Abstract: All text must be written in some particular style of lettering, known as its typeface or font. If it is once accepted that different typefaces generate their own connotations then every written word originates two meanings. Three experiments demonstrate that people who are asked to evaluate names and products are affected by transfer of meaning from the typeface in which they are presented. The meaning of the word is pulled towards the meaning of the typeface (assimilation), rather than pushed away from it (contrast).

Abstract: No component of graphic design has attracted as much interest or inspired as much innovation in recent years as lettering and type. These fundamentals of design, once the exclusive domain of professional typographers, have become an essential starting point for anyone looking for a fresh way to communicate. Practical information about creating letters and type often amounts to a series of guidelines for executing a particular process, font program, or style. But what makes lettering and type endlessly fascinating is the flexibility to interpret and sometimes even break these rules. Lettering & Type is a smart-but- not-dense guide to creating and bending letters to one's will. More than just another pretty survey, it is a powerful how-to book full of relevant theory, history, explanatory diagrams, and exercises. While other type design books get hung up on the technical and technological issues of type design and lettering, Lettering & Type features the context and creativity that shape letters and make them interesting. Authors and designers Bruce Willen and Nolen Strals examine classic design examples as well as exciting contemporary lettering of all stripes from editorial illustrations to concert posters to radical conceptual alphabets. Lettering & Type is ideal for anyone looking to move beyond existing typography and fonts to create, explore, and use original or customized letterforms. This latest addition to our best-selling Design Briefs seriesfeatures a foreword by Ellen Lupton and hundreds of images and examples of work by historical and contemporary designers, artists, and illustrators, including Marian Bantjes, Stefan Sagmeister, Matthew Carter, Christoph Niemann, Steve Powers (ESPO), House Industries, Christian Schwartz, Margaret Kilgallen, James Victore, Abbott Miller, Sibylle Hagmann, Ed Fella, and many more. Throughout the book interviews with type designers, artists, and graphic designers provide real-world perspective from contemporary practitioners."

Abstract: A visual history of fonts and graphic styles: volume 2 This book offers a connoisseur's overview of typeface design, exploring the most elegant fonts from the history of publishing. Taken from a distinguished Dutch collection, this exuberant two-volume edition traces the evolution of the printed letter via exquisitely designed catalogs, showing type specimens in roman, italic, bold, semi-bold, narrow, and broad fonts. Borders, ornaments, initial letters and decorations are also included, along with lithographic examples, letters by signwriters, inscription carvers, and calligraphers. Featuring works by type designers including: William Caslon, Fritz Helmuth Ehmcke, Peter Behrens, Rudolf Koch, Eric Gill, Jan van Krimpen, Paul Renner, Jan Tschichold, A. M. Cassandre, Aldo Novarese, and Adrian Frutiger. In order to accommodate a vast amount of material, we have divided this text into two volumes. This, the second volume, covers the period from 1900 to the mid-20th century, and contains a historical outline by Alston W. Purvis. Includes exclusive access with TASCHEN keycard to online image library: over 1400 high-resolution scans of type specimens downloadable for unrestricted use:

Abstract: Intellectual property rights are often justified by utilitarian theory. However, recent scholarship suggests that creativity thrives in some industries in the absence of intellectual property protection. These industries might be called IP's negative spaces. One such industry that has received little scholarly attention is the typeface industry. This industry has recently digitized. Its adoption of digital processes has altered its market structure in ways that necessitate reconsideration of its IP negative status, with particular emphasis on copyright. This article considers the historical denial of copyright protection for typefaces in the United States, and examines arguments both for and against extending copyright protection to digital typefaces. It compares copyright law with alternative methods of protection for digital typefaces. It also suggests that the digital typeface industry may be a useful lens through which to consider broader claims about the application of intellectual property law to IP's negative spaces in the digital age.

Abstract: This is the second and final part of an article on document design for legal documents.

Abstract: The utility model relates to an auxiliary device for calligraphy art practice, which comprises a writing board on which practicer can perform handwritten input; a selection key by which practicer can select font type and art classification; a main display screen for displaying the handwritten input of the practicer; a standby display screen for displaying standard font and picture; a font picture database for storing the common practice words of various font types and the common standard pictures of various art classifications; and a practice controller that selects corresponding standard fonts and pictures from the font picture database and outputs the standard fonts and pictures to the standby display screen, and then output the handwriting input fonts and pictures of practicer to the main display screen. The writing board, the selection key, the main display screen, the standby display screen, and the font database are respectively connected with the practice controller. The utility model provides an auxiliary device for calligraphy art practice which has good environmental protection and can improve calligraphy practice efficiency.

Abstract: A method of defining and displaying letters of words on a computer platform is provided, so that words of text can be more quickly and accurately read by a person. A plurality of subfonts are used to define character sets to be displayed on a monitor screen, in which the subfonts make words more legible and faster to read. A font designer may design a variety of different subfonts for various characters of a font set, and can define which subfonts are to be used to display individual characters of words, depending upon the position of characters within a word, and depending upon the number of characters of that word. The font designer can select, from a plurality of subfonts, individual styles for letters of various words that are all defined within a same font set, which itself can comprise many different styles of existing or new font types.

Abstract: The type that designers use can say as much to their audience as the actual words on the page. But until now, Web designers have had an extremely limited palette of typefaces from which to choose -- essentially, Arial (yawn), Times (yawn), and Georgia (yawwwwwn). Design is about overcoming the limitations of a medium, and Web design is no different. In this book, Jason shows Web designers how to apply the principles of fluid typography, Web-safe fonts, downloaded fonts, and type on images to create robust scalable designs without resorting to type in images or Adobe Flash.

Abstract: All text must be written in some particular style of lettering, known as its typeface or font. If it is once accepted that different typefaces generate their own connotations then every written word originates two meanings. Three experiments demonstrate that people who are asked to evaluate names and products are affected by transfer of meaning from the typeface in which they are presented. The meaning of the word is pulled towards the meaning of the typeface (assimilation), rather than pushed away from it (contrast).

Abstract: The essay is focussed on the character and role of books in these days. It is concerned with the process of reading and with the importants aspects of readability and legibility of the text type. The reflecion on practice represents the process of designing type and its diacritical marks. Complex problems of the subject are illustrated on the project of original book typeface.

Abstract: In light of the rapid proliferation of typeface design in the digital era, what conceptual space provides impetus to the designer wishing to create a new typeface design? This article will illustrate the creative process in the making of an individual type design. It will attempt to locate this process in the technical and semantic framework of current typographic debate. The article documents the development of a typeface design and discusses the questions: Can a contemporary, digitally rendered sans-serif be imbued with some of the rhythmic and human visual qualities detected in handwriting? What are the evaluation mechanisms?

Abstract: Designing for the Internet can be a wonderfully enlivening experience for the graphic designer. Layouts can be morphed fluidly, pages can contain all manner of multimedia objects, and design decisions are not hampered by practicalities such as the cost of four-colour reproduction. But it can be an equally frustrating experience for typographers, as their control over typeface, word spacing, justification, and the other myriad details that define a well-crafted printed page is reduced to the most rudimentary choices. This paper will examine this apparent disjuncture by first briefly outlining the historical separation between the trades of graphic designer and typographer and then discussing some of the advantages of having the designers of electronic interfaces become familiar with book typography traditions and of having electronic reading interfaces support basic typographic practices. Book typographers have traditionally viewed the more "artistic" graphic designers with suspicion because "typography is the efficient means to an essentially utilitarian and only accidentally aesthetic end" (Morison 5), and any overtly artistic gestures by the designer can potentially intrude upon the reading experience. This notion of typography as the art of creating a transparent interface between the author and the reader has its roots in the humanist tradition of the author-god and is obviously challenged by new models where the act of reading has the potential to be a three-way communication between authors, readers and the community and where the lines between the three are blurred. As a result some typographic practices, such as methods for including scholarly apparatus and annotations, will undoubtedly need to be modified. But this does not mean that all typographic traditions need to be tossed aside. For example, many digital reading interfaces present a "page" view designed for a screen that is taller than it is wide. While this mimics the dimensions of a single page of a book, readers of books seldom view a single page; the bound book presents a "spread" that allows the reader to view two pages at once. Presenting digital texts in such a manner not only has the advantage of familiarity, but this orientation also allows for specialized displays of information such as parallel text editions or facing page translations. If one is truly serious about wanting a digital interface to be "read," it is worth gaining an understanding of the practices of the craftspeople that have focused on just that for over 600 years.

Abstract: The aim of the project is to investigate the influence of fa- miliarity on reading. Three new fonts were created in order to examine the familiarity of fonts that readers could not have seen before. Each of the new fonts contains lowercase letters with fa- miliar and unfamiliar skeleton variations. The different skeleton variations were tested with distance threshold and time thresh- old methods in order to account for differences in visibility. This investigation helped create final typeface designs where the fa- miliar and unfamiliar skeleton variations have roughly similar and good performance. The typefaces were later applied as the test material in the familiarity investigation. Some typographers have proposed that familiarity means the amount of time that a reader has been exposed to a typeface design, while other typographers have proposed that familiarity is the commonalities in letterforms. These two hypotheses were tested by measuring the reading speed and preference of partici- pants, as they read fonts that had either common or uncommon letterforms, the fonts were then re-measured after an exposure period. The results indicate that exposure has an immediate ef- fect on the speed of reading, but that unfamiliar letter features only have an effect of preference and not on reading speed. By combining the craftsmen’s knowledge of designing with the methods of experimental research, the project takes a new step forward towards a better understanding of how different type- faces can influence the reading process.

Abstract: The font selection menu in most application software’s is arranged alphabetically; in recent years one can also see the split menu approach being used. An alphabetical arrangement presupposes that the users are aware of the font characteristics and usage scenario through its name. Unless the font name specifies it; the scheme does not in any which way indicate the morphological features or the usage scenarios of a given font. In order to address these issues, a set of systematic experiments was conducted to capture the typeface classification strategies of users with a modified card sorting technique. The collected data was subjected to hierarchical clustering algorithms to come up with a collective user-centric classification system for Devanagari fonts. The classes created by this method appears to address the problems raised by alphabetical orderings by allowing the groupings to be more intuitive (and realistic) while retaining statistical validity over large user sets.