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This article discusses a number of examples of liberature works, in which the text and the material form of a book constitute an inseparable whole and the artistic message is transmitted not only through the verbal medium, but also through the author “speaking” via book as a whole, from the perspective of verbal and visual communication. The paper focuses on the following works: Anne Carson’s Nox, Herta Müller’s The Guard Takes His Comb, Zenon Fajfer and Katarzyna Bazarnik’s Oka-leczenie [Eyes-ore], Stéphane Mallarmé’s A Throw of the Dice will Never Abolish Chance, and Radosław Nowakowski’s (including the collection of poems Nieopisanie świata [Non-description of the world]). Verbal expressions of an idea or thought and the accompanying mental image in these works permeate and often overlap, thus adding new meanings to the existing ones, and in this way expand their interpretative implications, while the abundance of the solutions adopted by the authors is stunning. At every instance, this formal innovativeness, adjusted appropriately to the content, supports and revises the meanings in a given work, and additionally influences its reception providing incentives and new stimuli within the reading comprehension process., W artykule omówione zostały wybrane przykłady dzieł liberackich (Liberatura) z perspektywy komunikacji werbalnej i komunikacji wizualnej. Szczegółowej analizie poddano utwory Anne Carson (Nox), Herty Müller (Strażnik bierze swój grzebień), Z. Fajfera i K. Bazarnik (Oka-leczenie), Stéphane’a Mallarmégo (Rzut kośćmi nigdy nie zniesie przypadku) oraz Radosława Nowakowskiego (m.in. seria Nieopisanie świata). Werbalność i wizualność tych utworów przenikają się i nakładają na siebie, budując dodatkowe znaczenia i poszerzając możliwości interpretacyjne, a wielość przyjętych przez autorów rozwiązań zaskakuje. Ta formalna innowacyjność, dopasowana do treści, każdorazowo wspiera sensy obecne w danym dziele, wpływa także na zmianę jego odbioru poprzez aktywizowanie procesu lektury.

After two years of the COVID-19 pandemic, Universitas Pelita Harapan’s Visual Communication Design Department started conducting hybrid courses. The hybrid course format is a new format implemented as a transition between online education during the pandemic and the soon-offline course. This research explores the effects of the hybrid course for lecturers and students who had conducted two years of online education. The data collection for this qualitative study is through interviews with the student and lecturers, observations of the offline and online classes, and class documentation studies. This research found that the lecturers and the students positively receive the hybrid course as an alternative format for education post-COVID-19 pandemic.Bahasa Indonesia AbstrakSetelah dua tahun pandemi COVID-19, Program Studi Desain Komunikasi Visual Universitas Pelita Harapan mulai mengimplementasikan perkuliahan secara hibrida. Perkuliahan secara hibrida ini adalah format yang baru pertama kali dilakukan, dan dilakukan sebagai transisi antara perkuliahan daring karena pandemi dan perkuliahan luring yang akan kembali diselenggarakan. Penelitian ini mencoba mengeksplorasi pengaruh dari perkuliahan hibrida ini terhadap dosen dan mahasiswa yang telah dua tahun mengikuti perkuliahan daring. Pengumpulan data untuk penelitian ini dilakukan secara kualitatif dengan wawancara terhadap dosen dan mahasiswa, observasi perkuliahan daring dan luring, serta studi dokumentasi perkuliahan. Dari penelitian ini didapati bahwa perkuliahan hibrida direspon positif oleh dosen dan mahasiswa, dan menjadi sebuah alternatif format perkuliahan yang baik pasca pandemi COVID-19.

Approximately 20–25 percent of the Swedish population experience difficulties with reading and writing, and 5–8 percent have dyslexia. Despite this and the widespread use of mobile phones, research on typographic design is primarily focused on the general population, creating a knowledge gap regarding how design decisions can affect individuals with dyslexia. Therefore the purpose of this study was to deepen the understanding of how different fonts and typographic elements on mobile screens affect readability for people with dyslexia. Participants were recruited from various Facebook groups using a subjective and snowball sampling method, including a group of individuals with dyslexia and a comparative control group. The survey was designed based on previous research and was conducted online, including a readability test. The readability test consisted of nine images with short texts presenting different typographic conditions, and respondents assessed the readability on a five-point scale. Subsequently, the data were processed to identify patterns and correlations. The study was based on theoretical perspectives on typography, dyslexia, and cognitive load theory. The results showed that sans-serif fonts, especially Verdana, performed bestand were considered the most readable by both respondents with and without dyslexia. Additionally, the study found that custom fonts designed for dyslexia do not necessarily improve readability. This underscores the importance of choosing simple, well-known fonts to facilitate reading for people with dyslexia. The conclusions emphasized the need to minimize cognitive load and select fonts with a simpler design to promote readability. Lastly, the study also identified increased letter spacing as a strategy to improve readability on mobile screens for people with dyslexia., Cirka 20–25 procent av Sveriges befolkning upplever läs- och skrivsvårigheter, och 5–8procent har dyslexi. Trots detta och den breda användningen av mobiltelefoner är forskningen om typografisk design främst inriktad på den generella allmänheten, vilket skapar en kunskapslucka för hur designbeslut kan påverka personer med dyslexi. Syftet med studien är att fördjupa förståelsen för hur olika typsnitt och typografiska element på mobilskärmar påverkar läsbarheten för personer med dyslexi. Genom ett subjektivt och snöbollsurval rekryterades deltagare från olika Facebookgrupper, både personer med dyslexi och en jämförande kontrollgrupp. Enkäten utformades med hjälp av tidigare forskning och genomfördes online, vilken inkluderade ett läsbarhetstest. Läsbarhetstestet bestod av nio bilder med korta texter med olika typografiska förhållanden, där respondenterna bedömde läsbarheten på en femgradig skala. Därefter bearbetades data för att identifiera mönster och samband. Studien utgick från teoretiska perspektiv om typografi, dyslexi samt kognitiv belastningsteori. Resultaten visade att sans-serif typsnitt, särskilt Verdana, presterade bäst och ansågs vara mest lättlästa av både respondenter med och utan dyslexi. Dessutom visade studien att specialanpassade typsnitt för dyslexi inte nödvändigtvis förbättrar läsbarheten. Det understryker vikten av att välja enkla och välkända typsnitt för att underlätta läsning för personer med dyslexi. Slutsatserna betonade behovet av att minimera den kognitiva belastningen och att välja typsnitt med en enklare design för att främja läsbarhet. Slutligen identifierade även studien ökat bokstavsavstånd som en strategi för att förbättra läsbarheten på mobilskärmar för personer med dyslexi.

Forget-Me-Not tells the story of my grandmother’s life as she shares the challenges of growing up in Poland during wartime, reflecting on the closeness of family and treasured traditions passed down through generations. Through tales and songs, she shares profound joy and a sense of belonging found in life’s simple moments. This book is a tribute to the countless women who have lovingly crafted and preserved cultural traditions for generations to come. Ornamental culture, often a source of belonging, is intentionally erased from people’s lives, robbing them of their identity. I started my visual exploration with research inspired by my grandmother’s stories and songs about feminism, folklore, and the powerful role of decoration. Through typography, posters, and bold colours, I explore my Polish cultural heritage.

Forget-Me-Not tells the story of my grandmother’s life as she shares the challenges of growing up in Poland during wartime, reflecting on the closeness of family and treasured traditions passed down through generations. Through tales and songs, she shares profound joy and a sense of belonging found in life’s simple moments. This book is a tribute to the countless women who have lovingly crafted and preserved cultural traditions for generations to come. Ornamental culture, often a source of belonging, is intentionally erased from people’s lives, robbing them of their identity. I started my visual exploration with research inspired by my grandmother’s stories and songs about feminism, folklore, and the powerful role of decoration. Through typography, posters, and bold colours, I explore my Polish cultural heritage.

Third edition of this researched book including three new chapters. This edition is solely authored by Cath Caldwell and features interviews with practitioners from the US and UK. Editorial Design is an indispensable and comprehensive guide to the latest processes of editorial design for both print and digital formats. It presents designers with everything they need to know to create their own layouts, connecting editorial design history with current practice to enlighten and inspire the beginner as well as the more experienced designer. The third edition has been updated to reflect the latest developments in visual journalism, with over one hundred new images showcasing the very best in contemporary editorial design. New chapters have been added dedicated to independent magazines and the seamless integration of print with digital. This fully illustrated revised edition includes case studies, practical exercises and tips, along with profiles of leading designers in the field, who share their expertise and offer invaluable advice. The book design has been refreshed in a larger format for easy legibility of images, captions and text.

This typography project aims to design a magazine from cover to layouts, focusing on creating a cohesive and visually compelling publication that effectively communicates its content to the target audience. This design excelled in various aspects of typographic design, - the integration of typography with imagery and content, its font selection, layout composition, and overall aesthetic considerations.

This typography project aims to design a magazine from cover to layouts, focusing on creating a cohesive and visually compelling publication that effectively communicates its content to the target audience. This design excelled in various aspects of typographic design, - the integration of typography with imagery and content, its font selection, layout composition, and overall aesthetic considerations.

Research, design, production & engineering of a four font family of a typeface. Weights include, Thin, Regular, Bold & heavy. The typeface has been accepted by the Monotype forum 'Myfonts' & is published on that platform.

For more than a century, librarians and bibliographers have supposedly identified and cataloged gothic types using the Proctor-Haebler system and many incunabula collections have been described using it. It is now widely accepted that the Proctor-Haebler system's nomenclature and techniques are uniform and consistent for cataloging rare books and that it is informative about types. This article explains that although the Proctor-Haebler system may help us to identify a printer or a printing office, it confounds different typographic concepts (typeface, font, and type), uses contradictory methods, is based on weak or arguable assumptions, and does not inform us about “types.”, Depto. de Literaturas Hispánicas y Bibliografía, Fac. de Ciencias de la Documentación, TRUE, pub

This chapter considers Google's 2015 decision to rename itself as Alphabet, Inc. in the context of mid-to-late twentieth century media studies claims regarding the western alphabet's phoneticism as well as subsequent critiques of these positions as inherently colonial. Beginning with Marshall McLuhan and Vilém Flusser's writings, the chapter asks the question of what it means for the world’s largest actor in the domain of spatial data, not to mention one of the world’s largest multi-national corporations, to lay claim to, and indeed entangle its very identity with, the concept of alphabet. Building on this, it also speculates more broadly on relationships in the development of location as a medium and the role of situatedness in our understanding of media.

Studien fokuserar på hur typografi påverkar den övergripande användarupplevelsen på webben, samt hur kunskapen kan användas för att utforma vägledande rekommendationer som kan användas som stöd vid design av användarupplevelse genom typografi på webben. Studien är avgränsad till att fokusera på typografi som område med fokus på faktorerna läsbarhet, estetik, layout och struktur samt användarens känslomässiga respons. Studien bidrar till att belysa vikten av att göra medvetna typografiska val vid utformning och utveckling av webbplatser samt till att skapa förståelse kring vad som särskiljer typografi på webben från typografi på papper och hur detta bör påverka designen för att säkra en god användarupplevelse. Detta har undersökts genom en litteraturstudie samt kvalitativa semistrukturerade intervjuer med universitetsstudenter i Skellefteå i Sverige, samt Medellín i Colombia. Resultatet av studien visar att människor tar del av typografi på olika sätt beroende på om texten finns på en skärm eller på ett papper, att användare tenderar att snabbare lämna webbplatsen om typografin påverkar användarupplevelsen negativt samt att design av typografi kan väcka olika känslor och associationer hos användaren. Slutsatsen är att generella och mer övergripande råd och riktlinjer för interaktionsdesign och gränssnittsdesign är användbara vid utformning av typografi på webben, men de kan behöva kompletteras med särskilda rekommendationer för att tydliggöra vilka typografiska val som bör göras på webben och hur i syfte att säkerställa en bra användarupplevelse. Genom studien ges förslag på vägledande rekommendationer. Dessa bör dock valideras och vidareutvecklas ytterligare. Studien bidrar emellertid till en grund att bygga vidare på genom fortsatt forskning om typografi och hur typografiska val påverkar användaren., The study focuses on how typography affects the overall User Experience on the web, and how the knowledge can be used to design guiding recommendations that can be used to support the design of User Experience through typography on the web. The study is limited to focusing on typography as an area with a focus on the factor’s readability, aesthetics, layout and structure as well as the user's emotional response. The study helps to highlight the importance of making conscious typographic choices when designing and developing websites and to create an understanding of what distinguishes typography on the web from typography on paper and how this should affect the design to ensure a good User Experience. This has been investigated through a literature review and qualitative semi-structured interviews with university students in Skellefteå in Sweden, and Medellín in Colombia. The results of the study show that people take part in typography in different ways depending on whether the text is on a screen or on a piece of paper, that users tend to leave the website faster if the typography negatively affects the User Experience and that design of typography can evoke different feelings and associations in the user. The conclusion is that more general advice and guidelines for interaction design and interface design are useful when designing typography on the web, but they may need to be supplemented with specific recommendations to clarify which typographic choices should be made on the web and how to ensure a good User Experience. The study proposes indicative recommendations. However, these should be validated and further developed. However, the study contributes to a foundation to build on through continued research on typography and how typographic choices affect the user.

This article aims to show how some technical aspects of book printing conditioned the publication of certain lexicographical works in the Golden Age, and how this modified contents and changed the way they were transmitted to us. Thus, we observe incorrect word separations when typesetters did not know the Spanish language in detail, the adoption of other spellings for in printing houses of other European countries, the elimination of entries or equivalences when there were changes in typeface families, or the reuse of title pages. To illustrate these bibliographical aspects, we present the cases of Willem Vorsterman’s trilingual vocabulary of 1520, Jean Palet’s dictionary and changes in those of César Oudin and Trognesius, Este artículo expone cómo algunos aspectos técnicos de la impresión de libros condicionaron las ediciones de ciertas obras lexicográficas del Siglo de Oro, lo cual tuvo repercusiones en los textos y en cómo nos han sido transmitidos: así, observamos separaciones incorrectas de palabras cuando los cajistas no conocían con detalle la lengua española, la adopción de otras grafías para en talleres de imprenta de otras regiones europeas, la eliminación de entradas o de equivalencias cuando hubo cambios de familias tipográficas y no se respetaba la plana y renglón o la reutilización de portadas. Para ejemplificar estos aspectos bibliográficos, exponemos los casos del vocabulario trilingüe de Willem Vorsterman de 1520, del diccionario de Jean Palet y de los de César Oudin y Trognesio.

Typographic design, especially the use of ornaments, in comedias sueltas lacking editorial data should be considered a useful tool in identifying such printings. The analysis and systematic control of ornamentation based on the use of wood engraving and metal type-ornaments are the first steps in attempting to identify printers. I propose to apply this method to a standarised study of the ornamental characteristics of the compositive elements of plays printed by the viuda de Francisco Lorenzo de Hermosilla and compare to ornamentation in those published by Diego López de Haro. The findings are a clear example of the necessity of a thorough study/examination of the elements that decorated their sueltas, La arquitectura gráfica y el diseño que presentan las comedias sueltas puede convertirse en una herramienta útil para identificar los impresos teatrales carentes de datos de edición. El análisis y el control sistemático de la ornamentación basada en la utilización de grabados xilográficos y adornos tipográficos es el primer paso hacia la identificación de los talleres de imprenta. El estudio normalizado de las características ornamentales del juego compositivo de los impresos teatrales editados por la viuda de Francisco Lorenzo de Hermosilla en contraposición con el realizado por las comedias de Diego López de Haro es una muestra clara de la necesidad de una investigación exhaustiva sobre los elementos que ornamentan este género editorial.

This work analyzes six quartos described by ISTAE (Quartos of Spanish Classical Theater) preserved in the BNE that show a series of common orthotypographical features: the pagination, the title, the COMEDIA/FAMOSA structure, the name of the author, The following persons speak in it, the dramatis personae in three columns, the horizontal fillet, the chapter mark, the initial stage direction. They all appear to be from the first half of the seventeenth century. After describing them and briefly pointing out the importance of these quartos for the textual transmission of these comedies, I compare the fonts and I propose the possibility that they came from the workshop of the printer Simón Fajardo, who worked in Seville between at least 1622 and 1650, Este trabajo analiza seis comedias sueltas descritas en ISTAE (Impresos sueltos del teatro antiguo español) conservadas en la BNE que muestran una serie de rasgos ortotipográficos comunes, que se detallan: la paginación, el título, el COMEDIA/ FAMOSA, el nombre del autor, Hablan en ella las personas siguientes, las dramatis personae en tres columnas, el filete horizontal, la marca de jornada, la acotación inicial. Todas parecen ser de la primera mitad del siglo XVII. Tras describirlas y señalar someramente la importancia que tienen estas sueltas para la transmisión textual de estas comedias, se comparan tipografías y se aventura la posibilidad de que salieran del taller del impresor Simón Fajardo, quien trabajó en Sevilla entre, al menos, 1622 y 1650.

This 8,000 word chapter in an edited volume outlines the current breadth of letterpress practice within contemporary art and design pedagogy across the UK and Ireland. It is developed from a previous research project that identified all institutions with functioning letterpress workshops — both their scope and the nature of their use. The authors were on the Advisory Board for the AHRC Funded Research Network that gave name to this book. 'Letterpress Printing: Past, Present, Future' brings together scholars, curators, collectors and printers to assess the current state of letterpress printing. It acknowledges the decline of letterpress as a commercial printing technique and considers the risks this poses for letterpress’s future. However, in describing the many uses to which letterpress is put and the diverse communities of printers who still work with it, the book celebrates the tenacity of letterpress as a process which continues to thrive despite such challenges. Letterpress Printing examines the continuing life of letterpress and applauds its revival through describing the circumstances in which it flourishes and the many ways it is now used. By setting this revival in the context of its ostensible decline, the book sets out the ways in which current practice draws upon and preserves the history of printing while taking it in new and unexpected directions.

This 8,000 word chapter in an edited volume outlines the current breadth of letterpress practice within contemporary art and design pedagogy across the UK and Ireland. It is developed from a previous research project that identified all institutions with functioning letterpress workshops — both their scope and the nature of their use. The authors were on the Advisory Board for the AHRC Funded Research Network that gave name to this book. 'Letterpress Printing: Past, Present, Future' brings together scholars, curators, collectors and printers to assess the current state of letterpress printing. It acknowledges the decline of letterpress as a commercial printing technique and considers the risks this poses for letterpress’s future. However, in describing the many uses to which letterpress is put and the diverse communities of printers who still work with it, the book celebrates the tenacity of letterpress as a process which continues to thrive despite such challenges. Letterpress Printing examines the continuing life of letterpress and applauds its revival through describing the circumstances in which it flourishes and the many ways it is now used. By setting this revival in the context of its ostensible decline, the book sets out the ways in which current practice draws upon and preserves the history of printing while taking it in new and unexpected directions.

I have always been very interested in typography and type design and I have long harbored a desire to create something that could benefit my home country Zimbabwe, Afrika and the rest of the world through creativity. I imagine what my language might have looked like if it weren't for the Latin or Roman alphabet. During my childhood, I often encountered individuals who belittled my native language, chiShona. My educational experience at an all-girls, private Catholic school reinforced the notion that speaking English was socially desirable, and those who spoke their native language were subject to ridicule and derogatory labels such as gwash or ghetto. Despite this, I found great joy in speaking my mother tongue, which is widely spoken in my urban community. The chiShona written language is plagued by a number of problems, such as the lack of a consistent way of spelling words across all dialects. The current orthography does not accurately represent the spoken form of the language, making it difficult for writers and speakers to convey their ideas effectively. In this publication I explore typography of a Zimbabwean language and reimagine what chiShona may have looked like if it had not been colonised. As a speaker of chiShona, my mother tongue, I am fascinated by the possibility of developing a written language for my language and finding effective methods of teaching it. This was done with the help of collaborators Rutendo Shannon Goneso and Pule kaJanolintji.

This chapter considers Google's 2015 decision to rename itself as Alphabet, Inc. in the context of mid-to-late twentieth century media studies claims regarding the western alphabet's phoneticism as well as subsequent critiques of these positions as inherently colonial. Beginning with Marshall McLuhan and Vilém Flusser's writings, the chapter asks the question of what it means for the world’s largest actor in the domain of spatial data, not to mention one of the world’s largest multi-national corporations, to lay claim to, and indeed entangle its very identity with, the concept of alphabet. Building on this, it also speculates more broadly on relationships in the development of location as a medium and the role of situatedness in our understanding of media.

Typographic design, especially the use of ornaments, in comedias sueltas lacking editorial data should be considered a useful tool in identifying such printings. The analysis and systematic control of ornamentation based on the use of wood engraving and metal type-ornaments are the first steps in attempting to identify printers. I propose to apply this method to a standarised study of the ornamental characteristics of the compositive elements of plays printed by the viuda de Francisco Lorenzo de Hermosilla and compare to ornamentation in those published by Diego López de Haro. The findings are a clear example of the necessity of a thorough study/examination of the elements that decorated their sueltas, La arquitectura gráfica y el diseño que presentan las comedias sueltas puede convertirse en una herramienta útil para identificar los impresos teatrales carentes de datos de edición. El análisis y el control sistemático de la ornamentación basada en la utilización de grabados xilográficos y adornos tipográficos es el primer paso hacia la identificación de los talleres de imprenta. El estudio normalizado de las características ornamentales del juego compositivo de los impresos teatrales editados por la viuda de Francisco Lorenzo de Hermosilla en contraposición con el realizado por las comedias de Diego López de Haro es una muestra clara de la necesidad de una investigación exhaustiva sobre los elementos que ornamentan este género editorial.

This article aims to show how some technical aspects of book printing conditioned the publication of certain lexicographical works in the Golden Age, and how this modified contents and changed the way they were transmitted to us. Thus, we observe incorrect word separations when typesetters did not know the Spanish language in detail, the adoption of other spellings for in printing houses of other European countries, the elimination of entries or equivalences when there were changes in typeface families, or the reuse of title pages. To illustrate these bibliographical aspects, we present the cases of Willem Vorsterman’s trilingual vocabulary of 1520, Jean Palet’s dictionary and changes in those of César Oudin and Trognesius, Este artículo expone cómo algunos aspectos técnicos de la impresión de libros condicionaron las ediciones de ciertas obras lexicográficas del Siglo de Oro, lo cual tuvo repercusiones en los textos y en cómo nos han sido transmitidos: así, observamos separaciones incorrectas de palabras cuando los cajistas no conocían con detalle la lengua española, la adopción de otras grafías para en talleres de imprenta de otras regiones europeas, la eliminación de entradas o de equivalencias cuando hubo cambios de familias tipográficas y no se respetaba la plana y renglón o la reutilización de portadas. Para ejemplificar estos aspectos bibliográficos, exponemos los casos del vocabulario trilingüe de Willem Vorsterman de 1520, del diccionario de Jean Palet y de los de César Oudin y Trognesio.

This work analyzes six quartos described by ISTAE (Quartos of Spanish Classical Theater) preserved in the BNE that show a series of common orthotypographical features: the pagination, the title, the COMEDIA/FAMOSA structure, the name of the author, The following persons speak in it, the dramatis personae in three columns, the horizontal fillet, the chapter mark, the initial stage direction. They all appear to be from the first half of the seventeenth century. After describing them and briefly pointing out the importance of these quartos for the textual transmission of these comedies, I compare the fonts and I propose the possibility that they came from the workshop of the printer Simón Fajardo, who worked in Seville between at least 1622 and 1650, Este trabajo analiza seis comedias sueltas descritas en ISTAE (Impresos sueltos del teatro antiguo español) conservadas en la BNE que muestran una serie de rasgos ortotipográficos comunes, que se detallan: la paginación, el título, el COMEDIA/ FAMOSA, el nombre del autor, Hablan en ella las personas siguientes, las dramatis personae en tres columnas, el filete horizontal, la marca de jornada, la acotación inicial. Todas parecen ser de la primera mitad del siglo XVII. Tras describirlas y señalar someramente la importancia que tienen estas sueltas para la transmisión textual de estas comedias, se comparan tipografías y se aventura la posibilidad de que salieran del taller del impresor Simón Fajardo, quien trabajó en Sevilla entre, al menos, 1622 y 1650.

Fac. de Ciencias de la Documentación, FALSE, pub

Fac. de Ciencias de la Documentación, TRUE, pub

This essay was the result of an investigation about the relevance of typographic marking in reasoning items in a verbal and mathematical context of the Academic Aptitude Test (PAA) of the University of Costa Rica. The objective was to gather evidence on the interference of the marking (bold, underlined and capital letters) in the instruction of the selected ítems, and to observe if there are variations in the technical properties when these emphasis marks are present. From an exploratory study with a qualitative approach, information was collected from interviews with a selected group of first-time students at the University for 2019 and a pilot test was applied to analyze the technical quality of the items with emphatic marking differences; the detail with the results of this experimental test is expected in a second publication. The analysis focused on the particles "No", "False" "True" "With certainty" and "Contradicts" and the reasons for maintaining their marking, according to the interviewees, due to three fundamental reasons: 1. It is a strategy to highlight words clues such as negations, 2. Clarifies the question or instruction of the item, 3. Allows to maintain attention during reading. The main results show that there is no significant difference between maintaining or eliminating the marking regardless of the type of item and population, so that it should be dispensed with for a standardized test such as the PPA., Este artigo é produto de uma pesquisa sobre a relevância da marcação tipográfica em itens de raciocínio no contexto verbal e matemático da Prova de Aptidão Acadêmica (PAA) da Universidade da Costa Rica. O objetivo é colher evidências sobre a interferência da marcação (negrito, sublinhado e maiúscula) na instrução dos itens selecionados e observar se existem variações nas propriedades técnicas quando essas marcações estão presentes ou não. A partir de um estudo exploratório com uma abordagem qualitativa, foram recolhidas informações através de entrevistas realizadas com um grupo de alunos do primeiro ano que ingressam na Universidade em 2019. Foi aplicado um teste piloto para analisar a qualidade técnica dos itens com diferenças. O detalhamento dos resultados deste teste experimental está previsto em uma segunda publicação.A análise centrou-se nas palavras "Não", "Falso", "Verdadeiro", "Com certeza" e "Contradiz", e as razões para manter a sua marcação, segundo os entrevistados, obedece a três razões fundamentais: 1. É uma estratégia para destacar palavras-chave como negações; 2. Esclarece a pergunta ou instrução do item; 3. Permite manter a atenção durante a leitura.Os principais resultados mostram que não há diferença significativa entre manter e eliminar a marcação independentemente do tipo de item e da população, de forma que seu uso deve ser dispensado para um teste padronizado como o PPA., 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.

This 8,000 word chapter in an edited volume outlines the current breadth of letterpress practice within contemporary art and design pedagogy across the UK and Ireland. It is developed from a previous research project that identified all institutions with functioning letterpress workshops — both their scope and the nature of their use. The authors were on the Advisory Board for the AHRC Funded Research Network that gave name to this book. 'Letterpress Printing: Past, Present, Future' brings together scholars, curators, collectors and printers to assess the current state of letterpress printing. It acknowledges the decline of letterpress as a commercial printing technique and considers the risks this poses for letterpress’s future. However, in describing the many uses to which letterpress is put and the diverse communities of printers who still work with it, the book celebrates the tenacity of letterpress as a process which continues to thrive despite such challenges. Letterpress Printing examines the continuing life of letterpress and applauds its revival through describing the circumstances in which it flourishes and the many ways it is now used. By setting this revival in the context of its ostensible decline, the book sets out the ways in which current practice draws upon and preserves the history of printing while taking it in new and unexpected directions.

This chapter considers Google's 2015 decision to rename itself as Alphabet, Inc. in the context of mid-to-late twentieth century media studies claims regarding the western alphabet's phoneticism as well as subsequent critiques of these positions as inherently colonial. Beginning with Marshall McLuhan and Vilém Flusser's writings, the chapter asks the question of what it means for the world’s largest actor in the domain of spatial data, not to mention one of the world’s largest multi-national corporations, to lay claim to, and indeed entangle its very identity with, the concept of alphabet. Building on this, it also speculates more broadly on relationships in the development of location as a medium and the role of situatedness in our understanding of media.

While many see Graphic Design as a separation from art, for me, it has always been a happy blend between my fine art and technological skills. In both areas, I think about what I want the audience to think of feel when the pieces in question. Form, color, anatomy, and concept are all part of my creative process, regardless of whether I am creating digitally with a Wacom or building a wax form in the foundry. During my graduate studies, I started to get into a flow of building narratives to hone in on conceptual branding ideas. Being able to build these imaginative brands further pushed the concept and realness of the ideas I was configuring within the graduate design lab. In these moments of storytelling, reality and imagination started to blur. With the idea of branding a distillery, I soon meshed aspects of my life and family figures to create something I had an artistic and personal connection with. Stiks Distillery instilled my fascination with the branding for distilled spirits and my love for the western, country environment I was surrounded in growing up in western Kansas. When designing the crucial aspects of this brand and story, I referred back to design styles, such as Swiss International, and the use of logoytypes and logomarks to create the foundations of Stiks Distillery and its sub-brands. Using combination mark logos, I aimed for a vintage feel associated with badge-esque symbols but with modern traits to adhere to this idea of brands adapting over time but sticking to their roots and humble beginnings. With all of this in mind, I quickly became reminded of grandparental figures who have impacted me and others in the immense vastness of my family. My parents, grandparents, and great-grandparents have played a large part in the ideologies of my family to understand and learn the qualities of hard work, persistence, and strength. With that, there is this notion of transparency through hardships in life. While we all experience s

Die Dissertationsschrift setzt sich mit der Karriere der Materialität in der Lyrik der Moderne auseinander. Im Übergang zur Moderne bildet die Lyrik Konzeptionen aus, die den Lyrikbegriff des 19. Jahrhunderts überwinden, indem sie materielle Eigenschaften von Literatur in die Produktion lyrischer Werke einbeziehen und im ästhetischen Erleben des Gedichts wirksam werden lassen. Die Untersuchung erforscht in ihrem Fortgang die produktive Wirksamkeit materieller Substrate der Lyrik in ihren technischen und poetologischen Ausprägungen. Im Zuge dessen werden Möglichkeitsbedingungen für die Rezeption lyrischer Werke herausgestellt, die durch einen veränderten Mediengebrauch entstehen. Dabei wird aufgezeigt, dass der Umgang mit den Substraten der Lyrik einer historischen Genese unterliegt, die zumindest in den bisher von der literaturwissenschaftlichen Forschung herausgestellten Gesichtspunkten zum Themenkomplex kaum beachtet wurde, die jedoch zu einem dezidierten Verständnis moderner Lyrik führt. In einer durch die Fragestellung gesteuerten Auswahl sind Gegenstände der Untersuchung sowohl Gedichte als auch Essays und Manifeste., The dissertation is about the career of materiality in poems of the early modern period. In the shift from the 19th century to the beginning of the 20th century, lyricism develops conceptions comprising the material qualities of literature into the production of lyric works and make them operant in the aesthetical experience of poems. In this project I do research on the productive efficacy of material substrates of poems and describe them in their technical and poetical characteristics. In the course of this the basic preconditions for the reception of lyrical works as they effect from the changed use of media are elucidated. Based on this I assume, that the use of the substrates of lyrical production is subject to a historical genesis, that was neglected by studies in literature until now, although it would help to develop a deicide understanding of lyrical works of the modern period. Due to a problem based selection of texts the subjects of the research are poems as well as essays and manifestos.

This article aims to show how some technical aspects of book printing conditioned the publication of certain lexicographical works in the Golden Age, and how this modified contents and changed the way they were transmitted to us. Thus, we observe incorrect word separations when typesetters did not know the Spanish language in detail, the adoption of other spellings for in printing houses of other European countries, the elimination of entries or equivalences when there were changes in typeface families, or the reuse of title pages. To illustrate these bibliographical aspects, we present the cases of Willem Vorsterman’s trilingual vocabulary of 1520, Jean Palet’s dictionary and changes in those of César Oudin and Trognesius, Este artículo expone cómo algunos aspectos técnicos de la impresión de libros condicionaron las ediciones de ciertas obras lexicográficas del Siglo de Oro, lo cual tuvo repercusiones en los textos y en cómo nos han sido transmitidos: así, observamos separaciones incorrectas de palabras cuando los cajistas no conocían con detalle la lengua española, la adopción de otras grafías para en talleres de imprenta de otras regiones europeas, la eliminación de entradas o de equivalencias cuando hubo cambios de familias tipográficas y no se respetaba la plana y renglón o la reutilización de portadas. Para ejemplificar estos aspectos bibliográficos, exponemos los casos del vocabulario trilingüe de Willem Vorsterman de 1520, del diccionario de Jean Palet y de los de César Oudin y Trognesio.

Typographic design, especially the use of ornaments, in comedias sueltas lacking editorial data should be considered a useful tool in identifying such printings. The analysis and systematic control of ornamentation based on the use of wood engraving and metal type-ornaments are the first steps in attempting to identify printers. I propose to apply this method to a standarised study of the ornamental characteristics of the compositive elements of plays printed by the viuda de Francisco Lorenzo de Hermosilla and compare to ornamentation in those published by Diego López de Haro. The findings are a clear example of the necessity of a thorough study/examination of the elements that decorated their sueltas, La arquitectura gráfica y el diseño que presentan las comedias sueltas puede convertirse en una herramienta útil para identificar los impresos teatrales carentes de datos de edición. El análisis y el control sistemático de la ornamentación basada en la utilización de grabados xilográficos y adornos tipográficos es el primer paso hacia la identificación de los talleres de imprenta. El estudio normalizado de las características ornamentales del juego compositivo de los impresos teatrales editados por la viuda de Francisco Lorenzo de Hermosilla en contraposición con el realizado por las comedias de Diego López de Haro es una muestra clara de la necesidad de una investigación exhaustiva sobre los elementos que ornamentan este género editorial.

This work analyzes six quartos described by ISTAE (Quartos of Spanish Classical Theater) preserved in the BNE that show a series of common orthotypographical features: the pagination, the title, the COMEDIA/FAMOSA structure, the name of the author, The following persons speak in it, the dramatis personae in three columns, the horizontal fillet, the chapter mark, the initial stage direction. They all appear to be from the first half of the seventeenth century. After describing them and briefly pointing out the importance of these quartos for the textual transmission of these comedies, I compare the fonts and I propose the possibility that they came from the workshop of the printer Simón Fajardo, who worked in Seville between at least 1622 and 1650, Este trabajo analiza seis comedias sueltas descritas en ISTAE (Impresos sueltos del teatro antiguo español) conservadas en la BNE que muestran una serie de rasgos ortotipográficos comunes, que se detallan: la paginación, el título, el COMEDIA/ FAMOSA, el nombre del autor, Hablan en ella las personas siguientes, las dramatis personae en tres columnas, el filete horizontal, la marca de jornada, la acotación inicial. Todas parecen ser de la primera mitad del siglo XVII. Tras describirlas y señalar someramente la importancia que tienen estas sueltas para la transmisión textual de estas comedias, se comparan tipografías y se aventura la posibilidad de que salieran del taller del impresor Simón Fajardo, quien trabajó en Sevilla entre, al menos, 1622 y 1650.

This 8,000 word chapter in an edited volume outlines the current breadth of letterpress practice within contemporary art and design pedagogy across the UK and Ireland. It is developed from a previous research project that identified all institutions with functioning letterpress workshops — both their scope and the nature of their use. The authors were on the Advisory Board for the AHRC Funded Research Network that gave name to this book. 'Letterpress Printing: Past, Present, Future' brings together scholars, curators, collectors and printers to assess the current state of letterpress printing. It acknowledges the decline of letterpress as a commercial printing technique and considers the risks this poses for letterpress’s future. However, in describing the many uses to which letterpress is put and the diverse communities of printers who still work with it, the book celebrates the tenacity of letterpress as a process which continues to thrive despite such challenges. Letterpress Printing examines the continuing life of letterpress and applauds its revival through describing the circumstances in which it flourishes and the many ways it is now used. By setting this revival in the context of its ostensible decline, the book sets out the ways in which current practice draws upon and preserves the history of printing while taking it in new and unexpected directions.

The interaction of human groups and their intersubjective practices respond to both agreed or disputed interests and objectives. From the perspective of the pragmatic turn, this is a propitious scenario to build knowledge about, for or through project prac-tice, which implies interdisciplinary dialogue as an inescapable characteristic of design. In this sense, the dialogues that design promotes with art, science and engineering in the creation of typographic systems are analyzed below. The case studies presented here reveal technical, functional and expressive evaluations of the letter, exploring the limits of the legibility of the alphabet, its modes of production, representation strategies and the inter-actions they foster. By pointing out the relationships between these assessments and oth-ers that make up the praxis of design and its products: project knowledge and artifact; not only is it possible to remake existing knowledge or create new knowledge from intentional and symbolic dynamics, but both intuition and discernment are sharpened, expanding the ability to understand to recognize epistemological elements of design., A interação dos grupos humanos e suas práticas intersubjetivas respondem a inte-resses e objetivos acordados ou disputados. Na perspectiva da virada pragmática, este é um cenário propício para construir conhecimento sobre, para ou por meio da prática projetual, o que implica o diálogo interdisciplinar como uma característica incontornável do design.Nesse sentido, analisam-se a seguir os diálogos que o design promove com a arte, a ciência e a engenharia na criação de sistemas tipográficos. Os estudos de caso aqui apresentados revelam avaliações técnicas, funcionais e expressivas da letra, explorando os limites da legi-bilidade do alfabeto, seus modos de produção, estratégias de representação e as interações que promovem. Ao apontar as relações entre essas avaliações e outras que compõem a práxis do design e seus produtos: conhecimento de projeto e artefato; não só é possível refazer o conhecimento existente ou criar novos conhecimentos a partir de dinâmicas intencionais e simbólicas, mas tanto a intuição quanto o discernimento são aguçados, ampliando a capaci-dade de compreensão para reconhecer elementos epistemológicos do design., La interacción de grupos humanos y sus prácticas intersubjetivas responden tanto a intereses como objetivos consensuados o en disputa. Desde la perspectiva del giro pragmático, este es un escenario propicio para construir conocimiento sobre, para o a través de la práctica proyectual, lo cual implica el diálogo interdisciplinar como una característica ineludible del diseño. En este sentido, a continuación se analizan los diálogos que el diseño propicia con el arte, la ciencia y la ingeniería en la creación de sistemas tipo-gráficos. Los casos de estudio aquí presentados, develan valoraciones técnicas, funcionales y expresivas de la letra, al explorar los límites de la legibilidad del alfabeto, sus modos de producción, estrategias de representación y las interacciones que propician. Al señalar las relaciones entre dichas valoraciones y otras que configuran la praxis del diseño y sus pro-ductos: conocimiento proyectual y artefacto; no sólo es posible rehacer el conocimiento existente o crear nuevos conocimientos a partir de dinámicas intencionales y simbólicas, sino que también se agudizan tanto la intuición como el discernimiento, ampliando la capacidad de comprensión para reconocer elementos epistemológicos del diseño

This article summarises the results of an investigation to determine the level of impact of the elements of type design on the processes of legibility and readability of a printed text by consulting experts. Given the scattering of literature on the subject and the lack of scientific studies to back up opinions on this matter, it was first necessary to determine whether these were two different processes (legibility and readability), which elements of typographic design to submit to expert consultation in view of their great diversity, and how to associate each process with the different communicative products that a printed letter may have. The results contribute to the process of typographic selection, the editorial design of texts, as well as the design of new typefaces, taking into account the communicative function of the product and the hierarchy of these elements in the different levels of use of typography, Este artigo resume os resultados de uma investigação para determinar o nível de impacto dos elementos do tipo design sobre os processos de legibilidade e legibilidade de um texto impresso por especialistas em consultoria. Dada a dispersão da literatura sobre o assunto e a falta de estudos científicos para fundamentar opiniões sobre o assunto, foi necessário primeiro determinar se estes eram dois processos diferentes (legibilidade e legibilidade), quais elementos do projeto tipográfico a serem submetidos à consulta de especialistas em vista de sua grande diversidade, e como associar cada processo com os diferentes produtos comunicativos que uma carta impressa pode ter. Os resultados contribuem para o processo de seleção tipográfica, o projeto editorial dos textos, bem como o projeto de novas tipografias, levando em conta a função comunicativa do produto e a hierarquia destes elementos nos diferentes níveis de uso da tipografia., El presente artículo resume los resultados de una investigación para determinar por método de consulta a expertos el nivel de impacto de los elementos del diseño tipográfico en los procesos de legibilidad y lecturabilidad de un texto impreso. Ante la dispersión bibliográfica sobre el tema y la carencia de estudios que con carácter científico avalen las opiniones sobre este asunto fue necesario determinar en primera instancia, si se trataba de dos procesos diferentes (legibilidad y lecturabilidad), que elementos del diseño tipográfico someter a la consulta de expertos atendiendo a la gran diversidad de los mismos, y como asociar cada proceso a los diferentes productos comunicativos que pueden tener una letra impresa. Los resultados del mismo contribuyen al proceso de selección tipográfica, el diseño editorial de textos, así como al diseño de nuevas fuentes tipográfica, atendiendo a la función comunicativa del producto y la jerarquización de estos elementos en los diferentes niveles de empleo de la tipografía.

This 8,000 word chapter in an edited volume outlines the current breadth of letterpress practice within contemporary art and design pedagogy across the UK and Ireland. It is developed from a previous research project that identified all institutions with functioning letterpress workshops — both their scope and the nature of their use. The authors were on the Advisory Board for the AHRC Funded Research Network that gave name to this book. 'Letterpress Printing: Past, Present, Future' brings together scholars, curators, collectors and printers to assess the current state of letterpress printing. It acknowledges the decline of letterpress as a commercial printing technique and considers the risks this poses for letterpress’s future. However, in describing the many uses to which letterpress is put and the diverse communities of printers who still work with it, the book celebrates the tenacity of letterpress as a process which continues to thrive despite such challenges. Letterpress Printing examines the continuing life of letterpress and applauds its revival through describing the circumstances in which it flourishes and the many ways it is now used. By setting this revival in the context of its ostensible decline, the book sets out the ways in which current practice draws upon and preserves the history of printing while taking it in new and unexpected directions.

This 8,000 word chapter in an edited volume outlines the current breadth of letterpress practice within contemporary art and design pedagogy across the UK and Ireland. It is developed from a previous research project that identified all institutions with functioning letterpress workshops — both their scope and the nature of their use. The authors were on the Advisory Board for the AHRC Funded Research Network that gave name to this book. 'Letterpress Printing: Past, Present, Future' brings together scholars, curators, collectors and printers to assess the current state of letterpress printing. It acknowledges the decline of letterpress as a commercial printing technique and considers the risks this poses for letterpress’s future. However, in describing the many uses to which letterpress is put and the diverse communities of printers who still work with it, the book celebrates the tenacity of letterpress as a process which continues to thrive despite such challenges. Letterpress Printing examines the continuing life of letterpress and applauds its revival through describing the circumstances in which it flourishes and the many ways it is now used. By setting this revival in the context of its ostensible decline, the book sets out the ways in which current practice draws upon and preserves the history of printing while taking it in new and unexpected directions.

This 8,000 word chapter in an edited volume outlines the current breadth of letterpress practice within contemporary art and design pedagogy across the UK and Ireland. It is developed from a previous research project that identified all institutions with functioning letterpress workshops — both their scope and the nature of their use. The authors were on the Advisory Board for the AHRC Funded Research Network that gave name to this book. 'Letterpress Printing: Past, Present, Future' brings together scholars, curators, collectors and printers to assess the current state of letterpress printing. It acknowledges the decline of letterpress as a commercial printing technique and considers the risks this poses for letterpress’s future. However, in describing the many uses to which letterpress is put and the diverse communities of printers who still work with it, the book celebrates the tenacity of letterpress as a process which continues to thrive despite such challenges. Letterpress Printing examines the continuing life of letterpress and applauds its revival through describing the circumstances in which it flourishes and the many ways it is now used. By setting this revival in the context of its ostensible decline, the book sets out the ways in which current practice draws upon and preserves the history of printing while taking it in new and unexpected directions.

Studien fokuserar på hur typografi påverkar den övergripande användarupplevelsen på webben, samt hur kunskapen kan användas för att utforma vägledande rekommendationer som kan användas som stöd vid design av användarupplevelse genom typografi på webben. Studien är avgränsad till att fokusera på typografi som område med fokus på faktorerna läsbarhet, estetik, layout och struktur samt användarens känslomässiga respons. Studien bidrar till att belysa vikten av att göra medvetna typografiska val vid utformning och utveckling av webbplatser samt till att skapa förståelse kring vad som särskiljer typografi på webben från typografi på papper och hur detta bör påverka designen för att säkra en god användarupplevelse. Detta har undersökts genom en litteraturstudie samt kvalitativa semistrukturerade intervjuer med universitetsstudenter i Skellefteå i Sverige, samt Medellín i Colombia. Resultatet av studien visar att människor tar del av typografi på olika sätt beroende på om texten finns på en skärm eller på ett papper, att användare tenderar att snabbare lämna webbplatsen om typografin påverkar användarupplevelsen negativt samt att design av typografi kan väcka olika känslor och associationer hos användaren. Slutsatsen är att generella och mer övergripande råd och riktlinjer för interaktionsdesign och gränssnittsdesign är användbara vid utformning av typografi på webben, men de kan behöva kompletteras med särskilda rekommendationer för att tydliggöra vilka typografiska val som bör göras på webben och hur i syfte att säkerställa en bra användarupplevelse. Genom studien ges förslag på vägledande rekommendationer. Dessa bör dock valideras och vidareutvecklas ytterligare. Studien bidrar emellertid till en grund att bygga vidare på genom fortsatt forskning om typografi och hur typografiska val påverkar användaren., The study focuses on how typography affects the overall User Experience on the web, and how the knowledge can be used to design guiding recommendations that can be used to support the design of User Experience through typography on the web. The study is limited to focusing on typography as an area with a focus on the factor’s readability, aesthetics, layout and structure as well as the user's emotional response. The study helps to highlight the importance of making conscious typographic choices when designing and developing websites and to create an understanding of what distinguishes typography on the web from typography on paper and how this should affect the design to ensure a good User Experience. This has been investigated through a literature review and qualitative semi-structured interviews with university students in Skellefteå in Sweden, and Medellín in Colombia. The results of the study show that people take part in typography in different ways depending on whether the text is on a screen or on a piece of paper, that users tend to leave the website faster if the typography negatively affects the User Experience and that design of typography can evoke different feelings and associations in the user. The conclusion is that more general advice and guidelines for interaction design and interface design are useful when designing typography on the web, but they may need to be supplemented with specific recommendations to clarify which typographic choices should be made on the web and how to ensure a good User Experience. The study proposes indicative recommendations. However, these should be validated and further developed. However, the study contributes to a foundation to build on through continued research on typography and how typographic choices affect the user.

I have always been very interested in typography and type design and I have long harbored a desire to create something that could benefit my home country Zimbabwe, Afrika and the rest of the world through creativity. I imagine what my language might have looked like if it weren't for the Latin or Roman alphabet. During my childhood, I often encountered individuals who belittled my native language, chiShona. My educational experience at an all-girls, private Catholic school reinforced the notion that speaking English was socially desirable, and those who spoke their native language were subject to ridicule and derogatory labels such as gwash or ghetto. Despite this, I found great joy in speaking my mother tongue, which is widely spoken in my urban community. The chiShona written language is plagued by a number of problems, such as the lack of a consistent way of spelling words across all dialects. The current orthography does not accurately represent the spoken form of the language, making it difficult for writers and speakers to convey their ideas effectively. In this publication I explore typography of a Zimbabwean language and reimagine what chiShona may have looked like if it had not been colonised. As a speaker of chiShona, my mother tongue, I am fascinated by the possibility of developing a written language for my language and finding effective methods of teaching it. This was done with the help of collaborators Rutendo Shannon Goneso and Pule kaJanolintji.

This 8,000 word chapter in an edited volume outlines the current breadth of letterpress practice within contemporary art and design pedagogy across the UK and Ireland. It is developed from a previous research project that identified all institutions with functioning letterpress workshops — both their scope and the nature of their use. The authors were on the Advisory Board for the AHRC Funded Research Network that gave name to this book. 'Letterpress Printing: Past, Present, Future' brings together scholars, curators, collectors and printers to assess the current state of letterpress printing. It acknowledges the decline of letterpress as a commercial printing technique and considers the risks this poses for letterpress’s future. However, in describing the many uses to which letterpress is put and the diverse communities of printers who still work with it, the book celebrates the tenacity of letterpress as a process which continues to thrive despite such challenges. Letterpress Printing examines the continuing life of letterpress and applauds its revival through describing the circumstances in which it flourishes and the many ways it is now used. By setting this revival in the context of its ostensible decline, the book sets out the ways in which current practice draws upon and preserves the history of printing while taking it in new and unexpected directions.

El propósito de este trabajo es realizar un estudio sobre los títulos de crédito que aparecen en los largometrajes dirigidos por el director español Pedro Almodóvar. Se trata de determinar la función que desempeñan dichos títulos: si su finalidad es meramente informativa o si se persiguen además otros fines ya sean narrativos, ambientadores o meramente decorativos. Tras ello se pasa a identificar las características que presentan dichas secuencias de títulos y la posible evolución que han sufrido a lo largo de los años intentando averiguar si es factible realizar algún tipo de agrupación de las películas en función de las características de sus créditos. Para conseguir el propósito citado se analizan un total de 510 planos agrupados en 42 secuencias de créditos, tanto iniciales como finales, pertenecientes a los veintiún largometrajes dirigidos hasta el momento, con una duración total de 128 minutos. El análisis aborda aspectos tan variados como el número de planos, su duración, el efecto de transición, la tipografía, los colores empleados o la integración del fondo musical, entre otros.

Die Dissertationsschrift setzt sich mit der Karriere der Materialität in der Lyrik der Moderne auseinander. Im Übergang zur Moderne bildet die Lyrik Konzeptionen aus, die den Lyrikbegriff des 19. Jahrhunderts überwinden, indem sie materielle Eigenschaften von Literatur in die Produktion lyrischer Werke einbeziehen und im ästhetischen Erleben des Gedichts wirksam werden lassen. Die Untersuchung erforscht in ihrem Fortgang die produktive Wirksamkeit materieller Substrate der Lyrik in ihren technischen und poetologischen Ausprägungen. Im Zuge dessen werden Möglichkeitsbedingungen für die Rezeption lyrischer Werke herausgestellt, die durch einen veränderten Mediengebrauch entstehen. Dabei wird aufgezeigt, dass der Umgang mit den Substraten der Lyrik einer historischen Genese unterliegt, die zumindest in den bisher von der literaturwissenschaftlichen Forschung herausgestellten Gesichtspunkten zum Themenkomplex kaum beachtet wurde, die jedoch zu einem dezidierten Verständnis moderner Lyrik führt. In einer durch die Fragestellung gesteuerten Auswahl sind Gegenstände der Untersuchung sowohl Gedichte als auch Essays und Manifeste., The dissertation is about the career of materiality in poems of the early modern period. In the shift from the 19th century to the beginning of the 20th century, lyricism develops conceptions comprising the material qualities of literature into the production of lyric works and make them operant in the aesthetical experience of poems. In this project I do research on the productive efficacy of material substrates of poems and describe them in their technical and poetical characteristics. In the course of this the basic preconditions for the reception of lyrical works as they effect from the changed use of media are elucidated. Based on this I assume, that the use of the substrates of lyrical production is subject to a historical genesis, that was neglected by studies in literature until now, although it would help to develop a deicide understanding of lyrical works of the modern period. Due to a problem based selection of texts the subjects of the research are poems as well as essays and manifestos.

This chapter considers Google's 2015 decision to rename itself as Alphabet, Inc. in the context of mid-to-late twentieth century media studies claims regarding the western alphabet's phoneticism as well as subsequent critiques of these positions as inherently colonial. Beginning with Marshall McLuhan and Vilém Flusser's writings, the chapter asks the question of what it means for the world’s largest actor in the domain of spatial data, not to mention one of the world’s largest multi-national corporations, to lay claim to, and indeed entangle its very identity with, the concept of alphabet. Building on this, it also speculates more broadly on relationships in the development of location as a medium and the role of situatedness in our understanding of media.

Die Dissertationsschrift setzt sich mit der Karriere der Materialität in der Lyrik der Moderne auseinander. Im Übergang zur Moderne bildet die Lyrik Konzeptionen aus, die den Lyrikbegriff des 19. Jahrhunderts überwinden, indem sie materielle Eigenschaften von Literatur in die Produktion lyrischer Werke einbeziehen und im ästhetischen Erleben des Gedichts wirksam werden lassen. Die Untersuchung erforscht in ihrem Fortgang die produktive Wirksamkeit materieller Substrate der Lyrik in ihren technischen und poetologischen Ausprägungen. Im Zuge dessen werden Möglichkeitsbedingungen für die Rezeption lyrischer Werke herausgestellt, die durch einen veränderten Mediengebrauch entstehen. Dabei wird aufgezeigt, dass der Umgang mit den Substraten der Lyrik einer historischen Genese unterliegt, die zumindest in den bisher von der literaturwissenschaftlichen Forschung herausgestellten Gesichtspunkten zum Themenkomplex kaum beachtet wurde, die jedoch zu einem dezidierten Verständnis moderner Lyrik führt. In einer durch die Fragestellung gesteuerten Auswahl sind Gegenstände der Untersuchung sowohl Gedichte als auch Essays und Manifeste., The dissertation is about the career of materiality in poems of the early modern period. In the shift from the 19th century to the beginning of the 20th century, lyricism develops conceptions comprising the material qualities of literature into the production of lyric works and make them operant in the aesthetical experience of poems. In this project I do research on the productive efficacy of material substrates of poems and describe them in their technical and poetical characteristics. In the course of this the basic preconditions for the reception of lyrical works as they effect from the changed use of media are elucidated. Based on this I assume, that the use of the substrates of lyrical production is subject to a historical genesis, that was neglected by studies in literature until now, although it would help to develop a deicide understanding of lyrical works of the modern period. Due to a problem based selection of texts the subjects of the research are poems as well as essays and manifestos.

Die Dissertationsschrift setzt sich mit der Karriere der Materialität in der Lyrik der Moderne auseinander. Im Übergang zur Moderne bildet die Lyrik Konzeptionen aus, die den Lyrikbegriff des 19. Jahrhunderts überwinden, indem sie materielle Eigenschaften von Literatur in die Produktion lyrischer Werke einbeziehen und im ästhetischen Erleben des Gedichts wirksam werden lassen. Die Untersuchung erforscht in ihrem Fortgang die produktive Wirksamkeit materieller Substrate der Lyrik in ihren technischen und poetologischen Ausprägungen. Im Zuge dessen werden Möglichkeitsbedingungen für die Rezeption lyrischer Werke herausgestellt, die durch einen veränderten Mediengebrauch entstehen. Dabei wird aufgezeigt, dass der Umgang mit den Substraten der Lyrik einer historischen Genese unterliegt, die zumindest in den bisher von der literaturwissenschaftlichen Forschung herausgestellten Gesichtspunkten zum Themenkomplex kaum beachtet wurde, die jedoch zu einem dezidierten Verständnis moderner Lyrik führt. In einer durch die Fragestellung gesteuerten Auswahl sind Gegenstände der Untersuchung sowohl Gedichte als auch Essays und Manifeste., The dissertation is about the career of materiality in poems of the early modern period. In the shift from the 19th century to the beginning of the 20th century, lyricism develops conceptions comprising the material qualities of literature into the production of lyric works and make them operant in the aesthetical experience of poems. In this project I do research on the productive efficacy of material substrates of poems and describe them in their technical and poetical characteristics. In the course of this the basic preconditions for the reception of lyrical works as they effect from the changed use of media are elucidated. Based on this I assume, that the use of the substrates of lyrical production is subject to a historical genesis, that was neglected by studies in literature until now, although it would help to develop a deicide understanding of lyrical works of the modern period. Due to a problem based selection of texts the subjects of the research are poems as well as essays and manifestos.

This chapter considers Google's 2015 decision to rename itself as Alphabet, Inc. in the context of mid-to-late twentieth century media studies claims regarding the western alphabet's phoneticism as well as subsequent critiques of these positions as inherently colonial. Beginning with Marshall McLuhan and Vilém Flusser's writings, the chapter asks the question of what it means for the world’s largest actor in the domain of spatial data, not to mention one of the world’s largest multi-national corporations, to lay claim to, and indeed entangle its very identity with, the concept of alphabet. Building on this, it also speculates more broadly on relationships in the development of location as a medium and the role of situatedness in our understanding of media.

From the birth of writing, the testimony of human culture had a precise, infinitely flexible and revolutionary tool that allowed it nothing less than to project itself. Record the present connoted the forecast of a future. Since then we have history. Manual writing (calligraphy) led to the rationalization of the letters, which were later fixed by the printing press. Typography was born. Typography opened the path of knowledge as a social phenomenon. From then on its been acquiring an important role in community behavior, which not only followed the beauty of forms, it was a plan which faced the imperative human need to know and teach. History is written, memory is preserved., Desde o nascimento da escrita, o testemunho da cultura humana teve uma ferramenta precisa, infinitamente flexível e revolucionária que lhe permitia nada menos que projetar-se. Querer registrar o presente conotava a previsão de um futuro. Desde então temos história. A escrita manual (caligrafia) levou à racionalização das letras, que depois foram fixadas pela imprensa, nascendo a tipografia. A tipografia abriu caminho para o conhecimento como fenômeno social nivelador. A partir daí foi adquirindo um papel preponderante no comportamento comunitário, que não só perseguia a beleza das formas, como era um desígnio com o qual enfrentar a imperiosa necessidade humana de saber e ensinar. A história é escrita, a memória é preservada., A partir del nacimiento de la escritura, el testimonio de la cultura humana contó con una herramienta precisa, infinitamente flexible y revolucionaria que le permitió nada menos que proyectarse. Querer registrar el presente connotaba la previsión de un futuro. Desde entonces tenemos historia. La escritura manual (caligrafía) condujo a la racionalización de las letras, que posteriormente la imprenta fijó, había nacido la tipografía. La tipografía abrió el sendereo del conocimiento como fenómeno social nivelador. Desde allí fue adquiriendo un rol preponderante en el comportamiento comunitario, que no solo perseguía la belleza de las formas, era un plan con el que enfrentar la imperiosa necesidad humana de saber y enseñar. La historia se escribe, la memoria se resguarda.

Editorial design & art direction for the 2022—23 Type/Lab series of workshops authored & run by Cooper + Hutchinson Research.

This paper focuses on the exploration of the figure of the spider, used by Salette Tavares in “Aranha” (1963), and later in “Aranhão” (1978) and “Borboleta de Aranhas” (1979), as a speculative model to understand spatialization features within the author’s poetics. These three works are analyzed as three different moments of the same image, in a kind of close-up movement towards the figure of “Aranha”, as suggested by the accumulative processes of reproduction in these works as well as by the redimensionalization/multiplication of the typographic image of the poem from 1963. In addition, through this same speculative model, this study engages with the workings of the spatial poems “Maquinin” (1963-2010) and “Porta das Maravilhas” (1979), using the logic of the arachnid webbing as a basis for exploring the poetic effects of the chosen materials and three-dimensional arrangements of these works. In all readings, phenomena of consubstantiation are highlighted, through which Salette Tavares ratifies her vision regarding the inseparability between form and content in an irremediable way., 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.