Reading allows for the construction of a new world within the mind as one centralises and processes the literature. Flipping from one page to the next the language and the typography guides and informs this spatial construction and directs us through this new world. It creates an intangible architecture of the mind. In the physical realm however, we experience the real world directly and blatantly without the aid of texts and narratives. In this life the relationship between text and space is inverted. Here text and narrative do not inform the construction and tactile experience of space but rather act as a backdrop to everyday life. It seems to go unnoticed. This dissertation aims to emphasise the importance of typography, text and narrative within not only our day-to-day functionings, but also in the architectural realm. It seeks an amalgamation of typography, museum and public space, and aspires to create a place where the seemingly unnoticed typeface can be showcased, propagated and made accessible. Copyright 2011, University of Pretoria. All rights reserved. / Dissertation (MArch(Prof))--University of Pretoria, 2011. / Architecture / unrestricted

Thesis: B.S., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, 1975 / MICROFICHE COPY AVAILABLE IN ARCHIVES. / Includes bibliographical references. / B.S. / B.S. Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science

No / We present a framework for the describing the genres of illustrated documents, based on analysis at five levels: content structure, rhetorical structure, layout structure, navigation structure, and linguistic structure. We also include three sources of constraints under which a document might be produced and interpreted: canvas constraints, production constraints, and consumption constraints. Document genres are conceptualised as complex specifications composed of descriptions at each of the five levels that conform in characteristic ways to the three kinds of constraint. We propose that the eight parameters together form a 'space' of possible identities for documents, electronic or paper. The notion of 'genre space' captures the fact that it is possible for new genres to develop at different positions in the space, as well enabling relationships between document types, or even transformations between them, to be examined and described.

<p>Sa ciljem da se ponude odgovori u širem kontekstu disciplina, disertacija je segmentirana u dva dela. U prvom delu, tj. u poglavlju pod naslovom Stanje u oblasti istraživanja, hronološki se razmatra poimanje i atribuiranje univerzalnog u tipografskoj praksi modernizma i postmodernizma,i introspektivno analiziraju istorijska mišljenja i prakse, okolnosti i refleksije. Na osnovu konstatovanih suprotstavljenih mišljenja i do kraja ne određenih odgovora na ova pitanja, u drugom delu teze, konkretizovana su istraživačka pitanja i izdvojile hipoteze koje su testirane eksperimentalnim putem. Na osnovu rezultata istraživanja dati su odgovori na istraživačka pitanja i potvrđene alternativne hipoteze.</p> / <p>Aiming to provide answers that will cover broader discipline context, this thesis is segmented in two parts. In the first part i.e. The State of the Research Field section, comprehension and attribution of the universal in the typographic practice of modernism and postmodernism has been chronologically examined, with additional<br />introspective analysis of historical thinking and practices, circumstances and reflection in order to find answers to questions synthesized in the title of thesis. Based on the presented opposed opinions, and questions that have not<br />been completely answered, in the second part, this thesis focuses on research question and hypothesis which have been empirically tested. Based on the results of the research the answers to the research questions have been provided, and the alternative hypotheses have been confirmed.</p>

J. Francis Reintjes, Donald R. Knudson, Hsin-Kuo Kan. / Prepared under a ANPA grant.

Typography is one of the most important elements of web design and marketing. Good typography makes web design more appealing, which is important for readers in evaluating titles and the quality of text. The aim of this thesis is to provide a characterization of good and bad typography. I will use this characterization to identify modern typographical trends in a digital background. In the theoretical part, I will describe the basic features of typography. In the practical part, I will distinguish appealing typography and visual smog, and find specific examples demonstrating typographical trends in web design.

Conceituação do objeto pesquisado: a definição de fontes digitais de simulação caligráfica, origem e evolução tecnológica. A identificação das categorias de compreensão da forma caligráfica: as características visuais associadas ao universo instrumental da caligrafia; ao processo de construção da escrita; à perícia ferramental e à caligrafia como ocorrência espaço-temporal. O processo de construção das fontes digitais de simulação caligráfica. As etapas de construção das fontes de simulação baseadas em referências concretas: análise do original, digitalização, vetorização, métrica e fechamento do arquivo. As estratégias de construção das fontes baseadas em referências conceituais. Articulação de características estruturais e expressivas associadas ao instrumental caligráfico. A sugestão do ductus caligráfico em fontes digitais de simulação: construção contínua e interrompida. As estratégias associadas à representação visual da habilidade ferramental: ornamentação, integração e imperícia. O conceito de variância aplicado à tipografia digital: variância manual, aleatória e planejada. Apresentação dos projetos Zapfino, Bickham e Champion Script. Comentários a respeito da relevância das fontes digitais de simulação caligráfica: conservação, interação, compartilhamento e valorização da prática caligráfica. / Conceptualization of the studys object: the definition of digital typefaces simulating calligraphy, their origin and technological evolution. Identification of categories for understading calligraphic shapes: visual characteristics associated with the instrumental universe of calligaphy; the process of writing; craft skills and calligraphy as a temporal-spatial event. The process of manufacturing digital typefaces simulating calligraphy.The steps of development of digital typefaces simulating calligraphy based on concrete references: source analysis, digitalization, translation to outlines, spacing and font generation. Strategies for designing typefaces simulating calligraphy based on conceptual references. Articulation of structural and expressive features associated with the calligraphic craft. Suggestion of calligraphic ductus in digital typefaces simulating calligraphy: continuous and interrupted construction. Strategies associated with the visual representation of instrumental skills: ornamentation, integration and lack of skills. The concept of variation applied to digital type: manual, random and planned variation. Presentation of the typefaces Zapfino, Bickham and Champion Script. Comments related to the relevance of digital typefaces simulating calligraphy: conservation, interaction, sharing and increasing appreciation for the calligraphic practice

Conceituação do objeto pesquisado: a definição de fontes digitais de simulação caligráfica, origem e evolução tecnológica. A identificação das categorias de compreensão da forma caligráfica: as características visuais associadas ao universo instrumental da caligrafia; ao processo de construção da escrita; à perícia ferramental e à caligrafia como ocorrência espaço-temporal. O processo de construção das fontes digitais de simulação caligráfica. As etapas de construção das fontes de simulação baseadas em referências concretas: análise do original, digitalização, vetorização, métrica e fechamento do arquivo. As estratégias de construção das fontes baseadas em referências conceituais. Articulação de características estruturais e expressivas associadas ao instrumental caligráfico. A sugestão do ductus caligráfico em fontes digitais de simulação: construção contínua e interrompida. As estratégias associadas à representação visual da habilidade ferramental: ornamentação, integração e imperícia. O conceito de variância aplicado à tipografia digital: variância manual, aleatória e planejada. Apresentação dos projetos Zapfino, Bickham e Champion Script. Comentários a respeito da relevância das fontes digitais de simulação caligráfica: conservação, interação, compartilhamento e valorização da prática caligráfica. / Conceptualization of the studys object: the definition of digital typefaces simulating calligraphy, their origin and technological evolution. Identification of categories for understading calligraphic shapes: visual characteristics associated with the instrumental universe of calligaphy; the process of writing; craft skills and calligraphy as a temporal-spatial event. The process of manufacturing digital typefaces simulating calligraphy.The steps of development of digital typefaces simulating calligraphy based on concrete references: source analysis, digitalization, translation to outlines, spacing and font generation. Strategies for designing typefaces simulating calligraphy based on conceptual references. Articulation of structural and expressive features associated with the calligraphic craft. Suggestion of calligraphic ductus in digital typefaces simulating calligraphy: continuous and interrupted construction. Strategies associated with the visual representation of instrumental skills: ornamentation, integration and lack of skills. The concept of variation applied to digital type: manual, random and planned variation. Presentation of the typefaces Zapfino, Bickham and Champion Script. Comments related to the relevance of digital typefaces simulating calligraphy: conservation, interaction, sharing and increasing appreciation for the calligraphic practice

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