Typeface Design

Top PDF Typeface Design:

Ján Filípek Typeface Design, Letterings & Typography

Ján Filípek Typeface Design, Letterings & Typography

Ján Filípek studied visual communication at Academy of Fine Arts & Design Bratislava and Typeface design at Royal Academy of Art in the Hague, Netherlands. Since 2009 he runs his own font design studio DizajnDesign in Bratislava, Slovakia. So far he released 9 typeface families (Deva Ideal, Dezen, Komu, Rukou, Anca, Preto Sans, Preto Serif, Preto Semi and Razom Script). From time to time he organize workshops with various topics like creating chocolate letters, creating new fonts. For the past year he actively teach calligraphy workshops.

40 Read more

View of Forms and Levels of Expertness: Interpreting Accounts of Typeface Design
							| Journal of Research Practice

View of Forms and Levels of Expertness: Interpreting Accounts of Typeface Design | Journal of Research Practice

This article responds to problems arising from defining the notion of “expert” with respect to the subject of text typeface design. What and who is a type design expert? The author has identified that in both contemporary and historical contexts, paucity exists in relation to recorded knowledge regarding the processes of designing text typefaces. Accounts of knowledge of the practice of text typeface design differ in their perspectives relating to what may be deemed expertness. In attempting to explain or rationalize differences in perspectives of such accounts of practice, the problem of describing expertness arose. In terms of degrees of expertise relative to accounts of subject knowledge in text typeface design, the author developed the concept of “vicinage” in order to explore how we render expertness within research enquiry. This concept has the potential to focus future research in the area of defining expertise in typeface design and more generally beyond this field. Index Terms: typeface design; metal type; digital type; insider perspective; outsider perspective; emic and etic; level of expertness
Show more

11 Read more

Coherence in typeface design: visual similarity of characters in Cyrillic, Devanagari, and Latin

Coherence in typeface design: visual similarity of characters in Cyrillic, Devanagari, and Latin

Whenever there is a series of products, be it furniture, icons, books, or letters, designers aim to achieve some level of unifying coherence among the individual items in the series. In typeface design, one of the important qualities of professional typefaces is that the shapes of characters, although they can be identified individually, can also be perceived as belonging to a single set. This fundamental attribute of quality typefaces has already been mentioned in early treatises dedicated to the craft, such as those by Joseph Moxon (1703) and Pierre-Simon Fournier le jeune (Fournier, 1706; Carter, 1995). It was mentioned more recently by Fernand Baudin, who stated: “For the graphic designer and the typographer, [the alphabet] is a system of signs with a visual logic all of its own.” (Baudin, 1989, p. 23). The ability to create a sense of coherence across different character shapes is an essential skill that typeface designers need to acquire together with the ability to create characters that are legible and readable. 1
Show more

447 Read more

Legibility in typeface design for screen interfaces

Legibility in typeface design for screen interfaces

Inspecting similarity in letter shapes is fruitful not just from the reader’s perspective. Type design is often taught and practiced with a very modular approach, in which designing certain characters (prominently H , O , n and o ) will let the designer deduct many related shapes. Especially in rationalist sans serif faces many letters can be designed by referencing similar features from other, already designed, letters. For example the design of n defines the basic shapes for m , h , r , as well as the style of transitioning from stem to bowl used in d , b , q and p . This helps the designer in their work flow, but moreover also results in a coherent style within a typeface. Trade conven- tions old and new lay testimony to this as well. For example in the form of modular stencils type designers use to mock up designs when sketching and pasting together sample words (see illustration 38), or in type design software that caters to reusing parts like serifs or curves of glyphs. In his review of modularity in type design Mooney (2010) also points out two other motivations for such an approach. Firstly, he points to stencil typefaces, where the modularity stems in part from the way the typeface will be used 23 . Secondly, he suggests “ideological factors” (pp. 11), such as a rational- ist approach, where geometry plays an essential role. For example, both in renaissance ideals and their manifestations, such as the «Romain du Roi», as well as modernist alphabets like that of Wim Crouwel, modularity is a form of construction rationale akin to a visual algorithm that creates glyphs following a set of possible instructions. One the one hand, modularity induces regularity and a systematic canon of shapes. Too much emphasis on modularity, however, can result in overly geometric shapes that alienate readers and are hard to read. On the other hand, lack of modularity and the repetition it induces can result in a haphazard or inconsistent appearance of IllustratIon 37: Illustrating curve tension with different versions of the Silta typeface. On the left, curve tension of a , e , o and n are similar. On the right, a and e have been altered to demonstrate a different curve tension from the rest of the round letters, resulting in an irregular appearance.
Show more

140 Read more

The Contributions of Linn Boyd Benton and Morris Fuller Benton to the technology of typesetting and typeface design

The Contributions of Linn Boyd Benton and Morris Fuller Benton to the technology of typesetting and typeface design

TABLE OF CONTENTS List of Tables List of Figures _ v vi Chapter One: Statement Introduction of the Problem Hypothesis Statement 1 1 4 Footnotes to Chapter 1 5 Chapter Two: Background Fam[r]

272 Read more

Typeface design for a Thai context: An English typface with Thai stylistic considerations

Typeface design for a Thai context: An English typface with Thai stylistic considerations

CONTENTS Part I Thesis Document Thesis Approvals 1 Permission 2 Acknowledgements 3 Introduction 4 Precedents 5 Research Material Resources 6 Thai Forms 10 English Letterforms 16 Analysis[r]

83 Read more

Typeface personality traits and their design characteristics

Typeface personality traits and their design characteristics

toward typefaces, we chose some standard characters, including capitals "H", "O", and lowercases "h" and "o" by using Fontlab 4 to detect the inter-letter space. Table 29 shows the left and right side bearings of these standard characters for all fifteen studied typefaces. We found that the inter-letter settings of the characters differ considerably from one typeface design to another. For typeface Kabel of group Gentleness, the side bearings of the four standard characters are much bigger than those of the other typefaces. On the contrary, for typeface Snap ITC of group Cheerfulness and typeface Harry Potter of group Fearfulness, the left side bearings
Show more

164 Read more

Eye tracking study of attention to print advertisements: Effects of typeface figuration

Eye tracking study of attention to print advertisements: Effects of typeface figuration

been an interest of numerous studies in recent years (Higgins, Leinenger, & Rayner, 2014; Rayner, Miller, & Rotello, 2008; Wedel, 2013). However, inferences based on previous eye tracking studies refer to the picture figura- tion effect and integration of the picture with longer pas- sages of text–a common element of the advertisement de- sign solution in the past. These findings, although consid- erable and informative, need an update. There is a need for the research that would better explain effects of certain key elements in the contemporary advertising environment, namely the appearance of the shorter passages of text. New design solutions of advertisements have a tendency to “say” more with fewer visual elements. Hence, rhetorical figurativeness of typefaces emerged as a new key element for communication. Consequently, typeface design for shorter slogans became more complex. Therefore, the pur- pose of this study is to employ an objective and a subjec- tive method to measure the effects of typeface figuration on attention and attitudes. These effects will be investigated in different contexts (types of products). Ad- vertisements that are not word–driven will be tested, where a typeface serves as a “dressing” style for headlines or short slogans.
Show more

18 Read more

Integrated Product Design Design for Interaction Strategic Product Design

Integrated Product Design Design for Interaction Strategic Product Design

As there are no training facilities at university or other higher education level for this subject in the Netherlands, or in many other European coun- tries, the idea has come up (in communication with ipv Delft, Phillips, Dynamicom/Nuon and Ove Arup) to organize a course in collaboration between the two faculties of Industrial Design Engineering and Architec- ture, Urbanism & Building Sciences in which all parties will contribute; resulting in an inter-disciplinary studio with academics and professionals covering various fields from the 'hard' technologies to 'soft' perceptions. Study Goals Students will have a good overview of the present and near-future possi- bilities of lighting of public spaces, such as roads, squares, and the ligh- ting of shopping centers, cultural, public and commercial buildings. They will know how light and especially light in public spaces is perceived, what the technical and aesthetical possibilities are and will be. They will know how light can be applied so that is useful for safety, perceptual attracti- veness, to enliven and upgrade built environments, wayfinding, etc. Education Method Weekly presentations by staff from the faculty of Architecture and Indus-
Show more

260 Read more

History of Graphic Design. Graphic Design History. History of Graphic Design. History of Graphic Design. History of Graphic Design

History of Graphic Design. Graphic Design History. History of Graphic Design. History of Graphic Design. History of Graphic Design

Recruitment 1918 1914 1942 Norman Rockwell 1942 Rally Poster 1943 Rally Poster 1943 Rally Poster World War II 1940s. American Consumer Culture[r]

12 Read more

FIŞA DISCIPLINEI. Design Grafic Comunicaţii vizuale / Design vestimentar - Design textil / Design de Produs / Design Ceramic

FIŞA DISCIPLINEI. Design Grafic Comunicaţii vizuale / Design vestimentar - Design textil / Design de Produs / Design Ceramic

Elaborarea unor solutii vizuale specifice pentru tipurile de comunicare avute în vedere, pentru a fi dezvoltate, cu ajutorul unor tehnici si tehnologii specifice pentru a realiza modal[r]

12 Read more

How To Design A Course Design

How To Design A Course Design

Designing an Integrated Course. In designing a course, we are gathering informa- tion and making decisions about how the course will be taught. We want to engage in both of these activities so that there is a high likelihood that the students will have a significant learning experience. In order to do this, we need to work through the course design process in a systematic way. This means completing each step before going on to the next one. This is important because the later steps build on the earlier ones. For Integrated Course Design (Model 1), start by building strong primary
Show more

37 Read more

Design No. L556. Design No. L556

Design No. L556. Design No. L556

Fire resistance assemblies and products are developed by the design submitter and have been investigated by UL for compliance with applicable requirements. The published information cannot always address every construction nuance encountered in the field. When field issues arise, it is recommended the first contact for assistance be the technical service staff provided by the product manufacturer noted for the design. Users of fire resistance assemblies are advised to consult the general Guide Information for each product category and each group of assemblies. The Guide Information includes specifics concerning alternate materials and alternate methods of construction.
Show more

9 Read more

Corporate. Design. Editorial. Design

Corporate. Design. Editorial. Design

1680 x 1050 — Book / 2010 400 pages hardcover no fi xed format in cooperation with Anna Meyer sayhellotoanna.com & Andreas Duschek andreasduschek.com supervision: klaus Eckert.[r]

24 Read more

Fender Design. Fender Design

Fender Design. Fender Design

1. The main function of front panel is to distribute the reaction forces from fender units into the ship’s hull, so the design to should be suit each individual berth. The loads and stress loads exert to front panel will depend on many factors---- the type of ship, berthing mode, characteristic of the rubber fender and tidal range etc. The design of front panel should meet the following requirements:

22 Read more

To Design a Designer To Design Designs

To Design a Designer To Design Designs

discussed issues related to the implementation of CDIO compliant courses into engineering programmes. In each case, the dependence of success on a well designed group activity has been emphasised. In this work, in order to remain faithful to the CDIO philosophy, it was necessary that the students actually constructed something tangible which could be tested. The Mangonel, as the core object of the programme, proved itself to be extremely well suited to being at the same time a mechanical device which could be designed, manufactured, analysed and operated and also the subject to which Civil and Electronic Engineering design assignments could be associated.
Show more

15 Read more

Index Terms Design Process, Tiles Design, Design

Index Terms Design Process, Tiles Design, Design

Nature processes distinctive potential resources in the production of the design process and innovation. The most important considerations in choosing a tile design are a pattern design. Therefore, the importance of focusing on the production process in design has become crucial. The biological, physical and visual aspects of environment influence life philosophy, culture, society, tradition and creativity development. In the production of design symbols, it is evident that there is a lack of focus and assessment given to the production process compared to that of the end product. The importance of the transformation process is emphasized by Charles & Cynthia (1992) who believe that the problem solving processes are shown to illustrate how the process can be altered for use in solving specific types of problem in the design. In this case, the design transformation process is seen as a source of productivity of ideas and its variations for design solutions.
Show more

8 Read more

Experimental Design SOME BASIC DESIGN CONCEPTS. Experimental design

Experimental Design SOME BASIC DESIGN CONCEPTS. Experimental design

You may wonder why anyone would use such a design—after all, experiments are sup- posed to help us resolve ambiguity not create it. Fractional factorial designs are typically used in exploratory research situations where a researcher is interested in six-or- more treat- ments and can perform follow-up experiments if necessary. The design enables a researcher to efficiently investigate a large number of treatments in an initial experiment, with subsequent experiments designed to focus on the most promising lines of investigation or to clarify the interpretation of the original analysis. The designs are used infrequently in the behavioral sciences and education.
Show more

23 Read more

Application Of Design For Environment In Product Design

Application Of Design For Environment In Product Design

DFE, like predecessors Design for Manufacture & Assembly and Design for Service, is a concept-stage tool that substitutes analysis and optimization for the usual practice of following broad material and manufacturing guidelines. DFE reveals the cost benefits for various options such as material recycling, part remanufacture or reuse, and disposal through landfill or incineration. Designers also can pinpoint in the disassembly sequence where the major economic and ecological benefits end and where further disassembly is of no benefit either financially or environmentally. By understanding the inherent value of the materials and parts in a product, manufacturers are better able to plan for potential product take-back regulations [1].
Show more

24 Read more

Optimum Design for CMM by Robust Design

Optimum Design for CMM by Robust Design

The aim of robust design is to determine the condition and parameter to minimize the effect of causes of variation. The object is to find the condition that would assure that the inspection and measurement is insensitive to environmental and other factor. The CMM are also made more rugged to resist environmental effects in manufacturing plants due to temperature variations, vibration and dirt etc. operating environmental variable such as temperature , humidity are example of external noise factors, the problem caused by deterioration such as wearing of parts , wrong machine setting are internal noise factors, the unit to unit noise factor indicates the deference between individual performance of same inspection or measurement due to operator or process itself [1].Important features and requirements of the CMMs are: (i) To give maximum rigidity to machines without excessive weight, all the moving members, the bridge structure, Z- axis carriage, and Z-column are made of hollow box construction.
Show more

10 Read more

Show all 10000 documents...