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Copyright of GeSec: Revista de Gestao e Secretariado is the property of Sindicato das Secretarias e Secretarios do Estado de Sao Paulo (SINSESP) 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 Arcos: Design, Cultura e Visualidade is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) 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.)

This paper addresses matters related to the theoretical and methodological structure needed to support communication professionals in digital typography. The work stands on three interconnected subjects: the limitations of classification systems concerning the support they provide to the understanding of typefaces styles; the criteria used by designers and type foundries when selecting the scripts that make up new fonts; the methods adequate to typeface design in more than one script. Based on the gathering and critical analysis of ideas of specialists such as Charles Bigelow, Cris Holmes, Maxim Zhukov, and Robert Bringhurst, the purpose and the specific contribution of this paper are to systematize and to set criteria that can subsidize the work of typeface designers, publishers, typographers, graphic designers, and book designers. [ABSTRACT FROM AUTHOR]