Search

In the present study, we introduce parafoveal letter confusion matrices for the Russian language, which uses the Cyrillic script. To ensure that our confusion rates reflect parafoveal processing and no other effects, we employed an adapted boundary paradigm (Rayner, 1975) that prevented the participants from directly fixating the letter stimuli. Additionally, we assessed confusability under isolated and word-like (crowded) conditions using two modern fonts, since previous research showed that letter recognition depended on crowding and font (Coates, 2015; Pelli et al., 2006). Our additional goal was to gain insight into what letter features or configurational patterns might be essential for letter recognition in Russian; thus, we conducted exploratory clustering analysis on visual confusion scores to identify groups of similar letters. To support this analysis, we conducted a comprehensive review of over 20 studies that proposed crucial properties of Latin letters relevant to character perception. The summary of this review is valuable not only for our current study but also for future research in the field. [ABSTRACT FROM AUTHOR]

Copyright of Stratum Plus Journal is the property of P.P. Stratum plus 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 influence of fonts in marketing education may be underestimated as font usage/selection may benefit both department programs and courses in terms of attracting students and enhancing student learning outcomes. Across four studies, this research examines the effects of handwritten fonts on student inferences from course information. A course description presented in handwritten fonts appears more interesting than information in regular fonts. As a result, students like a course more and show more favorable behavioral intentions when it is described in handwritten fonts. Consistently, handwritten fonts improve recalling performances and student engagement in class activities, further indicating that they attract learners. Implications for understanding the effects in the contexts of student recruitment, course presentation, and pedagogical practice are discussed. [ABSTRACT FROM AUTHOR]

Aim. Past research points to an effect of fluency on metacognitive judgments of learning (JOLs). The current study aims to re-examine the effect of font fluency manipulation onjudgments of leaming. Method. Participants (N= 41) were presented sets of words in a sans-serif font and a script font, and tasked to mark words perceived as difficult, being told the marked words could be later restudied. After a filler task, there was no restudy session, participants instead took a recall test. Data was collected on the amount of words marked for restudy in either condition, the amount of words recalled from either condition, and words both marked for restudy and later successfully recalled from either condition. Results and discussion. Participants marked script font words for restudy more frequently than sans-serif font words, while no differences in recall were found. Thus, a metacognitive illusion was shown. Study results cohere with past research in the field. Cognitive value. Beyond a replication of a classic experimental design, the article reviews the subject of metacognition and experiments involving JOLs. A need is stated for new study designs that address mentioned issues and some best practices are suggested. [ABSTRACT FROM AUTHOR]

The goals set in the creation of the "Calligraffiti" font are to go through all the stages in the work process: from research, preparatory sketches, synthesizing the shape of the letter, digitization, to a final version ready for use in graphics software and word processing programs. The starting points for the “Calligrafiti” font are to be different and dynamic, but at the same time to maintain its legibility. Therefore, the typeface has a constant slope to the left, written with a writing angle of about 30 degrees. The letters are written with a flat brush that leaves a characteristic texture, thus achieving a dynamic and expressive look. The construction of the letters follows the calligraphic tradition in Europe, and the connection with graffiti is the inverted slant of the inscriptions (tags) characteristic of the subculture. [ABSTRACT FROM AUTHOR]

Previous research has shown the importance of font type, size, and spacing to facilitate text reading in dyslexia. Great heterogeneity in the population of readers with specific learning disorders suggests that personalized parameters should be preferable compared to one-fits-all ones. A special automatized procedure was designed to select the most favorable parameters for both text visualization and text-to-speech conversion. A total of 78 primary and middle school students (29 typical readers, 49 children with atypical reading skills, either diagnosed as specific reading disorder or as special learning needs) took part in this study, which included the application of the procedure and a validation of its outcomes through a systematic comparison of the use of the personalized versus standard fonts and voices in reading and writing tests. The results show a significant advantage for the personalized parameters. Moreover, in the case of text-to-speech personalization, the advantage is significantly larger for dyslexic readers than for typical readers. These results confirm the usefulness of a personalization approach in providing support to facilitate learning in dyslexic students. [ABSTRACT FROM AUTHOR]

Copyright of Espacio, Tiempo y Forma: Serie I, Prehistoria y Arqueología is the property of Editorial UNED 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.)

he aim of this study was to investigate font change blindness based on text difficulty in the “Moving Window Task”, as originally introduced by McConkie and Rayner(1975). During the reading process where the moving window was applied, different target words in terms of font style compared to the text were presented. As participants' gaze reached the position of the target word, the font of the target word was changed to match the text font. The font of the target word before the change was either sans-serif when the text font was serif, or serif when the text font was sans-serif. After completing the reading task, more than half of the participants(62.5%) reported not detecting the font change. Observation of eye movements at the target word positions revealed that when understanding the content within the text was difficult, there was an increase in the number of regressions, an extended gaze duration, and a reduction in saccade length. Specifically, the increase in the number of regressions was evident only when the text font was serif, in other words, when the font of the target word shifted from sans-serif to serif. These results suggest that sensory interference unrelated to content understanding is not easily detected during reading. However, the possibility of detection increases when comprehension of the content becomes challenging. Furthermore, this exceptional detection possibility implies that it may be higher when the text font is serif compared to when it is sans-serif. [ABSTRACT FROM AUTHOR]

The article examines the problems of calligraphy training in the context of artistic and graphic competence during the training of future teachers. The main problems related to the insufficient preparation of the teacher for the formation of artistic and graphic skills are identified, namely the absence or a small number of hours, devoted to the study of such educational components as «Calligraphy», «Drawing», «Art graphics», lack of explanatory work from the scientific and pedagogical staff of higher education institutions about the importance of artistic and graphic skills. A characterization of the components of the artistic and graphic training of future teachers was carried out, in which the mastering of calligraphy skills by students was identified as a key aspect. The components of calligraphy training are characterized, including mastering the basics of fonts, developing the muscles of the arm and hand, learning the correct posture of the arm and body, using various materials for writing, training hand motility, learning the elements of calligraphy, creating and analyzing calligraphy samples. The article examines the font as the basic unit of calligraphy and font composition as the art of creating harmonious and aesthetically balanced layouts using different fonts. The main methodical components of the study of fonts are outlined and some methodical techniques are proposed for teaching future teachers the basics of creating a font composition. As a result, the value of calligraphy training of future teachers for their professional activities was determined, in particular, improving the quality of teaching writing for 1st grade students, ensuring the writing culture of students, developing and supporting the speaking skills of education seekers, ensuring a creative approach, increasing the general aesthetic level of the personality of the future teacher, diversification of methods of working with students in classroom and extracurricular activities. [ABSTRACT FROM AUTHOR]

Tree source-sink ratio has a predominant and complex impact on tree performance and can affect multiple physiological processes including vegetative and reproductive growth, water and nutrient use, photosynthesis, and productivity. In this study, we manipulated the branch level source-sink ratio by reduction of photosynthetic activity (partial branch defoliation) or thinning branch fruit load early in the growing season (after fruit set) in pistachio (Pistacia vera) trees. We then characterized the leaf photosynthetic light response curves through leaf aging. In addition, we determined changes in leaf non-structural carbohydrates (NSC) and nitrogen (N) concentrations. In leaves with high source-sink ratios, there was a gradual decrease in maximum net photosynthetic rate (ANmax) over the growing season, while in branches with low source-sink ratios, there was a sharp decline in ANmax in the first two weeks of August. Branches with high-sink showed an upregulation (increase) in photosynthesis toward the end of July (at 1,500 growing degree days) during the period of rapid kernel growth rate and increased sink strength, with ANmax being about 7 mmol m-1 s-1 higher than in branches with lowsink. In August, low source-sink ratios precipitated leaf senescence, resulting in a drastic ANmax decline, from 25 to 8 mmol m-1 s-1 (70% drop in two weeks). This reduction was associated with the accumulation of NSC in the leaves from 20 to 30 mg g-1. The mechanisms of ANmax reduction differ between the two treatments. Lower photosynthetic rates of 8-10 mmol m-1 s-1 late in the season were associated with lowerN levels in high-sink branches, suggesting N remobilization to the kernels. Lower photosynthesis late in the season was associated with lower respiration rates in low-source branches, indicating prioritization of assimilates to storage. These results can facilitate the adaptation of management practices to tree crop load changes in alternate bearing species. [ABSTRACT FROM AUTHOR]

Previous research has shown the importance of font type, size, and spacing to facilitate text reading in dyslexia. Great heterogeneity in the population of readers with specific learning disorders suggests that personalized parameters should be preferable compared to one-fits-all ones. A special automatized procedure was designed to select the most favorable parameters for both text visualization and text-to-speech conversion. A total of 78 primary and middle school students (29 typical readers, 49 children with atypical reading skills, either diagnosed as specific reading disorder or as special learning needs) took part in this study, which included the application of the procedure and a validation of its outcomes through a systematic comparison of the use of the personalized versus standard fonts and voices in reading and writing tests. The results show a significant advantage for the personalized parameters. Moreover, in the case of text-to-speech personalization, the advantage is significantly larger for dyslexic readers than for typical readers. These results confirm the usefulness of a personalization approach in providing support to facilitate learning in dyslexic students.

Lampung script fonts, in general, can only be used for typing on a computer system and have not been developed for typing on Android-based smartphones. Therefore, efforts to modernize and build typing using Lampung script for smartphone needs are very much needed on mobile phones so they can be used flexibly. This research makes a virtual keyboard / android keyboard application that can do typing using Lampung script. The virtual keyboard layout is designed by adopting several layouts found on the QWERTY keyboard by displaying all Aksara letters on one virtual keyboard display and grouping Aksara letters in a more attractive composition. To test the Lampung virtual keyboard script, the researchers used the usability testing method, namely aspects of effectiveness, efficiency, and user satisfaction, by 25 respondents. Through this test, an assessment of the effectiveness of the typing test on the success rate of respondents in doing the task was obtained, which was 75%. Evaluation of the typing efficiency aspect using time calculation gets the average result on the WPM score analysis, which is 34 WPM. This result is still below the average typing speed of people, which is 38 WPM. Testing on the aspect of user satisfaction using the system usability scale (SUS) method gets a SUS value of 76, and this result is included in the Acceptable/Good category Acceptable/Good so that users can type Lampung script through Android phones. The conclusion is that it can produce an optimal, efficient virtual keyboard layout and provide comfort for the user while using it with Android. It also could introduce the Lampung script to the younger generation.

Purpose: Patients with low vision are generally recommended to use the same fonts as individuals with normal vision. However, we are yet to fully understand whether stroke width and serifs (small ornamentations at stroke endings) can increase readability. This study's purpose was to characterize the interaction between two factors (end-of-stroke and stroke width) in a well-defined and homogenous group of patients with low vision. Methods: Font legibility was assessed by measuring word identification performance of 19 patients with low vision (autosomal dominant optic atrophy [ADOA] with a best-corrected average visual acuity 20/110) and a two-interval, forced-choice task was implemented. Word stimuli were presented with four different fonts designed to isolate the stylistic features of serif and stroke width. Results: Font-size threshold and sensitivity data revealed that using a single measure (i.e., font-size threshold) is insufficient for detecting significant effects but triangulation is possible when combined with signal detection theory. Specifically, low stroke contrast (smaller variation in stroke width) yielded significantly lower thresholds and higher sensitivity when a font contained serifs (331 points; d’ = 1.47) relative to no serifs (345 points; d’ = 1.15), E(μsans, low − μserif, low) = −14 points, 95 % Cr. I. = [−24, −5], P(δ > 0) = 0.99 and E(μserif, low − μsans, low) = 0.32, 95 % Cr. I. = [0.16, 0.49], P(δ > 0) = 0.99. Conclusion: In people with low visual acuity caused by ADOA, the combination of serifs and a uniform stroke width resulted in better text legibility than other combinations of uniform/variable stroke widths and presence/absence of serifs.

This study aimed to examine role of fonts as a vehicle in linking identity to perception of selected brands. Fonts are crucial constituent in the entire gamut of visual communication of brands. They communicate a brands' identity through two means: explicit and implicit. Explicit aspect consists of physical dimensions such as weight, contrast, stress, x-height etc. Implicit aspect implies semiotics exuded by fonts formed at sub-conscious level and vary with change in identity a brand intends to communicate. The examination of symbiotic relationship connecting specific dimensions of font evaluated on basis of their ability to make text more readable and attractive with specific semiotics and how does such association vary with brand identity was the main focus of this study. This was achieved by conducting two experiments. Secondly, influence of explicit and implicit means of communication on linking identity with perception was examined through mediation analysis. Results showed direct effect of explicit aspect to be significantly reduced with inclusion of semiotic impact emphasizing importance of their congruency. Such inference is important in logo design, as it indicated that a brand communicating a message should use font with specific dimensions reflecting particular semiotics so as to influence customers' perception of brand favourably. [ABSTRACT FROM AUTHOR]

Fin dall’invenzione della stampa, i caratteri tipografici tendono a riprodurre i grafismi tipici di due procedimenti di scrittura legati alla manualità: il maiuscolo delle iscrizioni su pietra e il minuscolo della calligrafia umanistica. La tipografia nasce con un “peccato originale” che numerosi trattatisti si preoccupano di legittimare mediante rigorose costruzioni geometriche a supporto del progetto grafico di ogni lettera. Dal Rinascimento al Novecento l’evoluzione degli stili e delle tecniche di stampa è lenta, e perfino le avanguardie figurative hanno proceduto per piccoli passi: il design tipografico è un’arte conservatrice, preferisce emulare o perfezionare le esperienze pregresse piuttosto che innovare. Negli anni Sessanta del XX secolo la fotocomposizione smaterializza le tecniche di incisione e fusione, inducendo alcuni designer a sperimentare forme facilmente adattabili al sistema riga-colonna. Vent’anni dopo, la rivoluzione del PostScript e la diffusione di software vettoriali basati su curve spline riavvicinano il disegno dei caratteri alla manualità. Ibridando tradizione e sperimentazione, il font design si apre alle innumerevoli possibilità offerte dai new media.

Aim: It is a long-lasting dispute whether serif or sans serif fonts are more legible. However, different fonts vary on numerous visual parameters, not just serifs. We investigated whether a difference in word identification can be attributed to the presence or absence of serifs or to the contrast of the letter stroke. Method: Participants performed a word-recognition two-interval, forced-choice task (Exp. 1) and a classic lexical decision task (Exp. 2). In both experiments the word stimuli were set with four new fonts, which were developed to isolate the stylistic features of serif and letter-stroke contrast. Two measures (i.e., font-size threshold & sensitivity) were analysed. Results: The threshold measure of both experiments yielded a single significant main effect of stroke contrast such that low stroke contrast elicited lower than high stroke contrast. The sensitivity measure of Experiment 1 yielded a single significant effect of the interaction between serifs and stroke contrast. Specifically, at the sans-serif level, low stroke contrast revealed better sensitivity, relative to high stroke contrast. At the serif level, the opposite stroke contrast pattern was observed. Conclusion: Sans serif fonts with low stroke contrast yield better performance and if a serif font is used, high stroke contrast yields better performance than low stroke contrast. Limitations and future directions are discussed.

Most text on modern electronic displays is set in fonts of regular letter width. Little is known about whether this is the optimal font width for letter recognition. We tested three variants of the font family Helvetica Neue (Condensed, Standard, and Extended). We ran two separate experiments at different distances and different retinal locations. In Experiment 1, the stimuli were presented in the parafovea at 2° eccentricity; in Experiment 2, the stimuli were presented in the periphery at 9° eccentricity. In both experiments, we employed a short-exposure single-report trigram paradigm in which a string of three letters was presented left or right off-centre. Participants were instructed to report the middle letter while maintaining fixation on the fixation cross. Wider fonts resulted in better recognition and fewer misreadings for neighbouring letters than narrower fonts, which demonstrated that wider letter shapes improve recognition at glance reading in the peripheral visual view. Practitioner summary: Most of the text is set in fonts of regular letter width. In two single-target trigram letter recognition experiments, we showed that wider letter shapes facilitate better recognition than narrower letter shapes. This indicates that when letter identification is a priority, it is beneficial to choose fonts of wider letter shapes. [ABSTRACT FROM AUTHOR]

The current study aims to test the assumption that a specially designed Cyrillic font, LexiaD, can assist adolescents with reading problems and facilitate their reading experience. LexiaD was compared with the widely used Arial font. Two groups of adolescents with dyslexia ( N = 34) and without dyslexia ( N = 28) silently read 144 sentences from the Russian Sentence Corpus (Laurinavichyute et al., 2019), some of which were presented in LexiaD, and others in Arial, while their eye movements were recorded. LexiaD did not show the desired effect for adolescents at the beginning of the experiment: Arial outperformed it in reading speed in both participant groups. However, by the end of the experiment, LexiaD showed a better performance. Although the speed of the higher-level cognitive processing (e.g., lexical access) in both fonts did not differ significantly, the feature extraction was found to be better in LexiaD than in Arial. Thus, we found some positive effect of LexiaD when participants with and without dyslexia got accustomed to it. A followup study with an explicit exposure session is needed to confirm this conclusion. [ABSTRACT FROM AUTHOR]

To understand the reading process, it is necessary to explore the mechanisms of visual word recognition. The basic level of that recognition is the processing of letters, their size and visual identity. The specificity of the Serbian language is characterized by the parallel use of two alphabetic systems -- Latin and Cyrillic, which contain a number of common, but also their own unique letters. Since some of the differences between the fonts are based on visual specific aditions at the end of letter's lines, there is also a significant contribution of fonts in letter recognition and reading. The main goal of this study is to examine the effect of font type on the processing of Latin and Cyrillic words. The aim was also to examine the effect of letter degradation on the word processing in these two alphabetic systems. The study included two experiments with Latin and Cyrillic words written in lowercase and uppercase. Participants were 221 students from the University of Banja Luka. Three factors were varied in both experiments: alphabet, "visual availability" (which refers to the visibility of words after degradation), and font type. Two analyses were performed ANOVA by subject (F1 analysis) and ANOVA by item (F2 analysis). Results show that there is a main effect of visual availability on processing speed of words. Visual degradation has slowed reaction time, but this effect is not the same in Latin and Cyrillic words. Significant interaction of font and alphabet is confirmed only in F2 analysis, so these results have limited validity. This study also revealed differences between lowercase and uppercase. Degradation of lowercase was more detrimental that degradation of uppercase. The obtained results indicate that word processing in two alphabetic systems can be partly explained by the visual characteristics and grapheme structure of their letters. [ABSTRACT FROM AUTHOR]

This paper is aimed to analyse font and colour as non-verbal and paralingual components which have the capacity to influence and manipulate recipients of a message. On the basis of an extensive body of illustrative material, it has been established that by the use of colour variation, a single text fragment may be interpreted in several different ways, and may also be perceived differently by men and by women. It is demonstrated that colour and font characteristics are not exclusively graphic shells whose function is merely to record an oral statement in writing. They are semantically significant and multifunctional. It has been determined that font and colour are form-creating elements, which make possible the graphic reproduction of objects in everyday use, objects relating to reality and actuality. Variation in font and colour enable us to hypothesize that the mass media communication space is now characterized by a type of linguistic play utilizing these traits so as to render possible the projection of multiple-reading promotional texts. They also permit an economy in terms of space because of the fact that font techniques can perform formative and content functions simultaneously. Based on an experiment involving 60 participants, 30 of whom were male and 30 female, it was found that the information encoded in colour and font graphics shells is not difficult to perceive and to decipher. However, the survey found that women are more likely to perceive that information, although the difference in perception is not striking. When asked whether a sample of illustrative material stirred an appetite by using stylized fonts consisting of foods to convey a food-related message, 74 % of men and 37% of women in both articles answered in the positive, which in our study confirms the claim that food advertising promotes appetite arousal. The study also showed that most women who read the information perceive it holistically–their attention is not attracted solely by verbal and nonverbal components. On the other hand, only half of the men surveyed saw it as a whole, and almost a third of them initially noticed the verbal components first. Most participants in the experiment claimed that it took them from 5 to 10 seconds to realize that a single message could be read in several different ways. The participants who took part confirm that a single text string can be interpreted in multiple ways due to the font and colour attributes that are utilized in forming them.

This study explores the functions of typography in teenage novels. Typography is a form of multimodality that rarely gains attention. It is considered multimodal because it facilitates the construction of meaning of two modes i.e. written language and its visual presentation. The preliminary stage of this study is an observation on teenage novels, which revealed the use of a combination of standard computer-produced fonts and ornamental hand-writing like fonts in their pages. Therefore, the study aims to elaborate the functions of typography found in these teenage novels. The data analyses were conducted using Stöckl's framework in typography analysis, which posit that based on its position in the text, typography can occupy different domains of microtypography, mesotypography, and macrotypography. Further, the different forms of typography found in these levels will be elaborated based on the functions relative to the main plot of the story in the novels. The result of the study will provide insights on the functions of the typography for the possible reading mechanism of teenage novels. [ABSTRACT FROM AUTHOR]

The article deals with the issue of studying the art of calligraphy as a branch of graphic and font design in institutions of higher art education. It is established that the art of calligraphy is taught in the most higher art institutions of Ukraine according to the “Font” curriculum, which provides the general picture of calligraphy. However, in some institutions of higher education the subject of “Calligraphy” is taught as a separate one, which makes it possible to pay a lot of attention to in-depth study of writings. Some aspects and specifics of teaching the subject “Calligraphy” in higher educational institutions of art (specialization “Graphic Design”) are highlighted. The teacher’s consistent work on students’ mastery of calligraphic writing is: to study calligraphic scale and make copies of various historical samples of calligraphic writing styles in handwriting (Cyrillic alphabet, Latin, historical cursive), to create calligraphic text composition, compositional and figurative illustration of the work, to make an art-book and author’s font. The presented methodical advice helps students to form the ability to comprehensively solve problems, which further realizes the ability to understand the stages of creating modern Ukrainian fonts taking into account the historical features of Ukrainian writing and prepares future graphic design professionals for project activities. The main tendencies of the art of calligraphy at the present stage and means of use in design practice are revealed. Methodological recommendation of how to organize calligraphy lessons is proposed. Some examples of students’ tasks on various topics are presented, which illustrate the dynamics of students’ development in mastering calligraphy at different stages. The described system of calligraphy lessons can be used in the practice of teaching in specialized art and aesthetics secondary schools, secondary art education institutions, art colleges, children’s art centres and other educational institutions [ABSTRACT FROM AUTHOR]

Subjective preferences for visual qualities of shapes and fonts have been separately reported. Such preferences are often similarly attributed to factors such as aesthetic impressions, attributed meaning from the visual properties, or processing fluency. Because shapes and fonts were rarely studied together, we investigated whether these qualities had a similar impact on preference judgment of object-word pairs. Each pair consisted of an abstract object with either preferred or disliked shape qualities and a pseudoword with either preferred or disliked font qualities. We found that only shape qualities, but not font qualities, influenced preference ratings of the object-word pairs, with higher preferences for pairs with preferred than disliked shapes. Moreover, eye movement results indicated that while participants fixated the word before the object, their prolonged fixation on the object when first attending to it might have contributed to the preference ratings. Nonetheless, other measures, including response times, total fixation numbers, and total dwell time, showed different patterns for shape and font qualities, revealing that participants attended more to objects with preferred than disliked shapes, and to words with disliked than preferred fonts. Taken together, these results suggest that shape and font qualities have differential influences on preferences and processing of objects and words.

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]

The article discusses the design of the new denominations and their comparative analysis with the compositional point of view. Changing the design of the national currency is linked with the victory in the 44- day war in Nagorno- Karabakh. Thematical and compositional analysis of the old and new banknotes is discussed. The method of semiotic analysis is the influence of ethno cultural development on the perception and comprehension of national self- awareness in matters of integration into the world community through the national currency. The hypothesis of the research is that the visualization of the obverse and reverse of banknotes is based on archetypal semiotic symbols. The achieved result is determined by the fact that the perception of the images of the national currency occurs in the context of information culture. [ABSTRACT FROM AUTHOR]