Denna studie undersöker, med hjälp av mailintervjuer, hur professionella typsnittsdesigners arbetsprocess ser ut. Detta skedde genom att svaren från respondenterna granskades, baserat på detta kunde likheter och gemensamma teman sökas. I slutändan så framträder en grov modell över hur deras arbetsprocess ser ut. Den blev generell då typsnittsdesignerna arbetar på aningen olika sätt även om det går att hitta en del likheter. När de kommer till yrket i sig så ser deltagarna ljust på framtiden, både med den tekniska utvecklingen och att det inte ser något slut för att fler typsnitt kommer skapas, då som i alla andra yrken där skapande står i fokus så finns det behov för både kontemporära tolkningar men också uppdaterande av de gamla typsnitten. / This study was constructed by using email interviews, it investigates the profession of the type designers. This was done by analyzing the answers from the interviews and searching for similarities and common themes. In the end a rough model of their work process was constructed, it became a bit general, since all type designs work a bit different, although there are some similarities. When it comes to the profession itself the participants sees a bright future, for both the technical development and that they see no end for more fonts to be created, as in all other professions where creation is in focus, there is a need for both contemporary interpretations but also updating the old fonts.

This project's purpose is to relocate traditional paper-based library content about typographic history to a website, curated as a digital museum. The project process is defined as three distinct parts: 1. Scholarship and research. 2. Model-building and website creation. 3. Deployment, testing and evaluation. To support this, the project included the following sub stages: An informal needs analysis generated by reflection on practice. A survey of contemporary typeface classification systems, type education literature and online resources for typographic study. The building of animated and three-dimensional prototype models. The creation of a database of 100 historically significant typeface designs. The sourcing of samples, references, images and the gathering of reproduction permissions from designers, institutions and foundries whose work features in the database. The writing, editing, design and launch of the website at http://www.100types.com Peer feedback and review. An evaluation study of the website with students at AUT University in Auckland, New Zealand. A series of revisions to the website structure and presentation. The writing up of the research process and findings. I chose this topic as the direct result of my experiences teaching typography at AUT University and other tertiary institutions. The need for graphic design students to demonstrate competencies in typography (as a sub-discipline of graphic design) has always been present, but has been fore grounded over the last two decades; however, a recent PhD thesis on the subject has argued that traditional delivery of print-based typographic knowledge no longer serves undergraduate requirements for today's divergent screen-based media (Yee, 2006, p.11). This has been accompanied by a significant rise in the number of available typefaces (Cahalan, 2004, p.62). Unfortunately the means with which to study them has not kept pace with these developments (Dixon, 2002, p.4).Changes occurring within the type manufacturing industry and the wider field of creative industries during the last two decades have made the historical, background context of typography harder to comprehend from an undergraduate point of view. Students complain that they are under-resourced for information (in their preferred research medium) about the typefaces they must demonstrate care and deliberation in choosing. From experience gained in observing an online-learning pilot scheme in 2005, I elected to develop an online reference resource designed for self-directed research of typographic history as a complement to the existing tuition of typographic applications face-to-face in the classroom. While the project offers a useful example of how practice-led research can augment a teaching situation, and is concerned with the promotion of student-centred and self-directed learning at AUT University, this is not its only objective as a public-access location on the internet. In keeping with the rising philosophy of open content for web-based education resources, a conscious decision was made at the project's inception to host and present the website independently of AUT University and its online learning environment.

This project's purpose is to relocate traditional paper-based library content about typographic history to a website, curated as a digital museum. The project process is defined as three distinct parts: 1. Scholarship and research. 2. Model-building and website creation. 3. Deployment, testing and evaluation. To support this, the project included the following sub stages: An informal needs analysis generated by reflection on practice. A survey of contemporary typeface classification systems, type education literature and online resources for typographic study. The building of animated and three-dimensional prototype models. The creation of a database of 100 historically significant typeface designs. The sourcing of samples, references, images and the gathering of reproduction permissions from designers, institutions and foundries whose work features in the database. The writing, editing, design and launch of the website at http://www.100types.com Peer feedback and review. An evaluation study of the website with students at AUT University in Auckland, New Zealand. A series of revisions to the website structure and presentation. The writing up of the research process and findings. I chose this topic as the direct result of my experiences teaching typography at AUT University and other tertiary institutions. The need for graphic design students to demonstrate competencies in typography (as a sub-discipline of graphic design) has always been present, but has been fore grounded over the last two decades; however, a recent PhD thesis on the subject has argued that traditional delivery of print-based typographic knowledge no longer serves undergraduate requirements for today's divergent screen-based media (Yee, 2006, p.11). This has been accompanied by a significant rise in the number of available typefaces (Cahalan, 2004, p.62). Unfortunately the means with which to study them has not kept pace with these developments (Dixon, 2002, p.4).Changes occurring within the type manufacturing industry and the wider field of creative industries during the last two decades have made the historical, background context of typography harder to comprehend from an undergraduate point of view. Students complain that they are under-resourced for information (in their preferred research medium) about the typefaces they must demonstrate care and deliberation in choosing. From experience gained in observing an online-learning pilot scheme in 2005, I elected to develop an online reference resource designed for self-directed research of typographic history as a complement to the existing tuition of typographic applications face-to-face in the classroom. While the project offers a useful example of how practice-led research can augment a teaching situation, and is concerned with the promotion of student-centred and self-directed learning at AUT University, this is not its only objective as a public-access location on the internet. In keeping with the rising philosophy of open content for web-based education resources, a conscious decision was made at the project's inception to host and present the website independently of AUT University and its online learning environment.

Esta dissertação investiga os procedimentos e métodos empregados por designers de tipos para a concepção e o desenvolvimento de fontes digitais customizadas, associadas exclusivamente a sistemas de identidades visuais corporativos, explorando o potencial expressivo dessas tipografias, procurando identificar seus atributos conotativos, históricos, culturais e emocionais, assim como os possíveis significados e interpretações que estas formas podem evocar, com atenção especial para a tipografia contemporânea. Fontes digitais são elementos centrais para a consolidação de uma identidade visual, além do importante papel em muitas outras especia- lidades do design gráfico. O objetivo prático desse estudo é delinear as decisões adotadas no processo do design e da estrutura formal de seis fontes digitais personalizadas, para uso corporativo exclusivo, baseando-se em informações coletadas diretamente dos designers envolvidos, em textos publicados e análises próprias. Em um sentido mais amplo, o estudo visa colaborar com designers e contratantes de serviços de design tipográfico, sobre a necessidade de uma atenção mais ponderada no momento da escolha ou adoção dos tipos que compõem uma deter-minada identidade visual, considerando a tipografia um agente consolidador de uma identidade autêntica, por meio das qualidades formais, expressivas e conotativas dos tipos. Apesar da subjetividade nas avaliações que o tema envolve, o resultado observado é que a tipografia tem condições de carregar e transmitir a identidade de uma instituição, até mesmo nas situações em que a própria marca está ausente, assumindo o papel de transportar, juntamente com o conteúdo da mensagem, valores, comportamentos e personalidade. Neste contexto, a tipografia corporativa customizada, ou seja, aquela desenvolvida e adaptada especialmente para este fim, desempenha um importante papel, o que esta dissertação busca elucidar. / This work studies the procedures and methods used by type designers for conceiving and developing custom digital fonts used exclusively in corporate identity systems. By exploring the expressive potential of these fonts and with regard to contemporary typography, the nvestigation tried to recognize their connotative, historical, cultural and emotional attributes as well as possible meanings and interpretations these shapes may evoke. Besides playing an important role in many graphic design areas, digital fonts are key elements to corporate identities. This study\'s goal is to outline the decisions adopted in the process of designing and creating the formal structures of six custom digital corporate fonts, based on nformation from their designers, in published texts and the author\'s own analyzes. In a broader sense, the study draws attention of designers and clients who hire type design services, on the need for a more careful choice and or adoption of fonts that make up a particular corporate dentity. Thereby, the typography should be considered as an authentic agent for consolidating that identity through its formal, expressive and connotative qualities. Despite the subjectivity in the evaluation, the outcome is that the typography is able to carry and transmit the identity of a company or nstitution even when the the logo is absent. Along with the content of the message, it takes on the role of carrying the values, behavior and personality of the brand. In this sense, the customized corporate font, that s, the font specially developed or adapted for that purpose is believed to play a fundamental role which this study sought to find out.

<p>U okviru disertacije predložen je nacrt za generisanje efektne kompleksnosti<br />štampanog oglasa na osnovu generisanja kompleksnih tipografskih odlika i<br />generisanja kompleksnosti slike. Predmet disertacije predstavljao je razvoj<br />modela efektnosti tipografije u štampanim oglasima na osnovu uticaja<br />semantičih odlika, odnosno kompleksnih odlika formalnih atributa slovnog<br />znaka. Predložen model dopunjuje postojeći prilaz uloge tipografije u<br />oglašavanju u okviru segmenta uticaja kompleksnih oblika tipografskog pisma.<br />Na osnovu predloženog modela projektuje se onlajn aplikacija za procenu<br />efektnosti odnosa između kompleksnih tipografskih odlika i slike koja ima<br />praktični značaj za proces grafičkog dizajna.</p> / <p>This dissertation proposes a framework for generating effective complexity of print<br />advertisements based on the generated complexity of typeface properties and image<br />complexity. The subject area of the dissertation was a development of a model for the<br />effectiveness of typography in print advertisements. The model takes into account the<br />effects of typeface semantic properties i.e. complex features of the letter&rsquo;s formal<br />attributes. This approach updates the existing model of the role of typography in<br />advertising. Specifically, it updates the category on the influence of the form<br />complexity. Furthermore, based on the proposed model, a concept fora n online<br />application is presented. The purpose of the application a practical assistance for<br />graphic designers which provides information on the effectiveness of the relationship<br />between the complex typeface properties and image complexity.</p>

Esta dissertação investiga os procedimentos e métodos empregados por designers de tipos para a concepção e o desenvolvimento de fontes digitais customizadas, associadas exclusivamente a sistemas de identidades visuais corporativos, explorando o potencial expressivo dessas tipografias, procurando identificar seus atributos conotativos, históricos, culturais e emocionais, assim como os possíveis significados e interpretações que estas formas podem evocar, com atenção especial para a tipografia contemporânea. Fontes digitais são elementos centrais para a consolidação de uma identidade visual, além do importante papel em muitas outras especia- lidades do design gráfico. O objetivo prático desse estudo é delinear as decisões adotadas no processo do design e da estrutura formal de seis fontes digitais personalizadas, para uso corporativo exclusivo, baseando-se em informações coletadas diretamente dos designers envolvidos, em textos publicados e análises próprias. Em um sentido mais amplo, o estudo visa colaborar com designers e contratantes de serviços de design tipográfico, sobre a necessidade de uma atenção mais ponderada no momento da escolha ou adoção dos tipos que compõem uma deter-minada identidade visual, considerando a tipografia um agente consolidador de uma identidade autêntica, por meio das qualidades formais, expressivas e conotativas dos tipos. Apesar da subjetividade nas avaliações que o tema envolve, o resultado observado é que a tipografia tem condições de carregar e transmitir a identidade de uma instituição, até mesmo nas situações em que a própria marca está ausente, assumindo o papel de transportar, juntamente com o conteúdo da mensagem, valores, comportamentos e personalidade. Neste contexto, a tipografia corporativa customizada, ou seja, aquela desenvolvida e adaptada especialmente para este fim, desempenha um importante papel, o que esta dissertação busca elucidar. / This work studies the procedures and methods used by type designers for conceiving and developing custom digital fonts used exclusively in corporate identity systems. By exploring the expressive potential of these fonts and with regard to contemporary typography, the nvestigation tried to recognize their connotative, historical, cultural and emotional attributes as well as possible meanings and interpretations these shapes may evoke. Besides playing an important role in many graphic design areas, digital fonts are key elements to corporate identities. This study\'s goal is to outline the decisions adopted in the process of designing and creating the formal structures of six custom digital corporate fonts, based on nformation from their designers, in published texts and the author\'s own analyzes. In a broader sense, the study draws attention of designers and clients who hire type design services, on the need for a more careful choice and or adoption of fonts that make up a particular corporate dentity. Thereby, the typography should be considered as an authentic agent for consolidating that identity through its formal, expressive and connotative qualities. Despite the subjectivity in the evaluation, the outcome is that the typography is able to carry and transmit the identity of a company or nstitution even when the the logo is absent. Along with the content of the message, it takes on the role of carrying the values, behavior and personality of the brand. In this sense, the customized corporate font, that s, the font specially developed or adapted for that purpose is believed to play a fundamental role which this study sought to find out.