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In the English language, when a sentence contains all letters of the alphabet, such as "The/A quick brown fox jumps over the lazy dog", this is known as a pangram. Curiously, despite its odd meaning, this fox-dog pangram has found practical usage in some applications, mainly in text typography related to computer graphics, in linguistics, as a writing tutorial, or for testing computer keyboards. Even more curiously, it has been detected as a residual of template text in some academic papers. This unique linguistic curiosity was examined by screening Scopus and Web of Science, as well as Google Scholar from 2019–2023, to appreciate its practical use, as well as to assess whether there were any cases of residual template text, the main target of this exercise. In the latter case, this letter advocates for the removal of this residual text, in the form of a literary correction. [ABSTRACT FROM AUTHOR]

Abstract In the English language, when a sentence contains all letters of the alphabet, such as “The/A quick brown fox jumps over the lazy dog”, this is known as a pangram. Curiously, despite its odd meaning, this fox-dog pangram has found practical usage in some applications, mainly in text typography related to computer graphics, in linguistics, as a writing tutorial, or for testing computer keyboards. Even more curiously, it has been detected as a residual of template text in some academic papers. This unique linguistic curiosity was examined by screening Scopus and Web of Science, as well as Google Scholar from 2019–2023, to appreciate its practical use, as well as to assess whether there were any cases of residual template text, the main target of this exercise. In the latter case, this letter advocates for the removal of this residual text, in the form of a literary correction.

The article is devoted to the consideration of the script in the modern history of the German literary language, associated with the design of its normative graphics (graphemics), in particular the «font dispute: antiqua vs gothic» in the first half of the 20th century. For a significant period of historical development, the German literary language is marked by «cognitive dissonance» caused in the linguistic consciousness of its speakers by the collision of «conflicting» variants of Latin characters. The parallel use of various graphic variants of writing (diglyph), especially at the stage of the modern history of the German language, is marked by the influence of various extra-linguistic factors (ideology, confessional, cultural differences, national and state policies, etc.). A pressing issue is the consideration of the radical and controversial language policy in the totalitarian Third Reich in 1933–1945. Declaring Fraktur as a «national script», a symbol of identity and the embodiment of basic doctrines (unity of the nation and German-speaking ethnic groups, anti-Semitism, «struggle for culture», the idea of superiority), the National Socialists in 1941, at the stage of reorienting their policy towards «Eurocentrism», declared it replacement of the previously rejected antiqua as «normative German writing». The article provides a critical stage-by-stage analysis of the scenarios of the language policy of National Socialism in the «dispute about graphics», attempts to use a «compromise font» (Futura). Ideologemes associated with this practice are analyzed as lexical markers (Sprachregelung, Kulturkampf, Schrifttum, Judenlettern, deutsche Volksschrift/Normalschrift, etc.). The result of the study was the construction of a model of «font strategy» as a special linguistic-semiotic phenomenon of the language policy of the Third Reich. The conclusions note a peculiar reflection of the «font dispute» in different types of texts of 1933–1945 and in the military discourse of the Third Reich.

Background: Format readability, including font and spacing, impacts reading metrics in adults, but will the research generalize to children? We examined how eight fonts (four serif and four sans serif) and three-character spacing variations influenced children's reading comprehension and reading speed. Methods: Fifty-one students in third–fifth grade read 11 narrative text passages on a computer and answered comprehension questions. Passages were randomized in terms of order. First, the font in which the text of each passage was presented was manipulated. Then passages were presented in three spacing manipulations (narrow, normal, and wide). Results: A linear mixed effects model demonstrated that, on a group-level, passages presented in Roboto and Arial font were read significantly faster (words-per-minute) than other fonts. On the individual level, students experienced significant boosts in reading speed (words-per-minute) between their best and worst fitting font, and spacing. A chi-square test showed no one font or spacing setting that was most likely to be a students' font fit or clash. For reading comprehension, no speed–comprehension tradeoff was observed. Conclusions: Changes to text format at the group and individual level may yield boosts in reading speed for students, without negatively impacting reading comprehension. [ABSTRACT FROM AUTHOR]

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.)

This essay explores the search for an ideal typography course for design students. It analyzes the historical and social context of typography in post-war Poland, highlighting the impact of a non-democratic state on graphic design. It addresses the legacy of elitist education and linguistic uniformity, revealing challenges in the current education system. An interdisciplinary team seeks to define the ideal course through qualitative and quantitative research, underlining the need to understand the history of typography and its current challenges. Models of design education are discussed, recognizing the absence of a perfect course and focusing on the need to define clear frameworks, standardize content and include modern media in typography education.

In children's literature, the title functions beyond mere labeling for identification purposes. Rather, the titling itself serves a linguocognitive role. Titles are viewed before the book is opened, thereby able to convey aesthetic significance by employing strategic typographic techniques that visually preview a book's tonal direction. The intentional typographic design choice in formatting the title graphically depicts the relative conceptual space the book will inhabit. Additionally, the interaction between the formatted typographic title presentation on the front cover and the illustrative cover imagery contributes an essential role in coalescing the intended holistic cover design impression. This research aims to closely investigate the three-way interaction occurring between "title" (defined here as the linguistic facet encompassing the verbal meaning of the printed title text), "typography" (defined here as the aesthetic facet encompassing the graphical formatting and styling of the printed title text) and "cover image" (defined as the illustrative artwork encompassing the pictorial depiction on the front book cover) within the conceptual structure underlying the unified cover design presentation. The research methodology enacted is applied in nature, based fundamentally in library data collection, and analytical-descriptive in its systematic approach. The target domain under examination focuses exclusively on children's picture storybooks classified for age groups "A" and "B," while concentrating deliberate analysis specifically on three recently published titles selected expressly for their diversity exhibited in typographic title formatting and styling choices implemented: The Big Question (Erlbruch, 2009), Wise Honey (Piumini, 2015), and Sun Detective (Bahari, 2017). Unlike former studies pursuing a one-dimensional correlation between title and cover image, this research proposes a two-dimensional identity operating within the functional book title itself. It explores the complex three-way interac-tion by closely examining how the linguistic reading aspect, aesthetic/graphical typographic aspect, and illustrative cover image aspect relationally interconnect across all three domains through a conceptual triangular dialogue. The book title, like any other written sign, has both a visual and a reader-oriented aspect. This research demonstrates that these two aspects not only individually interact with the cover image but also have internal interactions with each other. Factors such as font size, color, thickness, and font type (visual aspect) can internally interact with the linguistic meaning of the title (reader-oriented aspect). Thus, the cover design results from the triangular relationship of the "reader-oriented aspect of the title," the "visual or typographic aspect of the title," and the "cover image." This triangular relationship initiates with a dual interaction, such as decoding based on the internal interaction of the title (reader-oriented and visual interactions) and subsequently using the decoded information as an introduction for deciphering the codes of the cover image. The diversity in visual structures and themes of each artistic work continues to revolve around a central theme. In each interaction, the main visual structures engage in semantic and interpretative interaction, followed by the sequential interaction of other visual elements in the triad of "title," "typography," and "cover image." The increasing prevalence and diversification of daily Persian typographic interfaces make the necessity of research in this regard undeniable. [ABSTRACT FROM AUTHOR]

The trademark is the most important element in confirming the visual identity of an organization or company. Its main function is to introduce and constantly remind it to confirm a specific idea of it. A well-designed wordmark logo is what gives a company the ability to compete, and reflects its unique personality. From here, the research problem arose in studying typography design considerations suitable for wordmark logos? Where the research aims to study the Arabic typography design considerations suitable for wordmark logos, by taking advantage of the role of the typography in creating a specific identity for it, and the researcher presents and analyzes different models for them. Since the design of the appropriate typography for the wordmark logo, is an integral part of building its identity, it has the ability to tremendously express. Fonts carry different meanings and connotations, and we automatically react differently in our thoughts, feelings, and behaviors when we see them. Thus, designing the right typography for it will convey the correct message to the recipient, while the wrong design will reduce its credibility. The research found that there is a strong relationship between memory, perception, and attention, as attention works with memory to form a distinct state of visual perception of letters and writings for the recipient, in which he identifies the structural and formal features of the typography elements, on the basis of which a corresponding formation in the memory that invokes him when he sees the same visual perceptions that Include it again.

Calligraphy is the world's oldest abstract art. It means to make it easy to master the art of beautiful writing! This art is covering now areas ranging from a handwriting and letters in their functional aspect and takes the form of artwork in their aesthetic aspect. The designer treats a single letter as a flexible moldable element having a beautiful look, form and function. Calligraphy is considered an important element in brand's design, where the later of a single letter or more than a letter or a word is in need to calligraphy in its design and is described as a mixture between verbal and visual communication at once, and this, in turn, helps in performing its communicative function better and faster. Besides the linear mark has the ability to define the name of the organization in a clear font, we notice that the calligraphy's font design itself reflects connotations, meanings and messages could be utilized in design of the brands. Calligraphy enabled students in in the Faculty's Advertising Department to produce different designs of the brands by using an infinite variety of typographical words and letters filled with energy, creativity and cutting-edge vision conveys the spirit of the age in drafting and composition

This article examines texts by the modern British poet Brian Bilston from the perspective of their semantic and syntactic organisation and the lines of the author's investigation into paralinguistic, i. e. visual, elements. To this end, it draws on contemporary research into complex communication objects — multimodal texts. The study provides an overview of the principles of new media: modularity, numerical representation, automation and variability. Formulated by Lev Manovich, these precepts find reflection in Bilston's poetic practices. It is shown that traditional paralinguistic means, such as the spatial arrangement of components or the use of colours, shapes and figures, are used to compose iconic texts where the actual similarity of the sign and the referent comes to the fore. A non-standard technique is described that utilises the font as an element of traditional polymodality to label the actor. The use of new media elements — computer interfaces, data visualisation and emojis — in poetic and meta-poetic functions is explored alongside an examination of conceptual metaphors illustrating reflection on a subject's individual experience — reflection couched in digital reality terms, such as 'filter', 'format' and 'function'. As for the referential correlation between verbal and visual components, the role of emojis is demonstrated in devising the structures of parallel, complementary and substitutive syntax in literary, public and advertising Internet communication. It is concluded that the choice between traditional and new visual components reflects how form and content interact in a text. The espousal of digital reality elements is linked to the poet's interest in the features of communicative relationships. The significance of the communicative format associated with the conceptualisation of digital reality is shown to perform a text-forming function in Bilston's poetic practices.

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 Abstrak Setelah 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.

Featured Application: Papermaking and printing industry, usability, i.e., legibility of printed text. Invasive alien plant species (IAPS) may cause threats to native biodiversity in ecosystems. Researchers have been investigating all the possible ways that they can be used effectively for other purposes. Since IAPS are capable of forming cellulose fibre nets, in this research, papers were made from three different types of IAPS (Japanese knotweed, giant goldenrod, and black locust). This research examined these IAPS papers and their effectiveness when used as printing substrates. In comparison to commercial office paper, the differences in basic, surface, optical, and microscopic properties were measured. As a widely used technology, inkjet printing was applied. We tested a commonly used sans-serif typeface (which has been established as being more legible than other typefaces in previous research) in three different type sizes (i.e., 8, 10, and 12 pt). According to the results, paper made from IAPS could offer some usable properties and acceptable legibility, especially when printing typefaces with specific attributes, such as moderate counter size, higher x-height, and minimal differences in the letter stroke width, are used. An appropriate typographic tonal density should be achieved in combination with an adequate letter size, e.g., 10 pt type size when a sans-serif typeface is used. [ABSTRACT FROM AUTHOR]

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

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 Postscriptum Polonistyczne is the property of Wydawnictwo Uniwersytetu Slaskiego 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 Communication Management Review is the property of Edward Bernays University of Applied Sciences 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.)

Emotion Recognition is the experience of attitude in graphic language expression and composition. People use both verbal and non-verbal behaviours to communicate their emotions. Visual communication and graphic design are always evolving to meet the demands of an increasingly affluent and culturally conscious populace. When graphic designing works, designers should consider their own opinions about related works from the audience's or customer's standpoint so that the emotion between them can resonate. Hence, this study proposes a personalized emotion recognition framework based on convolutional neural networks (PERF-CNN) to create visual content for graphic design. Graphic designers prioritize the logic of showing objects in interactive designs and use visual hierarchy and page layout approaches to respond to users' demands via typography and imagery. This ensures that the user experience is maximized. This research identifies three tiers of emotional thinking: expressive signal, emotional experience, and emotional infiltration, all of which affect graphic design. This article explores the subject of graphic design language and its ways of emotional recognition, as well as the relationship between graphic images, shapes, and feelings. CNN initially extracted expressive features from the user's face images and the poster's visual information. The clustering process categorizes the poster or advertisement images into positive, negative, and neutral classes. Research and applications of graphic design language benefit from the proposed method's experimental results, demonstrating that it outperforms conventional classification approaches in the dataset. In comparison to other popular models, the experimental results demonstrate that the proposed PERF-CNN model improves each of the following: classification accuracy (97.4 %), interaction ratio (95.6 %), emotion recognition ratio (98.9 %), rate of influence of pattern and colour features (94.4 %), and prediction error rate (6.5 %).

Studies recently focused on the important roles of graphic design elements in drawing consumers’ attention. The present study focuses on finding out the effectiveness of graphic design elements and colors of canned coffee packaging in consumers' decision-making process. This study was performed in two stages. The first stage included making graphic design elements: image, shape, and typography. In the second stage, the values were modified to see which color was the most attractive to the consumer by distributing questionnaires to 135 respondents. The study demonstrates the importance of packaging visuals, implying the need for attractive graphic design elements. Regarding the image, respondents preferred the photograph over the illustration. Meanwhile, regarding shape, respondents preferred fluid rather than pattern, and regarding typography, they preferred display over text. To conclude, respondents preferred light-colored photography, pattern and display. This result could be used as a reference in designing beverage packaging.

Background: Format readability, including font and spacing, impacts reading metrics in adults, but will the research generalize to children? We examined how eight fonts (four serif and four sans serif) and three-character spacing variations influenced children’s reading comprehension and reading speed. Methods: Fifty-one students in third–fifth grade read 11 narrative text passages on a computer and answered comprehension questions. Passages were randomized in terms of order. First, the font in which the text of each passage was presented was manipulated. Then passages were presented in three spacing manipulations (narrow, normal, and wide). Results: A linear mixed effects model demonstrated that, on a group-level, passages presented in Roboto and Arial font were read significantly faster (words-per-minute) than other fonts. On the individual level, students experienced significant boosts in reading speed (words-per-minute) between their best and worst fitting font, and spacing. A chi-square test showed no one font or spacing setting that was most likely to be a students’ font fit or clash. For reading comprehension, no speed–comprehension tradeoff was observed. Conclusions: Changes to text format at the group and individual level may yield boosts in reading speed for students, without negatively impacting reading comprehension.

Whether a document is of historical or contemporary significance, typography plays a crucial role in its composition. From the early days of modern printing, typographic techniques have evolved and transformed, resulting in changes to the features of typography. By analyzing these features, we can gain insights into specific time periods, geographical locations, and messages conveyed through typography. Therefore, in this paper, we aim to investigate the feasibility of training a model to classify serif typeswithout knowledge of the font and character. We also investigate how to train a vectorial-based image model able to group together fonts with similar features. Specifically, we compare the use of state-of-theart image classification methods, such as the EfficientNet-B2 and the Vision Transformer Base model with different patch sizes, and the state-of-the-art fine-grained image classification method, TransFG, on the serif classification task. We also evaluate the use of the DeepSVG model to learn to group fonts with similar features. Our investigation reveals that fine-grained image classification methods are better suited for the serif classification tasks and that leveraging the character labels helps to learn more meaningful font similarities.This repository contains: - Paper published in the Journal of data mining and digital humanities:WasimEtAl_Toward_Automatic_Typography_Analysis__Serif_Classification_and_Font_Similarities.pdf - Two datasets: The first for serif classification consisting of 126666 training and 2914 font-independent testing images in raster format. The second dataset for svg based similarity learning consists of 124010 training and 2914 font-independent testing images. The images have been categorized into sans-serif, linear-serif, slab-serif, and triangular serif by a designer at the EPFL+ECAL Labfont_serif_dataset.zipfont_svg_dataset.zip - model weights:serif_B_16_long_checkpoint.bin: refers to TransFG ViT B/16 Backendserif_B_32_long_checkpoint.bin: refers to TransFG ViT B/32 BackendViT-B_16.npz ViT-B_32.npz are publicly available at: https://github.com/TACJu/TransFGand were used for training TransFG ViT B/16 Backend and TransFG ViT B/32 Backend - code:https://github.com/TalalWasim/GEST-Serif

Studies recently focused on the important roles of graphic design elements in drawing consumers' attention. The present study focuses on finding out the effectiveness of graphic design elements and colors of canned coffee packaging in consumers' decision-making process. This study was performed in two stages. The first stage included making graphic design elements: image, shape, and typography. In the second stage, the values were modified to see which color was the most attractive to the consumer by distributing questionnaires to 135 respondents. The study demonstrates the importance of packaging visuals, implying the need for attractive graphic design elements. Regarding the image, respondents preferred the photograph over the illustration. Meanwhile, regarding shape, respondents preferred fluid rather than pattern, and regarding typography, they preferred display over text. To conclude, respondents preferred light-colored photography, pattern and display. This result could be used as a reference in designing beverage packaging. [ABSTRACT FROM AUTHOR]

This paper proposes a generative approach for the automatic typesetting of books in desktop publishing. The presented system consists in a computer script that operates inside a widely used design software tool and implements a generative process based on several typographic rules, styles and principles which have been identified in the literature. The performance of the proposed system is tested through an experiment which included the evaluation of its outputs with people. The results reveal the ability of the system to consistently create varied book designs from the same input content as well as visually coherent book designs with different contents while complying with fundamental typographic principles.

The advent of the printing press proved to be a decisive factor in the cultural development of mankind as a whole. In Eastern Europe, the complex path to the new information technology had its own specific characteristics: revolutionary technology was first used for the needs of East Slavs in 1517–1519 in the Czech kingdom and from there it was transferred to Grand Duchy of Lithuania in 1521–1522. The process of developing the printed word is linked to the figure of Francis Skorina (1470–1551), who, after the Congress of Vienna, was given the opportunity to become a book publisher in Prague. The focus of the proposed study is a corpus of Cyrillic printed monuments, which together tell an entertaining story of equal cultural and technological cooperation in the first quarter of the 16th century. In the context of mastering and adapting the latest technology, it is noteworthy that the Cyrillic Prague editions are characterized by exceptionally high polygraphy quality, which exceeds the level of Czech printing of the first half of the 16th century. Therefore, they are nowadays regarded not only as valuable works of East Slavic cultural heritage but also as outstanding monuments of Czech printing (významné bohemikální památky). From the perspective of encompassing philology (celostní filologie), from a modern methodological base and a new phase in the development of Prague functional structuralism, the article raises the question of how many of these printed monuments intended for the East Slavic reader were published in Prague at that time.

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.

This paper analyses the morphosyntactic boundaries of proper names in English from the standpoint of the semantics of syntax (form-meaning relations). Typographic, morphological and syntactic properties of proper names are found to be iconically connected and lead to a renewed description of proper names as nominals – rather than simple nouns or noun phrases, as traditional descriptions would have them be. Proper nominals (proper names as syntactic nominals) integrate potentially marginal units into the nominal domain via a twofold process: 1) they showcase their formal and linguistic singularity while 2) imitating the morphosyntactic behaviour of common nouns. This analysis relies on the English common corpus, though examples from the French corpus are also used as most of the analysis remains valid in the French language.

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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.)

Reading comprehension is an essential skill. It is unclear whether and to what degree typography and font personalization may impact reading comprehension in younger readers. With advancements in technology, it is now feasible to personalize digital reading formats in general technology tools, but this feature is not yet available for many educational tools. The current study aimed to investigate the effect of character width and inter-letter spacing on reading speed and comprehension. We enrolled 94 children (kindergarten–8th grade) and compared performance with six font variations on a word-level semantic decision task (Experiment 1) and a passage-level comprehension task (Experiment 2). Reading speed and comprehension were analyzed using generalized linear mixed-effects regression models. Independent samples t-tests compared speed and comprehension accuracy on personal best vs. worst font variation. A stability analysis was conducted to determine if participants had a stable personal best font variation within Experiment 1. The Experiment 1 stability analysis was statistically significant, and 58% of participants had a stable personal best font variation. Personal best font variations yielded significantly higher comprehension accuracy in both Experiments 1 and 2 and faster reading in Experiment 2. Using digital technology to personalize font may have important implications for school-aged readers. [ABSTRACT FROM AUTHOR]

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

This paper suggests a sociolinguistic approach to typographic landscape analysis. Typography is discussed as a semiotic resource with meaning-making potential. The paper argues that typographic variation provides dynamic indexical links to social practice. It obtains its ‘social voice’ and becomes an integral part of the social context in which it is perceived as typical and able to generate particular socially loaded meanings. This research is in line with contemporary social semiotics, interactional linguistics, and discourse studies and is based on typographic meaning as a key notion providing the basis for social actors’ ideological ascriptions. Typography and typographic meaning formation are discussed within modern Russian urban space. It is argued that urban area enables addressing agency and interaction aspects of social communication. The city space provides access points for observing, shaping and interpreting meanings in the social context. As cases in point, the paper discusses the typefaces such as Antiqua font used in pre-revolutionary Russia, lettering imitating the font of Soviet newspapers, Handwriting font, and Stencil font and their em­bed­dedness in current socio-cultural practice. The analysis uses advertising, social and com­mercial texts. The findings indicate that typography should be considered as a social meaning which results from indexical connections of a sign and the context it is used in. Semio­tification of space allows observing stronger reflexivity and, therefore, metapragmatic activity of communicants.

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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]

In the history of modern illustration, that is in the modernist years 1910-1930, Banalité by Léon-Paul Fargue (texte), with « compositions » by Fabien Loris and Roger Parry, is a truly innovative volume, which maintains however certain aspects of the traditional illustrated book. What is new in this publication is the merger of a classic format, well-known by bibliophile readers, and a new medium, photography, still discarded from the market of rare and expensive books. The authors' attempt to introduce the new into the old is quite similar to what one finds in French modernist typography, as represented by the magazine Arts et métiers graphiques, which adapts the Bauhaus revolution to a broader French audience. At first sight, the book limits itself to conventionally adding images to text, yet these illustrations are complemented by a collective work on the work's layout, which transforms the fundamentally nostalgic text by Fargue into a crucial step in experimental book design in French. [ABSTRACT FROM AUTHOR]

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]

Aim of the article. This article deals with the iconic typography of the Talmud page and focuses on the relationship between script and religious identity. It examines changes in design and typography in the modern editions of Steinsaltz, Artscroll, and Koren since the 1980s, and how they led to the removal of some of these editions from the yeshiva world, preventing yeshiva students from using them. Results. The Talmud is the central and most influential text in the world of Jewish law. Its study holds great spiritual significance, and many regard it as a means for self-expression and connection to the Torah’s oral tradition. During the second half of the 20th century, initiatives were taken to change the traditional layout of Judaic texts. The aim of these initiatives was to create a new “Israeli design” for Judaic texts while remaining loyal to the past. Designers sought to strike a balance between conservation and innovation in aspects such as book design, technological advances in the printing industry, accessibility regarding reading, studying, and prayer, and catering to broader target audiences. In most cases, new book formats were chosen, but at times, such changes generated strong opposition in certain Jewish sectors, resulting in those books being banned from study halls and synagogues. A case in point was Rabbi Steinsaltz’s project of redesigning the Talmud to make Talmud study more accessible for struggling learners. Rabbi Steinsaltz changed the format of the Talmud page to a more readable format, using new fonts, additional punctuation, and wider spacing between the lines. This change, however, was not accepted by the Haredi (ultra-Orthodox) and parts of the National- Religious public. Scientific novelty. Existing research deals separately with the issue of Zionist Hebrew typography and the issue of the ultra-Orthodox society. To the best of our knowledge, so far, no research has directly linked the two issues to examine the ultra-Orthodox approach to design in general and to Hebrew typography in particular. This study contributes to previous research on Hebrew typography, emphasising its role in conveying a social, educational, and ideological message, regardless of the written text’s content. Conclusions. Judaic texts that are used in the ultra-Orthodox world are visually different in design from those used in the secular and/ or National-Religious world. While the ultra-Orthodox staunchly preserve the traditional Judaic book format (albeit with minor changes), the secular world and parts of the National-Religious public welcome books that have a variety of fonts, colorful designs and pictures, decorations, and didactic explanations to aid the reader. The Talmud is a book with a distinct typography and contains a wealth of information. The layout of a Talmud page allowed for a variety of different texts to be combined in one book, making it easier to study. The fixed template, which is exactly the same in all tractates, generates a visual representation of the text so that a large amount of information can be remembered through an “eidetic memory” of images. Rabbi Adin Steinsaltz’s edition of the Talmud (Koren), which changed the traditional page layout to make the text more accessible, remained only partially faithful to the original but brought about a true revolution. For some audiences, this innovative edition represents a pinnacle of Hebrew literature, while for others, it is seen as a violation of the sacred literature and should be banned. There has always been a strong connection between the ultra-Orthodox world and Hebrew typography, and it is still present on a daily basis. The Hebrew letters are cornerstones in the design of the Holy Scriptures. However, the attitude of the ultra-Orthodox world toward modern Hebrew typography as reflected in this study, is one of ambivalence, some acceptance but mostly strong reservations.

The aim of this paper is to present the publications of the printing houses in Vilnius from the end of the 16th and the 17th century which have been preserved in the larger Bulgarian libraries and in the archives in Sofia, Plovdiv, and Rila Monastery. These are some of the liturgical books published by Peter Mstislavets, the Mamonichi brothers, and the printing house of the Holy Spirit Monastery. We are offering systematic information with brief descriptions of the preserved copies. We are tracing the distribution of these printed books and the ways of their penetration into the Bulgarian lands in the 16th –17th century, as well as their usage in the following centuries.

The length of a word depends on the number of characters that make it up. Since we are constantly confronted with words (information), a suitable typeface should be chosen to make reading comfortable and easy. The number of characters can affect how visible a word is and, more importantly, how quickly the word can be read and understood. For this reason, we conducted tests with five-letter words randomly displayed at the four positions on the screen. The study examined the minimum time required to recognize five-letter words. Five different typefaces (Calibri, Georgia, Swiss 721, Trebuchet, Verdana) were included in the study to determine which of the screen typefaces read the fastest. The Georgia typeface performed the best regardless of the other conditions. The time to read upper-case letters was much shorter than lower-case and sentence-case letters. For words presented in the upper positions of the screen, the recognition time was shorter than for the lower positions of the screen. Different combinations of variables showed that some were better suited for on-screen use.

Low vision affects the ability to read and can be a major barrier to educational success and insertion into the workplace. We designed a new font (Luciole) to improve the readability and comfort for people with low vision. In this study, we analyze the effect of the font type on readability. Luciole was compared to five other fonts (Arial, OpenDyslexic, Verdana, Eido and Frutiger) in 145 French readers (73 with low vision, and 72 normal sighted), aged 6 to 35 years old and divided into four reading expertise groups. Participants completed two tasks, first reading texts on paper and then reading false-words on screen using eye tracking. About half of the participants with low vision had a subjective preference for Luciole when reading on paper and on the screen; lower preference is noted for participants with normal vision. Other readability criteria show a slight advantage of the Luciole font over some fonts (e.g., Eido and OpenDyslexic) in both groups. The results obtained when taking into consideration the level of reading expertise confirm this trend.

This article aims to explore the history of scribes in the printing world. Scribes of printers were first needed with the using of lithography in the Ottoman World and by the time they became an actor of printing and publishing world. Printing clerks were first needed in the Ottoman world with the use of lithography, and in time they became an actor in the world of printing and publishing. Although they initially wrote books for lithographic printers, as new printing techniques develop, they wrote not only books but also business cards, invitations, company invoices, etc. Scribes of printers entered the market as freelance workers, then took permanent positions in printers and in the 20th century they opened calligraphy stores for printers but their story ended with language reform in 1928. It is emphasized that the development of printing capitalism after 1908 and that scribes became important actors in the new market. [ABSTRACT FROM AUTHOR]

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]

The aim of this paper is to present the publications of the printing houses in Vilnius from the end of the 16th and the 17th century which have been preserved in the larger Bulgarian libraries and in the archives in Sofia, Plovdiv, and Rila Monastery. These are some of the liturgical books published by Peter Mstislavets, the Mamonichi brothers, and the printing house of the Holy Spirit Monastery. We are offering systematic information with brief descriptions of the preserved copies. We are tracing the distribution of these printed books and the ways of their penetration into the Bulgarian lands in the 16th-17th century, as well as their usage in the following centuries. [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 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.)

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 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 Croatica et Slavica Iadertina is the property of University of Zadar, Department of Croatian & Slavic Studies 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 first Polish language book was published in Lublin in 1630. The book Słonecznik albo porownanie woli ludzkiey z wolą bożą by Jeremiasz Drexelius was printed in Paweł Konrad's printing house. The name of the printer was not mentioned in historical resources. The analysis of the old print (especially the correlation between the structure and the typographic layout of the text) shows that P. Konrad knew well contemporary publishing convention. He skilfully made use of his meagre composing material in order to emphasise text structure. He used three different typefaces, small capitals, capitals, and book ordinary type. He changed the letter size, used centring, justification as well as initials and the short column. Moreover, the printer placed ornaments in the text, and he consciously employed unprinted space.

'1 Question 10 answers' is a didactic exercise, designed to investigate the notion of interpretation in communication design, and to reflect upon issues that arise in the creation of non-fiction narratives. In particular, this research analyses the relationship between the interviewer and the interviewee, as well as the poetic devices of collection, tabulation and repetition in storytelling. The exercises discussed in this project were applied in various educational contexts: initially from 2017-2019 on the Typography module of the BA in Design at the Universidade da Madeira (Madeira, Portugal), and subsequently in February 2021 during an intensive workshop with MA Communication students in the School of Design at the Politecnico di Milano (Milan, Italy). The exercise consisted of posing a question to ten people and collecting their narrative responses, before exploring how these might be interpreted as texts and translated into artefacts. The results produced by the students at the Universidade da Madeira were small books, while the students at Politecnico di Milano invented communication systems within several different types of media. This article discusses ‘the rules of the game’ applied during the exercises, describes the learning process, and analyses various works made by the students reflecting on delicate balance that exists between a work of interpretation and the processes of dialogue and active listening. The exercises discussed in this project were applied in various educational contexts: initially from 2017-2019 on the Typography module of the BA in Design at the Universidade da Madeira (Madeira, Portugal), and subsequently in February 2021 during an intensive workshop with MA Communication students in the School of Design at the Politecnico di Milano (Milan, Italy). The exercise consisted of posing a question to ten people and collecting their narrative responses, before exploring how these might be interpreted as texts and translated into artefacts. The results produced by the students at the Universidade da Madeira were small books, while the students at Politecnico di Milano invented communication systems within several different types of media. This article will discuss ‘the rules of the game’ that were applied during the exercise: it will describe the learning process, analyse various works made by the students and reflect upon the potentialities of the method in future contexts.