This study examined the effect of colors and typography on attraction towards a product, tones evoked by the product, and likelihood that a participant would buy a product. Prior research has addressed how color and type influence visual design and those who come in contact with it in a multifaceted way. To measure this, participants on Amazon Mechanical Turk were asked to take part in an online survey on Surveymonkey.com. Assigned to one of four conditions of color and font combinations, Black or Purple paired with Modern or Script, participants answered questions about a sample product, a soda can. The study examined the combined and individual effects of the colors Black and Purple and the font types Modern and Script on the participants’ likelihood to purchase the product, their attraction toward it, and the perceived tone the product gives off. A 2x2 ANOVA was run to measure likelihood of purchase and attraction and a Pearson’s Chi-Squared test was used to measure both tonal questions. It was found that attraction to product was 1.19 times more likely with the product displaying Script font regardless of color and likelihood of purchase was 1.15 times higher with Script font regardless of color. Purple and Modern were most highly associated with the tonal word “Modern” for tonal question number one and for Black, the overall largest tonal association term was “Traditional,” for tonal question number. The finding for the color Purple approached significance and the other two of these findings were consistent with the hypothesis.

Thesis (Ph. D.)--University of Nevada, Reno, 2007. / "May, 2007." Includes bibliographical references (leaves 219-254). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2007]. 1 microfilm reel ; 35 mm.

Thesis (M.F.A.)--Rochester Institute of Technology, 1994. / Typescript. Includes bibliographical references.

Thesis (M.C.A.)--University of Wollongong, 2004. / Typescript. Includes bibliographical references: leaf 73-74.

Thesis (Ph. D.) University of Missouri-Columbia, 2006. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 9, 2007) Vita. Includes bibliographical references.

Submitted by JOÃO MARCELO RIBEIRO SOARES null (joaomarcelorsoares@gmail.com) on 2016-04-27T14:14:13Z No. of bitstreams: 1 SOARES_JMRS_2016_Tipografia_versDigital.pdf: 5578151 bytes, checksum: 861a74a6bd7b2c2f489ad67f04e5082c (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-04-29T18:57:10Z (GMT) No. of bitstreams: 1 soares_jmr_dr_bauru.pdf: 5578151 bytes, checksum: 861a74a6bd7b2c2f489ad67f04e5082c (MD5) / Made available in DSpace on 2016-04-29T18:57:10Z (GMT). No. of bitstreams: 1 soares_jmr_dr_bauru.pdf: 5578151 bytes, checksum: 861a74a6bd7b2c2f489ad67f04e5082c (MD5) Previous issue date: 2016-02-29 / Pesquisa para verificar o nível de usabilidade de composições tipográficas de textos com quatro fontes ( Rockwell, Garamond, Franklin Gothic e Bodoni ) na tarefa de leitura em suporte de leitura em papel branco e em tela digital ( LCD ). Efetuou-se tal verificação por meio de três parâmetros: eficácia ( teste de assimilação do texto ), eficiência ( tempo de leitura ) e satisfação ( opinião do leitor ), os quais possibilitaram determinar o nível de usabilidade da interface de um objeto dentro de uma escala com intervalo de níveis (Ótimo, Bom, Satisfatório e Péssimo ). Os dados dos grupos amostrais obtidos foram tratados por estatística inferencial, sendo dois grupos para cada uma das fontes tipográficas as quais foram lidas em cada um dos suportes. O texto padronizado utilizado faz parte de um conjunto de textos utilizados na Oftalmologia para testes de velocidade de leitura. Os resultados obtidos permitiram verificar que não há influência significativa no nível de usabilidade de leitura de um texto padronizado composto com diferentes fontes tipográficas. O tempo médio de leitura da amostra foi 51,87 ( ± 16,51 ) segundos, em uma escala que variou de 1-106,13 segundos. O número de acertos médios nas cinco questões do teste de interpretação foi 2,90 ( ± 1,64 ) numa escala de 0-5 acertos. A taxa média de satisfação dos leitores em relação as fontes tipográficas verificadas foi 66,24 % ( ± 20,94 ), numa escala de 0-100%. O método utilizado para se calcular a taxa de usabilidade das fontes foi a média aritmética entre as taxas percentuais dos três parâmetros já descritos. As taxas de usabilidade foram distribuídas na escala de usabilidade de quatro níveis onde se verificou que todas fontes apresentaram uma taxa de usabilidade próxima a 60 %, equivalendo, portanto, a um bom nível de usabilidade. Concluiu-se que os traços comuns das letras e a equiparação da altura-x pode equilibrar o nível de usabilidade de diferentes fontes tipográficas na leitura tarefa. / Research to verify the usability level of typographic compositions of texts with four fonts (Rockwell, Garamond, Franklin Gothic and Bodoni) on the task of reading, as in white paper media reading as in digital display reading (LCD). Such verification was performed by three parameters: effectiveness (interpretation test), efficiency (reading time) and satisfaction (reader's opinion), which had enabled to determine the usability level of the interface of an object within a scale range of levels (Excellent, Good, Satisfying and Poorly). The data sample groups obtained were processed by inferential statistical, being two groups for each of the typographical fonts, which had been read in each media. The standardized text is part of a set of texts used in Ophthalmology to measure the reading speed. The results obtained allowed to verify that there is no influence on reading usability of a standardized text composed with different typographical fonts. The average reading time of the subjects was 51.87 (± 16.51) seconds on a scale ranging from 1 to 106.13 seconds. The average hits on the five questions from the interpretation test was 2.90 (± 1.64) on a scale 0-5 hits. The average rate of satisfaction of the readers about the typographic fonts checked was 66.24% (± 20.94), on a scale of 0-100%. The average rate of the readers satisfaction regarding the verified typefaces was 66.24% (± 20.94), on a scale of 0-100% of the three parameters already mentioned. The usability rates were distributed in a four-level usability scale, where it was found that all the fonts showed a close usability rate near to 60%, indicating a good level of usability. It concluded that the commonality between letterforms and equalization of x-height balances the level of usability among different fonts in task reading.

abstract: When cartographers and graphic designers create maps they choose typefaces. Often, serif and sans serif typefaces are paired together to represent different information on a map. Typefaces have a communicated tone and choosing the correct typeface combination to send the intended message can be challenging. The purpose of this study was to create an analysis of the aesthetic characteristics of typeface pairings to assist map creators when choosing typefaces. An online survey was utilized to collect responses from graphic designers who have been trained in at least one year or more in design from a higher education institution. There were 30 participants in the study and they scored 24 typeface pairings, 12 differentiating and 12 superfamily, on 48 maps. Scoring was done on eight aesthetic characteristics: friendly, whimsical, cheap, neutral, bland, corporate, serious and modern. The researcher conducted an analysis of each typeface’s microaesthetics and then compared these to the survey’s scored aesthetic characteristics. It was concluded that there are many factors that go into comparing the typeface pairings of serif and sans serif typeface combinations. However, a selection of a superfamily typeface pairing is better than selecting a differentiating pairing. Future research should focus on conducting studies with a varying amount of typeface styles. Also, to include less maps per survey and a survey completion status bar. / Dissertation/Thesis / Masters Thesis Engineering 2018

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-07-14T13:40:53Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_COMPLETA_Finizola_BC.pdf: 15017973 bytes, checksum: ec16e9c5e202e4748ef88679ad0dbd31 (MD5) / Made available in DSpace on 2016-07-14T13:40:53Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_COMPLETA_Finizola_BC.pdf: 15017973 bytes, checksum: ec16e9c5e202e4748ef88679ad0dbd31 (MD5) Previous issue date: 2015-02-27 / Manifestações espontâneas provenientes do design informal caminham lado a lado com a produção do design formal e por vezes se perdem na sua efemeridade por falta de registro ou por falta de reconhecimento pela academia e pelo mercado. Os letreiramentos populares podem ser incluídos neste universo e se caracterizam como artefatos de comunicação que figuram na paisagem urbana de inúmeras cidades, desde o centro à periferia. Elaborados por meio de processos manuais, são executados em sua grande maioria por artífices anônimos, caracterizando-se como interferências tipográficas urbanas. Assim, esta pesquisa tem como objetivo geral o estudo da tradição do letreiramento popular no Estado de Pernambuco, a partir da análise de seus aspectos formais e de sua prática, bem como da investigação inicial de suas origens, buscando traçar um perfil da produção destes artefatos nesta região, com ênfase em seus aspectos tipográficos. Para isso, foi desenvolvido um mapeamento dos letreiramentos e de seus originadores — os pintores de letras — em seis cidades de Pernambuco: Recife, Gravatá, Caruaru, Arcoverde, Salgueiro e Petrolina. Portanto, este projeto se propôs a dar continuidade à pesquisa de mestrado Panorama Tipográfico dos Letreiramentos Populares – Um estudo de caso na cidade do Recife, parte integrante do projeto de pesquisa Memória Gráfica Brasileira: Uma análise comparativa das cidades do Rio de Janeiro, São Paulo e Recife (PROCAD/CAPES), ampliando, desta forma, o seu corpus analítico e aperfeiçoando seus instrumentos de análise, a fim de validar, em outros territórios, as hipóteses e conclusões da pesquisa anterior, bem como reunir novas informações a respeito deste tema. Ao longo da extensa pesquisa de campo realizada, foram registradas mais de mil imagens e entrevistados doze pintores de letras da região. Também foram visitados alguns acervos de livros e imagens da Fundação Joaquim Nabuco, do Instituto Ricardo Brennand e do Museu da Cidade do Recife. Ao final da pesquisa, os dados coletados nos permitiram: (1) Investigar a presença e características dos letreiramentos na paisagem urbana do Estado entre o final do século XIX até a década de 1950; (2) Validar os aspectos tipográficos dos letreiramentos populares, bem como a classificação elaborada por Finizola em 2010 para os letreiramentos populares do Recife, abordando um corpus analítico mais amplo; (3) Entender a prática do ofício do pintor de letras no Estado de Pernambuco, suas inspirações, processo de aprendizado, materiais e técnicas empregadas, entre outros aspectos. / Spontaneous manifestations from the universe of informal design go hand in hand with the production of formal design, and very often become lost within their own ephemerality because either they remain unrecorded or they receive no academic or market recognition. Vernacular lettering and graphics may be included within this universe and are characterized as communication artefacts that figure across the urban landscape of many cities, extending from the city centers out to the suburbs. Developed through the use of manual processes, they are mostly undertaken by anonymous craftsmen, and categorized as typographical urban interference. The main aim of this research has been to study the tradition of vernacular lettering in the state of Pernambuco, analyzing both the formal and practical aspects, as well as an initial investigation into its origins, seeking to trace a profile of the production of these artifacts within this region, emphasizing their typographic aspects. In order to do this, we have mapped out the lettering, together with the originators - the sign painters – across six cities/towns within the state of Pernambuco: Recife, Gravatá, Caruaru, Arcoverde, Salgueiro and Petrolina. Thus, this project proposes a continuation of the master’s research entitled A typographic panorama of vernacular lettering - a case study in Recife, which was an integral part of the research project The Brazilian graphic memory: a comparative analysis of the cities of Rio de Janeiro, Sao Paulo and Recife (PROCAD/CAPES). Hence, we have broadened the analysis and improved the analytical tools in order to validate the hypotheses and conclusions of previous studies in other territories, as well as gathering fresh information regarding this theme. Throughout the extensive field research, we collected more than 1000 photographic records and interviewed 12 craftsmen. We also visited several book and image collections at the Joaquim Nabuco Foundation, the Ricardo Brennand Institute and the Museum of Recife. On conclusion of our research, the collected data has permitted us: (1) to investigate the presence and characteristics of vernacular lettering within the urban landscape of the state between the end of the 19th century and the 1950s; (2) to validate, within a broader analytical sense, the typographical aspects of vernacular lettering and the classification developed by Finizola in 2010 for vernacular lettering in Recife, and (3) to understand, amongst other items, the craft of lettering in the state of Pernambuco, its inspirations, the learning process and the materials and techniques employed.

No description available.

This dissertation addresses the teaching of typography and book design in South Africa and how the literature relating to its education has changed during the course of the twentieth century. Several scholarly and educational book titles are compared to one another based on their approach to the subject and this is compared to the historical development of typographic technologies as they were developed in Europe. Based on the theoretical pool of the assessed books, a list of theoretical topics was drawn up and used to survey the current teaching intent of graphic design study programmes at South African tertiary education institutions. It was found that in spite of a less direct technical focus in the teaching and learning materials, training institutions within departments and faculties of arts have developed their graphic design programmes with the intent of developing students who are technologically proficient, readily employable, artistically fluent, and aware of industrial and historical conventions in their fields. However, they do not necessarily teach historical book design conventions, focussing rather on the skills and software required for contemporary design practice. / Dissertation(MIS)--University of Pretoria, 2016. / Information Science / MIS / Unrestricted