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Master of Science / Department of Industrial & Manufacturing Systems Engineering / Malgorzata J. Rys / During the last several decades, the number of drivers and the number of senior citizens driving on U.S highways has increased significantly along with the number of traffic signs. The median age of the drivers has also increased due to the aging population. Traffic signs provide a plethora of necessary information - directions, guidance, warnings, regulations, and recreation. With today's congestion and higher speed, it's very important to recognize the need for brighter and easier to read signs to increase safety among drivers. In the recent years, there has been innovation in the field of traffic engineering, giving rise to numerous innovations in retro-reflective sheeting materials and fonts. It is important to identify the combination of font and retro-reflective sheeting material, which performs best by increasing the legibility distance between the driver and the sign during both day and night time conditions. The objective of the research was to determine the combination of font (among Clearview 5-W, Series E-Modified and Clearview 5-W-R) and retro-reflective sheeting materials (DG3, Type 4 and Type 1) that produces maximum legibility distance. The objective was also to study the safety benefits of the Clearview font. Both field and computer based tests were carried out to find out which combination of font and retro-reflective material produced maximum legibility distance. From field tests it was found that the Clearview 5-W-R font along with Type 1 reflective material produced the maximum legibility distance in day time conditions, whereas Clearview 5-W-R along with Type 4 reflective material produced the maximum legibility distance at night conditions. It was also seen that while the Type 1 sheeting material performed well during day time, it failed to produce good results during night time. In fact it ended up as the worst performing sheeting material during night time. Based on these observations, it is recommended to use the Clearview 5-W-R in combination with Type 4 retro-reflective sheeting as it showed the most consistent performance compared to all other combinations of fonts and DG3 or Type 1 retro-reflective material.

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.

Ce mémoire étudie les sources minérales,, qui ne sont plus exploitées, du département des Hautes Alpes mais qui pourraient faire l'objet d'une exploitation actuelle. Le bassin de la Durance , est , à cet égard étudié.

Art_Value is a startup whose purpose is to create an innovative marketplace where new artworks, based on numbers, are created, distributed through auctions and traded. Online auctions have added new advantages of new technologies and trigger more emotions than online shopping. Even though there is a big virtual world, the abstract digital art world is still small and there are not many platforms providing it. Art_Value project wants the user to generate the digital art that he wants to acquire. The platform to provide that service is a website.In this report describes the user experience design and the front end development and testing of the prototype of the auction page of the website. The design methodology used is the Double Diamond, formed by four stages: discover, define, develop and deliver. The programming languages and libraries used are HTML, CSS, JavaSript and React. The result of the work is the front end prototype of the auction page of the website with an auction system simulated to recreate as realistically as possible the user experience. User experience testing has been done and its results have been analysed and defined as improvements for the future versions. / Art_Value är en startup som syftar till att skapa en innovativ marknadsplats där nya konstverk baserade på tal skapas, distribueras via auktioner och handlas. Online-auktioner har lagt till nya fördelar med ny teknik och utlöser fler känslor än e-handel. Även om det finns en stor virtuell värld är den abstrakt digital konstvärld fortfarande liten och det finns inte många plattformar som tillhandahåller den. Art_Value-projektet vill att användaren ska skapa den digitala konsten som han villförvärva. Plattformen för att tillhandahålla den tjänsten är en webbplats.I denna rapport beskrivs användarupplevelsedesignen och framsidans utveckling och testning av prototypen på webbplatsens auktionssida. Den använda designmetoden är Double Diamond, som bildas av fyra steg: upptäck, definiera, utveckla och leverera. Programmeringsspråken och biblioteken som används är HTML, CSS, JavaScript och React. Resultatet av arbetet är framsidans prototyp på webbplatsens auktionssida, med ett auktionssystem som simuleras för att så realistiskt som möjligt återskapa användarupplevelsen. Användarupplevelsen har testats och dess resultat har analyserats och definierats som förbättringar för framtida versioner.

<p>Two novel contributions to Content Based Image Retrieval are presented and discussed. The first is a search engine for font recognition. The intended usage is the search in very large font databases. The input to the search engine is an image of a text line, and the output is the name of the font used when printing the text. After pre-processing and segmentation of the input image, a local approach is used, where features are calculated for individual characters. The method is based on eigenimages calculated from edge filtered character images, which enables compact feature vectors that can be computed rapidly. A system for visualizing the entire font database is also proposed. Applying geometry preserving linear- and non-linear manifold learning methods, the structure of the high-dimensional feature space is mapped to a two-dimensional representation, which can be reorganized into a grid-based display. The performance of the search engine and the visualization tool is illustrated with a large database containing more than 2700 fonts.</p><p>The second contribution is the inclusion of color-based emotion-related properties in image retrieval. The color emotion metric used is derived from psychophysical experiments and uses three scales: <em>activity</em>, <em>weight </em>and <em>heat</em>. It was originally designed for single-color combinations and later extended to include pairs of colors. A modified approach for statistical analysis of color emotions in images, involving transformations of ordinary RGB-histograms, is used for image classification and retrieval. The methods are very fast in feature extraction, and descriptor vectors are very short. This is essential in our application where the intended use is the search in huge image databases containing millions or billions of images. The proposed method is evaluated in psychophysical experiments, using both category scaling and interval scaling. The results show that people in general perceive color emotions for multi-colored images in similar ways, and that observer judgments correlate with derived values.</p><p>Both the font search engine and the emotion based retrieval system are implemented in publicly available search engines. User statistics gathered during a period of 20 respectively 14 months are presented and discussed.</p>

<p>Uppsala Universitet Sophie Dicksen</p><p>Medie- och kommunikationsvetenskap C-uppsats</p><p>Abstract</p><p>Title: Communication of gender through design -A study of shapes and colors of perfumebottles and of the fonts on their labels.</p><p>(Genuskommunikation genom design -En studie av form, färg och typsnitt på parfymflaskor)</p><p>Number of pages: 39 (82 including enclosures)</p><p>Author: Sophie Dicksen</p><p>Tutor: Mats Lind</p><p>Course: Media- and Communication Studies C</p><p>Period: Autumn 2006</p><p>University: Division of Media and Communication, Department of information Science,Uppsala University</p><p>Purpose/Aim: To study whether gender is communicated through design, and if so is the case, the aim is also to see by which aspects gender is communicated.</p><p>Material/Method: 40 perfumebottles, 20 for women and 20 for men has been studied, and attributes such as their shapes, colors as well as the fonts on their labels has been analyzed in search of gender differences. An art director has also been interwiewed to receive information about genderdesign from a practical wiew.</p><p>Main results: There is no difference out of a gender perspective between the colors on the bottles in aspect of lightness but colors on ladieperfumes are generally more saturated and they are also more often located among yellow, orange and red shades on the color chart while perfumesbottles for men tend to consist of yellow, green and blue colors in more unsaturated versions. The results of the study of shapes showes that there are more cubes among the male perfumes than there are in the group of womensperfumes. Concidering the study of fonts does results prove that fonts on labels of male perfumes mostly belong to the most common group of fontfamilies. This compared to</p><p>perfumes for ladies where the the fonts varied between the two current fontgroups of the study, and therefore are bort rare and common. The interwiew with the art director gave that he sees differences between products for women and products for men out of a gender perspective. He claims that most perfumes for women generally have soft shapes, warm colors and scriptlike fonts with the opposite of attributes for men and he argues that those products not fitting in these</p><p>genderframes are products for women looking more masculine. According to the art director,products for men are more limited when it comes to design as they would rarely approach areas that would be considered as feminine.</p><p>Keywords: perfume, design, shape, color, font, gender, communication, interview</p>

Uppsala Universitet Sophie Dicksen Medie- och kommunikationsvetenskap C-uppsats Abstract Title: Communication of gender through design -A study of shapes and colors of perfumebottles and of the fonts on their labels. (Genuskommunikation genom design -En studie av form, färg och typsnitt på parfymflaskor) Number of pages: 39 (82 including enclosures) Author: Sophie Dicksen Tutor: Mats Lind Course: Media- and Communication Studies C Period: Autumn 2006 University: Division of Media and Communication, Department of information Science,Uppsala University Purpose/Aim: To study whether gender is communicated through design, and if so is the case, the aim is also to see by which aspects gender is communicated. Material/Method: 40 perfumebottles, 20 for women and 20 for men has been studied, and attributes such as their shapes, colors as well as the fonts on their labels has been analyzed in search of gender differences. An art director has also been interwiewed to receive information about genderdesign from a practical wiew. Main results: There is no difference out of a gender perspective between the colors on the bottles in aspect of lightness but colors on ladieperfumes are generally more saturated and they are also more often located among yellow, orange and red shades on the color chart while perfumesbottles for men tend to consist of yellow, green and blue colors in more unsaturated versions. The results of the study of shapes showes that there are more cubes among the male perfumes than there are in the group of womensperfumes. Concidering the study of fonts does results prove that fonts on labels of male perfumes mostly belong to the most common group of fontfamilies. This compared to perfumes for ladies where the the fonts varied between the two current fontgroups of the study, and therefore are bort rare and common. The interwiew with the art director gave that he sees differences between products for women and products for men out of a gender perspective. He claims that most perfumes for women generally have soft shapes, warm colors and scriptlike fonts with the opposite of attributes for men and he argues that those products not fitting in these genderframes are products for women looking more masculine. According to the art director,products for men are more limited when it comes to design as they would rarely approach areas that would be considered as feminine. Keywords: perfume, design, shape, color, font, gender, communication, interview

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Thesis (M.S.)--Rochester Institute of Technology, 1993. / Typescript. Pamphlets, etc. are bound together with the text.