Related Papers
the designer's guide to professional typography th he d designer' 's gui id de to
Rina Wigati Handayani
Relearning Typography: Introducing a Cross-Disciplinary Typographic Framework
2004 •
Joyce Yee
Current theory and vocabulary used to describe typographic practice and scholarship are based on a historically print-derived framework. As yet, no new paradigm has emerged to address the divergent path that screen-based typography is taking from its traditional print medium. Screen-based typography is becoming as common and widely used as its print counterpart. It is now timely to re-evaluate current typographic references and practices under these environments, which introduces a new visual language and form. This paper describes a study that utilises a combination of empirical methods and action research projects to form a new conceptual framework for the understanding and practice of screen-based typography. This study is part of a Doctoral programme in the School of Design at Northumbria University, UK. This paper focuses on the research carried out so far, the methodology used and the findings from two stages of the study. It will end by introducing a tentative cross-disciplinary typographic framework that has been developed to date. This study starts by investigating the relevance of the current framework and evaluates the need for developing an alternate framework through a questionnaire survey. This is followed up by a series of interviews with practitioners working across different disciplines in an effort to identify new media attributes most influential towards the development of screen-based typography. Results of the surveys have shown that understanding and identifying the future role of typography in screen-based media is key to the developmental strategy of this typographic framework. Typography continues to be one of designers’ main tools of communication, regardless of medium. The introduction of the digital medium has not lessened the importance of this role and has in fact increased the reliance on typography to communicate in a clear and straightforward manner. The influence of other disciplines in the development of new media content has also been strongly supported. Conclusions from this initial research points to the fact that the development of a framework must take into account several key factors. These include the impact of technology on the development and application of typography. The framework should also be responsive to the influences of other disciplines in the development of new media content. Influences from film, computer gaming, interactive digital art and hypertext disciplines must be appropriated into the building of a new knowledge base for screen-based typography. Identifying and understanding the influences brought about by other disciplines should be a major consideration in the development of the framework.
Vis Commun
Book Review: Type Design: Radical Innovations and Experimentation; Type: The Secret History of Letters; The Education of a Typographer; Thinking with Type: A Critical Guide for Designers, Writers, Editors and Students; Pioneers of Modern Typography
2005 •
Denise Gonzales Crisp
1st International Conference on Design & Innovation UniMAS Kuching Sarawak Malaysia
Typography
2012 •
Russlan Rahim
Typography is one of the magical things that people use on a daily basis. Any approach can be used to create a typeface including hand rendering, computer code or program generation. Based on ‘Text and Image’ by Mark Wigan (2008), letterforms can be manipulated in many different ways depending on the mood or context to be conveyed. Besides that, different classes of typefaces (fonts) have different innate levels of readability and legibility when using typography manipulation. This paper aims to identify the most suitable ways to apply manipulation in print advertising. The objectives are to analyze the important of typography manipulation, to investigate the awareness of public about typography manipulation effectiveness and identify the elements that brings about visual impact.
A Typographic Dilemma: Reconciling the old with the new using a new cross-disciplinary typographic framework
Joyce Yee
Current theory and vocabulary used to describe typographic practice and scholarship are based on a historically print-derived framework. As yet, no new paradigm has emerged to address the divergent path that screen-based typography is taking from its traditional print medium. Screen-based typography is becoming as common and widely used as its print counterpart. It is now timely to re-evaluate current typographic references and practices under these environments, which introduces a new visual language and form. This paper will attempt to present an alternate typographic framework to address these growing changes by appropriating concepts and knowledge from different disciplines. This alternate typographic framework has been informed through a study conducted as part of a research Doctorate in the School of Design at Northumbria University, UK. This paper posits that the current typographic framework derived from the print medium is no longer sufficient to address the growing differences between the print and screen media. In its place, an alternate cross-disciplinary typographic framework should be adopted for the successful integration and application of typography in screen-based interactive media. The development of this framework will focus mainly on three key characteristics of screen-based interactive media – hypertext, interactivity and time-based motion – and will draw influences from disciplines such as film, computer gaming, interactive digital arts and hypertext fictions.
Citation: Yee, Joyce (2004) A Typographic Dilemma: Reconciling the old with the new using a new cross-disciplinary typographic framework. In: 2nd International Conference on Typography and Visual Communication: Communication and New Technologies
2017 •
Joyce Yee
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Principles of Typography for User Interface Design
Paul Kahn
Typography is a major part of the graphical user interface (GUI). Good user interface design depends on our understanding of how type works as a visual system. In this article, we summarize the typographic principles that were developed through print practice and show how they translate and expand within the electronic medium. We define typography as a dynamic system of contrasts resulting from the relationship of the type (its color, form, rhythm, and style) to its background. We then explain how to manipulate these contrasts to design effective GUI systems and presentations of text on the computer screen. We conclude by outlining the limitations and advantages of electronic type.
xCoAx (Computation, Communication, Aesthetics & X)
Ubiquitous Typography
2014 •
Marcus Leis Allion
PDF @ http://2014.xcoax.org/pdf/xcoax2014-LeisAllion.pdf This paper considers the impact that software is having upon typographic principles and practice, and how the conventions of typographic communication are being transformed. Inspired by the possibilities of program- ming many typographers have begun to work more closely with code to generate designs, facilitate produc- tion, or organise layouts. However, the very functionality of code often serves to veil its aesthetic attributes.
Introduction to TYPOGRAPHY
AHMED M A G D I SHAFIG
www.ahmedshafig.com
