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Drawing from the concept of anemoia, the authors propose a new typology of nostalgia called vintage anemoia. Vintage anemoia encompasses consumers' positive and nostalgic response to vintage cues, regardless of specific historical periods or individual lived experiences. Through a series of seven studies, the authors demonstrate that vintage typography, by evoking feelings of vintage anemoia, can enhance consumer perceptions of product safety. This effect has positive downstream consequences on key marketing outcomes, including brand attitude, purchase intention, and willingness to pay. Furthermore, the effect of vintage anemoia on product safety perceptions remains unaffected by whether product safety information indicates that a product is safe or unsafe. However, the effect diminishes when an explicit indexical cue (year of establishment) is utilized or when promoting futuristic products. The findings contribute to the existing body of knowledge in marketing and provide insights for marketers on leveraging vintage typography as a strategic tool for creating emotional connections with consumers and enhancing perceptions of product safety. [ABSTRACT FROM AUTHOR]

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]

This essay examines Jordan Harrison's unpublished playscript, futura (2010), as a response to early aughts concerns about digital media shift, fears of the death of the book, and capitalist threats to privacy and individualism. The article reads the "bookishness" of Harrison's play as a commentary on how the future of writing in digital culture necessitates a historical, artifact-based awareness of how media technologies and practices entangle one another over time. Drawing on concepts of "inscription" and "metamedia" developed by Johanna Drucker and Alexandre Starre, I argue that Harrison's own media history-informed dramaturgy reflexively integrates textual-material practices performed on the page and embodied on the stage. Sections focus on the typesetting of Harrison's PDF script; in-play citations of thinkers and practitioners of typography such as Eric Gill and Robert Bringhurst; and Harrison's interweaving of allegorical motifs that reference key moments in the history of the book, including the Great Library of Alexandria, Gutenberg's 42-Line Bible, Baskerville's edition of Paradise Lost, and Paul Renner's design of Futura. [ABSTRACT FROM AUTHOR]

Copyright of ABI Technik is the property of De Gruyter 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.)

Daniel Berkeley Updike (1860–1941) was an American printer whose Merrymount Press began operating in the 1890s out of Boston aspiring to standards set by William Morris's Kelmscott Press in England. Central to Updike's success was his relationship with the writer Edith Wharton. Updike oversaw typographical design for four of Wharton's earliest works: The Decoration of Houses (1897) The Greater Inclination (1899) Crucial Instances (1901) and Sanctuary (1903). This essay examines the relationship between Updike and Wharton with an eye for American institutional exchange and argues Updike's design schemes helped engineer her reputation as a serious literary figure. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication 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.)

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.

The high competition in the food and beverage industry in Indonesia, where packaging has a very important function, with the main function to protect the product, as well as being a factor in attracting consumers’ interest in making purchases. Packaging production is dominated by several companies, which when categorized are divided into middle-up manufacturing and middle-low manufacturing. The research is necessary to create an optimal packaging design model by considering the culture and habits of consumer. Capturing customer behavior and costs has a control function. Ethnographic studies are used to explore packaging elements that are important to consumer and Structural Equation Modeling (SEM) was used for data processing. The result provides a conceptual model as well as recommendations for food and beverage manufacturers in terms of the packaging used. Seven elements of packaging that deserve primary attention: design, image, typography, color, size, material and quality. Using habit and cost factors has the control variables, with maximum profit as the objective function. Recommendations for middle-up manufacturing are focused on four packaging elements: design, image, color and quality. It is recommended to maximize strategies for customer retention and improving customer loyalty. Middle-low manufacturing is focused on four packaging elements: color, size, material and quality. It is recommended to maximize strategies to encourage repeat business and boost productivity. The features identified in this research are very possible to be implemented by food and beverage manufacturer, along with recommended strategies. For example, at the middle and low manufacturing level, it is very important to pay attention to product availability in several sizes. [ABSTRACT FROM AUTHOR]

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]

This paper employs a mixed-method design to examine the impact of graphic design elements on reader engagement, comprehension, and overall experience in English language storytelling. Through a series of carefully controlled experiments, participants are exposed to different versions of the same short story, each featuring varying levels of graphic design integration, including typography, layout, color, and imagery. By comparing participant responses across these conditions, the study seeks to uncover how graphic design can either enhance or detract from the narrative experience. Results from the experiments demonstrate that strategically incorporating graphic design elements can significantly improve reader engagement and comprehension, thereby transforming the storytelling landscape. This paper contributes to a deeper understanding of the dynamic relationship between graphic design and English language storytelling, underscoring the potential of this interdisciplinary collaboration to redefine and expand the boundaries of narrative expression. [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.

This paper examines the typographic form of Plowden's Commentaries within its legal, printing, and technological histories, demonstrating that its typographic appearance embeds complex tensions over the study and dissemination of the common law into its material form. There are legally relevant meanings in the shape of letters, beyond mere legibility, that are connected with the heritage of type design and print technologies. Within the context of debates over the propriety of early common law printing, this paper provides an examination of Plowden's typographic style as roman and humanist. Tracing the genealogy of roman and humanist letters that led to the ones used in Plowden's opening judgment, the typography of the Commentaries is connected to debates over the resistance of the common law (as an unwritten law) to humanism and Roman-style codification. Plowden's typographic register is thereby seen to encode the Latinate traditions to which the structure and custom of the English common law is opposed. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Journal of Film Studies / Türkiye Film Araştırmaları Derneği is the property of Turkish Journal of Film Studies / Turkiye Film Arastirmalari Dergisi 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 printing of Chinese characters, as well as their combination with alphabetic letters, has been one of the great challenges for Western typographers. When the missionary Paul Perny published his Dictionnaire français-latin-chinois de la langue mandarine parlée [ French-Latin-Chinese dictionary of the spoken Mandarin language ] (1869) in Paris, the conceptual design of the structure of its entries as well as the typographical quality of the Chinese characters he used were outstanding in their functionality and, hence, at a level far more advanced than the dictionaries of Chinese in combination with Western languages published in France up to that time. This paper explores the factors that enabled this dictionary to mark a turning point in the printing of Chinese characters in France. [ABSTRACT FROM AUTHOR]

Copyright of Sanat ve Tasarim Dergisi is the property of Ankara Haci Bayram Veli 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.)

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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]

Little is known about typography and its contribution to the meaning-making process in children's storybooks. This study applied the systematic framework for a distinctive feature analysis of typography to explore the manifestations of typography in 24 recently published Arabic children's storybooks and outline typography's ideational, interpersonal, and textual functions as interpreted according to the Arabic sociocultural context. The findings show a pattern of visually manipulated typographic representations in terms of weight, expansion and spacing, curvature, connectivity, orientation, irregularity, and colors. In its ideational function, the typography constructed, reflected, and evoked visual images of real-life representations. In its interpersonal function, the typography communicated educative, social, and cultural messages and values to young readers. In its textual function, the typography supported dramatic atmospheres, matched the tone and rhythm of the story, harmonized with the stories' themes, reflected the characters' emotions and thoughts, and highlighted or differentiated incidents, concepts, and characters. The typography was found to be a promising communicative resource in Arabic children's storybooks. [ABSTRACT FROM AUTHOR]

The article analyzes sound arrangements in intermedial incarnations of Anatol Stern’s avant-garde poem “Europa.” To this end, the article examines two different interwar editions of the poem: the first edition in Reflektor in 1925 and the 1929 edition by Mieczysław Szczuka and Teresa Żarnower. Moreover, the article includes three films inspired by the poem: the 1931–1932 Europa by Franciszka and Stefan Themerson, rediscovered in 2019, the Themersons’ 1983 reconstruction of the lost film, and Europa II by Piotr Zarębski, a 1988 reconstruction of the 1930s film. Furthermore, the article considers the 1976 outdoor spectacle by Akademia Ruchu. Each work organizes the sound layer differently, but the relationship between sound, image, and silence remains significant. This relationship connects to the poem’s arrangement in terms of versification and typography as well as its intermedial history in many ways. The article introduces new or modified terms: intermedial chain, vocal juxtaposition, visual silence, and modality of perception. [ABSTRACT FROM AUTHOR]

The first book printed in Hungary, the Chronica Hungarorum, originally consisted of probably 140 (or 139) printed pages. Andreas Hess, the printer, was forced to implement constraints at the beginning and end of the incunabulum, which currently consists of 67 leaves, corresponding to 133 printed pages so that a complete book could be published. Originally, the publication began with a foreword by Archbishop János Vitéz, followed by the printer’s dedication, and continued with the medieval history of the Huns and Hungarians until the reign of King Matthias. Andreas Hess had to interrupt the printing of the book in the spring of 1472, due to the arrest of his patron, the Archbishop of Esztergom, and was obliged to wait a year before finally publishing the current version of the text. This is related to the story of the two blank leaves at the end of the print, for which no plausible explanation has yet been found. It is believed that the Hungarian printer suspended the printing process in the middle of the last quire of the incunabulum, the history of King Ladislaus V of Hungary, presumably when Vitéz was arrested. Based on this, it is possible that the text of the chronicle was considerably longer and included, among other things, the accession of the Polish Prince Casimir to the Hungarian throne in 1471. After the suppression of the Vitéz conspiracy, Andreas Hess had no choice but to exclude the preface by János Vitéz to the readers and accept that he could not print a chronicle of the controversial Hungarian domestic political affairs of 1468–1472. However, owing to the high cost of paper, he could not discard the last pairs of leaves already printed, which recount the reigns of Louis I of Hungary and Sigismund of Luxembourg. The budget of the Chronica Hungarorum must have been modest: it cost 100 gold forints, half of which was the price of the paper, and about 250 copies were published on the vigil of Pentecost, 5 June 1473. Today we know about ten surviving copies worldwide. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication 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 Turkish Online Journal of Design, Art & Communication is the property of Turkish Online Journal of Design, Art & Communication 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 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]

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 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.)

The colonial encounter instituted the hegemony of documentary practices over oral, performative and manuscript practices. Only knowledge validated through the process of print publication could stand the test of legal scrutiny. On the one hand the Western epistemological quest glossed over ideas that existed through ephemera, on the other hand that knowledge which Western print practices imbibed from non-European traditions were henceforth, locked behind intellectual property regimes and restrictive archival practices. This tremendously skewed access to knowledge between the North and the South. Tools for digital transformation, particularly those that are based on artificial intelligence (AI) and machine learning (ML), can be culture specific eg. training data for Optical Character Recognition (OCR)/Hand-written Text Recognition (HTR); datasets for natural language processing. In the absence of culture specific tools in underdeveloped societies Anglo-American interpretive categories and assumptions become the default. Further, Anglo-American institutions work to use their advantage in the balance of knowledge distribution to maintain their hegemonic position. In order to protect the South's access to human heritage and knowledge we need to develop technologies that leverage the potentials of digital communication for increased conversations among languages of the South. [ABSTRACT FROM AUTHOR]

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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.