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Copyright of Grafica: Journal of Graphic Design / Documents de Disseny Gràfic is the property of Universitat Autonoma de Barcelona 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 Grafica: Journal of Graphic Design / Documents de Disseny Gràfic is the property of Universitat Autonoma de Barcelona 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.)

Este artigo traz uma revisão dos métodos aplicados à historiografia da tipografia no Brasil, bem como de literaturas mais recentes que levam em conta estudos de memória gráfica e micro-história como parte da historiografia. A pesquisa que originou este artigo buscou elucidar a história da fundação da Tipografia Hennies Irmãos em São Paulo. A investigação, cuja metodologia inclui o cruzamento de distintas fontes de dados e uma redução na escala de observação, se debruçou sobre os anos iniciais da oficina e as relações sociais pelas quais se inseriu no campo tipográfico paulistano. Relações estas que revelam, por meio das publicações impressas e de documentos, um intenso contato com comunidades de imigrantes que se instalaram em São Paulo, distintas composições societárias, tipógrafos hábeis em diversos idiomas, contatos internacionais com fornecedores de insumos gráficos e fundidoras de tipos. A narrativa resultante, que aborda o início da trajetória dos irmãos Hennies –entre 1891 e 1899 –, foi aqui utilizada como estudo de caso para demonstração dos procedimentos metodológicos como possibilidades de revelar aspectos mais profundos em termos de investigação histórica, contribuindo para uma reflexão do fazer historiográfico no campo da tipografia.

Reseña de La imprenta en Sevilla en el siglo XVII (1601-1700). Eduardo Peñalver Gómez. Sevilla: Editorial Universidad de Sevilla, 2023, 3 vols. ISBN: 978-84-472-3115-7.

This essay seeks to problematize the effect of citation norms on writing, based on Helen DeWitt's novel The Last Samurai. It begins with a reflection on intellectual work and its relation to writing, and then moves on to a reading of DeWitt's novel and comments on its arduous publication process. A process that was contested by the intervention of editors and proofreaders who constantly altered his use of typography in order to standardize it. The aim here, thanks to DeWitt's battle, is to account for the importance of developing a critical imagination for the humanities that puts non-standardized writing and thinking at the center. [ABSTRACT FROM AUTHOR]

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo 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.)

Information design is essential in the context of digital media to ensure clarity in communicating messages and facilitate audience comprehension. Various elements, such as typography, are employed to meet this demand. Typography, understood as the field that studies the history, anatomy, design, and use of typefaces, has undergone significant transformations propelled by advancements in digital tools. One of these transformations has been the implementation of variable fonts, which incorporate different widths, weights, slants, and numerous other variations into a single font file. In light of the foregoing, the present study aimed to identify the impact of variable fonts on information design in digital media and the field of typography. To this end, ten interviews were conducted with type designers and experts in variable fonts operating in different contexts and countries. The interviews were transcribed, and data analysis employed the content analysis method and categorical analysis technique, supported by qualitative data analysis software. As a result, it was possible to delineate the characteristics and attributes of variable fonts that contribute to information design in digital media and their implications for typography, particularly in the practice of type design. [ABSTRACT FROM AUTHOR]

Copyright of Revista 180 is the property of Revista 180 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.)

El presente artículo es producto de una investigación sobre la relevancia de la marcación tipográfica en ítems de razonamiento en contexto verbal y matemático de la Prueba de Aptitud Académica (PAA) de la Universidad de Costa Rica. El objetivo consiste en recabar evidencia sobre la injerencia de la marcación (negrita, subrayado y mayúsculas) en la instrucción de los ítems seleccionados y observar si existen variaciones en las propiedades técnicas cuando presentan o no estas marcas de énfasis. Desde un estudio de tipo exploratorio, con un enfoque cualitativo, se recabó información a partir de entrevistas a un grupo de estudiantes de primer ingreso a la Universidad para el 2019 y se aplicó una prueba piloto con la que se analizó la calidad técnica de los ítems con diferencias de marcación enfática; el detalle con los resultados de esta prueba experimental se prevé en una segunda publicación. El análisis se centró en las partículas “No”, “Falso” “Verdadero” “Con certeza” y “Contradice” y las razones para mantener su marcación, según las personas entrevistadas, obedece a tres razones fundamentales: 1. Es una estrategia para resaltar palabras claves como las negaciones, 2. Clarifica la pregunta o instrucción del ítem, 3. Permite mantener la atención durante la lectura. Los principales resultados muestran que no hay una diferencia significativa entre mantener y eliminar la marcación independientemente del tipo de ítem y de la población, de tal modo que conviene prescindir de su uso para una prueba estandarizada como la PPA.

El estudio busca analizar la capacidad del diseño gráfico para mejorar la actitud inicial de los estudiantes hacia lectura de artículos científicos. La investigación emplea como variable dependiente la configuración visual de estos textos, a partir de diferentes categorías visuales (personalidad tipográfica, legibilidad, contraste y composición) que se utilizan para diseñar ad hoc cinco pares de reactivos y, como variable independiente, la preferencia. Con una metodología basada en un panel de expertos y una encuesta cuantitativa, las conclusiones revelan un importante vínculo entre la calidad del diseño gráfico de los artículos y la aceptación de los usuarios.

En este estudio se propone un reajuste de los procedimientos metodológicos de la Lingüística de corpus, a nuestra especialidad, para reunir la terminología de un diccionario ilustrado de Diseño Gráfico y Tipografía. Con este enfoque se perfila nuestra propuesta metodológica, se estructura un árbol de campo temático de la disciplina para emplazar las voces técnicas, y se definen los criterios para la recopilación del corpus de vaciado, desde donde se han detectado y extraído las entradas léxicas, conformando así la nomenclatura del diccionario.

Este artículo estudia la relación entre la tipografía y los procesos de apropiación de la identidad en un territorio en particular, como resultado del desarrollo de su cultura visual. El estudio se enfoca en un análisis de caso específico, el desarrollo de la tipografía Granaína. Se profundiza en su origen gráfico, basado en la cerámica autóctona de Granada, que inspiró la creación de sus formas tipográficas. Además se describen los procesos de diseño y difusión de la tipografía estructurados en un análisis sintáctico, semántico y pragmático que finaliza con la reflexión sobre las aplicaciones que se sucedieron tras su distribución con una licencia gratuita de libre uso (Creative Commons).

Este breve estudo tem como foco a exploração da figura da aranha, utilizada por Salette Tavares em “Aranha” (1963), e posteriormente em “Aranhão” (1978) e “Borboleta de Aranhas” (1979), como um modelo especulativo para compreender aspetos de espacialização na poética da autora. Estas três obras são analisadas como três momentos de uma mesma imagem, numa espécie de aproximação progressiva da figura de “Aranha”, tal como é sugerido pelos processos acumulativos de reprodução destas obras, e pela redimensionalização/multiplicação da imagem tipográfica do poema de 1963. Ainda, por meio desse mesmo modelo especulativo, este trabalho dedica-se aos poemas espaciais “Maquinin” (1963-2010, 1965) e “Porta das Maravilhas” (1979), utilizando-se da lógica da tessitura aracnídea como base para explorar os efeitos poéticos dos materiais escolhidos e dos arranjos tridimensionais destas obras. Em todas as leituras são destacados os fenómenos de consubstanciação, através dos quais Salette Tavares ratifica sua visão a respeito da indissociabilidade entre forma e conteúdo de forma irremissível.

El trabajo de investigación que se presenta es un acercamiento a tres grandes recursos gráficos de la sociedad post digital; hablamos de la fotografía, la ilustración y la tipografía. Entre los objetivos principales se muestra un recorrido histórico para entender la longevavida de estos medios, su pervivencia y continua adaptación a los tiempos. La enumeración de algunos de los grandes hitos nos sirve para explicar su continua adaptación a los medios, a la tecnología y a la sociedad en general en un mundo globalizado donde la imagen tiene un poder persuasivo exacerbado. Sin duda, las imágenes, la publicidad y los anuncios que se han ido generando en momentos determinados de la historia actual son muy ilustrativos del protagonismo de estos en el desarrollo de grandes acontecimientos, quedando pues, con el paso de los años, una imagen residual vinculada al hecho en sí. Mostraremos algunos ejemplos concretos que han superado la función inicial para la que fue creada la imagen, la ilustración o la tipografía. Como conclusión, se insiste en la relevancia de estos recursos en la cultura visual actual hasta la era post digital, explicando cómo se insertan y conviven en los soportes y medios de comunicación de nuestro presente inmediato. Abstract The research work presented here is an approach to three major graphic resources of the post-digital society: photography, illustration, and typography. The main objectives include a historical journey to understand the long life of these media, their survival and continuous adaptation to the times. The enumeration of some of the major milestones explains their continuous adaptation to the media, technology, and society in general in a globalized world where the image has an exacerbated persuasive power. Undoubtedly, the images, publicity, and advertisements that have been generated at specific moments in history today are very illustrative of the leading role they have played in the development of major events, leaving, over the years, a residual image linked to the event itself. We will show some specific examples that have gone beyond the initial function for which the image, illustration, or typography was created. In conclusion, we will insist on the relevance of these resources in today's visual culture up to the post-digital era, explaining how they are inserted and coexist in the supports and media of our immediate present.

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 Aura. Revista de Historia y Teoría del Arte is the property of Aura Revista de Historia y Teoria del Arte 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.)

Through the analysis of the Almanak de Piracicaba para 1900, printed by the Hennies Brothers Letterpress Printing Shop, this article seeks to understand how commercial advertisements were made at the turn of the nineteenth to the twentieth century. The collection and cataloging of typefaces used in the composition of these ads has assisted in investigating their visual styles and comparing these ads with each other, as well as contributed to the study of the Hennies Brothers Letterpress Printing Shop and São Paulo graphic memory as a whole. [ABSTRACT FROM AUTHOR]

The paper presents the Dingbats Baía Formosa project, a university extension activity proposed by the Design and Geography Departments of the Federal University of Rio Grande do Norte (UFRN). The project proposes to use dingbat fonts as a tool in the participatory social mapping process. The study investigates two hypotheses: a) the use of previously designed symbols can contribute to the dynamics of theoretical-practical workshops to support the development of social maps, and b) the implementation of such symbols as dingbat fonts can facilitate mapping in geographic information systems (GIS) software. The project resulted in the elaboration of five fonts representing the elements of the culture of Baía Formosa/RN. It was found that the production of dingbats can facilitate the development of social maps and their implementation in specialized software. [ABSTRACT FROM AUTHOR]

Copyright of Diálogo com a Economia Criativa is the property of Dialogo com a Economia Criativa 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 aim of the research was to modernize the typographic cultural heritage, which was an integral part of our ancestors' living culture, i.e. embroidered wall tablecloths that adorned many households from the late 19th and to the second half of the 20th century. We analysed rare preserved embroidered wall tablecloths from the Podravina area in Croatia. For modern use, we designed a digitized typeface based on hand-embroidered letters on preserved tablecloths. The digitization process consisted of several phases: collecting embroidered tablecloths, photographing and measuring them, structural and typographic analysis, determining parameters for typeface design, the design and digitization, making appropriate metrics for modern use. From 20 samples, three were chosen with the most aesthetic and best quality embroidered letters. Numerous capital letters, digits and non-letter signs that were not found on the analysed wall tablecloths were designed by us. Stylistically, all letter and non-letter characters were unified. The most time-consuming was the coordination of linking strokes between letters, for the empty spaces between the letters in words being optically equal. The digitization of school handwriting was a demanding job. In the newly designed kitchen towels, we wanted to convey some elements from the life, habits and values of our ancestors. [ABSTRACT FROM AUTHOR]

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo 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.)

A prática projetual do design é embasada por diferentes áreas do conhecimento, como a tipografia, que pode ser definida como a criação e utilização de símbolos ortográficos e paraortográficos. Os estudos relacionados à área podem assumir diferentes abordagens, tais como design com tipos, design de tipos, tipos vernaculares, histórico da área e resgate da memória gráfica e ensino da tipografia. Assim, o presente artigo objetivou mapear e analisar a produção acadêmica acerca da tipografia nas pesquisas brasileiras. Para tanto, realizou-se uma análise bibliométrica a partir do Banco de Teses e Dissertações da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior a fim de visualizar padrões e o desenvolvimento da pesquisa em tipografia. Como resultado foi possível demarcar abordagens consolidadas, como o design com tipos e o resgate da memória gráfica, e indicar temas incipientes que podem apontar potenciais eixos de pesquisas inéditas e relevantes, como tipos vernaculares, design de tipos e ensino da tipografia.

No século inaugural da imprensa, o novo comércio do Livro potenciou o desenvolvimento de um setor que floresceu com incentivo régio e que cedo careceu de regulamentação, face a um novo ritmo de produção livreira. Neste contexto, surgiram os privilégios de impressão e venda de livros, que instituíam uma «lei privada» atuando em favor de um suplicante – o autor, o impressor, o livreiro ou o editor do livro – que garantia um exclusivo de impressão e de venda da obra impressa com privilégio. Ao longo do século XVI foram outorgadas centenas de privilégios em Portugal, impulsionando um sistema de petição e concessão de privilégios, que constituíram diferentes categorias. No presente artigo, apresentamos as principais características deste sistema e o impacto que a exclusividade de impressão de livros teve na carreira de um célebre tipógrafo português do século XVI, António de Mariz.

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 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.)

In this article, we investigate typography as a multimodal resource present in the digital game Peggle Blast (2014), aiming to point out its potential meanings as a semiotic resource and its possible contribution to the understanding of gameplay through the integration of this and the other semiotic resources that make up the images of the mentioned game. We captured two prints and submit them to a descriptive and interpretive analysis based on introductory notions about multimodality (KRESS, 2010; KRESS & VAN LEEUWEN, 2006), social semiotics (KRESS, 2010), digital games (JEWITT, 2005; GEE, 2005) and the typographic characteristics presented by Van Leeuwen (2006) and Serafini and Clausen (2012). The analyzes showed the potential of typography as a communicative semiotic resource present in digital games and its contribution to the construction of meaning beyond the written verbal text. As a pedagogical implication, we point out possibilities that this resource, when explored, may contribute to the teaching of English. [ABSTRACT FROM AUTHOR]

Founded in Rio de Janeiro, the company C. Fuerst & Cia began its journey in 1920 with great emphasis on its work in the graphic and typographic field, the main focus of this research. The historical study demonstrates the importance of C. Fuerst in importing machinery for the graphic arts, with emphasis on offset printers, in addition to its contribution in the typographic area by representing the material of the German foundry D. Stempel and bringing up the conceptualization of modern types. Having Funtimod – Fundição de Tipos Modernos as the main reference in the field of typography in Brazil in the 20th century, we propose to place the typographic collections of the company and the foundry side by side, making a survey of similarities and differences. Through this, we conclude that only the studied foundry has a collection consistent with modernity of the time. [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 Revista História da Educação is the property of Historia da Educacao 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 Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro 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 Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro 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.)

El diseño de tipos de letra es una actividad que puede ir más allá de la mera creación de nuevas formas para proveer a un mercado cada vez más saturado de fuentes tipográficas. Como actividad especializada, la tipografía y el diseño de tipos puede contribuir a un diálogo más integrador en el marco de nuestra sociedad global. Typecraft Initiative es un proyecto donde el diseño tipográfico y el dibujo de letras pretenden dar visibilidad a la expresión popular que se manifiesta a través de la artesanía. Pero no se trata solo de diseñar tipografía, sino de empoderar a las comunidades artesanas, fomentar la creatividad, el trabajo colaborativo y brindar un sentido de autoría a las personas que participan en los procesos de diseño.

In this article, I have sought to understand the foundation of a bookshop and a typography press as part of a broader cultural and commercial project, which involved marital and mercantile networks amongst families from several regions of southern America. By reconstructing some aspects of the trajectory of a bookseller-printer named Guilherme Echenique and of his family networks, I analyze the meaning of the emergence of the book industry to a lineage that has long been familiar with other productive and commercial transactions. Located in the south part of the state of Rio Grande do Sul, in the late 19th century, the enterprise invested in book merchandising precisely in a context of intense changes in traditional lifestyles associated with the countryside and of broader changes in society. The relationship between the bookseller-printer and the local political elite, composed mainly of ranchers’ sons, heirs of the decadent charqueadas, occurred through the sharing of cultural interests concerning gaucho matters that established a common way of thinking about the lifestyle in the south of the state.

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.

Il presente studio esplora il contatto tra architetti modernisti catalani e la produzione di libri, sotto il punto di vista specifico del lettering di ispirazione medievale. L’indagine permette di approfondire le modalità di rielaborazione delle forme medievali durante il Modernismo, condivise anche dal restauro «in stile» alla maniera di Viollet-le-Duc e argomento spesso trascurato in quanto considerato una sfortunata inflessione del gusto. Allargando invece lo sguardo al contesto generale e alle fonti d’ispirazione, vediamo che tale rielaborazione risponde a una necessità di rigenerazione sociale e comunitaria, che si riflette anche nella parallela riscoperta dei manoscritti medievali e nel restauro del Monastero di Ripoll. Esaminando lo stato della paleografia dell’epoca, troviamo che le illustrazioni dei testi paleografici e il design degli architetti condividono l’ibridazione tra filologia e creatività artistica. Allo stesso tempo, la produzione di lettere goticheggianti da parte della tipografia editoriale mostra i contatti tra l’estetica medievalista e l’industria. Segue l’analisi delle esperienze di lettering degli architetti Lluís Domènech i Montaner, principale punto di contatto tra architettura ed editoria ed esploratore di numerosi stili di lettering medievale, Camil Oliveras i Gensana, che giunse a una sintesi tra forme medievali e moderne, Josep Vilaseca i Casanovas, collaboratore di Domènech, e infine dell’illustratore Josep Pellicer i Fenyé, che utilizzò l’ispirazione medievale insieme ad altre, a seconda delle finalità nella trasmissione del messaggio artistico.

El estudio de nuestro patrimonio bibliográfico teatral áureo encuentra uno de sus mayores problemas al enfrentarse a la asignación de autorías y títulos falsos en sus textos, una práctica habitual en la imprenta del Siglo de Oro que gozó de especial fortuna en el género editorial de las sueltas. Estas circunstancias también se dan en los impresos conservados de Haz bien y guárdate, atribuido a Calderón, y La confusión de un jardín, atribuido a Moreto. Este artículo aborda la tipografía de sus sueltas, su historia textual y sus atribuciones, a partir de las herramientas de la bibliografía material, la crítica textual y la estilometría. Frente a lo que se sabía hasta el momento, nuestros resultados permiten concluir que se trata de la misma obra, transmitida bajo dos títulos y dos autorías, y que su paternidad no le corresponde a ninguno de estos dramaturgos.

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo 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 aim of this study is to analyse the macro and microtypographic variables that condition the editorial quality and accessibility of the linguistic content of a dictionary specialized in graphic design and typography. Using a common file with syntactic, semantic and functional parameters, we studied 20 printed and digital dictionaries published between 1979 and 2022, according to criteria marked by their exemplary value and graphic quality. A possible typology of these dictionaries is proposed, as well as guidelines for the editorial design and didactic performance of this type of publications, in their final stage of digital and printed implementation. [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.)

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Copyright of Grafica: Journal of Graphic Design / Documents de Disseny Gràfic is the property of Universitat Autonoma de Barcelona 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.)

En este estudio nos remontamos al Renacimiento italiano para comprender la génesis de la letra de imprenta Cursiva o Itálica. El origen de estos primeros tipos tiene que ver con la ganancia de espacio en el formato y de tiempo al escribir.Aunque su uso no es el mismo, estos tipos iniciales han evolucionado hasta nuestras tipografías digitales y son los que elegimos como letra Cursiva/Italic en nuestros programas de edición o de composición de textos. Este conocimiento, fruto del estudio de estos y otros referentes contemporáneos, se ha encauzado hacia la creación de dos variantes cursivas de la tipografía Alaia, con los dibujos y el desarrollo preliminar de los alfabetos, volcados en sus muestras tipográficas.

El proyecto bajo el título Safari tipográfico, consiste en un trabajo de investigación fotográfica del alumnado de la asignatura de segundo curso de Diseño Editorial, del Grado en Diseño Digital de la Universidad Internacional de la Rioja (UNIR); con la intención de humanizar el espacio, más allá del aula online. Así como fomentar el diálogo entre el 71 ArDIn. Arte, Diseño e Ingeniería 2021, 10, 70-91 ISSN: 2254-8319 alumnado y su entorno, pues son escasas las ocasiones dónde los alumnos y alumnas tienen la oportunidad de realizar una actividad sin que la herramienta principal sea el ordenador. Los alumnos/as a modo de voyeur con su cámara en mano, se dispusieron a realizar un tour por sus distintas ciudades y localidades, para capturar tipografías de su entorno, realizando un archivo de letras o tipos diferentes. Los objetivos del proyecto se centran en encontrar elementos de inspiración en los rótulos y escaparates que les rodean, realizando una interpretación personal del entorno a la vez que conocen las diferentes clasificaciones tipográficas y descubrir la tipografía como herramienta creativa y artística. Los resultados cualitativos que aportan los participantes denotan que estuvieron comprometidos e interactuaron durante el proceso de captura fotografía y postproducción de las imágenes tipográficas con agrado. La estrategia de comunicación e interacción a través de dichas capturas de imágenes en diferentes ubicaciones, rótulos y escaparates de sus respectivas ciudades, muestran resultados fotográficos interesantes a nivel gráfico y estético. Abstract The project under the title Typographic Safari lies in a photographic research work of the students enrolled in the second course of Editorial Design, of the Degree of Digital Design belonging to the International University of la Rioja (UNIR) with the purposed of humanizing the space, beyond the online lecture room, as well as encouraging the dialogue between students and their environment. There are few occasions where students have the opportunity to carry out an activity without the computer as main tool. The students, as a voyeur with their camera in their hands, got ready to take a tour through their different cities and towns to capture typography of their environment, making a file of different letters or types. The objectives of the Project focus on finding elements of inspiration in the signs and storefronts around them, conducting a personal interpretation of the environment while, simultaneously, they know different typographical classifications and discover the typography as a creative and artistic tool. The qualitative results provided by the participants, denote that they were committed, and they interacted during the process of shot and post-production of typographic images with liking. The communication and interaction strategy through shots in different locations, signs and storefronts, of their respective cities, show interesting photographic results in a graphic and aesthetic level.

The article "Design and Typography to Train Teachers in Art Education" presents the importance of design and typography in the training of teachers in art education. The relevance of these disciplines in the teaching of art is highlighted, and their inclusion in teacher training programs is proposed. Additionally, the need to develop digital skills and promote interculturality in art education is mentioned. The author emphasizes the importance of research in the field of art education and advocates for a pedagogical approach based on art and design. [Extracted from the article]

This paper studies quantitatively the uses of letters h, i, y, x, g, j, depending on their position in the word and taking into account the coincidences and divergences in the four editions mentioned in the title. The thousands of data extracted, now made available to the reader, will allow drawing several conclusions relating the state of Castilian spelling at that time.

La letra entendida como un eje característico y propio del Diseño Gráfico -la disciplina de la comunicación visual- es una realidad esencial y transversal de la cultura y de las culturas, que se convierte en puerta de entrada a tiempos pretéritos y nos permite imaginar futuros posibles. Con el objetivo de despertar el interés por el patrimonio gráfico que nos rodea, nace el ciclo de conferencias Diálogos con la Letra. Un ciclo de carácter interdisciplinario que quiere acercarse a la letra desde todas las perspectivas. El diseño tipográfico, el valor de la letra, la palabra como medio de creación literaria, la evolución de la letra, las otras grafías existentes, letra y marca, letra y territorio, historia de letras y letras a lo largo de la historia, etc. Nace, desde este enfoque, un ciclo de diálogos de carácter anual, en el que la protagonista es la letra percibida por primera vez como un patrimonio y un bien común al alcance de la mirada paseada.

El artículo presenta una reflexión y propuesta sobre la oportunidad de recuperar el estudio de la imagen de las letras en la formación inicial del profesorado de primaria. Se discuten referentes teóricos, se estudia la perspectiva histórica, y se fundamenta la metodología utilizada, de carácter eminentemente cualitativo, incorporando la Investigación Educativa Basada en Artes. El objetivo consiste en analizar hasta qué punto la tipografía puede favorecer la conciencia cultural de profesorado. Se describe un estudio realizado en las aulas de grado de Maestro/a de la Universitat de València. Los resultados revelan que existe un gran potencial en el uso de la tipografía entre futuros docentes, si somos capaces de recuperar la tradición extraviada de la caligrafía como dibujo, actualizándola en función de las necesidades del universo digital.

The aim of this study is to analyse the macro and microtypographic variables that condition the editorial quality and accessibility of the linguistic content of a dictionary specialized in graphic design and typography. Using a common file with syntactic, semantic and functional parameters, we studied 20 printed and digital dictionaries published between 1979 and 2022, according to criteria marked by their exemplary value and graphic quality. A possible typology of these dictionaries is proposed, as well as guidelines for the editorial design and didactic performance of this type of publications, in their final stage of digital and printed implementation. [ABSTRACT FROM AUTHOR]

Taking as an analysis strategy the "counterpoint reading" deployed by the Brazilian critic José Miguel Wisnik in his essay "Machado Maxixe: the Pestaña case", this work develops a "counterpoint" between typography and topography, anchored in the cultural history of the city of Valparaíso, in the middle of the nineteenth century. The analysis focuses on the edition of American Societies in 1828 that Simón Rodríguez published in the city, in 1840, in the printing house of the newspaper El Mercurio, interspersed with descriptions of travelers passing through the city, among them Mary Graham, Charles Darwin, Max Radiguet or Domingo Faustino Sarmiento. From this montage between typography and topography (between the blank space of the page and the space under construction of the city), historical waves of different duration and scope are superimposed and interfere, producing suggestive correlation effects around visual perception in Valparaíso towards the middle of the nineteenth century, correlation effects not necessarily analogical nor necessarily comparable in importance but through which a sensory heterogeneity appears that expresses different perceptual experiences in the city. [ABSTRACT FROM AUTHOR]