Abstract: There is a rapid shifting of media: from printed paper to computer screens. This transition is modifying the process of how we read and understand text. The efficiency of reading is dependent on how ergonomically the visual information is presented. Font types and size characteristics have been shown to affect reading. A detailed investigation of the effect of the font type and size on reading on computer screens has been carried out by using subjective, objective and physiological evaluation methods on young adults. A group of young participants volunteered for this study. Two types of fonts were used: Serif fonts (Times New Roman, Georgia, Courier New) and Sans serif fonts (Verdana, Arial, Tahoma). All fonts were presented in 10, 12 and 14 point sizes. This study used a 6 X 3 (font type X size) design matrix. Participants read 18 passages of approximately the same length and reading level on a computer monitor. Reading time, ranking and overall mental workload were measured. Eye movements were recorded by a binocular eye movement recorder. Reading time was minimum for Courier New l4 point. The participants' ranking was highest and mental workload was least for Verdana 14 point. The pupil diameter, fixation duration and gaze duration were least for Courier New 14 point. The present study recommends using 14 point sized fonts for reading on computer screen. Courier New is recommended for fast reading while for on screen presentation Verdana is recommended. The outcome of this study will help as a guideline to all the PC users, software developers, web page designers and computer industry as a whole.

Abstract: Readers need to easily discriminate between different letters, so typefaces are designed to make these differences distinctive. But there is also a uniformity of style within a typeface. These styles are recognised by typographic designers and may be categorised to enable more efficient discrimination among typefaces. The manner in which designers perceive typefaces is explored using the paradigm of Categorical Perception (CP). A continuum of fonts is created by interpolating between two typefaces and two tasks (identification and discrimination) are used to test for CP. As the application of CP to typefaces is a new approach, various methodological issues are pursued. The experiments reveal that the conditions required to demonstrate CP are quite specific and CP was only evident in Times and Helvetica and not Garamond and Bodoni. Possible reasons for this difference are the characteristics of the two typefaces and their context of use. Speculation as to the purpose of CP in non-designers raises the under-researched question of how we identify letters in different typefaces when reading.

Abstract: Helvetica and the New York City Subway System PAUL SHAW Cambridge, MA: MIT Press, 2011 ISBN 97800262015486 Hardbound, 132 pages, full color illustration, $39.95 "It took nineteen years for Helvetica to replace Standard as the official typeface of the New York City subway system" (p.115). Paul Shaw has written an historical document of interest to typographers and designers, particularly designers engaged in large systems planning. He brings together the many threads the Metropolitan Transit Authority (MTA) and designers had to disentangle and reweave, among them: the design aesthetics and legibility of typographic elements, variations in production processes and their fidelity; the availability of font variation (size, weight, etc.); the logistics of font access in the United States at that time (1960s); and certainly not least, the economics of New York City during the decades of development. The threads just mentioned were typical design considerations at that time; today issues of collaboration between consultants, in-house managers and production and installation sources would be another consideration, as well as sorting out design decisions based on user testing and system consistency after extensive prototyping. This was after all an early and extensive visual system and it was a product of its time. The history of the idea of rationalizing signage for passengers in New York began with George Salomon in 19J7 with his unsolicited proposal to use standardized signs and color-coding for various transit lines. In 1958 he created a subway map and transit guide that borrowed its structural sense from the London Underground Map (Maxwell, 2005). A chronology at the back of the book takes the reader from 1878, the beginnings of the transit system to 2010. Of interest here is the time span from Salomon's initial proposal to Unimark's 1966 contract to study subway signage, to its subsequent contract to create a graphic standards manual, to spotty changes based on the signage system installed in various stations, to Massimo Vignelli's Beck inspired diagrammatic subway map in 1972, to 1982 when 78 stations were completed, to an extended graphic standards manual in 1988, using the previous signage system, to the 1995 introduction of a new MTA logo and Metrocards. This fifty-three year span saw station renovation, changing transit lines, integration with buses and other passenger amenities. The system design was rife with contingency within the design program and within urban life; transit strikes and fiscal shortfalls plagued the city, while the desire to create a consistent transit environment continued. This is one reading of the history presented. Another reading is the visual documentation of station signage from the early 20th century, often present as beautiful mosaic letterforms, completely nonstandardized except for the materials. Chaos followed as the subway system grew beyond control, including crude typography and production. This morphed into the author's description of typographic competition among available san serif fonts with Standard being slowly and incompletely replaced by Helvetica. Standard's designer and pedigree is less stable than the well-documented history of Helvetica (Max Miedinger). Akzidenz Grotesk was assembled from various 19th century grotesques "by technical employees (anonymous) at the Berthold type foundry . …

Abstract: The present treatise deals with the history of the 1st half of 16th Century typeface in Bohemia and Moravia. It contains quantitative data arranged into tables accompanied with relevant photographic reproduction in 1 : 1 ratio. The analysis convincingly shows that the difference of typeface stores was much smaller than abroad. The bastard type kept up till 1522, that is obviously at longest from all european countries. On the contrary, the black letter entered into our country very late, after Germany, Austria and Poland in the course of forties of 16th Century. The most slowly got in the Roman type, slowed down by Utraquist traditionalism, which this facetype perceived as a reminder of Rome papacy. The majority of typefaces in our country has been expanded in the form of matrices from Nuremberg.

Abstract: More and more fonts have sprung up in recent years in digital publishing industry and reading devices. In this paper, we focus on methods of evaluating digital Chinese fonts and their typeface characteristics to seek a good way to enhance the character recognition rate. To accomplish this, we combined psychological analysis methods with statistical analysis. It involved an extensive survey of distinctive features of eighteen popular digital typefaces. Survey results were tabulated and analyzed statistically. Then another objective experiment was conducted using the best six fonts derived from the survey results. These experimental results reveal an effective way of choosing legible digital fonts most suitable for comfortable reading of books, magazines, newspapers, and for display of texts on cell-phones, e-books, and digital libraries, and finding out the features for improving character legibility of different Chinese typefaces. The relationships among legibility, eye-strain, and myopia, will be discussed.

Abstract: This study aimed to design a new form of typeface applicable to various print and digital media by utilizing segmentation and the Gestalt principle of closure, and to create artworks with the developed typeface. Erase Segment Typeface, developed in this study, exhibits diverse variations of basic typeface based on ‘deleting basic modules’. In the future, it is expected that other new rules are applied to experiment on different expressional methods.

Abstract: In recent years, more and more fonts have been implemented in the digital publishing industry and in reading devices. In this thesis, we focus on the methods of evaluating digital Chinese fonts and their typeface characteristics. Our goal is to seek a good way to enhance the legibility and readability of Chinese characters displayed on digital devices such as cell phones, tablets and e-book devices. To accomplish this goal, we have combined methods in data mining, and pattern recognition with psychological and statistical analyses. Our research involved an extensive survey of the distinctive features of eighteen popular Chinese digital typefaces. Survey results were tabulated and analyzed statistically. Then, two objective experiments were conducted, using the best six fonts derived from the survey results. These experimental results have revealed an effective way of choosing legible and readable Chinese digital fonts that are most suitable for the comfortable reading of books, magazines, newspapers, and for the display of texts on cell-phones, e-books, and digital libraries. Results also helped us find out the features for improving character legibility and readability of different Chinese typefaces. The relationships among legibility, readability, eye-strain, and myopia, will be discussed. Moreover, digital market requirements and analyses will be provided.

Abstract: This title deals with the anatomy of type. It offers everything you could ever want to know about printing letters and numbers. Looking back as far as man's first efforts to communicate with visual signs and drawings, "Letterfountain" is a completely unique typeface handbook: in addition to examining the form and anatomy of every letter in the alphabet (as well as punctuation marks and special characters), the book cross-references type designs with important works of art and art movements from Gutenberg's times until today. Further attention is given to the esthetics of the digital age and typographical recommendations such as the choice of the right typeface for a job. Rounding out the guide are an in-depth comparison between sans-serif and serif typefaces, an essay about measuring systems and indications, advice about typographic rules, plus a manual for developing digital fonts. Over 150 typefaces, their origins, and font characteristics are discussed in detail, visually explained by full page tables including scale, weight, and slope increments. The extensive appendix contains a general index, one on typefaces (more than 300 are depicted in the book), an index on over 250 type designers, an exhaustive index on type founders from Gutenberg to present, a graphical dictionary, and a bibliography for further reading. The original Dutch edition "Letterfontein" received a Certificate for Typographic Excellence from Type Directors Club New York (TDC) in 2010, and a red-dot design award from the Design Zentrum Nordrhein-Westfalen, Germany. This title is thoroughly hardbound in half linen with three ribbon bookmarks. It includes 144 pages appendix with resourceful glossary and indices. It has convenient typographic ruler with conversions between four measurement systems and hidden shortcuts for your Apple keyboard! Editor and author: Joep Pohlen and Geert Setola are graphic designers, both devoted with heart and soul to professional typography. Joep Pohlen founded Dutch Fontana Publishers in 1994, and has won several awards with different works on typeface and book design.

Abstract: Typeface design principles originated in the days of metal type, when creating fonts was laborious and constrained by physical requirements. Digital type design has always been firmly rooted in historical conventions, even though fonts are now drawn with vectors and pixels. Designers readily embraced obvious capabilities such as vector files' scalability, eliminating the need for separate sets of glyphs for each point size. However, the guiding philosophy of digital type has been to adapt the craft of physical typesetting to the screen. The paper describes creative approaches to increase user interactivity with fonts, and the potential to evolve font technology to be more in tune with modern digital communication.

Abstract: It analyzed the practical base of Chinese characters with its semiotics characteristics blending into modem logo design,and the main features of the modern logo design.Combined with some excellent works of modern Chinese chanracter logo design,it illustrated three viewpoints of Chinese character logo design: firstly,the modeling techniques of Chinese character logo focused on "typeface",secondly,the expression techniques of Chinese character logo representing the Chinese classical aesthetics thought and visual imago focused on "meaning",and then the Chinese character logo design method with "blend of typeface and meaning".Based on this,it put forward that the logo design should blend the typeface and meaning of Chinese characters,to provide reference for Chinese character logo design.

Abstract: This research investigates the effects that font choice, typographic design, and page layout have on the conservation of ink and paper. This is one part of a broader concern with the environmental sustainability of digital printing. The particular focus of this report is on thesis guidelines for graduate students in the School of Print Media at RIT. The preparation and printing of theses is a salient area of paper and ink consumption at an institution of higher education and research. Established, well-defined thesis guidelines permit precise comparisons of the effects of different typographic factors on materials consumption. Three different aspects were investigated in the preparation and publication of graduate theses in order to determine the amount of reduction possible in paper and ink consumption. A high measurable potential for waste reduction was found. The first aspect is the modification of typographic parameters—within current established guidelines—to reduce paper use. Following this, changes to the typographic components of the thesis guidelines were recommended to increase paper savings further. The second aspect is the selection of alternative, ink-economical typefaces and fonts to reduce ink consumption. The third aspect is modification of the letter forms of fonts to reduce ink consumption even further while maintaining apparent readability. It was found that measurable, material savings can be derived from changes to all these aspects of thesis guidelines, and it is expected that similar savings may be derived from the applications of similar methods to more general institutional printing.

Abstract: This paper considers the problem of reshaping and reconstructing a typeface of handwritten characters. From a set of handwriting motion data, characters are constructed by a modeling scheme with the dynamic font model and the theory of smoothing splines. Using the Dynamic Programming (DP) matching and the affine transformation, we next reshape the typeface of modeled characters based on some model writings. In addition, using the modeling scheme, the typeface of such characters are transformed to the omitted running style as seen in Japanese calligraphy. The effectiveness is examined by some experiments.

Abstract: This paper addresses the evolution of Letter and Typeface Design in Portugal, walking through the genesis of letter painters and graphic artists up to the contemporary typeface designers, tracing influences and characteristics that may contribute to a better understanding and lead to the further development of an emerging Typographic Culture in Portugal. Morphological, stylistic, as well as cultural and social relationships are investigated, in an attempt to obtain core indicators that will allow to understand the influences that ancient visual vocabulary, material and techniques had on the innovation of contemporary digital Typography. Since Typography is a structural component within Communication Design, this research aims to understand better the Typeface Design in Portugal, its roots and extensions, looking for variables that may explain the idiosyncrasies and reputation of their creations. This study is being developed as part of a PhD thesis in the Research Institute for Design, Media and Culture (ID+) of the University of Aveiro in Portugal (UA) and is supported by Fundacao para a Ciencia e a Tecnologia (FCT) and Porto Polytechnic Institute (IPP). Key words: calligraphy, typography, typeface design, Portugal.

Abstract: The user-generated content trend extends beyond the blogosphere and into the arenas of visual c0l11111unication-particularly that of typography. Researchers have little knowledge about the ilnplicatiol1s of this typography booln, although young people today have been exposed to the user-generated trend for well over a decade. This study discerns groups of college students based on their opinions about both trendy user-generated typefaces and classic typefaces in college textbooks. Q rnethodology is used to collect and analyze data about typeface preference. This 111ethodo!ogy is especially suited to preIinl;naly research lIsed to obtain a deeper understanding abollt under-explored concepts like aesthetic typographic preference. The researcher identified four distinct groups of college students based lIpon individual subjective preferencesfor classic or trendy t;ypefaces.

Abstract: The Computer Modern Typefaces have their original specification in terms of the METAFONT language. The individual glyph programs rely on the sophisticated algebra and marking methods of METAFONT. Many of the METAFONT primitives, such as stroked pens and overlapping ink, are not directly expressable in outline typeface formats such as Type 1 and TrueType, which support only topographic contours expressed as non-overlapping Bezier curves. We explain the computational geometry involved in the conversion from METAFONT shapes to outlines, why this is a difficult problem, and why previous efforts have fallen short. We describe MetaFog, a set of programs written to post-process METAPOST output to complete such conversions, and the algorithms implemented to solve the mathematical problems. The two most significant problems are (1) finding the envelope of an elliptical pen stroked along a Bezier curve (an algebraic problem), and (2) reducing overlapping paths to an equivalent, non-overlapping contour (a topological problem). We propose a scheme to embed Type 1 and TrueType hint technology into METAFONT sources to reduce the duplication of effort to produce well-hinted fonts. We compare the accuracy of MetaFog’s analytic conversions to approximations based on autotracing of METAFONT’s bit-mapped output, and show examples of errors in the Computer Modern Typefaces which are hidden in METAFONT proofs but visible in MetaFog proofs. TEX and its Fonts Modern implementations of TEX like TrueTEX r © have eliminated bit-mapped meta-fonts in favor of outline formats such as TrueType or Type 1. TEX did an admirable job of producing its own font bit-maps in the days before operating systems supported fonts. But today the most popular operating systems and print engines require outline fonts. These scalable formats facilitate previewing and printing TEX documents in a powerful, portable, and flexible fashion which bit-mapped fonts cannot achieve. While pure TEX is independent of any particular fonts, TEX is nevertheless just as dependent today on Computer Modern and other METAFONTbased fonts as ever. Thus arises the need for conversion of METAFONT programs into equivalent outline forms. While METAFONT programs can describe a glyph in terms of complex, overlapping paths, the outline formats require that we specify glyphs as a set of contours (non-overlapping outlines). Herein lies the most difficult aspect of conversion: METAFONT’s primitive shapes are built from third-degree parametric curves modulated by third-degree paths, and such shapes can overlap, add and subtract in arbitrarily devious ways. Conversions: analytic versus approximate. MetaFog is a system for exact, analytic conversion of METAFONT shapes to contours. That is, MetaFog always store shapes in terms of their pure, parametric curves. By “analytic” we mean that the methods we use analyze and solve the underlying equations for the parametric curves. We use no intermediate approximations such as converting curves to polygons, so that every result curve is a direct derivation of an input curve and every input point is unchanged in the output. By “exact” we mean that the result curves follow the METAFONT shapes to within one pixel in the 1024 or 2048 pixels/em grid used in typical outline font formats. In some cases METAFONT design TUGboat, Volume 16 (1995), No. 3—Proceedings of the 1995 Annual Meeting 233

Abstract: This note is dedicated in gratitude to Jan Karel Lenstra, who reputedly is able to distinguish an ordinary full stop symbol (".") from its italicized version ("."), and who has inspired us with his knowledge and passion for typography. For his amusement we offer him a sample of typographical matters that we encountered in Process Algebra, of which the Amsterdam version originated at MC and CWI in the early eighties. The present note is written in the fonts Palatino and Euler, the latter being an upright cursive typeface, commissioned by the American Mathematical Society and designed and created by Hermann Zapf with the assistance of Donald Knuth.

Abstract: PURPOSE: A typeface copyright management system and a method thereof are provided to integrally manage typeface copyright, thereby enabling only an authorized provider to distribute electronic work with a copyright. CONSTITUTION: A database(120) manages typeface information, copyrighter information, provider information, and the coverage of an allowed copyright. An interface module(110) permits the access of a provider who wants to use the typeface copyright. According to the request of the provider, the interface module provides the information about the existence of the typeface copyright. If the copyright exists, the interface module offers an interface for using the copyright to the provider.

Abstract: This chapter presents the results of an iterative design and evaluation process relating to the cognitive and technical requirements on information to be displayed on variable message signs (VMS) and conventional road signs It was carried out within the framework of the IN-SAFETY research project, as a set of proposed measures and implementation scenario to improve the self-explanatory nature of the road environment In line with ISO 9186 “Test methods for judged comprehensibility and for comprehension”, a total of 2,977 symbol/pictogram variants were selected for submission to an iterative testing and redesign process A series of four tests were conducted in the Czech Republic, Hungary, Spain and Austria and involved 2,667 test persons A subsequent experiment was then carried out with 150 participants to evaluate the legibility of several widely used fonts The evaluation results revealed several areas where improvement was needed Based on the evaluation results, a new typeface for variable message sign displays was developed and optimized to address these shortcomings The close cooperation between the designers and researchers throughout the process proved very effective in terms of integrating shortcomings and taking the study results into account The evaluation of the fonts/pictograms leads to the “Proposal on unified pictograms, keywords, bilingual verbal messages and typefaces for VMS in the Trans European Road Network (TERN)” [P Simlinger, S Egger, C Galinski, Proposal on unified pictograms, keywords, bilingual verbal messages and typefaces for VMS in the TERN Deliverable 23, CN 506716, In-Safety project, January 2008, http://wwwinsafety-euorg/documents/IN-SAFETY_Deliverable_23pdf]

Abstract: As a media of display, the screen is really different with paper in the property. The layout specification of paper is mature. However, it could not be fully applicable of the screen layout design and must be made corresponding adjustments. Aiming at this problem, this article, based on a series of experiments of Chinese texts and the analysis on the relation between Chinese texts and medium, aiming at the reading efficiency, discusses the screen typeface typography from the relations among type size, tracking and row space and character background color, and puts forward the relative solutions.

Abstract: Massimo Vignelli is a senior graphic designer lived in New York, as a vocal modernism against post-modernism. His statement firmly opposing post-modernism in several occasions: interview in Helvetica the movie, typeradio, talkshow, and some articles in Looking Closer or AIGA Journal. Graphic design works of Massimo Vignelli reflected his characteristic, which is firmly choosing typeface. Typefaces of Vignelly are around 5 typefaces: Bodoni, Helvetica, Times Roman, Century, and Futura. The article uses formal analysis method. The writers collected materials about Michael Bierut, Massimo VIgnelli and Tibor Kalman from books and websites. The writers compare the typeface opinion of Massimo Vignelli (modernism designer), Michael Bierut designer (transition era designer from modernism to post-modernism), and Tibor Kalman (a designer in A Century of Graphic Design, as the influencer of Bierut’s betrayal over Vignelli).