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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]

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]

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 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]

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 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.)

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.)

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 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

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]

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.)

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 %).

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.

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.

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]

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]

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.)

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]

The substantial two-volume work Terrae Sanctae Elucidatio (1639) by the Franciscan friar Francesco Quaresmio (b. Lodi, Italy, 1583–1656) is known as a veritable encyclopaedia on the Holy Land. It is also an itinerary of pilgrimage through the sacred sites, taking their monumentality and graphic landscape into account. Quaresmio was especially attentive to the Latin inscriptions made by the Crusaders, here copied by him as autoptic testimonies. This is part of a more general phenomenon. From the fifteenth century through to the seventeenth, in Europe this period is sometimes called the "Age of Inscriptions", during which epigraphy was recognized as a source of ancient history on a par with philology and archaeology. The overall aim of the present article is to show how Quaresmio, while continuing a medieval tradition of Franciscan scholarship, improved upon epigraphical study by deploying a specific technology, namely the visual rendering of uncial inscriptions in printed form. His rigorous observations, however, would have come to naught without the technical mastery of the Flemish printer-typographer Balthasar Moretus (1574–1641). Following previous developments in pilgrimage literature, where inscriptions – especially the Crusader epitaphs at the foot of Calvary – were commonplace, Quaresmio studied inscriptions not only as texts, but also considered their formal and material aspects. Ultimately, the present study argues that these Latin epigraphic texts played a role in the man's theological argumentation and in the defence of the loca sancta as Latin possession. [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.)

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

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.

Modern typography, which can be considered as a design term belonging to the discipline of graphic design or as an independent field of art, is not limited to the visual and semiotic designs of writing but is made a part of the content at the point of creating meaning in literary works such as short story or poetry. The first examples of this relationship can be seen in Futurist and Dadaist texts and poems. Especially in non-poetry literary texts defined as experimental or avant-garde literature, it is possible to encounter these designs frequently. However, while examples of this relationship in the poetry genre are described as concrete-visual poetry, there is no conceptual or terminological description for these designs that also concretize the story genre. It is also possible to associate the designs in short story texts, which have similar characteristics with concrete poetry, with different examples of concrete/visual poetry, characterized as avant-garde and experimental, or to comparatively examine examples that show a close relationship with concrete poetry. This study will analyze typographic story designs, which are observed in modern Turkish short story examples, and enrich the content with form, by comparing them with concrete poetry examples and the theoretical framework of concrete poetry. The concept of 'concrete or visual story' will be revealed with examples of concrete poetry in Turkish and world literature. The study will also examine the contributions and effects of art movements such as Surrealism, Dada, Avant-garde, and Letrism on concrete poetry and concrete story, and the historical dimension of these relations will be analyzed in terms of influence and interaction. The study will also seek answers to the questions "What is the concrete story?" and "Is there a concrete story?" [ABSTRACT FROM AUTHOR]

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.)