Abstract: Traditionally a “document” was considered as a textual record Schamber (1996) defined document as a unit “consisting of dynamic, flexible, nonlinear content, represented as a set of linked information items, stored in one or more physical media or networked sited; created and used by one or more individuals in the facilitation of some process or project” Buckland (1997) tries to answer the question “what is a document?” through a discussion on how far the meaning of “document” can be pushed and which are the limits of “documentation” The evolution of Computer Science and Information Technology created a new perspective for the word “document” The concept “electronic documents” can be differentiated from the “printed documents” having specific characteristics (Schamber, 1996): easily manipulabable, internally and externally linkable, readily transformable, inherently searchable, instantly transportable and infinitely replicable The term document used in this chapter refers to all kind of printed or electronic documentation the content of which is most text, like newspapers, books, journals, magazines, educational material, letters, brochures, leaflets, etc A document contains elements that arrange content in the page or even in the document itself For example, the title of a chapter can be recognized by placing it on the top of the page and in larger font size than the body of text Also, page indexing at the end of a document links the reader to specific part of the document The document functionality can be distinguished into browsing, searching, navigation and reading (Doermann et al, 1998) Additional concepts related to document’s functionality are legibility, readability and aesthetics Legibility is a measure of easiness to distinguish one letter from another in a particular typeface and readability is a gauge of how easily words, phrases and blocks of copy can be read These two measures were introduced as a comparison between printed and electronic documents on a computer screen (Mills & Weldon, 1987) Readability and legibility are closely related to typographic elements, typeface design and font/background color combinations (Hill & Scharff, 1997; Richard & Patrick, 2004; Eglin & Bres, 2003) Readability is more related to the overall and layout structure of a document (Holmqvist & Wartenberg, 2005; Holmberg, 2004; Kupper, 1989; Wartenberg & Holmqvist, 2005; Axner et al, 1997) Aesthetics of a document play a significant role during the reading process as well as reader’s preferences (Porat et al, 2007; Harrington et al, 2004; Laarni, 2003) “Dynamic” concepts like navigation and browsing are related to the interaction process with the reader Navigation in electronic documents is a set of instructions to create an appropriate

Abstract: The invention discloses a realizing method of sharing fonts, which arranges a shared dynamic database for storing individual font types in terminal units (100), and comprises the following steps: the terminal units (100) acquire fonts corresponding to the characters in the shared dynamic database arranged locally according to font information and characters in a document to be displayed, if fonts corresponding to the characters are acquired, the document is displayed according to the acquired fonts. The invention also discloses a system to share fonts and terminal units. The proposal of the invention can realize the separation between fonts and documents and can realize the individual document displayed in font by smaller font document volume.

Abstract: Summary. Resumes play an important role when applying for a job. Unfortunately, many applicants focus only on the content of the resume and not the physical appearance. The typeface chosen to display the resume not only influences the physical appearance, but also influences how an employer may view the applicant. In this study, resumes displayed in a high appropriate typeface (Corbel), resulted in the applicant being perceived as more knowledgeable, mature, experienced, professional, believable, and trustworthy than when displayed in a neutral typeface (Tempus Sans) or low appropriate typeface (Vivaldi). Moreover, the applicant was more likely to be called for an interview when their resume was displayed in a high appropriate typeface than a neutral or low appropriate typeface.

Abstract: Arabetic type design, like type design in general, should not be limited by rigid rules, other than those advocating open choice and user options. But as with all design fields, highlighting certain principles and guidelines is crucial to realizing a successful project. In an Arabetic font design environment, such guidelines and principles should reveal deeper understanding of various script's visual and behavioral defining characteristics rather than mere traditional calligraphic or handwriting norms. A main goal of this study is to emphasize that designing Arabetic fonts is much easier than portrayed, and designers of all backgrounds can be more involved designing rather than deciphering complexities. Classifying Arabic as complex may add challenge and thrill to a project, but can unfairly harm a flexible and powerful script. According to their connecting behavior in the traditional model, Arabetic letters are two types: restricted or unrestricted. Based on this and other observations, the study provides a solid design model, free of the restraints of the chaotic four shapes per letter model widely used today. It does that through a systematic analysis of the Arabic script rather than its historic calligraphic flavors. A Mutamathil type style font, Mehdi, is used by this study for visual illustration. But the model provided is equally valid for the design and implementation of any other Arabetic font including multiple glyphs per letter fonts. The choice of Mehdi is neither arbitrary nor biased given that its design also implements a complementary alternative input method, NAIM. Designing an Arabetic type requires adequate understanding and exposure to the original Arabic script visual characteristics and letterforms. Other derived scripts have added or subtracted letters and shapes but, more or less, they still share with Arabic its overall visual characteristics. One may point out that a derived script, like Kurdish, has different visual characteristics than Arabic due to different utilization of shapes. But the key point is that it is still using the same shapes. The absolute majority of derived scripts differentiate their new letters by adding various diacritic marks above or below original Arabic letter body forms, or use the same glyphs for different scriptural tasks. Except for a couple of cases (i.e. Urdu Ha u06Cl) they have not added completely new body shapes unknown in the original script. Arabic is the minimum common denominator of most derived scripts and therefore it is recommended, but not required, to start an Arabetic type project with it. This essay will analyze the Arabic script in detail but will point out - when applicable - how other derived scripts relate to it. The design model outlined here does not adhere to the doctrine of the usual four glyphs per letter model in use today, but it is fully compatible with it. This study will present the new model through analysis and visual illustrations. First, it will examine the alphabet, then it will discuss its visual defining characteristics, and finally it will provide, with the aid of typographic charts, an anatomical view of shapes and sets along with specific design recommendations. Needless to say, creating Arabetic fonts and fonts in general, require software tools and related technical expertise whose discussion goes beyond the scope of this work. WHAT IS AN ARABIC ALPHABET? To design a typeface for a specific script, one should be familiar with that script's definitive alphabet. Historically, letters and shapes of the Arabic alphabet were identified and grouped in several different ways based on vocal mouth source, geography, shape similarity or other criteria. The number of letters varied, some listed 29 letters while others listed only 28. Differences are primarily about whether to include soft 'AIiF (u0627), 'Lam Alif' ligature or 'Hamzah' (u0621). In modern typography, the Unicode standards introduced yet another grouping of Arabic letters. …

Abstract: User perceptions of trust in a Business to Consumer (B2C) electronic commerce website could influence its adoption and subsequent use. Prior research has examined various techniques for enhancing user trust in e-commerce websites. This study examines the role of typography and typefaces in influencing user perceptions of trust. Typefaces are viewed as possessing distinct personalities. When used to present text material in a website, those typefaces that are perceived as stable and trustworthy are expected to engender trust in the user. Data was collected from participants in an experimental setting that simulated an online banking website. The results of the study confirm our expectations. We find that serif and sans serif typefaces result in enhanced user trust compared to monospace and script typefaces. E-commerce vendors, particularly those engaging in financial transactions with the consumer need to pay attention to the typography used in their websites.

Abstract: Generating typefaces from various images is disclosed in which any image, whether from a still photograph or a video frame, is analyzed to find various patterns existing in the image. These patterns may be evident from the image itself or may be discovered by applying various transforms to the image. The patterns obtained from the image are then compared against existing characters in existing typefaces in trying to find correlations between individual patterns and individual characters of the existing typefaces. When correlations are found, the character image representing the pattern that resembles the existing typeface character is analyzed for various typeface properties, such as weight, width, angle, and the like. Using these determined typeface properties and the visual elements of the character image, an entire set of characters making up a new typeface is generated.

Abstract: When was the last time a book on typography made you swoon? Just wait until you feast your eyes on Fraktur MonAmour, Berlin-based graphic designer Judith Schalansky's love letter to Blackletter fonts. Blackletter, also known asFraktur or Gothic type, was commonly used throughout Europe in the Middle Ages. By the end of the Renaissance it had mostly been replaced by the typeface Latin Antiqua. The use of Blackletter type became taboo in Germany after World War II because it was incorrectly associated with the Nazis, who actually banned its use in 1941 because it was falsely believed to be a Jewish invention. Revelations about the true history and meaning of Blackletter type have resultedin a resurgence in usage by graphic designers. Companies such as Nike, Reebok, and Coca-Cola now use Fraktur intheir advertising. It decorates posters, album covers, and even skin in the form of tattoos. But a comprehensive collectionof the most beautiful classic faces, as well as the best new variations, has been missing until now. Fraktur Mon Amour reproduces 300 variations of Blackletter fonts, ranging from historical fonts to contemporary reinventions, in a sensuous, beautifully crafted, hot-pink prayer book-style catalog that is destined to become a fetish object for designers and type enthusiasts. Each Blackletter font is presented on a full page along with its complete alphabet, date of origin, the name of its designer, and its original foundry. On the facing page is a composition created fromthat font that explores the subversive beauty of this unique typeface. In addition, 137 of these fonts including fourcreated exclusively for this book are collected on an enclosed CD (Mac and PC) for free private and restricted commercial use. Fraktur Mon Amour is the winner of several awards, including the Type Directors Club of New York's 2007 Award for Typographic Excellence."

Abstract: This article presents Compensating Scaling, an advanced method for changing the dimensions of glyphs. Working with MM fonts that have a weight axis, the ‘boldness’ information is used to compensate for changes in stroke weight caused by the scaling. The method helps to create true small caps, Cyrillic lowercase and – since the horizontal and vertical scale factors can be chosen independently – even true condensed fonts. Comparisons to existing typefaces show that the output generated by the model is rather close to that of the true glyphs. In contrast to ‘intelligent’ data formats the model suggested here is a technology-independent formula for the processing of pre-existing shapes. The output has the same format as the input and can be subsequently processed, making the method a tool for the automation of a specific design step rather than a stand-alone technology.

Abstract: Summary. This article continues the investigation of the legibility of onscreen typefaces and the influence of individual character features on correct identification. Specific attributes of alphanumeric characters and symbols shown to be the least legible were measured and analyzed using a statistical method called classification tree analysis. Results from this analysis for the number "1" and the "÷" symbol are discussed.

Abstract: An exploratory eye-tracking study was designed to compare the onscreen legibility of sans serif and serif typefaces. The typefaces selected for this study included the serif font Times New Roman and the sans serif font Arial—both originally designed for printing on paper—and the serif font Georgia and the sans serif font Verdana—both designed in recent years especially for reading onscreen. Six participants read four short news stories, each displayed in a different typeface, while their eye-movement behavior was recorded. Overall, Verdana performed best. Participants were able to read more quickly and experienced fewer regressions (backward movements) when the type was set in Verdana. They also expressed a strong preference for this font on the computer screen.

Abstract: This paper reflects on the kinds of evidence able to confirm that letter and word identification in reading can be supported by encoding the underlying visual structure of the text, and specifically by deriving structural descriptions for letters It is proposed that structure-driven processes are intimately linked to the implementation of font-specific rules for translating visual features into elements of a letter's structural description Evidence for such font tuning comes from studies exploring the impact of font mixing on reading fluency, and from studies showing how the benefits of experience with a novel typeface can generalize to letters that have yet to be seen in the typeface After reviewing this evidence, three new experiments are reported which explore font tuning in the context of the lexical decision task The time course of font tuning, which is monitored by changing the time interval between successive test stimuli, is shown to be sensitive to the overall probability with which successiv