Typeface and Typography

The paper aims to provide insights into the use of semiotic modes used in the shop signs of culinary business in Greece and Cyprus. In this context, we examine, comparatively, culinary shop signs collected from the commercial center of Thessaloniki and Limassol, two European, Mediterranean cities, with a significant gastronomic tradition and a lively city center. These semiotic modes are represented in a sample which is composed of shop signs whose verbal message constitutes verbo-cultural palimpsest or is written in a local dialect, as well as of shop signs which focus on their iconic visual message using intersemiotic translation or visual rhetoric to make their message appealing for the consumers. The main conclusion is that the shop signs under scrutiny seem to be addressed mainly to the native people of the two countries which are considered in the common cultural practice much better consumers than tourists as concerns their culinary habits. The study provides also evidence for the creative use of culinary shop signs in both cities. Intracultural interpretation as well as the design of the verbal element seems to make shop signs more appealing for the consumers.

While Arabic typography has witnessed significant developments in the last decade, it still lacks standardized anatomy and a typeface classification system. Should Arabic typography stick to its roots and borrow from the long-established rules of calligraphy? Or should it devise its own standards? The purpose of this research was to explore the possibilities and practicality of applying calligraphic anatomy terminology and classifications to Arabic typography. Through a quantitative analysis of interviews conducted with typography and calligraphy experts, this study found that calligraphic standards are sometimes applicable to typography. The data revealed that Arabic typography also requires additional standards of its own. Further research is needed in the area of Arabic typeface classification methods.

Typography is one of basic elements in Visual Communication Design. Almost every promotional tools and media are using typography as a message conveyor. It is also has become an important yet attractive branding feature from Small and Medium Enterprises (SMEs) or Industri Mikro, Kecil dan Menengah (UMKM) in Indonesia. Nevertheless, the lack of knowledge and understanding from the SMEs on how to build their brand has been camouflaged by the use of typography to represent a brand. There are at least 11.610 of Small Medium Enterprises available in the City of Semarang nowadays. This usage of typography as a brand representation is shown from packagings of apparel products, snacks, and processed foods comes from local plantations. These products will not be able to compete with any other modern day packaged products if not interfered by the knowledge on how to build a brand using visual communication design. The purpose of this research is to provide brand building knowledge bridging fo...

Este trabalho teve como objetivo desenvolver uma família tipográfica, no estilo Slab Serif, para textos, abordando todas as etapas da produção de uma família de 5 estilos (Regular, Bold, Semibold, Medium e Itálica - Regular). A abordagem foi feita a partir dos processos iniciais de esboço, aos processos de pós-produção, como espacejamento, kerning e hinting, até questões relativas à comercialização e distribuição. Além disso, foi buscado estruturar a família em questão como um produto de software, mostrando os quesitos básicos de OpenType features.

O desenvolvimento se deu a partir do desenho das fontes mestras (Regular e Bold) e os demais pesos foram criados a partir da tecnologia de Multiple Masters. Além dos demais pesos Romanos, também foi desenvolvido e criado para a família uma fonte no estilo Itálico Regular, totalmente original, com inclinação de 8 graus.

O desenvolvimento desta família se deu a partir de diversas fontes teóricas, porém, o mais importante, foi o desenvolvimento prático, no qual a observação dos caracteres e o treinamento do olhar foram de extrema importância para o desenvolvimento e aprimoramento da qualidade técnica da família tipográfica em questão.

Le 28 avril 1529, Geofroy Tory publie L’art & Science de la deue & vraye Proportion des Lettres Attiques… Tory y prône la restauration de l’éloquence gallique vantée par Lucien et symbolisée par l’Hercule gaulois assimilé pour l’occasion à François Ier. La prolixité et la prodigalité de l’antique modèle herculéen l’engagent dans une digression sur la notion même de libéralité et d’abondance et son contrepoint, l’avarice. Se posant tour à tour comme récipiendaire et comme dispensateur de largesses supérieures, Tory exalte un modèle dans lequel celui qui manie les arts libéraux, à la manière antique, fait profiter ses admirateurs des munificences de sa science en concordance avec le modèle cicéronien qui lui sert d’exempla. Tory se place ainsi sous le patronage d’une figure idéale chez qui l’éthique la plus exigeante passe par une splendide libéralité, consacrant ses revenus au service de l’État et au profit du plus grand nombre tout en étant impliqué dans l’action publique et les responsabilités politiques. Le Champ fleury devient alors métaphore de la bienfaisance, reflet des idéaux nouveaux, parfaitement incarnés dans les formes artistiques dont il traite et qui sont à l’image de ce que François 1er devrait être à l’égard des humanistes : « libéral ».

This contribution examines the diffusion of a roman type which was first used in Venice in 1481. Using the data acquired thanks to a new method of analysing type morphology (based on the photographic enlargement of the types in original copies) it reconstructs the circulation of Scotto’s roman type, so called because, to judge from the incunable production which has survived, Ottaviano Scotto was the first printer to use it. It would not be exaggerated to say that it became the most popular roman type during the Renaissance, for over a century from the time it was first used, in hundreds of printing houses in Italy and elsewhere.

Typography reflects and expresses culture, and the limits we place on the use of type may reflect the limits we intend to place on our culture, including who is allowed to participate in it and in what way. An examination of typography critiques of “bad” typefaces often reveals the cultural biases and beliefs of the critic. Descriptions of type “character” tend to reflect the character of the critic, audience, or user, rather than the type itself. The use of “bad” type may also be a tactical form of resistance to power (de Certeau, 1984), visually conveying its intended audience or speaking back to assumptions about the message or author. Examples of “bad” type as tactical resistance include church bulletins; Comic Sans printed “I Can’t Breathe” shirts protesting police brutality against communities of color; and the website for a family-owned medical body donation service.

The subject of the analysis undertaken in the article are the covers and dust jackets of books belonging to the “Golden Series” – “Humanities Monographs of the Foundation for Polish Science”. The author takes into account three stages of the graphic development of the series, named after the dominant colours – the brown style (1995–2004), the brown-gold style (2004–2011) and the gold style (2011–2020). Numerous imperfections of the first one, which emphasized the prestigious character of the series by the archaizing cover, are revealed, both in terms of design and typographic inconsistencies. The author then states that while the introduction of the golden dust jacket and graphic photographs in the second style has increased visual attractiveness of the series, one cannot speak of a comprehensive graphic creation process until the third stage of the aforementioned evolution. The categories of motifs appearing on the dust jackets are also described, with an attempt to find patterns between their selection and the topics discussed, as well as to interpret examples from particular categories. Comparing projects from the second and third stage, the author comes to the conclusion that the former group was based mainly on illustrations from the inside of the books or on relatively simple visual associations, while the latter is the result of creative work and intellectual effort – getting acquainted with a specialist publication – and the character of these projects, sometimes fully abstract, is challenging for the recipient to interpret.

Teoria del type design, la prima teoria completa del di-segno di caratteri, uscirà a settembre 2019 per i tipi di Ronzani Editore in prima edizione italiana. Scritta da Gerard Unger - designer e docente olandese internazionalmente riconosciuto come uno dei più autorevoli esponenti della disciplina - e pubblicata in edizione originale nel 2018, la Teoria si è affermata da subito come un classico della letteratura tipografica. Il libro si articola in 24 brevi capitoli, ognuno dei quali affronta un aspetto specifico del disegno di caratteri, dal rapporto con il linguaggio a quello con gli stili, dall'importanza dei modelli storici all'evoluzione digitale, dalla leggibilità all'espressività. I capitoli sono accompagnati da più di 200 immagini e da esempi pratici; la terminologia è chiarita da un esaustivo glossario. La Teoria si rivolge a chiunque nutra un interesse sincero nei confronti della tipografia; la completezza della trattazione e la chiarezza dell'esposizione la rendono adatta a un pubblico ampio: dai professionisti del settore agli studenti di tipografia e design, fino ai semplici appassionati di questa meravigliosa arte che da più di cinque secoli dà forma alle nostre parole. La traduzione e l'impaginazione dell'edizione italiana sono di Giorgio Cedolin, sul progetto grafico dell'edizione originale e con l'utilizzo dei caratteri Alverata e Sanserata, punto di arrivo della ricerca formale ed espres-siva di Gerard Unger sul disegno delle lettere. Volume rilegato, cartonato, di 240 pagine con numerose illustrazioni ed esempi.

The present study is based on an investigation in the areas of psychology, pedagogy, and design. It investigated the reading process and reading education strategies of individuals with autism spectrum disorders (ASD) in order to develop a typographic system to assist pedagogues as they develop educational aids appropriate for a child's reading problems. The study used an interdisciplinary research methodology including a literature study, empirical knowledge, and a survey study. The survey was based on the opinions and experiences of special education teachers. The survey study showed that individuals with autism could have difficulties learning similar
letterforms. According to the combined results of special education teachers' common opinions, legibility studies, and literature study, the prototype of a typeface for individuals with autism and learning disabilities was developed. The Accessible Typeface v.1, v.2, v.3, v.4 v.5 family has been developed with the intention to facilitate learning-to-read and to minimize reading mistakes for individuals with autism and learning disabilities. However, before being implemented, this font family should be tested to conclude whether it is beneficial or not to teach an individual who has autism or learning disabilities in reading.

Esta pesquisa tem como objetivo central investigar e compreender o potencial semântico da tipografia de acordo com os principais autores da área. Para tal, a metodologia abordada consistiu em pesquisas bibliográficas exploratórias, em livros e artigos publicados, e baseou-se em autores como Joly, Jury, Lupton, Santaella, Spiekermann, Frutiger, entre outros.

Le nsibidi est un système d’écriture pictographique et idéographique originaire du sud du Nigeria. On ignore encore la date de création du nsibidi, mais les plus anciennes traces mises au jour sur un site archéologique au centre de Calabar, prouvent son existence aux alentours du IXe siècle. Le premier rapport de missionnaires britanniques qui confirma l’existence de ces signes fut écrit par le commissaire de district de Calabar, Thomas Doveton Maxwell en 1904. C’est ensuite le révérent J.K. MacGregor qui en 1909 rapporta 24 signes traduits, suivi en 1911 par Elphinstone Dayrell (également commissaire de district) et le botaniste et anthropologue Percy Amaury Talbot en 1912. Les efiks (ethnie de 200 000 individus habitant principalement la capitale de la Cross River, Calabar) sont considérés par beaucoup comme les inventeurs du nsibidi mais il est possible qu’ils l’aient acquis par les ekoïs (groupe ethnique de 400 000 individus vivant à la frontière Nigeria-Cameroun). Par les emprunts successifs et les échanges avec d’autres codes locaux, le nsibidi est donc commun à diverses populations de la région de la Cross River au sud-est du Nigeria, région où l’écriture, l’art et le rituel sont intimement liés.

An autobiographical essay on typography. The text is progressively set in each typeface it discusses, as it explains the typefaces I have used throughout my life leading up to the production of a set of print works about the anecdotal histories of certain typefaces. The essay also begins to speculate on future series of works using other typologies and design histories. On the way, it discusses the authorship of Wikipedia content, the languages of certain Native American peoples, Marcel(s) Proust and Duchamp, the writing of fiction, Rayner Heppenstall, the RAL paint colour coding system, and the Battle of Magenta...

This paper is based on a master's dissertation (titled “Origin and Evolution of Italic: from calligraphy to typography”) about the italic, both the writing style and the typographic font. It seeks to understand and define it, while analyzing and interpreting its history, origin and evolution. We have noted that little information regarding the history and definition of italic is available in important history of graphic design publications, and therefore felt the need to study this topic in more depth. For this research we have reviewed relevant literature and observed multiple manuscripts and typefaces. Authors such as Andrew Robinson, Michelle P. Brown, Berthold L. Ullman, James Wardrop and Stanley Morison were essential for a good theoretical foundation. The analysis of manuscripts and typefaces allowed us to verify and exemplify the information that was studied in books and identify with more clarity the characteristics of the italic. This investigation contributes to a better understanding of the italic style.

Typographical transition in a child's early reading stage Author: Anitha. B, English Learning Foundation, Chennai, India, [email protected] paper provides an insight into the importance of font consistency for small children and beginning readers in the English Language. In the early years of life, a child has exposure to print typeface at home but soon is introduced to the cursive representation as soon as he/she enters primary school. Most Indian schools lay a lot of unnecessary importance on introducing children only to the cursive way of writing letters. However, all their textbooks and workbooks are in the print typeface. In this paper, we will first examine the problems faced by young children and beginning readers due to inconsistent font usage in early learning material, and how sensitive children are to font style, size and spacing. Second, the paper examines the importance of maintaining the visual consistency of content throughout the design, illustrations and fonts across different media, especially for beginning readers and young children. Third, it examines the relationship between the effective visual presentation of content and learning outcomes achieved by children.

This is the second chapter of my doctoral dissertation, written at the Hochschule für Bildende Künste Braunschweig and defended in January 2019.

The abstract for the entire book is as follows:
The visual appearances for most of the letterpress-printing typefaces published in Germany during the twentieth century are attributed to specific designers. Typefoundries, or the firms who manufactured those products, presented them as collaborations between individual artists and themselves as corporate entities. Only on rare occasions were the internal workers within the firms who produced the final forms of the products ever mentioned by name in publications about them, unlike the typefaces’ designers; however, from the earliest surviving drawings prepared by those typefaces’ designers, as well as from their written accounts about the type-design and type-making processes, it is clear that the work they submitted to the foundries could not have been implemented exactly as-is. In this research, I have analysed German typefounding in the nineteenth and early twentieth centuries through the surviving process and production drawings made for products, as well as through accounts written by participants involved in these steps. The typefaces for which accounts have survived only represent a small fraction of those mentioned in the history that follows. To form that narrative, I have used a synecdochic approach, relying on these parts to describe the industry as a whole.

A typefoundry’s products did not necessarily all originate in-house; but inside of the firms who did collaborate with external designers, the initiative to do so must have come from the respective company owners and directors, who would have believed that products based on the work of external contributors could prove financially successful, enabling their businesses to grow, and strengthening their “corporate identities” or reputations. The various foundry owners and directors who did this may have been influenced by one another, but by 1900, it was not uncommon in German industrial manufacturing for businesses to collaborate with external artists and designers in this manner. Not all of the individuals who foundries collaborated with were “artists and designers;” for example, some were academics with experience reading and writing other scripts. Nevertheless, all collaborators must have been able to offer foundries knowledge that they did not already have institutionally, be that linguistic or stylistic. Many collaborating designers would not have been aware of the exact details regarding typeface manufacturing; they were not “insiders” in the process, and could only have been responsible for part of a product’s final design. In some cases, I believe it was more likely that the firms’ punchcutter employees were the ones responsible for bringing the products to their final forms, instead of the external designers or foundry owners, directors, and other staff members. Yet at roughly the same time that the foundries were beginning to ascribe product authorship to specific individuals, these craftsmen – who as a professional group had been physically responsible for sculpting each typographic character to appear in print for centuries – were becoming redundant. New type-making machinery introduced from the 1870s onward helped to make them obsolete. Punchcutters were not part of typefoundries’ twentieth-century brand identities, even though they were integral employees within the organisations.

By collaborating with external designers for the design of new printing types, rather than continuing to entrust these entirely to their internal type-making staff, German typefoundries supported the development of a new professional activity during the early years of the graphic design profession: typeface design. The work that external designers performed unfolded in an environment where it had already become commonplace for the manufacturers of various goods to entrust the appearance of their products to “designers,” a new professional denomination primarily made up of individuals trained in art academies or arts and crafts schools (Kunst­gewerbeschulen). Many type designers also came from that milieu. Some of the individuals who designed printing types during the late nineteenth and early twentieth centuries also designed books and magazines, as well as tables and chairs, tea services and wine glasses – even whole buildings. During that time, most of the type-making workers inside of the foundries were anonymous to customers; they are also mostly anonymous to historians who investigated them later, including myself. Their anonymity was a result of the work they performed not being considered “worth mentioning;” it was just handwork, not art or design. Despite the individual craftsmen working inside typefoundries not being seen at the time as “authors” or “coauthors” of the final products, their potential contributions should be added into future explanations of typefaces’ origins. I hope that my research will cause other writers to use a more nuanced phraseology when it comes to the authorship of industrial-era foundry types’ designs. This kind of more-detailed specification may also be applicable to other industrial goods produced in Germany during its Imperial period, as well as to many of the typefaces produced in Germany and in other countries after 1914.

I gathered the new information presented below, both so that it could be published for the first time, as well as to prevent its being forgotten; it should remain visible for future generations of designers and design historians to access. My findings may help enrich the design history discipline’s understanding of the type-designing and type-making practices in operation within industrial typefounding in imperial Germany, explaining why German typefoundries during the late nineteenth and early twentieth centuries began to collaborate with external artists and designers, instead of continuing to develop new products entirely in-house.

Helvetica and the New York City Subway System: The True (Maybe) Story, by Paul Shaw

Reviewed by J.R. Osborn

To cite this article: J.R. Osborn (2012) Helvetica and the New York City Subway System: The True (Maybe) Story, by Paul Shaw, Design and Culture, 4:1, 120-122

To link to this article: http://dx.doi.org/10.2752/175470812X13176523285796

A critical analysis of the archival sources on the manufacture of printing type and its trade in 15th-century Italy. The aims of this article are mostly to collect as much information as possible on the techniques of production, the materials used, and relations between typefounders and printers; and also to clarify whether there were any differences – and if so, in what they consisted – between 15th-century production and practices and those, much better documented, of later centuries.

The Development of Typeface Classification Systems Through the Eras of Analogue and Digital Typography.
During the last century, numerous approaches to define and implement systems to classify type were developed and published. This work is focused on typeface classification systems; their evolution, authors, target groups, internal logic and structure, the technical environments they are published into, their potential to differentiate historical and contemporary typefaces as well as the problems the respective system attempt to address. The work retraces the historical development of classification systems from person-centred narratives of the early 20th century to internationally recognised norms of the mid-century and their evolution into digital typeface identification and browsing systems in the new millennium. It shows their development from schemata of mental representation, conceptual typeface-field-guides into interactive navigation systems through the ever growing world of fonts. The work identifies different classificatory aspects as basic motivations behind the classification systems and analyses the underlying logical structures of the approaches and the structural development through time. A key finding is the analysis and results of contrasting modes of class definition as one main reason for the ongoing differentiation of classification systems and the identification of  the »mode of addressing« typefaces as a key difference between prototypically and formal-logically defined systems. Although there seems to be no consensus on how, or if, typefaces could be classified at all, as the mere number of systems suggests, there is a consensus in the way how type is being differentiated, the attributes of classification. They remain, another key finding of the work, relatively stable through many decades. The research ends with a summary of premises for future, digital systems and suggests what their future roles in typography and design could be.

You never know where a story might lead you or what questions it may leave unanswered. Take for example a story we did in January about a campaign to make the dumpling emoji a reality. Jennifer 8. Lee told us that emojis have to be approved by something called the Unicode Consortium. They're the group that creates the standards that enable people around the world to use computers in any language. She mentioned their membership includes not just tech companies like Apple, Google and Facebook -- but countries, such Oman.

And that made us wonder what this one Middle Eastern country was doing there with all of those tech giants! That led us to Thomas Milo, a pioneer of computer typography and encoding. He's a partner with DecoType in the Netherlands, a company that's long been working with Arabic script technology. He also happens to be Oman's primary representative at the Unicode Consortium.

As an emerging technology, Virtual Reality (VR) is perceived as a platform with the potential to change the artwork generation methods and consumption paradigms The immersion, presence and interaction features of VR provides for art unique opportunities to find new forms of expression. The potential of VR in the artistic context will be revealed more clearly as researches in this area increase. The way art uses VR, how it interprets it, and the change VR will cause in art will expand the perspective for both. It is seen that in most of the researches on the relationship between VR and art, this relationship is considered in a general context. Very few researches has been done on the use of writing for artistic purposes in VR and a limited number of practical studies have been produced. From this point of view, in this article, the relationship between experimental typography and VR art is examined with examples. The most effective use of writing in both a linguistic context and as a visual expression has been within the scope of conceptual art and this has brought new discourses and perspectives to the art. In this regards, the inclusion of VR in the combination of writing and art may provide completely different results in conceptual and intellectual contexts. The intersection of writing, art and VR has a rich potential for different perspectives and new patterns. In this paper, the use of writing as the main narrative element in VR Artworks has been discussed as an experimental typography study. Experimental typography is a practice based on exploration and interpretation, seeking new forms of visual expression apart from traditional patterns. VR Artworks based on experimental typography may reveal various contents that explore the role of language for art as structured images in virtual environment. Within this article, three VR Artworks based on the experimental typography are examined and it has seen that they all presented different visual solutions than the clean, meticulous 3D visualization approach used in most VR applications. In this context, it has been suggested that the use of experimental typography in VR Art can expand the narrative language of VR.

The history of the typewriter has been covered by writers and researchers. However, the interest shown in the origin of the machine has not revealed a further interest in one of the true reasons of its existence, the printed letters. The following pages try to shed some light on this part of the history of type design, typewriter typefaces. The research focused on a particular company, Olivetti, one of the most important typewriter manufacturers.
The first two sections describe the context for the main topic. These introductory pages explain briefly the history of the typewriter and highlight the particular facts that led Olivetti on its way to success. The next section, 'Typewriters and text composition', creates a link between the historical background and the machine. It shows the typewriter as a subsidiary cause of social changes and new habits in typography. The core contents of this research are included in the last two sections. They offer a description of the type design process in Olivetti, a comparison between typefaces, and some examples of the influence of the typewriter in digital type.
Due to the large number of typefaces included in this dissertation, there is no room for an exhaustive analysis of the lettershapes. Instead, this paper provides an overview of type design in the 20th century for a specific product, typewriters.

Un testo cruciale sulla moderna arte della stampa
Edizione interamente rivista, con il testo originale inglese e l'illuminante introduzione di Lucio Passerini.

Disponibile dal 15 marzo 2019
Il Saggio sulla tipografia (An Essay on Typography) è il più importante contributo teorico di Eric Gill su questa materia, un testo tuttora essenziale per chiunque si avvicini all'arte delle lettere, alla loro forma e funzione. È un'opera che rispecchia esemplarmente il carattere dell'autore, la sua intelligenza irriverente e pragmatica, rivolta alle cose dell'anima ma anche al concreto operare dell'uomo, alla sua condizione nella società industriale, alla dicotomia creatasi tra lavoro artigianale e industrialismo, tra la mano e la macchina, tra lo spirito e l'industria. Proprio come i caratteri di cui ci parla, riesce a fondere perfettamente le pagine di natura puramente tecnica con quelle dedicate a riflessioni di natura sociale e universale, e alla ‘necessità' del concetto di bellezza («... sono piacevoli alla vista le cose che appaiono il più possibile perfette nel loro adattarsi alla funzione...»).
Un lavoro nel quale Gill si esprime a tutto tondo, essendone al contempo autore, tipografo, progettista grafico e, con René Hague, stampatore. Scritto nel 1931, il libro fu progettato, composto e stampato in quello stesso anno, per conto della casa editrice Sheed & Ward di Londra, presso la Hague & Gill press, la stamperia che Gill aveva fondato a Pigotts insieme al genero René Hague. L'edizione testimonia il primo utilizzo tipografico del nuovo carattere disegnato da Gill nel 1930, il Joanna, di cui però non era ancora definito il corsivo. La sovraccoperta è invece composta in Gill Sans, il celebre carattere senza grazie realizzato nel 1927.
Gill rivide e completò il saggio negli anni successivi; la seconda e definitiva edizione uscì nel 1936, sempre progettata, composta e stampata presso la Hague & Gill per Sheed & Ward, ma con notevoli cambiamenti, anche tipografici, rispetto alla prima edizione: un formato più piccolo, simile ai moderni tascabili; margini ridotti, con l'aggiunta di titoli correnti; lo scioglimento delle abbreviature, così che il testo appare come un non giustificato più convenzionale. Per il testo fu utilizzato ancora il carattere Joanna, tondo e corsivo, nel frattempo disegnato da Gill e inciso dalla H. W. Caslon e Co. Ltd.
Le edizioni successive tennero a modello l'edizione del 1936, come ad esempio quella londinese di Lund Humphries del 1988 e quella pubblicata a Boston da David R. Godine del 1993, che dell'edizione del 1936 sono una copia fotolitografica.
La prima edizione italiana è stata pubblicata a Milano da Sylvestre Bonnard nel 2005, con traduzione e introduzione di Lucio Passerini, e interamente composta in Perpetua, altro celebre carattere da testo disegnato da Eric Gill.
La presente edizione è la seconda italiana, rivista e corredata dal testo originale inglese ripreso dall'edizione Godine del 1993, e dall'illuminante introduzione di Lucio Passerini. Il progetto grafico, pur completamente diverso dalle precedenti edizioni per formato e gabbia tipografica, richiama le idee e l'esempio di Eric Gill: un testo non giustificato che pone in relazione caratteri con e senza grazie (idea che prefigurava le famiglie di caratteri usciti a partire dagli anni Novanta del secolo scorso in entrambe le versioni). Il testo italiano è stato composto in Joanna Nova Book e Italic corpo 11 nella nuova versione digitale disegnata da Ben Jones; per i titoli si è utilizzato il Gill Sans Nova medium corpo 12 nella versione digitale di George Ryan, entrambi pubblicati dalla Monotype nel 2015. Il testo originale inglese è invece stato composto interamente in Gill Sans Nova Book, corpo 10,5.

This dissertation examines the factors that affect planning design spaces for variable typefaces. Following a brief historical overview of digital typeface technologies that represent advances in specifying typeface properties and instructing their behaviours, four case studies concerned with analyzing the typographic practices of document designers are presented. The Guardian print newspaper represents an optically diverse design space that is affected by its’ production process. The National Geographic print magazine, a document who’s typography must handle a diverse range of content forms. The product website for Xerox, a small design space with limited typographic variations. The iOS version of the Google Maps smartphone application, a typographic palette with behaviours influenced by a typeface working in conjunction with the operating systems’ layout technology.
In each case study, static and variable design space models have been constructed from the results of the analysis. Across all four model sets, patterns of how document designers utilise typeface family variations can be seen.
By reflecting on previous font technologies and analyzing the way in which contemporary typographers implement variation with static type families into their document layouts, the need for typeface developers to look outward at their users’ practices, rather than inward to their own craft’s toolmaking technologies, is revealed. By understanding the limitations of variability in specific design spaces, the type designer can establish methodologies towards developing variable fonts with a direct benefit to type users in their work.

1980), Ancient Indian Magic and Folklore. An Introduction, in which numerous parallels were established between magical cults of diverse peoples from the verses of the Atharvaveda. SOFfA MONC6 TARACENA BORDEAUX The Oxford English-Urdu Dictionary. Edited and translated by SHANUL HAQ HAQQEE. Oxford: OXFORD UNIVERSITY PRESS, 2003. Pp. xxiv + 2099.

Vaya por delante que el título del artículo se lo debo al gran Gerard Unger; tras una conferencia en el tercer congreso internacional de tipografía (Valencia, 2008) le pregunté si utilizaba o, al menos, si había probado sistemas paramétricos de diseño de tipos como metafont. Fue entonces cuando oí por primera vez la distinción entre tipografía sintética y orgánica, y la impresión que me produjo fue la de una genialidad de una sencillez abrumadora, de esas que distinguen a los grandes maestros. Aquí el término sintética no tiene connotaciones negativas, hace referencia a una manera de fabricar letras descriptiva, artificial e industrial, basada en secuencias de vectores que crean/dibujan los límites entre grafismo y contragrafismo. No se trata más que de una continuación de la idea subyacente en los arquitectos renacentistas, la Romain do Roi y el pantógrafo. Se trata de un sistema poco limitador: en esencia, permite colocar los puntos que definen los perfiles en cualquier posición dentro de un espacio gráfico bastante amplioun sistema de coordenadas de 1.000 x 1.000 unidades en el formato PostScript o de 2.048 x 2.048 en el formato TrueType-y, por lo tanto, capaz de generar un número prácticamente infinito de formas diferentes. 1 Fig. 1: Representación geométrica de Francesco Torniello (1517), Romain do Roi (1702), Fontographer 4.1. (1998).

Think metaphorical.

Gotham is a strong and dependable American typeface, firm but not intimidating to read. Unlike the postwar Swiss type, Helvetica which is renowned for its applicability in almost every situation possible (The Design Museum 2013, p. 72), Gotham conveys a sense of purpose and, somehow, an inkling of a male voice speaking in the reader’s mind. This essay examines the unvoiced masculinity of the Gotham type (Appendix A) through examining its creation, popularity, applications, and a breakdown of the underlying factors that led to its construction.

This was my final dissertation for the MA in typeface design at the University of Reading (UK). The paper deals with several aspects of rhythm construction in type designing, sometimes as associated to concepts coming from other disciplines. It may be useful for type designers looking for insights rather than technical information. (Note: Bear in mind this was written in 2000, the type scene has changed much since then, although most issues raised in this paper should remain perennial after all.)

A la hora de trabajar con textos en el diseño señalético, deberá de elegirse la tipografía (tipos de letra o fuentes tipográficas) que sea adecuada para la información escrita contenida en las señales. Y para ello, se atenderá fundamentalmente a 2 cuestiones: La legibilidad, y la personalidad e imagen de marca.

Words; they are everything. Words are the symbols we use to create meaning for our actions, ideas, and thoughts. Words reside in two all encompassing worlds: oral and written. This project will focus on the mechanical written word, also known as type within the context of the English language in Western civilization through mediums like print and screen, and how our gendered perspectives will forever influence those words.
Throughout the history of typography (the art of arranging type) the ability to choose the characteristics of type remained in the realm of the esoteric few, mainly white males. Those anointed with this design task experienced a level of control over their choices of how the written word looked that neither script writer nor calligrapher could ever reach. Control was key.
After the Industrial Revolution there was a typographical shift of who controlled the way words look from the elite realm toward the majority. This once mysterious process of manipulating the look of type has been democratized and can be enjoyed by anyone who has access to a computer.
The computer with a word processor is already filled with a library of pre loaded fonts (various styles and sizes of type) that allow a word to manifest meaning beyond itself (the internal content) and be dressed in external attire that can range from matching its meaning all the way to contradicting the words’ intent. This is the power of the mechanical written word, of type, and this is intertwined with our power to produce gender.

500 yıl önce bilginin oluşumunda temel yöntem olan tipobaskı (letterpress), çağımızın sayısal teknolojilerinden sonra artık pek kullanılmaz oldu. Buna rağmen, günümüz baskı tekniklerinin yanında tipobaskı; fantezi, nostaljik bir teknik olarak yeni anlamlar arayan tasarımcı ve sanatçıların arasında “sanat, tasarım ve zanaat” üçgeninde “ikincil bir hayat” buldu. Endüstriyel anlamda, basım sanayi ekonomisi açısından atıl kalmasına rağmen tipobaskıyı bugün de değerli kılan, bu ikincil ömrünün getirisidir. Günümüzde tipobaskı “narin” bir zanaat olarak kendine has ve ayrıcalıklı bir yer edindi. Artık bir çoğaltma yönteminden çok; zanaata dayalı, sanat ve tasarım arasında özel bir grafik üretim şekli olarak görülüyor.

Sunumun girişinde, zaman içinde grafik ürünün öznesi haline gelen tipografik tasarımın yükselişinde, tipobaskının rolü inceleniyor. Birinci bölümde, görsel iletişimde beğeninin değişimi, baskının kusurlarını değerlendirmede yaşanan dönüşüm irdeleniyor.  İkinci bölümde ise grafik tasarım ve tipografi eğitiminde geçmişin tekniklerinden yararlanarak temel bilgilerin öğrencilere nasıl daha etkili şekilde aktarılabileceği aktarılıyor. Son olarak da tipobaskı atölyelerinin grafik bölümlerinde kurulması ile özgün baskı resim dersleri ile endüstriyel grafik tasarım dersleri arasındaki ilgileşimin artırılabileceği yönünde bir öneri sunuluyor.

Tamil orthography is of interest to Tamil computing. There have been suggestions to add new diacritics on top of the series
of Tamil consonants with inherent a (அகர􁾻 ஏறிய உயி􁾽ெம􁾼 வாிைச) to represent foreign sounds in loan words in Tamil. In this article, we will show that the genius of Tamil artists has created all possible shapes on top of the consonants with inherent a, to represent puLLi (􁾗􁿀ளி, U+0BCD). This makes it very hard to consider any additional diacritics in that position to represent foreign characters. Also, as Tamil typefaces evolved from inscriptions and palm leaves to print, they became easier to read. Yet, there are still a few characters that present difficulties such as the discriminability of AI and JA
(ஐ, U+0B90 and ஜ, U+0B9C), vowel signAA or kAl (◌ா, U+0BBE) and pure consonant RA (􁾽, U+0BB0+U+0BCD, when
the descender is absent in the typeface) as well as the AU length mark ( ◌ௗ, U+0BD7) and LLA (ள, U+0BB3) confusion.
In this article, we review some of these challenges and make some proposals to address them. This is of interest to students as well as internet users as disambiguation becomes important for Tamil domain names.

Tipografi ile ilk defa Web-Grafik kursunun düzenlediği bir seminerde tanıştım. Her afişin, her ilanın, her etiketin içinde duruma göre değişen font aileleri vardı. Anladım ki sadece sözcüklerin anlamları değil, harflerin şekilleri de duygu içerebiliyordu. O gün ‘type’ gözüm açıldı ve dünyayı daha farklı görmeye başladım. Biraz tecrübe kazandıktan sonra birkaç font seti bile yaptım. İsterseniz, tipografi nedir ve bu alanda kendimizi nasıl geliştirebiliriz bildiğim kadarını aktarmaya çalışayım.

"... present intention is to meet this want, by offering to the public a book which may serve as a pattern to the printer and as a document to the student; a book which may help to renew the beauty of typography by collecting by trustworthy methods of reproduction examples of the founts, ornaments and vignettes which adorned the most highly prized ancient books."

A collection of facsimile illustrations of pages from early printed books, initials, borders, title-pages, printers' marks, art bindings, etc., with short introductions by Carlo Castellani (p. 9-[20]) on Venetian printing, printers' marks, water-marks and music printing; also a note on bindings (p. 217-218)

This essay focuses on the development of Greek types in early
printed books in Europe. It examines and compares the most
distinct models of Greek typefaces cut in the late 15th and early
16th century. The purpose of this study is to provide a context for
evaluating the transition of written scripts into metal typefaces, by
investigating into the range of letterforms as defined by these first
models.

It begins by sketching the historical context of the early years
of printing and the role of the actors involved in the production
and printing of Greek texts and books. Following that, it provides
an overview of the development of Greek writing hands and presents
the challenges that type-makers had to face. Afterwards, it
defines the classes of typefaces created in relationship to the models
that were followed. Finally, the dissertation concludes with an
analysis of the four more exemplary types of these classes, Brocar’s
Complutensian Greek, Damila’s Milan type, the 3rd Aldine type,
and Kalliergis’ Venice type. The analysis compares the range of
forms that appear, and discusses how conventional notions of type
apply in the Greek typographic script.

A critical approach to serial typefaces also known as 'multi style' families. I wrote this short essay when I was a student at the MA in Typeface Design, University of Reading (UK), in 2000. I must deeply thank my tutor, Dr. Christopher Burke, and credit him for his assistance in shedding some light on this topic. From 2000 until today some excellent serial typefaces have been created, and so this text is unjustly lacking some good examples. I apologize for that, as well as for some concepts that may be a little bit outdated today, but also believe that this may be a good stimulus for other designers or authors to conduct more profound research on the matter. I must also thank Mark Jamra for his interest in publishing this as well as his many language suggestions.

The Typography Meeting has become a recurring event in Portugal for all of those who consider typography an essential part of their lives. Every year it takes place at a different higher education institution. The 9th Typography Meeting (9ET) will be held at the Polytechnic Institute of Tomar, jointly organized by the Bachelor’s Degree in Design and Graphic Technology and Master’s Degree in Editorial Design.

This edition’s theme is “thinking about tomorrow”. This is meant to represent not only the effort that goes into imagining what to do next, but also to make us – designers, researchers, teachers and students in the typographic field – aware of the need to work today thinking about the future, even if inspired by the past.

This publication is an attempt to present the methods and outcomes of teaching lettering and typography, a discipline that is gaining a growing number of followers. The authors hope that it may serve as a springboard for a broader debate on the current state and future of teaching in the discipline, as well as the place of typography in contemporary design art. The volume contains outlines of various syllabuses, teaching methods, as well as presentations and discussions of teaching outcomes based on specific student projects.

This article discusses the relationship between type and context. Through history until today there is a strong bond between writing (calligraphy/ typography), function and content. Words hold meaning; they give life and paint a thousand pictures to express, communicate and reflect time and place. Communication was a reflective tool of its context. Therefore, the education of typography in specific and graphic design in general should be taught not only as systematic rules but also it should embrace the changes and interact with its social, political and environmental framework. Typographers and graphic designers live in an environment, which will eventually be reflected in their designs. During the early stages of Arabic calligraphy, Muslim scholars, who were known for their piety and deep knowledge of Islam, wrote the Quran manuscripts. Later on, typing the Quran took many years to be applied because of restricted religious understanding of Islam as Muslims during that era, refused writing the wholly book through a typing machine. So, the correlation between Arabic type and its context is highly intersected. Consequently, our understanding of typography education should be intertwined with the circumstance it is found in. In this article the evolution of Arabic calligraphy will be highlighted while spotting the light on the needs and influences that shaped its progress. Kufic as well as cursive scripts are emphasized in order to link the progression of Arabic calligraphy with today's development of Arabic typography. Lastly, a critical analysis of graphic design education is discussed to demonstrate the need for a new approach in teaching.