Typography

“Print Strikes Back: Typographic Experimentation in Contemporary Fiction as a Contribution to the Metareferential Turn”

by Grzegorz Maziarczyk

published in: The Metareferential Turn in Contemporary Arts and Media: Forms, Functions, Attempts at Explanation. Edited by Werner Wolf in collaboration with Katharina Bantleon and Jeff Thoss. New York, Amsterdam: Rodopi, 2011. 169-193.

This contribution analyses a literally visible tendency in contemporary fiction, namely typographic experimentation... more This contribution analyses a literally visible tendency in contemporary fiction, namely typographic experimentation involving manipulation of fonts, deformation of page layout, incorporation of images and exploitation of the physical properties of the book as object. These departures from the conventional format of the printed codex subvert the widely assumed transparency of print and encourage the reader’s engagement with the material form of the novel. Typographic experimentation can thus be construed as an instance of ‘technological metareference’, i.e. metareference that elicits the recipient’s awareness of the technological form of a given medium. This turning to the materiality of print, related to its growing marginalisation in contemporary culture, seems to illustrate one of the cultural mechanisms responsible for the metareferential turn: in response to the challenge of other media, especially digital, many contemporary writers self-consciously exploit the potential of the printed novel in a manner allowing it to retain its unique identity in the media system.

A tipografia na era da oralidade secundária

by Maria Castro

FatFonts: Combining the Symbolic and Visual Aspects of Numbers

by Miguel Nacenta

Published in the Advanced Visual Interfaces Conference 2012. Co-authors: Uta Hinrichs, Sheelagh Carpendale.

In this paper we explore numeric typeface design for visualization purposes. We introduce FatFonts, a technique for... more In this paper we explore numeric typeface design for visualization purposes. We introduce FatFonts, a technique for visualizing quantitative data that bridges the gap between numeric and visual representations. FatFonts are based on Arabic numerals but, unlike regular numeric typefaces, the amount of ink (dark pixels) used for each digit is proportional to its quantitative value. This enables accurate reading of the numerical data while preserving an overall visual context. We discuss the challenges of this approach that we identied through our design process and propose a set of design goals that include legibility, familiarity, readability, spatial precision, dynamic range, and resolution. We contribute four FatFont typefaces that are derived from our exploration of the design space that these goals introduce. Finally, we discuss three example scenarios that show how FatFonts can be used for visualization purposes as valuable representation alternatives.

ILUMINASI SEBAGAI SISTEM PENYAJIAN KONTEN CETAK (STUDI KASUS ILUMINASI ABAD KE-15)

by Alvanov Mansoor

Published in Wimba, Journal of Visual Communication vol.03 no.01/2011 page 19-23

Illumination is visual decoration in form of coloured fonts, designed or illustrated page in print media. In middle... more Illumination is visual decoration in form of coloured fonts, designed or illustrated page in print media. In middle age bibles or manuscripts, there are forms and type of illuminations that may applied as a system of content delivery in books. A framework of illumination design methodology may elaborated through content analysis on several illuminations in bibles and religious manuscripts. This research will enrich visual communication design study, especially typography and illustration study in developing an information system delivery based on visual elements.

Keywords: iluminations, type of illuminations, typography, visual communication design, Information system.

TYPOGRAPHY

by Bahar AKBULAK

An Cló Gaelach. The role of typography in the construction of Irishness.

by Bharain Mac an Bhreithiún

Peer-reviewed paper in SANART Aesthetics Building Bridges, Ankara 2008.

Graphic Design and the construction of gay masculinities in Têtu and Kaiserin

by Bharain Mac an Bhreithiún

Chapter in Florian Grandena and Cristina Johnston (eds.) New Queer Images, 2011, Peter Lang.

Vom Offensichtlichen. Über Typographie und Edition am Beispiel barocker Drucküberlieferung (Grimmelshausens »Simplicissimus«)

by Annika Rockenberger

Co-authored with Per Röcken, published in 'editio. International yearbook of scholarly editing', 2009

Recent contributions debating the question whether the typography of a text should be taken into consideration by... more Recent contributions debating the question whether the typography of a text should be taken into consideration by scholarly editing have hardly ever paid attention to printed books of the early modern period (which is approximately the era of the hand press), even though they present a wide range of specific typographical evidence. We attempt to rectify this negligence by closely examining a typical example of a baroque print, namely the editio princeps of Jacob Christoffel von Grimmelshausen’s Der Abentheurliche Simplicissimus Teutsch (1668). In order to effectively do so, our examination of the document employs the instruments of analytical bibliography and distinguishes between two main levels of typography, i.e. ‘macro-’ and ‘micro-typography’. It is our objective to assemble a complete catalogue of typographical data that is fit to be represented or recorded by scholarly editing. Next, we endeavour to investigate how earlier editions of the Simplicissimus implement the typography of the text by showing which sections of data are selected and by what means they are recorded. Finally, we try to reconstruct some of the reasons why scholarly editing in general should pay close attention to typography both in theory and in practice – that is to say, we engage in basic reflections on various strategies that are employed to justify the consideration and recording of typography within the framework of editions of printed texts.

Typographie als Paratext? Anmerkungen zu einer terminologischen Konfusion

by Annika Rockenberger

Co-authored with Per Röcken, published in 'Poetica. Zeitschrift für Sprach- und Literaturwissenschaft', 2009

Ještě ke kulturnímu kontextu pražské školy: lingvistika a typografie - On cultural context of the Prague School: linguistics and typography

by Vít Boček

In: Linguistica ONLINE. Issue Eleven, Miscellanea II. Ed. A. Bičan. Brno, 2009.

The paper deals with the cultural context of the Prague school of linguistics in its classical period (First... more The paper deals with the cultural context of the Prague school of linguistics in its classical period (First Czechoslovak Republic). There are several topics common to the linguists of the school and the leading theoretician of the modern typography, Karel Teige, such as combination of structural and functional approach, strong rejection of the past-oriented intellectual currents in the respective fields, and positive appreciation of the role of tradition. Some concrete parallels between theoretical thinking in linguistics and typography at the time are discussed.

The Art of Psychographics

by Kerry William Purcell

Published in Baseline Magazine, and on The Design Observer site.

Review of THE ENCYCLOPAEDIA OF FONTS BY GWYN HEADLEY

by Frances Follin

Review of TYPE: THE SECRET HISTORY OF LETTERS BY SIMON LOXLEY

by Frances Follin

Classificações tipográficas: sistemas de classificação cruzada Typeface classifications: crossed classification systems

by Priscila Farias

Notas para uma normatização da nomenclatura tipográfica Notes for a standardization of typeface nomenclature

by Priscila Farias

Borderline graphics: an analysis of Cinema Marginal posters

by Priscila Farias

Co-authored with Regina Wilke, presented at the Design History Society Annual Conference 2011: 'Design Activism and Social Change', Barcelona (Spain)

This paper presents a study on Brazilian Cinema
Marginal film posters. It identifies the political and more This paper presents a study on Brazilian Cinema
Marginal film posters. It identifies the political and
cultural context of the posters production, and
considers their graphic, communicative and
meaningful aspects.
In 1968, the Institutional Act #5 (AI-5) comes into
force in Brazil, and, for the next ten years, the
country is haunted by the most violent period of
military dictatorship. Cinema Marginal has its
heyday between 1968 and 1973, a period marked
by the military regime (1964-1985). Such films
portray the spirit of that era in dissimilar ways
that alternate between eroticism, horror,
romance and suspense, often with political
messages in subtext. Its main shared
characteristics are the subversion of cinematic
language and experimental attitude. Such films
interact with avant-garde theatre, visual arts and
Brazilian popular music, especially with the
Tropicalia movement, setting up a privileged
moment of creation, despite the sombre political
framework.

Jan Tschichold. Die neue Tipographie

by Eugenio Vega Pindado

La televisión es nuestra Las escrituras no latinas en el grafismo televisivo. Al Jazeera y otros ejemplos

by Eugenio Vega Pindado

Wim Crouwel

by Kerry William Purcell

The Thackeray Alphabet

by Kerry William Purcell