No description available.

M. Tech. (Department of Visual Arts and Design: Graphic Design, Faculty of Human Sciences), Vaal University of Technology. / The main aim of this study is to determine in what ways my graphic design practice is impacted by my socio-cultural identity. The intention is to explain and theorise the creative dynamics at play in Graphic Design as a discipline, so that I can use this to trace how the culture of graphic design, learned through training, influences the designs that I conceptualise and produce. From this exploration, critical self-analysis strategies and lines of inquiry for graphic designers, are established. To achieve this, triangulated investigations are undertaken in the context of a graphic designer as an idiosyncratic enculturated person, within the domain and field of graphic design. The attention falls on the dynamics of creativity and the cultivation thereof within cultural subject formation processes. Triangulated explorations of identity formation and identity within a culture in itself are undertaken, along with investigations into the culture of graphic design. Autoethnography (AE) is employed as practice-led research methodology and tool to extract data from autobiographic investigations that can be used to analyse and interpret the creative outcomes that were produced for the study. The cultural elements and principles of graphic design and the cultural elements and principles of an idiosyncratic enculturated graphic designer are compared, that result in answers to the main objective of the research conducted. Background and motivations introduce interpretation and contextualisation (personalisation) of AE as practice-led research methodology and method within graphic design as a cultural practice. The introduction is followed by creative practice that involves the generation of graphic design creative outcomes and the writing of a condensed autobiography. An in-depth literature review then provides a theoretical framework that sketches the discipline of practitioner within a field of practice, where after the practice is analysed, critically reflected upon and then AE interpreted, using the developed theoretical framework. From this, a detailed self-analysis follows. The process leads to the development of a new knowledge base and model (framework) that can be used in further research possibilities across other disciplines and cultural identity selections for self-reflection. This “strategic cultural preference facilitator model” consists of seven macro self-analytical identity markers, drawing on Appiah’s (2018) categories of Country, Creed, Colour, Gender, Class, and Culture (to which is added Professional Development). This is extended into ten micro sub-selfanalytical identity markers, namely: (1) Patriotism; (2) Paternalism; (3) Patriarchy and (4) Power; (5) the Pastoral; (6) Pretence; (7) Protection; (8) Punishment; (9) Privilege; and (10) Process, which are employed as socio-cultural identity lines of inquiry. The modelling and analysis processes documented in the dissertation could be extremely useful in most fields of human interaction, such as social work, psychology training, communication theory and practice, and in virtually all domains where the notion of self-critique as practice is prevalent (and necessary).

No description available.

No description available.

Luise Schröder founded a private business school in 1910 in Stettin, a city once part of Germany. With a focus on typewriting and stenography, she was a local educator of modern communication. Throughout four generations, her family was impacted by global technological developments and socio-political shifts.‘I Never Learned to Type with Ten Fingers’, edited by Schröder's great-great-grandson and graphic designer Laslo Strong, compiles stories from a family-run school. It delves into the past century of typography, through personal and corporate documents. Pictures, letterheads, graphic prints, signs, and newspaper articles provide insight into a particular corporate identity. In dialogue with this research, a series of typefaces was designed dedicated to the characters of the school. They give voice to anecdotes and speculative stories about family and typography.

Approximately 20–25 percent of the Swedish population experience difficulties with reading and writing, and 5–8 percent have dyslexia. Despite this and the widespread use of mobile phones, research on typographic design is primarily focused on the general population, creating a knowledge gap regarding how design decisions can affect individuals with dyslexia. Therefore the purpose of this study was to deepen the understanding of how different fonts and typographic elements on mobile screens affect readability for people with dyslexia. Participants were recruited from various Facebook groups using a subjective and snowball sampling method, including a group of individuals with dyslexia and a comparative control group. The survey was designed based on previous research and was conducted online, including a readability test. The readability test consisted of nine images with short texts presenting different typographic conditions, and respondents assessed the readability on a five-point scale. Subsequently, the data were processed to identify patterns and correlations. The study was based on theoretical perspectives on typography, dyslexia, and cognitive load theory. The results showed that sans-serif fonts, especially Verdana, performed bestand were considered the most readable by both respondents with and without dyslexia. Additionally, the study found that custom fonts designed for dyslexia do not necessarily improve readability. This underscores the importance of choosing simple, well-known fonts to facilitate reading for people with dyslexia. The conclusions emphasized the need to minimize cognitive load and select fonts with a simpler design to promote readability. Lastly, the study also identified increased letter spacing as a strategy to improve readability on mobile screens for people with dyslexia. / Cirka 20–25 procent av Sveriges befolkning upplever läs- och skrivsvårigheter, och 5–8procent har dyslexi. Trots detta och den breda användningen av mobiltelefoner är forskningen om typografisk design främst inriktad på den generella allmänheten, vilket skapar en kunskapslucka för hur designbeslut kan påverka personer med dyslexi. Syftet med studien är att fördjupa förståelsen för hur olika typsnitt och typografiska element på mobilskärmar påverkar läsbarheten för personer med dyslexi. Genom ett subjektivt och snöbollsurval rekryterades deltagare från olika Facebookgrupper, både personer med dyslexi och en jämförande kontrollgrupp. Enkäten utformades med hjälp av tidigare forskning och genomfördes online, vilken inkluderade ett läsbarhetstest. Läsbarhetstestet bestod av nio bilder med korta texter med olika typografiska förhållanden, där respondenterna bedömde läsbarheten på en femgradig skala. Därefter bearbetades data för att identifiera mönster och samband. Studien utgick från teoretiska perspektiv om typografi, dyslexi samt kognitiv belastningsteori. Resultaten visade att sans-serif typsnitt, särskilt Verdana, presterade bäst och ansågs vara mest lättlästa av både respondenter med och utan dyslexi. Dessutom visade studien att specialanpassade typsnitt för dyslexi inte nödvändigtvis förbättrar läsbarheten. Det understryker vikten av att välja enkla och välkända typsnitt för att underlätta läsning för personer med dyslexi. Slutsatserna betonade behovet av att minimera den kognitiva belastningen och att välja typsnitt med en enklare design för att främja läsbarhet. Slutligen identifierade även studien ökat bokstavsavstånd som en strategi för att förbättra läsbarheten på mobilskärmar för personer med dyslexi.

This experimental study investigated the relationship between the independent measures of font selection, type size, and type rendering technology and the dependent measures of legibility, as measured by the Chapman-Cook speed of reading test, as well as comprehension, as measured by a series of questions from the verbal comprehension section of the Graduate Record Exam. An electronic instrument presented test items in 12 different typographic styles. The study tested 117 college students at a university in southwestern Virginia. Each participant encountered anti-alias type rendering style and the orthochromatic type rendering style while participants were randomly assigned to either Helvetica or Palatino (font selection) and 8, 10 or 12 point type size. Results indicated that the 12 point type size was read more quickly than either 8 point type or 10 point type. There was also an interaction between font selection and type rendering technology for speed of reading: Helvetica without an anti-alias was read more quickly than Helvetica with an anti-alias and more quickly than Palatino without an anti-alias. These findings contradict an earlier, similar study. There were no significant results with regard to comprehension. <i>[Vita removed Oct. 13, 2010. GMc]</i> / Ph. D.

[ES] Esta tesis es una investigación que trata sobre los aspectos estéticos, estilísticos y plásticos que genera la tipografía, el gesto escrito y las composiciones con letras impresas. La documentación e investigación de datos realizada para terminar el trabajo se ha centrado en uno de los medios de comunicación de masas más popular: la revista ilustrada. El hecho de haber elegido este material como base del estudio está en función de la capacidad que tienen las publicaciones periódicas para actualizar constantemente los valores de los testimonios gráficos. Así mismo, en las revistas se reúnen y combinan de manera espontánea por un lado los elementos gráficos de cariz icónico (fotografía, ilustración) y por otro los de carácter verbal (letras, textos, marcas, cabeceras). Una de los objetivos principales de esta tesis consiste en recuperar y reivindicar figuras del arte de la tipografía y de la gráfica en general que todavía no han logrado el rango de consideración que merecen. Hombres que configuraron la estética mostrada en los campos de la gráfica y la publicidad. Figuras de la talla d 'Enrie Crous-Vidal, loan Trochut Blanchard, Enrie Miret y Ricard Giralt-Miracle. Artistas que merecen nuestro reconocimiento y admiración. Un tratamiento especial se le rinde a la tarea como diseñador gráfico terminada por Alexandre Cirici Pellicer. Este profesor, crítico, investigador, escritor y hombre público desarrolló un importante papel innovador con sus anuncios. Fundador de gabinetes publicitarios de gran repercusión (Zen, Pan) e introductor de los nuevos conceptos de mobiliario y decoración funcional, Cirici Pellicer influirá de manera decisiva en la construcción de un modelo gráfico de tónica libre. El presente estudio no aspira a convertirse en un tratamiento actualizado del material impreso con exclusivas pretensiones de estructura semiótica. Aportaremos una visión de la estética del texto impreso y las características visuales generadas por una época concreta, basándonos en los documentos gráficos editados para las masas de consumidores. Una primera intención consistió al recopilar y archivar una serio de datos, para poder así analizar la bibliografía y hemerografía de todo aquello que se editó en la España de los años intermedios del actual siglo XX. A pesar de aportar un catálogo de publicaciones con más de 500 títulos, el presente estudio no se queda en un archivo referencial, sino que constituye un análisis de los factores estilísticos propiciados por el entorno histórico y social. En el tema de la relación letra-figura y su capacidad para determinar situaciones, se ha desarrollado una análisis semiológico del material, después de documentar y organizar la investigación, catalogación, observación y reflexión a partir de las publicaciones más insólitas. La pretensión de esta tesis es transformar la creencia generalizada existente según la cual se ha visto desde siempre en el texto impreso un mensaje exclusivamente verbal, más o menos ornamental, sin contar con una tradición grafica que configura nuestras capacidades y modalidades de percepción. / [CA] Aquesta tesi és una investigació que tracta sobre els aspectes estètics, estilístics i plàstics que genera la tipografia, el gest escrit i les composicions amb lletres impreses. La documentació i investigació de dades realitzada per a acabar el treball s'ha centrat en un dels mitjans de comunicació de masses més popular: la revista il·lustrada. El fet d'haver triat aquest material com a base de l'estudi està en funció de la capacitat que tenen les publicacions periòdiques per a actualitzar constantment els valors dels testimoniatges gràfics. Així mateix, en les revistes es reuneixen i combinen de manera espontània d'una banda els elements gràfics de caire icònic (fotografia, il·lustració) i per un altre els de caràcter verbal (lletres, textos, marques, capçaleres). Una dels objectius principals d'aquesta tesi consisteix a recuperar i reivindicar figures de l'art de la tipografia i de la gràfica en general que encara no han aconseguit el rang de consideració que mereixen. Homes que van configurar l'estètica mostrada en els camps de la gràfica i la publicitat. Figures de la talla d'Enrie Crous-Vidal, loan Trochut Blanchard, Enrie Miret y Ricard Giralt-Miracle. Artistes que mereixen el nostre reconeixement i admiració. Un tractament especial se li rendeix a la tasca com a dissenyador gràfic acabada per Alexandre Cirici Pellicer. Aquest professor, crític, investigador, escriptor i home públic va desenvolupar un important paper innovador amb els seus anuncis. Fundador de gabinets publicitaris de gran repercussió (Zen, Pa) i introductor dels nous conceptes de mobiliari i decoració funcional, Cirici Pellicer influirà de manera decisiva en la construcció d'un model gràfic de tònica lliure. El present estudi no aspira a convertir-se en un tractament actualitzat del material imprès amb exclusives pretensions d'estructura semiòtica. Aportarem una visió de l'estètica del text imprès i les característiques visuals generades per una època concreta, basant-nos en els documents gràfics editats per a les masses de consumidors. Una primera intenció va consistir en recopilar i arxivar una seriós de dades, per a poder així analitzar la bibliografia i hemerografía de tot allò que es va editar a l'Espanya dels anys intermedis de l'actual segle XX. Malgrat aportar un catàleg de publicacions amb més de 500 títols, el present estudi no es queda en un arxiu referencial, sinó que constitueix una anàlisi dels factors estilístics propiciats per l'entorn històric i social. En el tema de la relació lletra-figura i la seua capacitat per a determinar situacions, s'ha desenvolupat una anàlisi semiològica del material, després de documentar i organitzar la investigació, catalogació, observació i reflexió a partir de les publicacions més insòlites. La pretensió d'aquesta tesi és transformar la creença generalitzada existent segons la qual s'ha vist des de sempre en el text imprès un missatge exclusivament verbal, més o menys ornamental, sense comptar amb una tradició grafica que configura les nostres capacitats i modalitats de percepció. / [EN] This thesis is a research that deals with the aesthetic, stylistic and plastic aspects generated by typography, the written gesture and the compositions with printed letters. The documentation and data research carried out to complete the work has focused on one of the most popular mass media: the illustrated magazine. The fact of having chosen this material as the basis of the study is a function of the ability of periodicals to constantly update the values of graphic testimonies. Likewise, magazines spontaneously bring together and combine iconic graphic elements (photography, illustration) on the one hand, and verbal ones (letters, texts, brands, headers) on the other. One of the main objectives of this thesis is to recover and vindicate figures of the art of typography and graphics in general who have not yet achieved the rank of consideration they deserve. Men who shaped the aesthetics shown in the fields of graphics and advertising. Figures of the stature of Enrie Crous-Vidal, Loan Trochut Blanchard, Enrie Miret and Ricard Giralt-Miracle. Artists who deserve our recognition and admiration. A special treatment is given to the work as a graphic designer completed by Alexandre Cirici Pellicer. This professor, critic, researcher, writer and public man developed an important innovative role with his advertisements. Founder of advertising cabinets of great repercussion (Zen, Pan) and introducer of the new concepts of furniture and functional decoration, Cirici Pellicer will influence in a decisive way in the construction of a graphic model of free tonic. The present study does not aspire to become an updated treatment of printed material with exclusive pretensions of semiotic structure. We will provide a vision of the aesthetics of the printed text and the visual characteristics generated by a specific period, based on the graphic documents published for the masses of consumers. A first intention consisted in compiling and archiving a series of data, in order to analyze the bibliography and hemerography of everything that was published in Spain in the middle years of the present twentieth century. In spite of providing a catalog of publications with more than 500 titles, the present study does not remain a reference archive, but constitutes an analysis of the stylistic factors propitiated by the historical and social environment. On the subject of the letter-figure relationship and its capacity to determine situations, a semiological analysis of the material has been developed, after documenting and organizing the research, cataloguing, observation and reflection based on the most unusual publications. The aim of this thesis is to transform the existing generalized belief according to which printed text has always been seen as an exclusively verbal message, more or less ornamental, without taking into account a graphic tradition that shapes our capacities and modalities of perception. / Huerta Ramón, RV. (1992). Funció plàstica de les lletres en les publicacions periòdiques il.lustrades espanyoles dels anys 50 [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/189811

El propósito de este estudio fue elaborar una propuesta didáctica para promover el aprendizaje de tipografía-lettering en estudiantes de una escuela de nivel superior, mediante el uso del software adobe illustrator. La metodología utilizada es de enfoque cuantitativo, se aplicó un cuestionario como instrumento de recojo de datos, para identificar el estado actual y niveles de aprendizaje de los estudiantes en tipografía-lettering. Se trabajó con toda la población conformada por 104 estudiantes. Los resultados indicaron que éstos, reconocen la importancia del uso del software para la construcción gráfica y la eficiencia del proceso de arquitectura tipográfica. La propuesta didáctica se compone de cuatro etapas: Evolución, composición-connotación, caligrafía-lettering y refuerzos tipográficos y se fundamenta en la teoría andragógica, el enfoque comunicativo de Munari y el de Martina y Monzó. Se sugirió la integración de la metodología práctica propuesta en el plan de estudios, el desarrollo de talleres o cursos que incorporen el uso de adobe illustrator y la formación docente en el manejo de esta herramienta para el diseño tipográfico. Además, se recomienda la práctica de diferentes estilos y fuentes de tipografía, así como la integración del diseño tipográfico en la estrategia de marketing. En conclusión, la propuesta didáctica de adobe illustrator para promover el aprendizaje de tipografía-lettering en estudiantes de una escuela de nivel superior es una herramienta útil y eficiente para el diseño gráfico y la comunicación visual. / The purpose of this study was to develop a didactic proposal to promote the learning of typography-lettering in students of a higher level school, through the use of adobe illustrator software. The methodology used is a quantitative approach, a questionnaire was applied as a data collection instrument to identify the current state and learning levels of students in typography-lettering. We worked with the entire population made up of 104 students. The results indicated that they recognize the importance of using software for graphic construction and the efficiency of the typographic architecture process. The didactic proposal is made up of four stages: Evolution, composition-connotation, calligraphy-lettering and typographic reinforcements and is based on andragogical theory, the communicative approach of Munari and that of Martina and Monzó. The integration of the proposed practical methodology into the curriculum, the development of workshops or courses that incorporate the use of adobe Illustrator and teacher training in the use of this tool for typographic design were suggested. In addition, the practice of different typography styles and fonts is recommended, as well as the integration of typographic design into the marketing strategy. In conclusion, the teaching proposal of adobe Illustrator to promote the learning of typography-lettering in students of a higher-level school is a useful and efficient tool for graphic design and visual communication.

Visual Type Instrument - VTI, is a tool containing a typeface and a set of geometric calculations that generates numerical data in spreadsheets. The data is determined from the typefaces visual dimensions and is used to calculate leading, type size, margins and format. The aim is to offer, for all of those working with typography and design, a practical way to manage text, image and format in relationship to visual size. Instead of using point measurements, VTI uses a new device called Edo. An Edo is the same as one twelfth of a millimetre. This makes VTI compatible with the metric system and helps us to set text in relation to our own formats which applies namely in millimetres.    VTI uses logical arithmetic and geometry that is set in an automated process, and many choices that normally postpone the working process can be excluded. Simultaneously VTI is meant to discreetly make the user aware that more settings can be activated in line with the users own development, which makes the creative flow unaffected.    Using a metrics based on simple fractions, a mnemonic awareness is developed with the user and an understanding of how every detail fits together becomes more obvious. The typography becomes the key to any design choices that follows. The user becomes aware of the visual size, and in a cognitive way stimulated to recreate a font size regardless of the fonts limitations.