The aim has been to investigate and describe how gender-neutral design, concerning typefaces and colours, can be created. Based on my results I’ve designed a cover for a recipe-book to make it appealing to both women and men. I have been doing my research based on questions such as; Does feminine and masculine design, concerning typefaces and colours exist? And if so what characterizes it? Does gender-neutral design, concerning typefaces and colours exist? And if so what characterizes it? Is it possible to design a cover for a recipe-book in a gender-neutral way, concerning typefaces and colours?The first part of my research consists of a literature study based on keywords such as gender, graphic design, gender theory, typeface, androgynous, visual communication, colour, shape, feminine, masculine, and book design. The second part consists of a empirical study based upon a heterogeneous sample of 311 respondents. The respondents responded to a survey about how they perceived different colours and typefaces from a gender perspective. The result shows that, within the target group I have chosen to focus on, there are colours and typefaces that are perceived as more feminine, masculine or gender-neutral than others. My design of the recipe-book becomes part of showing the results since I have based my design-decisions on the results from the literature study and survey.

[ES] El título y subtítulo del presente trabajo resume y refleja el contenido de la labor de investigación y catalogación realizada, a partir del material disponible en el taller de Tipografía de la Facultad de Bellas Artes de la Universidad Politécnica de Valencia. La tipografía es la principal protagonista del trabajo, siendo los caracteres tipográficos los elementos más relevantes. Con los mismos se ha editado un catálogo para un mayor y mejor conocimiento de las características de cada familia de tipos móviles, ello podrá ayudar a estudiantes e investigadores a conocer e identificar la tipografía utilizada en la impresión de múltiples textos. Al ser un material procedente de imprentas de Valencia y poblaciones de alrededor, permitirá conocer un poco más la historia de la sociedad y el patrimonio de un periodo importante del pasado siglo XX. Partiendo de la metodología de investigación desde la práctica artística en los Libros de Artista, hemos pretendido alcanzar un mayor conocimiento de los tipos empleados utilizando la tipografía de forma plástica para conseguir un gran libro de artista, en el que se refleja una interpretación personal de todas las familias de caracteres tipográficos disponibles y catalogados en el taller de la mencionada facultad de Bellas Artes, al igual que proseguir con la edición de otros ejemplares de libros, continuando de esta forma la actividad iniciada en la Licenciatura y posteriormente en el Máster de Producción Artística. / [CA] El títol i subtítol del present treball resumeix i reflecteix el contingut de la labor d'investigació i catalogació realitzada, a partir del material disponible en el taller de Tipografia de la Facultat de Belles Arts de la Universitat Politècnica de València. La tipografia és la principal protagonista del treball, sent els caràcters tipogràfics els elements més rellevants. Amb els mateixos s'ha editat un catàleg per a un major i millor coneixement de les característiques de cada família de tipus mòbils, això podrà ajudar estudiants i investigadors a conéixer i identificar la tipografia utilitzada en la impressió de múltiples textos. A l'ésser un material procedent d'impremtes de València i poblacions de voltant, permetrà conéixer una mica més la història de la societat i el patrimoni d'un període important del passat segle XX. Partint de la metodologia d'investigació des de la pràctica artística en els Llibres d'Artista, hem pretés aconseguir un major coneixement dels tipus emprats utilitzant la tipografia de manera plàstica per a aconseguir un gran llibre d'artista, en el qual es reflecteix una interpretació personal de totes les famílies de caràcters tipogràfics disponibles i catalogats en el taller de l'esmentada facultat de Belles Arts, igual que prosseguir amb l'edició d'altres exemplars de llibres, continuant d'aquesta manera l'activitat iniciada en la Llicenciatura i posteriorment en el Màster de Producció Artística. / [EN] The title and subtitle of this work summarizes and reflects the content of the research and cataloguing work carried out, based on the material available in the Typography workshop of the Faculty of Fine Arts of the Polytechnic University of Valencia. Typography is the main protagonist of the work, with typographical characters being the most relevant elements. With them a catalogue has been published for a greater and better knowledge of the characteristics of each family of mobile types, this will help students and researchers to know and identify the typography used in the printing of multiple texts. Being a material from printing presses in Valencia and surrounding populations, it will allow you to learn a little more about the history of society and the heritage of an important period of the last 20 th century. Based on the research methodology from artistic practice in the Artist's Books, we have sought to achieve a greater knowledge of the types used using typography in plastic form to obtain a large artist's book, which reflects a personal interpretation of all the families of typographical characters available and catalogued in the workshop of the aforementioned faculty of Fine Arts , as well as continuing with the edition of other copies of books, continuing in this way the activity initiated in the undergraduate degree and later in the Master's Degree in Artistic Production. / Ferré Ferri, E. (2021). Tipos anónimos. Palabras vivas. Estudio e inventario de tipos móviles de imprenta en los talleres de la Facultad de Bellas Artes de Valencia. Incorporación de la Tipografía al Libro de Artista. Una aportación personal [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/172176

Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This thesis presents an analysis of ‘township typography’ as a complex visual dialect generated by various economic and historical factors within the South African social landscape. A combination of specific tools, skills-sets and applications has produced a body of typographic letterforms that can be visually distinguished from standardised letterforms found in mainstream typography. Due to the origin of these letterforms, as well as their distinct appearance, ‘township typography’ has the capacity to evoke specific social, cultural or demographic structures in systems of communication. This study reveals that typographic features from ‘township typography’ are drawn into mainstream cultural production, particularly in the field of local advertising, as the result of a complex process of incorporation and institutional consecration. / AFRIKAANSE OPSOMMING: Hierdie tesis bied ‘n analise van ‘township tipografie’ as ‘n komplekse visuele dialek wat gegenereer word deur verskeie ekonomiese en historiese faktore eie aan die Suid- Afrikaanse sosiale landskap. Die spesifieke kombinasie van gereedskap, vaardighede en aanwendings lei tot ‘n liggaam van lettertipes wat visueel onderskei kan word van die standaard wat in hoofstroom tipografie voorkom. Vanweë hierdie dialek se oorsprong, asook die kenmerkende voorkoms daarvan, het ‘township tipografie’ die vermoë om spesifieke sosiale, kulturele en demografiese strukture in kommunikasie op te roep. Hierdie studie toon hoe eienskappe eie aan ‘township tipografie’ weens ‘n komplekse proses van inkorporasie en institusionele inseëning in hoofstroom kulturele produksie opgeneem word, veral op die gebied van plaaslike advertensiewese.

In this self-study inquiry, I studied my graphic design practice in a professional setting, focusing on my Arabic typographic skills and knowledge. My roles as researcher and design educator indivisibly intertwined throughout this research. I worked to understand the value of calligraphy in art and design education, highlighting its power as an art form while also emphasizing its pedagogical potentials. I utilized two theoretical approaches suited to investigating and understanding the Arabic letters as text and image, Ibn Arabi’s science of letters, or 'ilm al-hurûf, and semiotics. I applied my theoretical framework to three distinctive artworks to investigate their uses of the Arabic letters, contemplating their roles in modern and contemporary Arab art. Essential to my research was learning Arabic calligraphy through two approaches: 1) I attended a calligraphy workshop, and 2) I conducted three self-study experimentations. I analyzed my experience through visual representations, commentary, and narrative inquiry to assess Arabic calligraphy’s significance for graphic design education. As such, my experimentations confirmed Arabic calligraphy’s aesthetic and educational value. I employed my findings to create a contemporary Arabic typography curriculum suitable for university-level students. This curriculum is built on learning theories such as visual culture analysis, semiotics, constructivist theory, play principles, and critical thinking, aiming to situate Arabic calligraphy as a modern learning model significant for typography education. Finally, I constructed a basic course for Arabic typography to support students’ development of Arabic typography fluency.

This study of the graphic field in notes on space, undated (log 3) focuses on how the white emptiness of a page plays a structural role in the articulation of dissociated fragments of notes. According to the criteria of three theorists (Genette, Lapacherie, Baetens), the distinction between non-linear and tabular proves to be non-exclusive in this particular work. Ostensibly, this non-figurative writing instigates interactive contemplation and lends itself to multiple entries, like an object one contemplates from every possible visual perspective without ever constructing a representation or image. The poetic form that du Bouchet explores renders perceptible the latent materiality of all text.

Narrative, often considered synonymous with “story,” can be viewed from a structuralist perspective and analyzed independent of any particular content. Breaking narrative into categories of story and discourse, this autonomous structure makes possible a translation of content from one form to another. The various media and form types common in graphic design can serve as both recipient and translator of narratives, converting content into a framework that includes the concept of craftsmanship, aesthetic components and specifications, legibility and composition, and the physical form of the designed object. To examine how this framework functions in practice, I have developed a series of three volumes in which cinematic tropes are represented in book form based on a morphology of traits.

This thesis is analysing some problems of visual communication and interpretation of visual information. It's focus on psychological, typographycal and colour aspects of document design. This thesis also includes some facts about an interpretation of information by the spectator. Introduction of this thesis points to the problems of corporate identity (and its components) and its conections with psychology and design. Then chapters with a bacic knowledge of typography, psychology, composititon design and color therory are defined. These chapters bring theoretical principles, applicable in corporate design. The last chapter defines the redesign of the corporate visual style and through some examples of the practice shows its conections with the theoretical knowledge described in this thesis.

The purpose of this study was to examine if font choices affect how text and sender are perceived in the context of online banking websites. Large amounts of money are invested to produce effective design units; therefore, graphic designers need to be aware of how their font choices impact the readers’ perception of text. This study aimed to raise awareness around the impact of fonts and to create a helpful report that can guide designers in their font choices. Previous research on the subject argues that typography is a critical tool in visual communication, and that selecting an appropriate typeface is very important. Studies have shown how readers are aware of the difference in appropriateness between different font and text matches. Shaikh, Chaparro and Fox (2006) found serif and sans serif fonts to be the most appropriate in most situations while scripts were appropriate only for scrapbooking and e-greetings and modern display fonts were perceived as rude or coarse. The methods used in the present study were a Literature Study, two Focus Groups, a Quantitative Web Survey and two Visual Content Analyses. The results show that font choices do affect perception of the sender in this context. The most appropriate fonts were strict and structured, but not boring, non-decorative and had a medium x-height in relation to cap height. / Syftet med denna studie var att undersöka om val av teckensnitt påverkar hur text och avsändare uppfattas i samband med internetbankers webbplatser. Stora summor investeras för att producera effektiva designenheter; därför behöver grafiska designers vara medvetna om hur deras val av teckensnitt påverkar läsarens uppfattning av text. Målet med denna studie var att öka medvetenheten kring påverkan av teckensnitt och att skapa en användbar rapport som kan guida designers i deras val av teckensnitt. Tidigare studier inom ämnet argumenterar för hur typografi är ett avgörande verktyg inom visuell kommunikation och hur valet av ett passande teckensnitt är av mycket stor vikt. Undersökningar har visat på att läsare är medvetna om skillnaden i hur väl olika kombinationer teckensnitt och text fungerar. I en studie av Shaikh, Chaparro och Fox (2006) lyfts seriff och sanseriff som de mest passande i flest situationer medan skripter enbart passade bra för scrapbooking och e-hälsningar och moderna ”modern display”- teckensnitt uppfattades som oförskämda eller grova. I föreliggande studie användes en litteraturstudie, två fokusgrupper, en kvantitativ webbenkät och två visuella innehållsanalyser. Resultaten visar på att valet av teckensnitt påverkar hur mottagaren uppfattar sändaren i denna kontext. De teckensnitt som ansågs mest passande var strikta och strukturerade men inte tråkiga, utan dekorativa element och med en medelhög x-höjd i förhållande till versalhöjd.

Nesta dissertação examino o desenho das letras em livros produzidos nas Reduções Jesuíticas Guarani, empreendimento missionário de religiosos da Companhia de Jesus na região do Rio da Prata entre 1609 e 1768. Os primeiros Jesuítas chegaram à região em 1585, vindos do Peru e do Brasil. Apesar das dificuldades dos primeiros tempos, fundaram a primeira Redução em 1609 e, tão logo conquistaram alguma estabilidade, comunicaram-se intensamente com Roma e Madrid, entre 1633 e 1645, a fim de obterem uma imprensa e licenças para imprimir nas Reduções. Porém, foi apenas entre 1700 e 1705 que finalmente o realizaram -- e não foi por meio de uma prensa vinda da Europa, mas de prensa construída nas missões. Antes disso, os livros eram copiados à mão, uma prática que continuou existindo nas Reduções mesmo depois da instalação da imprensa. À imprenta guaranítica e aos manuscritos guaraníticos cabe um lugar de destaque na História da imprensa e do livro no Novo Mundo. Os relatos dos padres geraram consensos ainda hoje repetidos na historiografia da região, especializada ou não na História dos livros, sobre a habilidade dos guaranis para copiar letras e sobre a construção de todo o aparato para impressão -- a prensa tipográfica construída com madeira local e tipos móveis fundidos com uma liga de metais da região. Dos doze livros e um tanto de panfletos que certamente foram impressos nas Reduções, é possível localizar hoje exemplares de oito títulos apenas. Analisei o desenho das letras na folha de rosto e no miolo de seis títulos impressos e em três títulos manuscritos. As análises do desenho das letras nestes livros levaram-me a indagar se de fato fundiu-se tipos nas missões (resultado das análises das letras impressas) e a apontar a variedade de desenho de letras manuscritas ao invés da duplicação de modelos europeus (resultado das análise das letras manuscritas). Os resultados são uma contribuição à historiografia que busca questionar o uso da documentac?a?ção textual como principal forma de testemunho da empresa missionária e, sobretudo, que busca questionar o ponto de vista de onde a história da produção livreira e da escrita nas Reduções Jesuíticas Guarani tem sido contada. Um ponto de vista que serve mais à manutenção da \"rareza\" dos livros guaraníticos do que ao esforço pela sua compreensão. / In this dissertation I examine the letterforms on books from the Guarani-Jesuit Reductions, a missionary enterprise of the religious fathers of the Jesus Company, in the River Plate area from 1609 to 1768. The first jesuits arrived in the region in 1585, coming from Peru and Brazil, and despite the difficulties of the early years, they settled the first Reduction in 1609. As soon as they conquered some stability, they communicated intensely with Rome and Madrid, from 1633 to 1645, supplicating for a printing press and the necessary licenses to print in the Reductions. Notwithstanding, it was only around 1700 that they finally achieved their intentions -- and it was not by means of a printing press brought from Europe, but of a printing press built in the missions itself. Before this, books were copied by hand, a craft that continued after the establishment of the printing press. The guarani prints and the guarani manuscripts have a distinguished place in the History of the book and printing in the New World. Reports written by the jesuit fathers from the Reductions generated some consensus that are repeated still today in the historiography of the region, specialised or not in book and printing, about the guaranis\' great ability to copy letters by hand and about the construction of the whole apparatus necessary for printing -- a printing press built with local wood and sorts cast with a metal league from the region. Of the dozen books and some pamphlets that were certainly printed in the Reductions, today it is possible to find copies of only eight titles. I analysed the letterforms in six of these books and in three manuscripts. The analysis made me question if type was really cast in the missions (result of analysing the printed books) and made me point out the variety of manuscript letterforms instead of the duplication of european models (result of analysing the manuscript books). The results are a contribution to the historiography that questions the use of textual documentation as the main source of testimonies about the missionary enterprise, and, above all, the historiography that questions the point of view from which the history of book production and the history of writing in the Guarani-Jesuit Reductions have been told. A point of view that promotes the \"rarity\" of the guarani books instead of the effort for its understanding.

Esta dissertação tem como objetivo aprofundar o conhecimento sobre o uso da tipografia como elemento arquitetônico na cidade de São Paulo, particularmente em edificações de estilo Art Déco, de 1928 a 1954, demonstrando como a tipografia arquitetônica estabeleceu uma nova relação, não apenas limitada ao edifício em si, mas também com a paisagem urbana e seus habitantes, acompanhando os avanços das relações comerciais, da indústria da informação e do entretenimento durante esse período. A partir da seleção de uma amostra significativa de exemplares de tipografias arquitetônicas nominativas, foi desenvolvida uma série de análises, através de um embasamento teórico, fornecido por uma ampla revisão bibliográfica. Como resultado, foi possível verificar que o estilo Art Déco, de grande penetração na arquitetura da cidade de São Paulo no período estudado, se valeu da tipografia de uma maneira particular, conseguindo com isso promover em várias ocasiões uma relação integral dela com a arquitetura. Também foram encontrados indícios de que a reprodução de um determinado desenho de letra, presente em várias edificações no centro da cidade, pode ter se originado a partir de sua utilização no edifício do antigo Banco de São Paulo. Outros indícios apontam ainda para o possível surgimento desse desenho de letra, a partir da instrumentalização do alfabeto escrito manualmente, utilizado nas pranchas dos projetos desenvolvidos pelo escritório do arquiteto Álvaro Botelho, autor do Edifício Banco de São Paulo. / The aim of this Master Thesis is to increase the knowledge about the use of typography as an architectural element in the city of São Paulo, specially in Art Déco style buildings, built between 1928 and 1954, demonstrating how architectural typography established a new relation, not only restricted to the building itself, but also with the urban landscape and its inhabitants, keeping up with the developments in commercial trade and in the communications and entertainment industry. A series of analysis was developed, on a significative sample of nominative architectural letterings, through a theoretical basis provided by a comprehensive literature review. As a result, it was possible to ascertain that the Art Déco style, which was higly pervasive in São Paulo city architecture during the time considered, made use of lettering in a very particular way, enabling it, in many occasions, to set an integral relationship with architecture. Also, traces were found indicating that the reproduction of a certain lettering style, present in several buildings in downtown São Paulo, may have been inspired by its use in the Banco de São Paulo building. Other indication, also points to a possible origin of this lettering style as derived from the handscript forms, used in the architectural plans drawn in the office headed by Álvaro Botelho, the architect responsible for the design of the Banco de São Paulo building.