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

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

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

Copyright of Revista 180 is the property of Revista 180 and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

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]

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

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

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]

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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of 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.)

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

Resumen Este texto pretende demostrar la importancia de la integración de los sistemas tipográficos en el proyecto arquitectónico a partir del análisis de la reforma del Grand’s Restaurant (Filadelfia, 1962) de Robert Venturi y William Short. Elegir este caso de estudio permite entender el impacto de este recurso en la etapa temprana de Venturi (1962-1969). El tema remite a contenidos y aspectos que, hasta la fecha, permanecen prácticamente inéditos a pesar de los muchos estudios dedicados a la obra y escritos del arquitecto. A pesar de su discreto tamaño y presupuesto, el Grand’s concen­tró de manera ejemplar tanto aspectos teóricos de la propia investigación de Venturi, como fue, asimismo, precursor de otras corrientes interdisciplinares del momento como Supergraphics. La escritura es aquí un elemento arquitectónico de ‹pleno derecho› que afecta a la interpretación del proyecto, a su carácter simbólico y su entendimiento como integrante del orden y la composición arquitectónicos. Abstract This article, based on an analysis of the refurbishing of Grand’s Restaurant (Philadelphia, 1962), designed by Robert Venturi and William Short, aims to show the importance of integrating systems of typography into architectural design. Choosing this case study enables the impact of typogra­phy on Venturi’s early period (1962-1969) to be examined. The theme involves content and aspects which have remained virtually unexplored to date despite the many studies devoted to Ventu­ri’s architecture and those written by the architect himself. Despite its modest size and budget, Grand’s not only exemplarily condensed theoretical aspects of Venturi’s own investigation but also served as a precursor for other interdisciplinary trends of the time such as Supergraphics. Writing in Grand’s is a ‹fully-fledged› architectural element affecting the design’s interpretation, its symbolic nature and its understanding as part of an architectural order and composition.

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

Copyright of Visual Review is the property of Eagora Science 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.)

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

Copyright of Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

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

Resumen En enero de 1945 Arts & Architecture puso en marcha el programa Case Study House, un experimento ideado por John Entenza que les reservaría a él y a su revista un lugar importante en la historia de la arquitectura moderna del siglo XX. Desde que asumió la dirección de Arts & Architecture en 1940, Entenza supo rodearse de creadores y artistas como Alvin Lustig, Ray y Charles Eames, Herbert Matter o Julius Shulman, que contribuyeron a elevar el estándar gráfico de su publicación y le confirieron una identidad innovadora que respaldaba visualmente el discurso intelectual vanguardista de compromiso con la arquitectura y el diseño modernos que defendía en sus páginas. Este artículo analiza los orígenes, las estrategias de trasformación y los nombres propios que hicieron realidad una revista que, cincuenta años después de su desaparición en 1967, sigue resultando tan atractiva y radical como cuando se editaba. Abstract In January 1945 Arts & Architecture launched the Case Study House program, an experiment devised by John Entenza that would reserve for him and his magazine an important place in the history of modern architecture of the twentieth century. From the moment he took over the direction of Arts & Architecture in 1940, Entenza knew how to seduce creators and artists such as Alvin Lustig, Ray and Charles Eames, Herbert Matter and Julius Shulman, who contributed to raise the graphic standard of his publication and gave it an innovative identity that visually supported the avant-garde intellectual discourse of commitment to modern architecture and design that it defended in its pages. This article analyzes the origins, the strategies of transformation and the proper names that made the magazine a reality that, fifty years after its disappearance in 1967, continues to be as attractive and radical as when it was published.

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

Copyright of Bitacora: Revista de Arquitectura is the property of Universidad Nacional Autonoma de Mexico, Facultad de Arquitectura 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 Actas de Diseño is the property of Facultad de Diseno y Comunicacion, Fundacion Universidad de Palermo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The elderly Brazilian faces several problems that vary from the aging process and its biological issues to the organization of society, such as Quality of Life and education. Many projects try to compensate for the negative effects of aging like Universities for the Elderly. One of the main artifacts used in these institutions is the teaching materials that support learning. If not carefully planned, physiological and social problems will make these artifacts excluding. In this sense, the objective of this study was to analyze the typographic elements and to point out which are the main characteristics to produce inclusive graphic artifacts. To this end, an experimental research was carried out with comparative typographic tests on 88 volunteers. The results show that schooling interferes in the perception and understanding of typographic styles and fonts with little modulation and with elements of differentiation are more inclusive. [ABSTRACT FROM AUTHOR]

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

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Esta investigación tiene como objeto de estudio la comunicación visual de la cartelería de las películas que pertenecen a una saga cinematográfica, un tipo de mensaje que se extiende en el tiempo y que forma parte de la cultura visual de diversas generaciones. Se parte inicialmente de un universo de 95 sagas estrenadas en el último medio siglo, en concreto entre 1960 y 2016. Esta cifra se reduce a 19 al definir como requisito que la saga tenga, al menos, 6 piezas de cartelería que puedan ser objeto de estudio. Median¬te la metodología del análisis de contenido y el trabajo con variables manifiestas se concluye que las sagas apuestan por gamas cromáticas y escenarios similares, en los que cobra protagonismo el star system. Los personajes se realzan al colocarse en primer plano, en la parte superior del afiche y a gran escala. Cabe destacar también la apuesta por una tipografía propia que tiende a convertirse en marca representativa y se configura como seña de identidad de la saga que se consolida, en algunos casos, como una referencia de la cultura visual que traspasa la limitadas fronteras del cartel = This research studies the visual communication of the posters of the film series, a mes¬sage that lasts in time and constitutes part of the visual culture of several generations. It initially defines a universe of 95 series released in the last half century, particularly between 1960 and 2016. This number is limited to 19 because the requirement is that the series must have at least 6 posters that can be studied. Through content analysis methodology and the use of manifest variables it is concluded that the series used similar color ranges and scenarios, which highlights the star system. The characters stand out because they are located in the foreground , at the top of the poster in a large size. It is also observed the use of a singular typography that becomes an iconic brand and is configured as an identity element of the series, which in some cases, as a reference of the visual culture that transcends the margins of the poster.