Yes / Purpose: Restaurants’ outdoor signage plays an irreplaceable role in attracting potential diners, as it conveys important functional and symbolic meanings of the businesses. The purpose of this study is to investigate the effect of typographic design elements of outdoor signage on consumers’ perceptions of authenticity. This study also tests the linkage between authenticity and willingness to dine, as well as the moderating effect of frequency of dining in ethnic restaurants on the relationship. Design/methodology/approach: Using a 2 (simplified vs traditional Chinese characters) × 2 (calligraphy vs computer font) × 2 (vertical vs horizontal text flow) between-subject design, the authors did two experiments with 786 Chinese diners. Restaurant authenticity and willingness to dine are dependent variables, and openness to ethnic cuisine is the control variable. Findings: Display characters and text flow significantly affect restaurant authenticity. Furthermore, the results of this study demonstrate that display characters interact with typeface to influence restaurant authenticity. Consumers’ perceived authenticity significantly increases their willingness to dine. The frequency of dining in ethnic restaurants moderates the relationship between restaurant authenticity and willingness to dine. Practical implications: Ethnic restaurateurs should pay attention to the outdoor signage design, as it affects potential consumers’ authenticity perceptions. Specifically, in Mainland China, traditional Chinese characters and vertical text direction increase potential consumers’ authenticity perceptions. Originality/value: This study extends the semiotic theory and applies the cue–judgment–behavior model in the hospitality literature. This study also provides new understanding of authenticity by identifying the influence of typographic design on authenticity, which confirms the semiotic theory that certain semiotic cues affect consumers’ judgments.

This thesis identifies and characterises a particular kind of temporal typography in which verbal forms exhibit behaviours that have been identified by Eduardo Kac as ‘fluid’ , and fluctuate between the verbal and pictorial or abstract. A typology will be constructed which identifies the various behaviours by which fluidity is exhibited, and provides terminology for their analysis, accompanied by analysis of how these behaviours address the relationship between the commonly distinct paradigms of verbal and pictorial signs. The work identifies the distinction between fluidity and other forms of kineticism, and explores the various behaviours exhibited in fluid artefacts. When addressing local kineticism, gaps in existing research are filled by employing terms and observations from other fields. For example, Kac offers the term ‘fluid’ in description of his holographic poetry, which exhibits behaviours much like those presented in some examples of screenbased temporal typography. This thesis proposes that Kac’s term, ‘fluid’, may be adopted in order to differentiate significant local change in verbal forms from the various other kinds of kineticism observable in temporal typography. Fluid behaviours are identified in examples including Martin Lambie Nairn and MPC’s Channel 4 idents, the credit sequences of Kyle Cooper, and the typographic animations of practitioners including Komnios Zervos and Dan Waber. This thesis demonstrates that the existing discourse surrounding temporal typography has been held back by a failure to make distinguish between global kineticism (effecting layout) and local kineticism (effecting individual characters). The distinction between the global and the local is considered vital in studies of perceptual organisation, particularly Gestalt psychology. By providing a coherent typology, and consistent terminology, this study has the potential to positively influence understanding and analysis of fluid characterforms.

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.

The purpose of this study was to create a testing-platform that mea- sures the impact of typographic effects on web pages. This study chose to focus on highlighted text (text with high contrast background- color) as a typographic tool. The platform is a website, consisting of three (3) pages; (1) the first gathers test user information; (2) the sec- ond (subject-section) records time read and applies an authentication function; (3) the final page provides a multiple-choice questionnaire that records time tested, test score with same authentication method as page two. To test the platform, forty-nine participants were gathered, twenty-five participants (named Group Highlight Text) performed the test with highlight effects turned on and visible in page two (2), the remaining twenty-four (named Group Regular Text) read same page with no effects toggled or visible. Both groups were tested on page three (3) with six questions. The testing-platform fulfilled all expected requirements, with some sections requiring further development. The participation test data revealed some interesting results that could be analyzed further with assistance from social science research. In con- clusion, the test platform successfully recorded viable data that could be used in many fields, but will need additional technical work before being adopted in real-world applications. Further study could be im- plemented in collaboration with researchers from the social sciences to analyze the effects of different typographic effects. Additionally, cre- ate platforms to extract, organize and visualize gathered data would be advantageous.

[ES] El título y subtítulo del presente trabajo resume y refleja el contenido de la labor de investigación y catalogación realizada, a partir del material disponible en el taller de Tipografía de la Facultad de Bellas Artes de la Universidad Politécnica de Valencia. La tipografía es la principal protagonista del trabajo, siendo los caracteres tipográficos los elementos más relevantes. Con los mismos se ha editado un catálogo para un mayor y mejor conocimiento de las características de cada familia de tipos móviles, ello podrá ayudar a estudiantes e investigadores a conocer e identificar la tipografía utilizada en la impresión de múltiples textos. Al ser un material procedente de imprentas de Valencia y poblaciones de alrededor, permitirá conocer un poco más la historia de la sociedad y el patrimonio de un periodo importante del pasado siglo XX. Partiendo de la metodología de investigación desde la práctica artística en los Libros de Artista, hemos pretendido alcanzar un mayor conocimiento de los tipos empleados utilizando la tipografía de forma plástica para conseguir un gran libro de artista, en el que se refleja una interpretación personal de todas las familias de caracteres tipográficos disponibles y catalogados en el taller de la mencionada facultad de Bellas Artes, al igual que proseguir con la edición de otros ejemplares de libros, continuando de esta forma la actividad iniciada en la Licenciatura y posteriormente en el Máster de Producción Artística. / [CA] El títol i subtítol del present treball resumeix i reflecteix el contingut de la labor d'investigació i catalogació realitzada, a partir del material disponible en el taller de Tipografia de la Facultat de Belles Arts de la Universitat Politècnica de València. La tipografia és la principal protagonista del treball, sent els caràcters tipogràfics els elements més rellevants. Amb els mateixos s'ha editat un catàleg per a un major i millor coneixement de les característiques de cada família de tipus mòbils, això podrà ajudar estudiants i investigadors a conéixer i identificar la tipografia utilitzada en la impressió de múltiples textos. A l'ésser un material procedent d'impremtes de València i poblacions de voltant, permetrà conéixer una mica més la història de la societat i el patrimoni d'un període important del passat segle XX. Partint de la metodologia d'investigació des de la pràctica artística en els Llibres d'Artista, hem pretés aconseguir un major coneixement dels tipus emprats utilitzant la tipografia de manera plàstica per a aconseguir un gran llibre d'artista, en el qual es reflecteix una interpretació personal de totes les famílies de caràcters tipogràfics disponibles i catalogats en el taller de l'esmentada facultat de Belles Arts, igual que prosseguir amb l'edició d'altres exemplars de llibres, continuant d'aquesta manera l'activitat iniciada en la Llicenciatura i posteriorment en el Màster de Producció Artística. / [EN] The title and subtitle of this work summarizes and reflects the content of the research and cataloguing work carried out, based on the material available in the Typography workshop of the Faculty of Fine Arts of the Polytechnic University of Valencia. Typography is the main protagonist of the work, with typographical characters being the most relevant elements. With them a catalogue has been published for a greater and better knowledge of the characteristics of each family of mobile types, this will help students and researchers to know and identify the typography used in the printing of multiple texts. Being a material from printing presses in Valencia and surrounding populations, it will allow you to learn a little more about the history of society and the heritage of an important period of the last 20 th century. Based on the research methodology from artistic practice in the Artist's Books, we have sought to achieve a greater knowledge of the types used using typography in plastic form to obtain a large artist's book, which reflects a personal interpretation of all the families of typographical characters available and catalogued in the workshop of the aforementioned faculty of Fine Arts , as well as continuing with the edition of other copies of books, continuing in this way the activity initiated in the undergraduate degree and later in the Master's Degree in Artistic Production. / Ferré Ferri, E. (2021). Tipos anónimos. Palabras vivas. Estudio e inventario de tipos móviles de imprenta en los talleres de la Facultad de Bellas Artes de Valencia. Incorporación de la Tipografía al Libro de Artista. Una aportación personal [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/172176

Tipos móveis de metal da Funtimod: contribuições para história tipográfica brasileira A fundição de tipos móveis de metal foi uma atividade primordial para o funcionamento das artes gráficas desde seu desenvolvimento, no século 15, até meados do século 20. Entretanto, as primeiras casas fundidoras foram instaladas no Brasil apenas no começo dos anos oitocentistas - quando a técnica ainda era realizada com procedimentos manuais -, poucos anos depois da corte portuguesa ter permitido a reprodução de impressos em território nacional. Inovações tecnológicas do século 19, principalmente máquinas fundidoras e equipamentos para gravar punções e matrizes, transformaram as oficinas de fundição em indústrias. Dentro deste contexto industrial, a Funtimod, objeto de estudo desta pesquisa de doutorado, operou durante quase todo o século 20. A empresa, que pode ser considerada a maior fundição de tipos brasileira, foi fundada na cidade de São Paulo, em 1932, por uma colaboração entre os alemães Karl H. Klingspor e Josef Tscherkassky, a empresa alemã-brasileira Sociedade Técnica Bremensis e a fundição suíça Haas, que estava representando a fundição alemã D. Stempel. Com filiais em Belo Horizonte, Curitiba, Porto Alegre, Recife e Rio de Janeiro, a Funtimod serviu a indústria gráfica nos quatro cantos do País, comercializando máquinas e todo tipo de material tipográfico. Embora os tipos móveis de metal fundidos pela empresa sejam o foco desta investigação, o estudo de caso Funtimod também abordou sua trajetória histórica e a fábrica de tipos, por intermédio de coleta de dados em cinco fontes de evidência diferentes: registros, documentos, entrevistas, observações não-participantes e artefatos físicos. Desse modo, foi possível salientar a dependência de empresas alemãs para o desenvolvimento dos negócios no que tange aos produtos comercializados. Se a Funtimod estava aparelhada, nos moldes das fundições europeias, para manufaturar um tipo desde o desenho até a fundição, definitivamente, o design das faces não foi uma etapa valorizada. Grande parte dos tipos encontrados em nove catálogos da Funtimod, com repertórios tipográficos diferentes, foi identificada como sendo de origem alemã, principalmente das firmas D. Stempel e Klingspor. E, apesar de algumas faces não terem sido identificadas em outras fundições brasileiras ou estrangeiras, não foram encontradas evidências de que a Funtimod tenha lançado no Brasil alguma face com desenho original. A coleção de tipos Funtimod, por outro lado, é formada por faces representativas do começo do século 20, como Futura, Kabel, Memphis e Mondial, assim como revivals da Bodoni e Garamond. Análises comparativas dos tipos móveis de metal da Funtimod revelaram práticas singulares realizadas na fábrica de tipos brasileira. No meio de designs internacionalmente conhecidos, por exemplo, alguns caracteres, em especial os conjugados com os diacríticos til e cedilha, apresentam variações de forma, posicionamento, peso e tamanho na mesma face. As considerações desta investigação contribuem para a história tipográfica brasileira de uma forma particular, numa relação intrínseca com a Alemanha, que, sobretudo, levaram-me a questionar o quão brasileira a Funtimod realmente foi. / Type founding was one of the most important activities for the graphic arts since its beginning in the fifteenth century until the middle of twentieth century. However, the first type foundries were only installed in Brazil in the beginning of 1800s a few years after the Portuguese Court allowed printing in Brazilian lands, and when the technique was still performed with manual methods. Technical innovations developed in the nineteenth century, mainly, typecasting machines and pantograph punchcutting machines, which transformed type foundries into industries. Within this industrial context, Funtimod, the subject of this doctoral research and the largest Brazilian type foundry, operated during almost the entire twentieth century. Funtimod was founded in 1932 in São Paulo by a collaboration of two Germans (Karl H. Klingspor and Josef Tscherkassky), the German-Brazilian company Sociedade Técnica Bremensis, and the Swiss type foundry Haas. With branches in Belo Horizonte, Curitiba, Porto Alegre, Recife e Rio de Janeiro, Funtimod supplied the graphic industry across the four corners of the country, selling all kinds of typographic materials as well as machines. Although the movable metal types cast by the company were the focus of this investigation, the case study of Funtimod also explored its historic development and the factory, through data gathered from multiple sources: specimens, documents, interviews, non-participant observations, and physical artefacts. Thereby, the evidence suggests Funtimod\'s reliance on German companies for its business development in respect to the products manufactured in Brazil. Seeing that Funtimod was equipped, like European foundries, to manufacture types from the design until the casting phases, definitely, the originality of the typeface\'s design was not considered valuable by the factory. The majority of faces, which were found in nine specimens with different typographic collections, were identified as being German, especially from D. Stempel and Klingspor foundries. Moreover, although some of the faces have not been identified in other foundries, evidence was not found that Funtimod had released in Brazil any face cast with an original design. Funtimod type collection, on the other hand, is composed with representative faces from the beginning of the twentieth century, such as Futura, Kabel, Memphis, Mondial, as well as revivals of Bodoni and Garamond. Comparative analysis of movable metal types from Funtimod revealed that singular practices were performed at the Brazilian type foundry. Among internationally well-known faces, for instance, some characters, especially the ones joined with the tilde and cedilla diacritics, presented variations in form, position, weight and size. The findings of this investigation contribute to the Brazilian typographic history in a particular way, in a intrinsic relationship with Germany, that, above all, led me to question how Brazilian Funtimod really was.

Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-07-19T19:10:18Z No. of bitstreams: 1 RicardoCosta.pdf: 8300627 bytes, checksum: 1b02c04a1a94111338012bbd4c2b4e6f (MD5) / Made available in DSpace on 2017-07-19T19:10:18Z (GMT). No. of bitstreams: 1 RicardoCosta.pdf: 8300627 bytes, checksum: 1b02c04a1a94111338012bbd4c2b4e6f (MD5) Previous issue date: 2017-04-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / The typography is shown as a primary element when it comes to the transmission of reports via text. In the case of patient information leaflets, typography and its bad articulation can result in an inefficient readability and thus the misunderstanding of the information contained therein (Hammerschmidt, 2014, p. 218). Therefore it is understood that the research in question is relevant because it seeks to understand how the typographic articulation adopted in the mobile application MedSUS impacts on reading the patient information leaflets and comprehension. For this, a usability test was performed with smartphone with regular users (patients) in order to evaluate the readability and readability of texts found in the medication package inserts. A cooperative evaluation was then carried out with technical users (medical) to find relevant problems related to the MedSUS application interface. As a result, there was an improvement of satisfaction of regular users regarding the use of the application with the improved typographic aspects and the technical users evaluated as being of low utility the application in question for the use in medical care. Finally, recommendations are presented for the use of typography in the presentation of texts of drug inserts in mobile application MedSUS. / A tipografia se mostra como elemento primordial quando se trata da transmissão da informação através de texto. Em se tratando de bulas de medicamentos, a tipografia e sua má articulação podem resultar em uma ineficiente leiturabilidade e assim no mal entendimento das informações ali contidas (HAMMERSCHMIDT, 2014, p. 218). Por isso entende-se que a pesquisa em questão é relevante pois visa compreender como a articulação tipográfica adotada no aplicativo móvel MedSUS impacta na leitura das bulas de medicamentos e na compreensão das mesmas. Para isso, foi realizado um teste de usabilidade com smartphone com usuários comuns (pacientes) com o objetivo de avaliar a legibilidade e leiturabilidade dos textos encontrados nas bulas dos medicamentos. Em seguida foi realizada uma avaliação cooperativa com usuários técnicos (médicos) que visou encontrar problemas relevantes e relacionados à interface do aplicativo MedSUS. Como resultados, obteve-se uma melhora na satisfação dos usuários comuns com relação ao uso do aplicativo com os aspectos tipográficos aperfeiçoados e os usuários técnicos avaliaram como sendo de baixa utilidade o aplicativo em questão para o uso em atendimento médico. Por fim, são apresentados recomendações para o uso da tipografia na apresentação de textos das bulas de medicamentos no aplicativo móvel MedSUS.

Tipos móveis de metal da Funtimod: contribuições para história tipográfica brasileira A fundição de tipos móveis de metal foi uma atividade primordial para o funcionamento das artes gráficas desde seu desenvolvimento, no século 15, até meados do século 20. Entretanto, as primeiras casas fundidoras foram instaladas no Brasil apenas no começo dos anos oitocentistas - quando a técnica ainda era realizada com procedimentos manuais -, poucos anos depois da corte portuguesa ter permitido a reprodução de impressos em território nacional. Inovações tecnológicas do século 19, principalmente máquinas fundidoras e equipamentos para gravar punções e matrizes, transformaram as oficinas de fundição em indústrias. Dentro deste contexto industrial, a Funtimod, objeto de estudo desta pesquisa de doutorado, operou durante quase todo o século 20. A empresa, que pode ser considerada a maior fundição de tipos brasileira, foi fundada na cidade de São Paulo, em 1932, por uma colaboração entre os alemães Karl H. Klingspor e Josef Tscherkassky, a empresa alemã-brasileira Sociedade Técnica Bremensis e a fundição suíça Haas, que estava representando a fundição alemã D. Stempel. Com filiais em Belo Horizonte, Curitiba, Porto Alegre, Recife e Rio de Janeiro, a Funtimod serviu a indústria gráfica nos quatro cantos do País, comercializando máquinas e todo tipo de material tipográfico. Embora os tipos móveis de metal fundidos pela empresa sejam o foco desta investigação, o estudo de caso Funtimod também abordou sua trajetória histórica e a fábrica de tipos, por intermédio de coleta de dados em cinco fontes de evidência diferentes: registros, documentos, entrevistas, observações não-participantes e artefatos físicos. Desse modo, foi possível salientar a dependência de empresas alemãs para o desenvolvimento dos negócios no que tange aos produtos comercializados. Se a Funtimod estava aparelhada, nos moldes das fundições europeias, para manufaturar um tipo desde o desenho até a fundição, definitivamente, o design das faces não foi uma etapa valorizada. Grande parte dos tipos encontrados em nove catálogos da Funtimod, com repertórios tipográficos diferentes, foi identificada como sendo de origem alemã, principalmente das firmas D. Stempel e Klingspor. E, apesar de algumas faces não terem sido identificadas em outras fundições brasileiras ou estrangeiras, não foram encontradas evidências de que a Funtimod tenha lançado no Brasil alguma face com desenho original. A coleção de tipos Funtimod, por outro lado, é formada por faces representativas do começo do século 20, como Futura, Kabel, Memphis e Mondial, assim como revivals da Bodoni e Garamond. Análises comparativas dos tipos móveis de metal da Funtimod revelaram práticas singulares realizadas na fábrica de tipos brasileira. No meio de designs internacionalmente conhecidos, por exemplo, alguns caracteres, em especial os conjugados com os diacríticos til e cedilha, apresentam variações de forma, posicionamento, peso e tamanho na mesma face. As considerações desta investigação contribuem para a história tipográfica brasileira de uma forma particular, numa relação intrínseca com a Alemanha, que, sobretudo, levaram-me a questionar o quão brasileira a Funtimod realmente foi. / Type founding was one of the most important activities for the graphic arts since its beginning in the fifteenth century until the middle of twentieth century. However, the first type foundries were only installed in Brazil in the beginning of 1800s a few years after the Portuguese Court allowed printing in Brazilian lands, and when the technique was still performed with manual methods. Technical innovations developed in the nineteenth century, mainly, typecasting machines and pantograph punchcutting machines, which transformed type foundries into industries. Within this industrial context, Funtimod, the subject of this doctoral research and the largest Brazilian type foundry, operated during almost the entire twentieth century. Funtimod was founded in 1932 in São Paulo by a collaboration of two Germans (Karl H. Klingspor and Josef Tscherkassky), the German-Brazilian company Sociedade Técnica Bremensis, and the Swiss type foundry Haas. With branches in Belo Horizonte, Curitiba, Porto Alegre, Recife e Rio de Janeiro, Funtimod supplied the graphic industry across the four corners of the country, selling all kinds of typographic materials as well as machines. Although the movable metal types cast by the company were the focus of this investigation, the case study of Funtimod also explored its historic development and the factory, through data gathered from multiple sources: specimens, documents, interviews, non-participant observations, and physical artefacts. Thereby, the evidence suggests Funtimod\'s reliance on German companies for its business development in respect to the products manufactured in Brazil. Seeing that Funtimod was equipped, like European foundries, to manufacture types from the design until the casting phases, definitely, the originality of the typeface\'s design was not considered valuable by the factory. The majority of faces, which were found in nine specimens with different typographic collections, were identified as being German, especially from D. Stempel and Klingspor foundries. Moreover, although some of the faces have not been identified in other foundries, evidence was not found that Funtimod had released in Brazil any face cast with an original design. Funtimod type collection, on the other hand, is composed with representative faces from the beginning of the twentieth century, such as Futura, Kabel, Memphis, Mondial, as well as revivals of Bodoni and Garamond. Comparative analysis of movable metal types from Funtimod revealed that singular practices were performed at the Brazilian type foundry. Among internationally well-known faces, for instance, some characters, especially the ones joined with the tilde and cedilla diacritics, presented variations in form, position, weight and size. The findings of this investigation contribute to the Brazilian typographic history in a particular way, in a intrinsic relationship with Germany, that, above all, led me to question how Brazilian Funtimod really was.

Made available in DSpace on 2016-03-15T19:43:03Z (GMT). No. of bitstreams: 1 Marcos Felisette - EAHC2006.pdf: 3383849 bytes, checksum: 02b57c234ccdde0f00c83fa54200ef04 (MD5) Previous issue date: 2006-08-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research proposes an investigation line concerning the emerging typographic production in the streets of the city of São Paulo in the XXI century, having as a major spotlight, the graffiti s writing. The said study suggests an amplification concerning such production, in the constitution of typographic patterns arising from the urban space and their implications both in the cultural scope of the people producing them, as well as, in their relationship with the so-called official media and the formation of their space within the dominant culture. Starting from the comparative analysis concerning the production of this typography, we will try to point out the product and the routes for this language, in the constitution of typographic parameters arising from urban popular styles and cultures, possible providers for a contemporaneousness, both the typography, as well as, the Brazilian graphical design. This way, the research object creates the possibility for crossing between the institutionalized production and the so-called unofficial writings, discussing the occupation mechanisms and reciprocal reading among cultures, within the social-cultural and urban universe that is the space-city. / A presente pesquisa propõe uma linha de investigação acerca da produção tipográfica emergente nas ruas da cidade de São Paulo no século XXI, tendo como foco maior, a escrita da pichação. O referido estudo sugestiona uma ampliação acerca de tal produção, na constituição de padrões tipográficos provenientes do espaço urbano e suas implicações tanto no âmbito cultural de quem as produz, como também, na sua relação com as chamadas mídias oficiais e a formação de seu espaço dentro da cultura dominante. A partir da análise comparativa da produção desta tipografia, procuraremos apontar o produto e os percursos desta linguagem, na constituição de parâmetros tipográficos provenientes de estilos e culturas urbanas - populares, possíveis fornecedoras de uma contemporaneidade tanto à tipografia, quanto ao design gráfico brasileiro. Deste modo, o objeto de pesquisa cria a possibilidade de cruzamento entre a produção institucionalizada e as chamadas escritas extra-oficiais, discutindo os mecanismos de ocupação e leitura recíprocas entre culturas, adentro do universo sociocultural e urbano que é o espaço-cidade.