviations for other elements. Overall, we have noticed that the legal texts include information design aspects. We also advocate for the relevance of research on the legibility of nutrition facts labels as a means to improve access to information by aged and low vision people. [ABSTRACT FROM AUTHOR]

The article is the first attempt to give a focused analysis of the annual art and architecture periodical Jahrbuch für bildende Kunst in den Ostseeprovinzen that was published by the Riga Society of Architects in 1907-1913 (since 1911 as Jahrbuch der bildenden Kunst in den Ostseeprovinzen). The main aspects of interpretation include the aesthetic programme of this yearbook and a chronology of its implementation, prehistory, models and context, qualities of design and typography, identity of designers, highlights of the visual and textual content, scope of and gaps in national and regional representation, as well as influence on other initiatives in the field of art periodicals. [ABSTRACT FROM AUTHOR]

Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

• Typographic recommendations for flight deck documentation (manuals, maps, charts and checklists) have been unchallenged for over three decades. • Many recommendations to improve legibility are based on misconceptions which led to a generalised application of typography. • Recommendations, originally developed for print, are now being translated into electronic documentation. • We provide a new baseline for typographic knowledge in flight safety. • New technology will assist in improving the legibility of electronic flight deck documentation. Prompted by a series of air accidents in the 1980s, Dr Asaf Degani's 1992 report, "On the Typography of Flight Deck Documentation," reshaped the design of documents such as manuals, maps, charts, and checklists. His report addressed key principles of typography in printed documentation and provided 19 recommendations for best practice. These are now being applied to contemporary digital documentation. Consequently, our research team, comprising of practicing type designers, revisited the original report to determine whether the suggested conventions remain applicable in a contemporary setting. The findings highlight that some recommendations were based on misconceptions due to inconsistent terminology and now obsolete technologies, which led to a generalization of isolated typographic settings. This is problematic, given that absolute guidelines can only be applied to one specific typeface at a time, due to the varying characteristics of letterforms among different typefaces. Therefore, this single-source review aims to reset the baseline of typographic understanding, rekindle the conversation about legibility in flight safety, and highlight the importance of a more comprehensive approach to typography to improve legibility and, thus, safety. It follows the original report's structure, providing reflections on Degani's findings and updated information as required. Further, we provide revised recommendations, directions for future research and an outlook into the future of typography, which is currently undergoing unprecedented technological changes. [ABSTRACT FROM AUTHOR]

The Arabic calligraphy represents an important element of the Arab heritage and its appearance is related to the rise and spread of Islam, hence the Arabic calligraphy is the art and design of writing, in which the lines numerous and vary according to forms having aesthetic characteristics. The typography considered the science and art of printed elements. It means the printed units which consist of the different printed elements, such as various forms, shapes and uses- letters, different methods of production, in addition to silhouettes and scriptural art. The digital printing is considered the recent type of printing technology, where printing from the computer directly to the printing machine and the computer helps to increase productivity and quality while reducing the cost, time and effort to finish the various printing processes, accordingly, the research problem came in the main question of how to get benefit of the aesthetic values of the line and the use of it in making designs by typographic designs to enrich digitally printed shirts. The research aims to produce typographic designs using the Arabic calligraphy aesthetics to enrich and print T-shirts for young using digital printing , determining the specialists and consumers in the proposed designs and executing some of them ,in order to increase the general taste of young people in the selection of their clothes , participating in revival of the Arab Islamic heritage through finding modern clothing alternatives with the spirit of heritage for young people , run parallel to the enormous technological progress in the industry in the production and implementation of clothing , the research reached existence of statistical significance differences between the proposed designs ( in achieving of the appropriate elements of design in the designs of young people “peers”- achieving the appropriate digital printing technology for the production of designs – achieving the art principles – achieving functional performances in design ) , presence of statistical significance differences between the proposed designs in achieving the evaluation aspects (as a whole) ,

Resumen El estudio de la tipografía y la iconografía de la imprenta en México del siglo XVI sigue siendo un tema sin agotar. Aunque se han realizado algunos acercamientos al tema desde diversas disciplinas faltan aún muchas aristas por atender. En este artículo se propone una nueva aplicación teórico-metodológica, la del análisis material, que permite rescatar información puntual sobre las características de cada una de las piezas usadas en el proceso de impresión, a partir de la mancha de tinta que estas dejan en el papel. Con el registro exhaustivo de los tipos y de los grabados xilográficos presentes en los impresos se forman los muestrarios de materiales que poseía cada imprenta. Estos muestrarios aportan información útil para la identificación del uso de los materiales impresorios durante el período activo de las imprentas. El análisis de los usos permite, a su vez, reconstruir parte de la intrahistoria de cada uno de los talleres de impresión.

Tracés’ visual identity lacks unity due to the inner constraints of its different medium formats (paper print, website, blog): colours, graphic composition, typographic fonts differ from one medium to another. Every student of the diplôme des métiers d’art “Typographisme” from the Paris Estienne School of Graphic and Industrial Arts made a visual identity proposal, which may be adapted to all editorial media in a unified manner. In order to do so, some of them chose to create of typefont for the journal or to make use in their designs of open access typesets and of “contributive graphic tools”, accessible without the mediation of a graphic designer.

The change from manual to mechanical printing was gradual and took place between the end of the eighteenth century and the first decades of the nineteenth century, being the latter the years that marked the transition. We know the main technical innovations made in other countries which arrived to Spain through publications or industrial espionage, but we are not aware that, in our country, there were several private and official attempts to improve the printing press, typography and typesetting. In this article, I show several of these attempts, their descriptions and even pictures of their devices. For several reasons they did not succeed, but some could have pioneered European mechanical printing.

Since the advent of printing the Republic of Letters was inexorably linked with typographic technology, despite the negative effects that for the scholars had the conversion of the book into a mass product subject to the profit of booksellers and printers. This study offers an approach to the ambivalent relationship that men of letters had with the printing press, with the aim of place in context the various attempts that in eighteenth century Spain intended to restore the printing press thanks to the initiative of some enlightened people concerned with the state of degradation of book arts.

This article discusses Anna Trapnel's final publication: a 990-page volume of prophetic verse printed in around 1659, which now survives in a single copy held by the Bodleian Library. Advocating the value of attending to the materiality of early modern women's texts, this article examines the semantic significance of the typography in this large volume of prophecies. First, I argue that the work's distinctive letter forms and ornamental headers may affiliate it with the printing house of James Cottrell. Second, these specific visual motifs are explored as indicators of Trapnel's broader religious and textual community in mid-seventeenth century England. Finally, the article suggests ways in which we might read the volume's typographic features as both supportive, and subtly undermining, of Trapnel's highly charged religious discourse. [ABSTRACT FROM AUTHOR]

With the tens of thousands of fonts that are now readily available, it is non-trivial to select the most suitable font for a given use case. Considering the impact of the choice of font on human perception of the text, there is a strong need for semantic font search and recommendation. Aiming to fulfill this need, we induce a typographical lexicon providing associations between words and fonts. For this purpose, we determine font vectors for basic and complex emotions, based on word similarities, antonymy information, and Plutchik's Wheel of Emotions. We create a large font lexicon, named FontLex, relying on emotion associations between the words and the fonts. We evaluate our results through user studies and find that for the majority of the evaluated words, the fonts recommended by FontLex are preferred. We also further extend the dataset using synonyms of font attributes and emotion names. Finally, using CNN embeddings of the fonts, we expand our attribute score assignment to new fonts. The resulting FontLex resource provides mappings between 6.7K words and 2K fonts. Our proof of concept application demonstrates how FontLex can be invoked to obtain semantic font recommendation for poster design. [ABSTRACT FROM AUTHOR]

Between the sixteenth and the seventeenth century, i and y shifted from an early distribution principle to a new, modern standard, which generally resulted in the establishment of vocalic i word-initially and word-medially, as well as for glides word-initially and for vowels word-finally. Previous scholars have offered interesting insights into some of the graphemes above, but the overall history of development in i and y, and the factors behind their modern standardisation, still remain partially uncovered. This paper investigates graphemic changes in the two letters in printed English between 1500 and 1700, using a quantitative model for the analysis of patterns across a range of texts from Early English Books Online. The analysis establishes the presence of a quantitative shift in the wholesale uses of i and between the sixteenth and the seventeenth centuries, and provides a precise chronology for the standardisation of word-initial, word-medial and word-final graphemic changes in i and y. The discussion reflects upon the development of the positional graphemes, and argues for pragmatic factors within the Early Modern English printing industry as primarily responsible for the modern standardisation of i and y. [ABSTRACT FROM AUTHOR]

"I type very quickly, very badly, with many errors [ fautes ]," Jacques Derrida confessed in a late interview. This paper proposes that the typographical error – usually viewed as a mere "accident" – may in fact be understood as a productive site for deconstructive reading and thought. Drawing on Nietzsche's suggestion that the typewriter acts as a "collaborator" in thinking, this paper examines Derrida's use of the typewriter, with particular attention to his typos. Following Derrida's reading in the Geschlecht series and his own typographical practice, this paper argues that the typo should be thought of as the condition of possibility of every type – and as a defining difference between Derrida and Heidegger. [ABSTRACT FROM AUTHOR]

The article is written on the 100th anniversary of the birth of the poet, typographer, painter, printer, and publisher Jean Vodaine. He was born in Čiginj near Tolmin in Slovenia in 1921 to a working class family, which later moved to Lorraine. In this region, Vodaine began his physical work but also worked as an artist. There, he published the international literary magazine Dire, which brought poets and art lovers together from all over the world. He designed and printed the magazine by hand himself. He gave importance to the typographic design of texts, which makes his magazines all-embracing works of art. The significance of his work lies in the fact that he managed to bring high culture to the culturally underdeveloped region of Lorraine, which was primarily a region of a workers that Vodaine wanted to make a cultural centre. In doing so, he took advantage of its status as a crossroads, where French, German, Luxembourg, Belgian and immigrant influences mingled. He was associated with a circle of l'art brut artists. He is important to Slovenes as a translator and promoter of Slovene poetry in France and beyond. Due to its linguistic and national identity, along with the diversity and quality of artistic creation, his work is still interesting today, although he is relatively unknown in Slovenia. Vodaine was born as a Slovene with Italian citizenship, always considered himself a Slovene, and only in his late adulthood did he acquire French citizenship. Jean Vodaine died in 2006 in France. [ABSTRACT FROM AUTHOR]

Drop caps are a widely used as graphics feature for enhancement of chapter and paragraph apertures in various publications, giving them personality and visual strength. Although the contemporary drop caps do not possess the artistic character of the medieval or Renaissance drop caps, they nevertheless present a great diversity, exploring more than the visual aspect of the letter itself but also features such as scale, contrast, textures, typography and position relative to the text, confirming its importance in the contemporary graphic design. This article analyzes the occurrence of drop caps in the collection of printed journals of the discipline Visual Design III, of Design Course of the Federal University of Rio Grande do Sul, in Porto Alegre, Brazil. For the purposes of the research, categories of drop caps organization were established in relation to the text that follows, allowing the establishment of a taxonomy for contemporary drop caps, highlighting their variations and possibilities of use. The article seeks to fill a gap in the analysis of a graphic / visual resource with great potential. [ABSTRACT FROM AUTHOR]

Process engraver and printer Emery Walker was a pivotal figure in the English, American, and continental European Private Press Movement from the 1880s until his death in 1933. This article looks at his theories for the typography, design, and production of books, and how those theories were developed by key designers and close associates of Walker such as William Morris, T. J. Cobden Sanderson, and Bruce Rogers and through the practical teaching of figures such as J. H. Mason and Edward Johnston. It examines how the theories were then taken up by the exponents of fine printing from the early 20th century through to the 1930s, focusing on the presses of Bernard Newdigate, Harry Kessler, Harold Curwen, and Francis Meynell. From these presses, and also via Stanley Morison and the Monotype Corporation, Walker's theories are shown to have spread into mainstream book publishing in the first half of the 20th century. The article considers questions of whether the improvement in the readability of books in the early 20th century has had a continuing impact in book publishing, and makes suggestions how to access the incunabula referenced by the designers discussed, as well as collections of private press books and other early 20th-century fine printing. [ABSTRACT FROM AUTHOR]

Der Beitrag stellt den Typographen Jan Tschichold und das Digitalisierungsprojekt vor, dank dessen ein Großteil seines Arbeitsnachlasses der breiten Öffentlichkeit zugänglich wird. Er erklärt zudem, wie sich aus Sicht des Deutschen Buch- und Schriftmuseums der Deutschen Nationalbibliothek die Erschließungsarbeit mithilfe von Normdaten weiterentwickelt und welche Chance der Rückgriff insbesondere auf die Gemeinsamen Normdatei eröffnet. The article introduces the work of typographer Jan Tschichold and a digitisation project through which a large part of his legacy will be accessible to the general public. It also explains how, from the point of view of the German National Library's Museum of Books and Writing, cataloguing is improved and advanced by the use of standard data, and shows the opportunities offered by recourse to the Integrated Authority File GND. [ABSTRACT FROM AUTHOR]

The purpose of the article is to consider the graphic works of V. Poltavets-illustrator in the context of the development of book printing in Ukraine in the second half of the twentieth century, conduct a comparative analysis of the development of this industry in different eras, and identify their relationship. The methodology of the article is based on the chronological method of historical research, the biographical method, the method of observing the artist‘s practical activities in different time periods, the method of analyzing works of art. The scientific novelty consists in the chronological systematization and comparative analysis of typography and graphic art in different historical periods, the study of the continuity of traditions and innovation in art, their interrelation, and a sequential examination of the creative heritage of the famous artist. Conclusion. The analysis shows a high level of development of publishing in Ukraine, the presence of art school and talented illustrators, indicates insufficient scientific coverage of this topic. [ABSTRACT FROM AUTHOR]

Copyright of Digital Studies / Champ Numérique is the property of Open Library of Humanities 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.)

Visual information is the oldest recorded document of human history. While cave drawings and paintings are treated as the earliest evidence of human activity, the written word was born years later after a long and complicated process of development. The letters that are the basic elements of communication today have gone through a long process of evolution. Writing, which is undoubtedly the greatest invention of mankind, translated everything spoken into a visual representation. The evolution of letters and writing systems has been driven by the human need to convey ideas, to record and store information, and by the need to express and communicate. The fundamental purpose of writing is, in fact, the transmission of information. In the 21st century, the integration of computer technologies has brought forward textual information to every aspect of daily life. This has led to an increase in interest in typography in many areas of visual communication, where text and letters play a central role in disseminating social trends and reflecting the spirit of the time. Today, when we are so accommodated with the written word and when the written word is no longer marked down by the pen, but by the digital "bits", it must be remembered and clearly stated that it was manual writing that preceded typography or mechanized writing. [ABSTRACT FROM AUTHOR]

Geçmişten günümüze uluslararası tasarım anlayışı her alanda olduğu gibi zamanla değişime uğramış, teknolojinin de gelişmesiyle birlikte sanat ve tasarım alanında yenilikler yapılmıştır. Bu yeniliklerin bazıları günümüze dek etkilerini devam ettirmiş, bazıları ise zamanın hızlı akışına ayak uyduramayarak yok olmuşlardır. 1900'lü yılların başında Almanya'da endüstrileşmenin hızla artmasının getirdiği zorluklarla baş edebilmek için sanatçı ve zanaatkârların endüstri ile iş birliği yapması gerekliliği doğmuştur. Almanya'nın bu hızlı değişim sürecinde zamanın tasarımcıları ve zanaatkârları, fikirleri ve yaklaşımlarıyla insanları işlevsiz ürünler kullanmaya zorlayan kapitalizme karşı bir tavır sergilemişlerdir. Aynı zamanda hareketin öncüleri bu yaklaşımın eksik taraflarını değerlendirmiş ve bu eksikliğin üstesinden gelmenin tek yolunun sadece zanaatkârları desteklemek yerine endüstri ile birlik olmaktan geçtiğini fark etmişlerdir. Böylece bu iş birliğinin sonucu olarak Bauhaus Okulu ortaya çıkmıştır. Okul, tasarım dünyasına yeni bir bakış açısı getirerek, bu alan için bir dönüm noktası haline gelmiş ve kurulduğu yıl olan 1919 yılından itibaren günümüze kadar olan süreçte pek çok sanat ve tasarım okuluna ilham kaynağı olmuştur. Grafik tasarım alanında önemli bir yere sahip olan Tipografi ise bu iş birliğinin önemli bir parçası olarak yer almıştır. 20. yüzyıla kadar Tipografi kelimesi sadece teknik alanlarda kullanılan bir terim olmaktan öteye geçememiştir. Ancak, Bauhaus Okulu'nun hayata geçmesiyle birlikte dönemin Tipografları süslü, Alman Blackletter harflerinden uzaklaşarak okunabilirliğe önem veren, iletişim odaklı, endüstrileşme ve teknolojiyle uyumlu, işlevi ön plana çıkaran günümüz Modern Tipografi anlayışının ortaya çıkmasına öncülük etmişlerdir. Bu doğrultuda ele alınan araştırma, Bauhaus Tipografisi'nin Almanya'daki doğuşunu, çevresini nasıl etkilediğini, Dünya ve Türkiye eksenindeki grafik tasarıma ne şekilde yansıdığını analiz etmiş, günümüzdeki etkilerini incelemiştir. International design understanding has changed over time from past to today, and with the development of technology, many innovations have been made in the field of art and design. Some of these innovations have continued their effects until today, while others have failed to keep up with the rapid flow of time. In order to cope with the difficulties caused by the rapid increase of industrialization in Germany in the early 1900s, the necessity of collaboration with artists and craftsmen has emerged. In Germany at the beginning of the 1900s, It was necessary for artists and craftsmen to cooperate with the industry in order to cope with the difficulties caused by the rapid increase of industrialization. In this rapid change process of Germany, the designers and craftsmen of the time showed an attitude towards capitalism, which forced people to use dysfunctional products with their ideas and approaches. At the same time, the pioneers of the movement evaluated the shortcomings of this approach and realized that the only way to overcome this deficiency was to be united with the industry rather than just supporting the artisans. Typography, which has an important place in the field of graphic design, has been an important part of this collaboration. Until the 20th century, the word Typography did not go beyond being a term used only in technical fields. However, with the realization of the Bauhaus School, the typographers of the period pioneered the emergence of modern typography, which emphasizes readability by moving away from the ornate German Blackletter letters, communicationoriented, compatible with industrialization and technology, bringing the function to the fore. Research discussed in this direction, the birth of the Bauhaus Typography in Germany and how it affects the environment has been analysed. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Akdeniz Sanat is the property of Akdeniz University, Faculty of Fine Arts 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.)

This article looks at the use of letterings and typefaces in the linguistic landscape through a comparison of hippie and punk concert posters. After a general introduction, some definitions and an overview on the hippie and punk movements and the posters they produced, the article introduces the methodology employed, which consisted of both an analysis of the lettering used in hippie and punk posters and a survey carried out among a sample of students at Universiti Malaya (Kuala Lumpur). This is followed by an analysis and a discussion of the data, which have led to two main findings: not only were the antithetical ideas behind these two youth movements portrayed through the specific lettering and fonts used, but the latter feature specific traits that may be linked to our mental processes and possibly our limbic system, the most primordial part of our brain. [ABSTRACT FROM AUTHOR]

We are surrounded by typography--on billboards, aluminum cans, pill bottles, and pixelated screens--but artists and art teachers, seeking out the materiality of their lived environments, should be able to look at text in different ways. Many artists utilize letterforms as a medium of juxtaposition and recontextualization (Gude, 2004) by placing text in places we don't expect to see it, or they subvert the messages we expect to read. Typographic interventions can be seen everywhere, by all types of artists, makers, activists, and dissidents. These interruptions could be framed as forms of socially engaged art (Helguera, 2011; Mueller, 2020) that "suspend the flow of everyday life" (Spector, 2013, p.15). At times, these works offer a respite, a re-collection, and/or valuable critiques of the communities they inhabit (Helguera, 2011). This essay invites art educators to utilize letterforms as a material of provocation and interruption. The author sketches a few brief histories of typographic interventions, offers a few provocations for art educators, and provides some examples of student work as they respond to the proposition: Use letterforms to subvert a public space in a positive way. [ABSTRACT FROM AUTHOR]

Typeface use by political campaigns is itself a form of political communication intended to convey meaning. Through interviews with graphic design practitioners and a content analysis of 908 candidate logos used in the 2018 U.S. Midterm Elections, we demonstrate that typeface selection expresses information about candidates. Interviews explore the processes by which designers choose typefaces to convey personality traits while adhering to standards of legibility and consistency. A content analysis affirms the qualitative findings, demonstrating that partisanship, competitiveness, sex, and incumbency all predict variance in typeface family selection, with significant differences more common in first names. Republicans are likelier to use serif typefaces than sans serifs relative to Democrats, particularly as race competitiveness increases. Female candidates are likelier to use script or handwriting, and males are likelier to use slab serifs. Together, our findings offer empirical evidence of contemporary practices in political typography and graphic design activities. [ABSTRACT FROM AUTHOR]

Copyright of Al-Ameed Journal is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)