This study presents a pedagogic framework that offers a new approach, structure and content for the teaching, understanding and application of typography in cross-media communication environments. Current theory and vocabulary used to describe typographic practice and scholarship are based on a historically print-derived framework. As yet, no new paradigm has emerged to address the divergent path that screen-based typography has taken from its traditional print medium. This study argues that the current model of typographic education is unable to provide design students with appropriate models, concepts and grammar to explore the potential of typography in screen-based media. Hence, a re-evaluation of the current framework is proposed in order to develop new approaches that will reduce misappropriation of typographic principles and aesthetic values in screen-based media. This study is composed of three research stages. Stage One (consisting of a literature and design application review) was used to develop an understanding of the current typographic application in screen-based media. Stage Two (consisting of a questionnaire survey and in-depth interviews) was used to investigate the relevance of current typographic knowledge in relation to screen- based media. Additionally, this stage helped identify critical issues surrounding current and future typographic practice. Findings from Stages One and Two were used as a basis to develop a new framework. This framework was subsequently tested and refined in Stage Three through action research projects (with Graphic and New Media design students) and peer reviews (with design educators and professional practitioners). The final framework consists of six key attributes: an integrated model of knowledge, cross-media skills, cross-disciplinary influences, it is communication-focused, flexible and adaptable. It reflects a future model of a convergent media, not a continued separation of print and screen. This framework consists of two distinct areas of knowledge: Global Skills (Form, Content, Expression and Context) and Specialist Skills (Hyper-textuality, Interactivity, Temporality and Usability). It is concluded that the approach and knowledge-base used to teach typography must be modified to reflect the challenges posed by media convergence, where transferable global skills are emphasised across a range of media. Typography's knowledge base has to be expanded to include specialist skills derived from technological and social changes in communication technologies. The principal contributions of the study are: the identification of transferable global typographic skills; the introduction of specialist design skills required for effective cross-media type application; presentation of an integrated model of typographic knowledge and practice; a curriculum guide aimed at helping design educators plan and deliver typography in graphic and multimedia programmes; strategies and approaches to help designers remediate their print- derived knowledge and lastly, as a subject reference guide for visual communication design students. The framework is not offered as an absolute representation of western-based typographic knowledge for cross-media application but instead should be considered as a signpost to help understand the current transition of knowledge between print and screen. Additionally, this framework has been developed and tested within a single educational environment. As a result, variations in teaching and learning styles were not taken into account. Audiences are urged to treat the framework as a 'work-in-progress' model that can be refined through additional field- testing in other educational environments. And finally, the application of the framework within a professional practice environment would require a comprehensive review of practice-based concerns and a further simplification of the framework.

Cette recherche a pour thème l’étude des effets de la typographie dans un contexte marketing. Dans une première étude, nous évaluons la lisibilité des informations présentes sur les packagings alimentaires auprès de 196 consommateurs en situation d’achat. Les résultats montrent la faible capacité des individus à traiter ces informations. Plus particulièrement, nous constatons que les individus éprouvent davantage de difficultés à lire les informations légales et nutritionnelles, et ce, d’autant plus qu’ils sont âgés. Dans une seconde étude, basée sur une expérimentation auprès de 420 jeunes individus, nous testons l’influence persuasive de la typographie dans des annonces presse. Nous manipulons la typographie (Clarendon et Garamond : typographies plutôt informationnelles ; Artistic et French Script : typographies plutôt émotionnelles positives ; Gabrielle et Times New Roman Italique : typographies à la fois informationnelles et émotionnelles positives). Les résultats montrent que l’attitude envers la typographie a une influence significative sur les réponses à la publicité, alors que les caractéristiques physiques de la typographie n’ont pas d’influence directe. Ce second travail vient souligner l’importance de la typographie en publicité et l’enrichit d’une nouvelle variable : l’attitude envers la typographie. / In this research, we study the effects of typography in a marketing context.In a first study, we assess the level of legibility for food packaging information on 196 consumers while shopping at a point of purchase. The results show a low ability of individuals to process this information. More specifically, we find that individuals have more difficulty to read legal and nutritional information. For the elderly respondents questioned, results were even more alarming. In a second study, based on an experiment administered to 420 young people, we test the persuasive effect of typography in a print advertising context. We manipulate typography (Clarendon and Garamond: typography rather informational, Artistic and French Script: typography rather positive emotional, Gabrielle and Times New Roman: typography both informational and positive emotional). Results show that attitude toward the typography has a significant influence on advertising responses, while the physical characteristics of typography have no direct influence. This second work highlights the importance of typography in advertising and enriches it with a new variable: attitude toward the typography.