My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.

Denna uppsats behandlar frågorna om hur och varför ett typsnitt kan förmedla ett visst intryck, en känsla eller tonalitet på en webbsidas rubriker. Samt betydelsen av, som designer eller annan yrkesverksam inom området, att ha kännedom och medvetenhet kring typsnitt. Vi valde en kvalitav metod utifrån våra frågeställningar. Genom intervjuer och en fokusgrupp ämnar vi undersöka tre typsnitt från tre olika typsnittsfamiljer. Typsnitten vi specificerat oss på är Roboto (sans serif), La Parisienne (regular skript) samt Fifty four (display/dekorativ). Teoretiska utgångspunkter hämtas från tidigare studier inom ämnet, litteratur av sakkunniga samt data från empirisk undersökning som vi samlat in från intervjuer och en fokusgrupp. En webbsida, utvecklad i WordPress har varit ett praktiskt moment och har fungerat som en plattform för vår undersökning genom att presentera våra olika rubrikers typsnitt. Resultatet från vår undersökning visade att våra valda typsnitt på rubrikerna tolkades likvärdigt och att det är främst formen som avgör. Studien tydliggör även att typsnitt kan tolkas utifrån person och personlighetsdrag, genom grundkänslor, tidigare associationer, konnotation och majoritetens överensstämmande svar. Vi ser att kunskap om typsnitt har en central roll i den tidiga designprocessen. Med detta i åtanke blir det viktigt för designern att kunna behärska typografi och förstå dess kraft. / This essay addresses the questions about how and why a font can convey a certain impression, feeling or tonality on a website's headings. As well as the importance of being a designer or other professionals in the field, to have knowledge and awareness of fonts. We have chosen a qualitative method based on our questions. Through interviews and a focus group, we intend to study three fonts from three different fontfamilies. Roboto (sans serif), La Parisienne (regular script) and Fifty four (display /decorative). Theories are obtained from previous studies in the subject, we refer to literature by experts and the data comes from our empirical research that we have collected from our interviews and the focus group. We have developed a website in WordPress, that has been a practical element and has served as a platform for our research by presenting the fonts of our various headings. The results of this study showed that our selected fonts of the headlines were interpreted equally by our informants and everyone answers that it depends on what kind of a typeface it is. Fonts can be interpreted from many different perspectives, the form of a font affects people's interpretation a lot but also interpreted based on personality traits, through basic feelings, past associations, connotation and the majority's response which was consistent. The knowledge of fonts plays a central role in the early design process and it becomes important for a web designer to be able to master typography and understand its powers.

I denna uppsats analyseras sju stycken framsidor på smoothieböcker publicerade mellan år 2007 och 2016. Syftet är att undersöka hur dessa riktar sig till en kvinnlig målgrupp genom sin formgivning. Uppsatsen grundar sig i ett genusvetenskapligt perspektiv som kompletteras med teorier kring semiotik, färg, typografi och bild. Analysen sker i två steg där en semiotisk analys följs av en diskursanalys. I denna kan tre stycken diskurser kring kvinnligheten och smoothietrenden urskiljas: 1) Nyttighet, 2) Lyx, avslappning och njutning och 3) Kvinnligheten. Dessa budskap förstärks även genom färg- och typografival samt titelformuleringar på framsidorna. Slutligen problematiseras dessa resultat genom en diskussion kring vad detta kan ha för konsekvenser på såväl samhälle som individen samt designerns ansvar i formgivningen.

-ink- ink is a small independent publishing house, that is aiming to publish student-written literature with graphic design and illustrations made by young designers and artists. Main goal of the publishing house is to support, execute and spread projects of young, not yet estabilished authors and artists and thus develop the contemporary art scene. The visual identity of the publishing house is left open, it is going to be created in time by the books that are going to be published by ink. The logo is often used as a background to posters, or a stamp over photographs. I'm letting the content to speak for it's brand, not the logo. I created business cards, bookmarks, a stamp, wrapping papers that are used for parcels as well as a background for posters, and stickers. Novel Devil Novel Devil is a first book published by ink. Author of the book is Jan Smutný, recent graduate of Faculty of Fine arts in Brno. Illustration and the overall design of the book are made by me. The design is inspired by gothic books written in textura or bastarda and illustrated with woodcuts. My aim was to create a book clearly referencing this visuality, but not a „retro“ or a historicist book. I tried to create a classical book with a modern twist. That's why I chose new, modern typefaces Enigma and Lapture and the illustrations are just vector lines. Because of the theme I work only with black and and background white colour. The book was published in 200 copies.

SyAet med denna studie var a< förstå hur konsumenter i Sverige med olika könsroller och åldrarupplever elektroniska (e-) handelswebbsidor som =llförlitliga baserat på den visuella designen.SyAet besvarades genom a< undersöka färg- och typografins påverkan på upplevd =llförlitlighet före-handelswebbsidor, u=från konsumentens perspek=v.År 2021 används e-handeltjänster alltmer för a< köpa produkter. Företag kan numera nå ut =ll fleroch större målgrupper genom e-handel då företagets geografiska belägenhet inte längre äravgörande för kunden. EAersom e-handelsmarknaden växer och konkurrensen blir allt hårdare, ärdet vik=gt a< företagen är medvetna om dess visuella presenta=on på webbsidan för a< fåkonsumenternas =llit. Resultat av =digare studier visar a< färg och typografiska val är vik=ga faktorerför huruvida en webbsida upplevs =llförlitlig. Tidigare forskning visar även på hur olika kön och åldrarförhåller sig =ll internet och hur olika deras användningsmönster ter sig vad gäller teknologi.Denna studie uUördes med hjälp av en visuell innehållsanalys och en enkätundersökning. Resultatenfrån den visuella innehållsanalysen gav verktyg =ll a< skapa fik=va webbsidor med olika färg ochtypsni<, som vidare användes i enkätundersökningen. Totalt tolv e-handelswebbsidor skapades =llenkätundersökningen för a< utreda vilken färg samt typsni< som upplevs vara mest =llförlitlig.Studien indikerade jämna resultat mellan åldersgrupper samt könsroller vad gäller upplevelse av=llförlitlighet u=från färg- och typografival på e-handelswebbsidor. Resultatet visade tendenser =lla< den orangea samt gula webbdesignen upplevdes minst =llförlitliga enligt respondenterna i dennastudie. Något mer =llförlitliga upplevdes färgerna grön, blå, röd och rosa. Studien indikerade a<sanserif-typsni< ansågs något mer trovärdigt än seriff-typsni<. / The purpose of this study was to understand how credible consumers in Sweden with differentgender roles and ages perceived electronic (e-) commerce websites based on the visual design. Thepurpose was answered by examining the impact of colour and typography on perceived credibilityof e-commerce webpages from the consumers’ perspec=ve.In 2021, e-commerce services are increasingly being used to purchase products. Businesses cannowadays reach a much larger market through e-commerce, as the geographical loca=on of thecompany is not anymore cri=cal to customer availability. As the e-commerce market grows evenlarger, companies should be more aware of their visual presenta=on on the website to gainconsumer trust. Previous studies show that colour and typographic choices are important factors inwhether a webpage is perceived trustworthy. Previous research gives insight to how different genderroles and age groups relate to the internet and have different usage pa<erns.This study was carried out using a visual content analysis and a ques=onnaire. The results of thevisual content analysis gave the prerequisites for crea=on of the fic=onal webpage layouts withdifferent colours and typefaces that were further used in the ques=onnaire. A total of twelve ecommercewebpage were created for the ques=onnaire to inves=gate which colours and typefacesare experienced to be most credible.The study indicated even results between age groups and gender roles in terms of experience ofcredibility regarding colour and typography choices on e-commerce websites. The results showedtendencies that the orange as well as yellow webdesigns were the least credible according torespondents in this study. Green, blue, red, and pink were considered more credible than orangeand yellow designs. The study also indicated that sans serif typeface was considered slightly morecredible than serif typeface.

En rapport avec la tradition du poète-historien du vingtième siècle, la poétique documentaire pratiquée par Ezra Pound et Susan Howe de manières distinctes mais liées sert de base à une étude de la matérialité complexe au sein du processus compositionnel des deux écrivains. Fondée sur les matériaux d'archives des deux séquences, une analyse détaillée des « Malatesta Cantos » de Pound et de « Marginalia de Melville » de Howe permet une réflexion sur le développement de la transformation typographique dans le domaine de la poésie. Tout au long de cette critique, Steven Paschall aborde les processus de la signification de la matérialité en parallèle aux conceptions et expériences Poundiennes et Howiennes de l'archive historique et de la production littéraire. Pour Pound l'interprétation du quattrocento et de la saga de Sigismond Malatesta, et pour Howe celle des notes marginales et des ébauches manuscrites, a mené à la composition des poèmes innovateurs qui, à partir des sources textuelles, redéfinissent les idées conventionnelles de l'historiographie et de la pratique interprétative poétique au moyen des techniques structurelles et formelles. En examinant les opérations de l'appropriation littéraire, de la révision du langage écrit et de la page visuo-spatiale, Paschall avance un lien généalogique entre la matérialité archivistique du « poème contenant l'histoire » de Pound et les expériences visuelles d'articulation effectuées dans les reconfigurations palimpsestiques de Howe. / Set against the tradition of the 20th-century poet-historian, the documentary poetics practiced in distinct yet related ways by Ezra Pound and Susan Howe serves as the basis of this study's investigation of the complex materiality underpinning each writer's compositional process. Pound's "Malatesta Cantos" and Howe's "Melville's Marginalia" are the focus of detailed analysis specifically grounded in the archival materials for each sequence in order to explore the development of typographic metaphrasis. Throughout this critical work, Steven Paschall sets the processes of materiality's signification in parallel to Pound and Howe's conceptions of, and engagements with, the historical archive and literary production. Pound's reading of the quattrocento and the saga of Sigismondo Malatesta, and Howe's reading of marginalia and manuscript drafts, resulted in unique source-based poems, the structural and formal techniques of which redefine conventional notions of historiography and interpretative poetic practice. In addressing the mechanics of literary appropriation, editing written language, and the visio-spatial page, Paschall asserts a genealogical thread between the archival materiality of Pound's "poem containing history" and the visual experiments in articulation of Howe's palimpsestic reconfigurations thereof.

Observing the Maelstrom  är en publikation som presenterar kritiska perspektiv på teknologi i relation till samhället och design. Den utforskar ämnen som manipulativ webbdesign, subjektiva algoritmer och kommersiell övervakning genom att undersöka teknikhistoria och påföljder av nya medier. Begreppet teknologi tänjs och ifrågasätts. I texterna betraktas skor, smarttelefoner, kranar, glödlampor, pilar, skrivmaskiner, böcker, hjul och kvantdatorer som tekniker som utökar våra möjligheter och formar vårt beteende. Typografin återspeglar alltid sin tids dominerande tekniker och teknologier. Förhållandet mellan teknik och typografi undersöks i Observing the Maelstrom med särskilt fokus på skrivmaskinens tid och IBM:s typografiska historia. Typsnittet Artisan var populärt bland användarna av IBM:s Selectric skrivmaskin, men det har sedan dess till stor del glömts bort. För projektet skapade författaren en ny digital version av Artisan. Här får Artisan ett nytt liv som digitalt typsnitt och dess historia får en unik kontext i denna publikation. / Observing the Maelstrom is a publication that presents critical perspectives on technology, society, and design. It explores topics such as manipulative web design, biased algorithms, and commercial surveillance, by looking at the history of technology and the social impact of new media. The concept of technology is stretched and questioned. The texts consider shoes, smartphones, faucets, lightbulbs, arrows, typewriters, books, wheels, and quantum computers as technologies that expand our abilities and shape our behavior. Typography always reflects the dominant techniques and technologies of its time. In the publication, the relationship between technology and typography is examined with a particular focus on the typewriter era and the typographic history of IBM. The typeface Artisan was popular with users of the IBM Selectric typewriter but has since been mostly forgotten. For the project, the author created a new digital version of Artisan. Therefore Artisan gains a second life as a digital typeface and its history is given a unique context in this publication.

[pt] O presente projeto trata sobre as letras manuscritas em muros e espaços públicos, com foco no grafite e a pichação como formas de expressão que interagem com os transeuntes, dentro do território urbano. Desde o campo do design e da arte, abordar uma manifestação urbana considerada marginal como objeto de pesquisa, é uma forma de aprofundar nesta pratica como plataforma comunicativa acessível e vigente nas ruas da cidade, que não deixa de existir apesar dos avanços tecnológicos. Propomos então uma classificação dos diversos estilos de letras em grafites e pichações encontrados em áreas determinadas da cidade do Rio de Janeiro, assim como uma visão panorâmica sobre diversos pontos de vista como são o de quem executa (grafiteiros e pichadores), o de quem observa (transeuntes e passantes) e o de quem cuida do território (legislação e entes governamentais). Assim, destacamos o valor desta manifestação dentro da cultura popular, como parte da gráfica urbana brasileira, e a importância do seu registro como um aporte à história da comunicação escrita, no Brasil e na América Latina. Documentar as letras encontradas nos muros da cidade, de maneira efêmera e ao mesmo tempo persistente, é o caminho não só para fazer um levantamento de sua diversidade, mas também é uma forma de entender a maneira em que dialogam com a população, no momento atual em que grafites e pichações se encontram entre a luta pela conquista da rua, a defesa da livre expressão diante os órgãos públicos e a aceitação como parte do cenário de transformação e renovação de espaços públicos. / [en] This project deals with the handwritten letters in walls and public spaces, focusing on graffiti and pichação as forms of expression that interact with pedestrians within the urban territory. From the field of design and art, addressing an urban manifestation considered marginal as an object of investigation, is a way to deepen this practice as an accessible and effective communication platform in the streets of the city, which does not cease to exist in spite of the technological advances. Then, we propose the classification of styles letters in graffiti and pichação found on predetermined areas at Rio de Janeiro. As well, a panoramic view from different viewpoints, such as the one who executes (graffiti makers and pichadores), the one of who observes (passers-by and interns) and the one who takes care of the territory (legislation and government entities). Thus, we highlight the value of this as a manifestation within popular culture, also, as part of the Brazilian urban graphic, and the importance of its registration as a contribution to the history of written communication, in Brazil and in Latin America. Documenting the found letters on the city walls from an ephemeral and persistent way at the same time, created a path not only to uplifting its diversity, but also to understand how they dialogue with the population. In a present moment in which graffiti and pichação are between the fight for the conquest of the street, the defense of the free expression in front of the public organs and the acceptance like part of the scene of transformation and renovation of public spaces.

Denna studie syftar till att utveckla tumregler för heuristisk utvärdering av typografi i responsiva gränssnitt. Genom att kombinera traditionella typografiska designprinciper med principer för responsiv webbdesign har tolv tumregler tagits fram. Dessa tumregler har i två heuristiska utvärderingar använts av grafiska designers och gränssnittsutvecklare. De båda grupperna har dessutom fått ge sin syn på upplevelsen av att använda tumreglerna. Tumreglernas förmåga att vägleda till hittade typografiska problem i två responsiva gränssnitt har analyserats och framförallt gränssnittsutvecklarnas resultat har varit i fokus, då målet varit att tumreglerna ska kunna fungera som ett verktyg för att skapa bättre design för gränssnittsutvecklare utan utbildning i ämnet. Resultatet har visat att trots att gränssnittsutvecklare inte hittade lika många problem som grafiska designers så hjälper tumreglerna ändå till att hitta problem. Detta indikerar att fler deltagare utan typografisk utbildning kan behövas för att komma upp i samma mängd hittade problem som en grupp med typografiskt utbildade deltagare. Resultatet visar också att utvärderingar av responsiva gränssnitt görs bäst genom att granska gränssnittet på flera enheter med varierande skärmstorlek. / This study aims to develop a set of heuristics for evaluating typography in responsive user interfaces. By combining traditional design principles for typography with principles for responsive web design, twelve heuristics has been created. This list of heuristics has been used by graphic designers and user interface developers in two heuristic evaluations. The heuristics ability to lead to finding typographic problems in two different responsive interfaces has been analyzed, and the results from the user interface developers has been in main focus, since the goal was to create a tool for developers with a lack of knowledge in typography to create interfaces with better design. The results has shown that even though developers struggle to find the samt amount of typography problems as graphic designers, the heuristics does help to find problem. Even so, this indicate that a heuristic evaluation with non-typographic experts may need a few more participants than an evaluation with only typographic experts. The results also shows that an evaluation of a responsive user interface is best made through evaluation of the same interface on different devices with different screen sizes.

Assignment (MPhil (Afrikaans and Dutch))--University of Stellenbosch, 2006. / ENGLISH ABSTRACT: In this study, the mental models of the target audience of the FACT web site (official Stellenbosch University HIV/Aids web site) were investigated and compared with the structure of the web site (representing the mental model of the expert). The target audience were divided into six groups representing three different race groups (white, coloured and black) and the two sexes (male and female).