Abstract: There are virtually no rules to empirically interpret the meaning inherent in typeface designs-people intuitively decipher typefaces (Van Leeuwen, 2005). Forty-two participants examined six alphabets and responded using an online questionnaire to discover1 whether viewing typefaces produces emotional responses,2 whether people have the same emotion responses to typefaces and3 whether certain emotions are predominantly associated with the formative design features of typefaces-classification, terminal shape, character width and weight.Psychological research about the role of emotion in visual processing was combined with an interactive animated questionnaire methodology (Desmet, 2002), and the resulting data were analyzed in a matched t-Test design (α =.05, 95%). This human-centered empirical approach proved a promising methodology for design research that successfully eliminated problems evidenced in previous object-centered typography studies. Because people reported similar emotion response to the design features, this study suggests that design's underlying features represent a common visual language.Graphic design plays an important role in helping people to decipher meanings, prioritize information, and judge the personal relevance of communications by injecting emotion into visual messages. However most designers don't understand that what they are really selling is emotion (Karajuluoto, 2008). Designers must begin to go beyond form, function and aesthetics, according to Robinson (2004), to integrate aspects of "emotional awareness." Typography is one area of graphic design that telegraphs the tone and attitude-the emotion-of communication. This study provided evidence about the role of emotion in visual perception of the formal graphic elements that make up typographic forms.While much is known about how the brain processes components of vision (motion and spatial relationships: Merigan & Maunsell, 1993; color: Zeki, 1973, 1974b, 1977; Merigan & Maunsell, 1993; edges: Zeki, Perry, et al., 2003; form (shapes): Gulyas & Roland, 1994; Gulyas, Heywood, et al., 1994; Grill-Spector, Kushnir, et al., 1998; Merigan & Maunsell, 1993; Marcar, Loenneker, et al., 2004; and patterns: Pinker, 1984), zvirtually nothing is known about how categories of design elements are interpreted through emotion and perception. Or for that matter, whether design elements are processed individually, as basic visual criteria. In order to examine how people interpreted basic elements of design, this study asked people to respond to six different typefaces by indicating the emotion(s) they felt when viewing the typefaces.This study was a significant departure from the typical methodologies used for design research. For studies inquiring about responses to visual stimuli, Morrison (1986) suggested that the response mechanism should utilize a non-verbal reporting method. A wide variety of methodological approaches and variable descriptions were utilized in previous typography studies, which limited comparison of the studies. For example, most researchers had not accounted for possible interactions between presentation form (word or pictures) and reporting method (reading, writing or interactive selection) resulting in mixed findings. (For a summary of past typographic research see Morrison, 1986; Poffenberger and Franken, 1923; Davis and Smith, 1933; Kastl and Child, 1968; Tannenbaum et al., 1964; Benton, 1979; Wendt, 1968; and Weaver, 1949.)research questions and designIn order to answer the three research questions of1 whether viewing specific typefaces produces emotional responses,2 whether all people have the same emotion responses to typefaces, and3 whether certain emotions are predominantly associated with the formative design features of typefaces,an interactive questionnaire was selected. PrEmo(TM) (Desmet, 2002) is a unique scientifically validated, non-verbal, self-report, rich media research tool to measure product emotions and was the protocol chosen to measure emotion in this study. …

Abstract: This paper reports on the initial results of an exploratory study of the impact of typeface design on glance behavior away from the roadway when a driver interacts with a multi-line menu display designed to model a text rich automotive human machine interface (HMI). Data from 42 participants ranging from 36 to 75 years of age was collected in a driving simulation experiment in which participants were asked to respond to a series of address, restaurant identification, and content search menus that were implemented using two different typeface designs. Among men, a "square grotesque" typeface resulted in a 12.2% increase in visual demand as compared to the "humanist" typeface. Total glance time and number of glances required to complete a response showed consistent results. This research suggests that optimizing typeface characteristics may be viewed as a "low cost" method of providing a significant reduction in interface demand and associated distractions. Future work will need to assess if other font characteristics can be tuned to provide further reductions in demand.

Abstract: This study aims to explore the relation of affective feelings to typefaces and colors. Two experiments were conducted. The first experiment used 74 typefaces to investigate the affective feelings of typefaces. The second experiment used 72-colored typefaces to investigate the influence of both colors and typefaces on affective feelings. The results showed the affective feelings for typefaces can be described by appearance and evaluation factors. The characteristic of serif and the print/handwriting look were found to be the criteria classifying the typefaces. Furthermore, the regression models for eight affective feelings were developed. These models showed that the typefaces were more influential than colors on the feelings of “complex–simple,” “beautiful–ugly,” “luxury–plain,” “active–passive,” “causal–regular,” and “like–dislike.” In comparison with typeface, color was more influential on “friendly–serious” and “soft–hard” feelings. © 2011 Wiley Periodicals, Inc. Col Res Appl, 2012

Abstract: Studies of face recognition and discrimination provide a rich source of data and debate on the nature of their processing, in particular through using inverted faces. This study draws parallels between the features of typefaces and faces, as letters share a basic configuration, regardless of typeface, that could be seen as similar to faces. Typeface discrimination is compared using paragraphs of upright letters and inverted letters at three viewing durations. Based on previously reported effects of expertise, the prediction that designers would be less accurate when letters are inverted, whereas nondesigners would have similar performance in both orientations, was confirmed. A proposal is made as to which spatial relations between typeface components constitute holistic and configural processing, posited as the basis for better discrimination of the typefaces of upright letters. Such processing may characterize designers' perceptual abilities, acquired through training.

Abstract: An apparatus may include a processor circuit and a three-dimensional (3-D) typeface module that is operative on the processor circuit to provide a choice of one or more 3-D typefaces in a graphical user interface displayed on a digital display. The 3-D typeface component may be operable to determine that a selection of the 3-D typeface selection has been received and to apply the 3-D typeface to a selected set of characters in a digital document that includes editable text.

Abstract: Any newspaper's graphic design is of great importance in attracting the attention of the reader and facilitating easy reading. It is important for the layout in an online newspaper graphic design not only to have integrity but also to be easy-to-use. For an online newspaper to be user-friendly is only possible if the reader can find and read what s/he looks for easily and comfortably. Typography is in this respect, the most important element in the online newspaper's graphic design as it is the art of situating typefaces on a two-dimensional surface. Typography thus ensures that writing pushes the limits of logic, keeps attention alive, caresses human spirit, infuriates, and excites. Therefore, the typography of an online newspaper should be “simple, effective and deep” . The typography uses on the websites of some national newspapers in Turkey are examined in the research through comparative analysis emphasizing the importance of typography in online (cyber) journalism.

Abstract: Working with Optical Character Recognition for the printed Gurmukhi Script is a challenging task due to the large number of characters, the sophisticated ways in which they combine, and the complicated result. This paper describes a fast and easy to implement algorithm for detection of bold and italic character in Gurmukhi Script. The algorithm works without recognition of actual character and detects the font style (bold or italic) in the way of weight and slope. The procedure of identification and classification of bold and italic character can be used to improve character recognition. This simple and fast algorithm gives high accuracy. Keywords - OCR, Noice, Pixel, Font type phase, Binarization. I. INTRODUCTION India is a multi-lingual country with 23 recognized official languages. Development of optical character recognition for Indian script is an active area of research today. Gurmukhi script is used primarily for the Punjabi language which is the world's 14th most widely spoken language. Gurmukhi script presents great challenges to the detection of font type phase due to the large number of characters, the sophisticated ways in which they combine, and the complicated result. The unstructured manner in which popular fonts are designed makes the process more complicated. A typeface defines the shape of the character (e.g. Arial is a typeface). A font is essentially the design for a set of characters. It's the combination of typeface and design characteristics such as size, pitch and spacing. The height of characters in a font is measured in points, each point being approximately 1/72 inch. The width is measured by pitch, which refers to how many characters can fit in an inch. Common pitch values are 10 and 12. Within the Arial typeface there are many fonts to choose from different sizes and styles (e.g., italic, bold and so on). For example Arial italic 12-point is a font. A font is a particular instantiation of a typeface design. This paper presents a method for document processing, which performs identification of font-style (bold and italic) of a character belonging to a subset of the existing fonts of Gurmukhi script. The detection of the font-style of the document words can be used for classification of documents, and can also be used to improve the character recognition process. II. CHARACTERISTICS OF GURMUKHI SCRIPT Gurmukhi script is used primarily for the Punjabi language which is the world's 14th most widely spoken language. Some of the properties of the Gurmukhi script are:

Abstract: 1 The basics The anatomy of type Categories of type Combining typefaces Selecting typefaces Families of type Expert sets Measurement of type Structure of a letterform Counterforms Case study: Martin Woodtli (Switzerland) 2 Using the typeface Legibility and readability Upper and lower case Lines measure and spacing Colour and size The typeface Background Type on screen Paragraphs Layout Type and image Graphic elements Case study: Fons Hickmann (Germany) 3 Designing with type The design process Experimentation Design considerations Tools Refining Case study: Happy Centro (Italy) 4 Communication Forms of communication Meanings Context Impact Rhythm and repetition Visual continuity Type as image Symbols and graphic devices Case study: Andre Apel and Jan Schottler (Austria) 5 Colour and movement Colour of type Using colour to create hierarchy Colour and symbolism Technical issues relating to colour Type and movement Case study: Thomas Pavitte (Australia) 6 Experiments with type Experimental techniques Type out there Self-generated experiments Surfaces Type in three dimensions Type as image Pattern and decoration Case study: Yani Arabena (Argentina) 7 Production considerations Evaluation Pre-flight Choice of stock Print processes Colour in production Production for print File formats for print Production for screen Legal issues and accessibility Case study: Mission Design (Norway)

Abstract: Universities are always looking for ways to economize, both because of rising costs and because of growing awareness of ecological issues. Printing is a common target. Indiana University's Pervasive Technology Institute (PTI) compared several typefaces, looking at ink usage, paper usage, and readability. PTI chose to standardize on 11-point Times New Roman for printed documentation such as internal reports and white papers. PowerPoint presentations and other items with relatively small blocks of text are done in Century Gothic. Reports for external audiences will include a mix of fonts with deliberate mindfulness toward ink and paper usage. In short, if a message is rendered ineffective by its presentation, any ink or paper used can be considered wasted.

Abstract: Linear filters are standard tools of the artist in image, video and audio processing. This work demonstrates that they can also be used for vector graphics, in particular for typeface design. Serifs and other features of a typeface can be created and edited; gross effects are possible, too. In the software prototype, the user can freely define the shapes that the └ type and the ┘ type of convex axis-aligned rectangular corners should have after filtering. Corners of the types ┐ and ┌ will have the corresponding shapes, rotated by 180° degrees. The two target shapes can be edited as cubic Bezier paths. The result on a given text in a selected typeface is computed as vector graphics and displayed at an interactive rate.

Abstract: Individuals often use a variety of typefaces (or fonts) in an attempt to convey authority. Professionals in the communications industries have found that repeated exposure to a message makes it more persuasive, and understand that different typefaces access particular networks of associations in people’s minds. Plus, studies have suggested people are more likely to believe statements when they are easier to read; in psychology this is known as cognitive fluency. In two experiments presented here, various typefaces were presented to determine individuals’ evaluations of groups that have more power in society, such as the army and the police; as well as support for actions taken by powerful groups, like illegal wiretapping by America’s F.B.I. (Federal Bureau of Investigation). Participants displayed more positive assessments for authoritarian groups and more likely supported their actions when the surveys used to measure their assessments were from documents with easier-to-read typefaces.

Abstract: Various studies have correlated specific visual characteristics of typefaces with specific overall emotional effects: curvilinear forms and open letter shapes generally feel “friendly” but also “formal” or “informal,” depending on other factors; large contrasts in stroke widths, cap height, and aspect ratio generally feel “interesting,” but also “attractive” or “aggressive,” depending on other factors; low-variety and low-contrast forms generally feel “professional” but also “reliable” or “boring.” Although the current findings on typeface personality are useful, they have not indicated a systematic explanation for why specific physical typeface forms have the specific emotion effects that they do. This paper will report results of an empirical study in which 102 participants indicated their immediate emotional responses to each of 36 distinct typeface designs. Results support correlation between specific typeface features (variety vs. contrast vs. pattern) and specific emotional parameters (amusement vs. agitation vs. focus), explaining findings of previous studies, suggesting various classroom approaches to purpose-driven typeface selection.