Abstract: Recent years have seen enormous growth of online educational videos, spanning K-12 tutorials to university lectures. As this content has grown, so too has grown the number of presentation styles. Some educators have strong allegiance to handwritten recordings (using pen and tablet), while others use only typed (PowerPoint) presentations. In this paper, we present the first systematic comparison of these two presentation styles and how they are perceived by viewers. Surveys on edX and Mechanical Turk suggest that users enjoy handwriting because it is personal and engaging, yet they also enjoy typeface because it is clear and legible. Based on these observations, we propose a new presentation style, TypeRighting, that combines the benefits of handwriting and typeface. Each phrase is written by hand, but fades into typeface soon after it appears. Our surveys suggest that about 80% of respondents prefer TypeRighting over handwriting. The same fraction of respondents prefer TypeRighting over typeface, for videos in which the handwriting is sufficiently legible.

Abstract: Some typographers have proposed that typeface familiarity is defined by the amount of time that a reader has been exposed to a typeface design, while other typographers have proposed that familiarity is defined by the commonalities in letter shapes. These two hypotheses were tested by measuring the reading speed and preferences of participants. Participants were tested twice with common and uncommon letter shapes, once before and once after spending 20 minutes reading a story with the font. The results indicate that the exposure period has an effect on the speed of reading, but the uncommon letter shapes did not. Readers did not like the uncommon letter shapes. This has implications for the selection of type and the design of future typefaces.

Abstract: Typeface and font design are fundamental to textual communication, and therefore, such communication, whether for use in print or on screen, is greatly enhanced and facilitated by the development and application of high-quality designs. The chapter discusses the key issues that underpin best practice in Bengali digital type design—from a design’s conception to its implementation, that is, the design concept and brief, the character set, the design dimensions, character fitting, and also the considerations for harmonious multi-script setting. The design methodology described is founded on research-based practice in non-Latin type design and font development. It considers how past practices in type-making and typesetting affected current Bengali typeforms and how an evaluation of these practices, in conjunction with the use of the existing and emerging font technologies, can inform the practitioner in the design of high-quality cross-platform OpenType Bengali fonts.

Abstract: In this research, we investigate whether packaging typeface can effectively promote food products that are healthful. In three empirical studies, we show that first, consumers can reliably identify semantic meanings (e.g., naturalness) associated with a particular style of typeface and the connotations inferred from packaging typeface carry over to their product perception and evaluation, leading to enhanced persuasion. Second, the effect of typeface is moderated by whether or not the connotations engendered by the typeface are in line with the information signaled by the product’s intrinsic or extrinsic cue.

Abstract: The chapter deals with the methodology of creating computer aided text readability system. Special attention concentrates on the rules helpful for a creation of readability of the text on the Web pages. Major factors are: typeface, font size, leading, text block width, text colour and background colour. Finally the system and its tests are presented.

Abstract: The Early Modern OCR Project (eMOP), funded by a development grant from the Andrew Mellon Foundation to Texas AM instead, they find their power source in that bibliograph- ical data. In the case of eMOP, as this essay will discuss, the relationship between the digital and the bibliographic is dialogic and reciprocal: while the project's goals, angles of approach, and ethos of interdisciplinarity are all char- acteristic of DH, it is only through an acknowledged utilization of book his- tory scholarship and methods that the project's ends will be accomplished. Book history-our corner of eMOP-represents two foundational nodes of the project. In the first place, we are identifying specific, minutely variant typefaces in order to distinguish as best we can between the myriad versions of the standard Roman typeface in early modern books.1 Secondly, we are study- ing type founders and foundries to trace the flow of fonts into and through London. Through this research we hope to realize the goal of eMOP: the auto- mation of a process by which trained optical character recognition (OCR) en- gines might more accurately "read" the images of early modern book pages in, for example, Early English Books Online (EEBO) and Eighteenth Century Collec- tions Online (ECCO). Ultimately our work will be formalized in a database that serves as the hub of this automated OCR process: the printer and typo- graphical data will act as a traffic cop of sorts, directing the properly trained OCR engine to read the appropriate page images. In fact, a central tenet of the Early Modern OCR Project is that training OCR engines to recognize the let- terforms in specific font sets will improve the accuracy of the OCR output- the resultant text files-when these engines are called upon to scan page im- ages printed in that typeface.While this is only a cursory sketch of eMOP, it suggests that book history is central to solving the digital problem of using OCR software on early mod- ern books. Before printing became more regularized by technological ad- vances in the nineteenth century, and before English typography approached something of a standard, national identity in the early eighteenth century, the typefaces and their settings on the printed page were highly variable. For this reason one might think that the most advanced OCR engines of our day might be rather effective, as they pull from their expansive font libraries to recognize different characters. However, part of the complication is that a large number of characters found in early English printing-including the ubiquitous long s, scribal abbreviations borrowed from the Latin, and even characters derived from Anglo-Saxon, such as the thorn-are unfamiliar to non-expert readers and not present in OCR libraries. Another challenge lies in the range of type- faces used by printers, which were for most stretches of English printing im- ported from various other countries and so display characteristics adopted from these national traditions. It is still another kind of noise, however, that makes them ineffective: because the engines cannot distinguish line divi- sions-cannot focus their field of vision, in other words-they are not able to discriminate between letterforms and the various other blots that cloud page images. On more modern, higher quality images, of course, the OCR is more accurate, but those that have been preserved in mass-digitization projects- and which therefore will be central to eMOP's automated process-were lim- ited by the technologies of their historical moments. …

Abstract: The purpose of this study is to compare the effects of the two font styles (serif and sans-serif) on the users' perception of visual aesthetics of website interface design. Two font types were tests in this study, namely: "Time News Roman" representing the "serif" style and "Calibri" representing the "sans-serif" style. They were chosen because they are two of the widely used font types on the web and because they are the default font types of many of the most popular word processing and web developing software. Analysis of results showed that font type has a statistically significant effect on perceived visual aesthetics. The designs with the Time New Roman font was perceived as having better visual aesthetics. However, this effect was only significant on the overall perception of visual aesthetics; it wasn't significant in each of the four facets of visual aesthetics tested in this study.

Abstract: Electronic reading opens new avenues especially with the advance of modern reading devices. The new generation of Personal Digital Assistants PDAs becomes more popular and more affordable. Therefore, while displays keep shrinking in size, it is needed to re-evaluate typefaces used in these devices as they form a substantial component in the reading field. In this research, a survey was conducted to identify Arab community preferences of 13 selected fonts on PDAs. Also, it inferred the popularity of using these devices for reading. From the participation of 53 subjects in this survey, it was deduced that e-reading using PDAs among Arab communities is increasing dramatically, which necessitates the need of investigation for better fonts used in these devices. Moreover, the results from font evaluation based on people preferences reduced the number of studied fonts to six for further examination. Three experiments have been conducted to investigate six Arabic fonts on PDAs from the perspective of legibility and readability to come up with the best fonts. In all three experiments, 138 subjects participated doing i3arabi Test over iPad and iPad mini devices. Two experiments were done to evaluate the legibility of the selected fonts. However, due to the nature of Arabic language, it was difficult to apply the same methods used to test Latin fonts. A pilot study was done to understand the problem, and results supported the mentioned difficulty. Therefore, a novel method named M-Short-Exposure method has been proposed to investigate the legibility of isolated Arabic letters and connected letters. The results indicate Geeza Pro and Uthman SH fonts yielded the best performance in the first and second experiments respectively. Then an integration result has been concluded for legibility experiments confirming Geeza Pro and Uthman SH as the most legible fonts to be used on PDAs. In readability experiment, reading speed and comprehension questions have been used over running texts of the selected fonts to measure their readability. It has been found that there is no correlation between reading speed and comprehension factors. Though, the results provide Yakout Reg and Uthman SH fonts as the most appropriate fonts to be used on PDAs for e-reading. Finally, Our findings provide the most legible and/or readable font(s) among the tested set. Moreover, some recommendations have been made on better use of legible and/or readable Arabic fonts for different purposes.

Abstract: "The Geometry of Type" explores 100 traditional and modern typefaces in loving detail, with a full spread devoted to each entry. Characters from each typeface are enlarged and annotated to reveal key features, anatomical details, and the finer, often-overlooked elements of type design, which shows how these attributes affect mood and readability. Sidebar information lists the designer and foundry, the year of release and the different weights and styles available, while feature boxes explain the origins and best uses for each typeface, such as whether it is suitable for running text or as a display font for headlines. To help the reader spot each typeface in the wider world, the full character set is shown, and the best letters for identification are highlighted. This beautiful and highly practical work of reference for font spotters, designers and users is a close-up celebration of typefaces and great type design.

Abstract: One of the definitions of typography is that it is the art of arranging typefaces for a specific project and their arrangement in order to achieve a more effective communication. In order to choose the appropriate typeface, the user should be well- acquainted with visual or geometric features of typography, typographic rules and the historical development of typography. Additionally, every user is further assisted by a good quality and simple typeface classification. There are many different classifications of typefaces based on historical or visual criteria, as well as their combination. During the last thirty years, computers and digital technology have enabled brand new creative freedoms. As a result, there are thousands of fonts and dozens of applications for digitally creating typefaces. This paper suggests an innovative, simpler classification, which should correspond to the contemporary development of typography, the production of a vast number of new typefaces and the needs of today's users.

Abstract: A computer-implemented process includes: receiving into a computer memory a response to a generic question not specifically related to handwriting style; converting the response into one or more tags representing handwriting characteristics; selecting a typeface having a handwriting characteristic of one of the tags; receiving a text string to display into a computer memory; and displaying the text string by rendering glyphs from a font file containing glyphs for the selected typeface, after applying random variations to simulate human handwriting variation.

Abstract: Designing for the Internet can be a wonderfully enlivening experience for the graphic designer. 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 article 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.

Abstract: This is a work-in progress paper, describing the design of an experiment to measure emotional responses to form, color, and typeface design in study participants from non-US cultural backgrounds. The purpose is to determine the degree to which general patterns of response from English speaking, non-US participants resemble or differ from responses from English speaking, US-study participants.

Abstract: With the rapid development of modern technology, typography and typefaces are taking on a variety of new forms and functions. Many categories and kinds of typography, such as ‘type as image’ and ‘type in motion’, have evolved. Typefaces are no longer solely tools of visual communication; their form and appearance can now be manipulated to create certain moods or feelings in an audience. In recent years, many typographic works have been designed to express particular emotions and feelings or stimulate them in an audience. Various typographic elements, such as colour and typestyle, may be used to convey or evoke the desired emotions. To elicit specific emotions in response to typographic works, designers must fully understand the relationships between emotions and typography. They must successfully select and manipulate such features as colours, shapes, textures and images to enrich viewers’ experiences of and emotional responses to typographical works. Inspired by studies of the relationship between design and emotion in a range of disciplines, some design scholars have developed these ideas further by applying them to graphic design. They have explored the potential contribution of user-centred ‘design and emotion’ studies to typography, and established new criteria for defining the category of ‘emotion in type/typography’. This study investigates the relationship between emotional response and type/typography, and proposes new criteria for categorising typography that accommodate the emotional concerns and effects of typographic design.

Abstract: A comprehensive survey of one of the most creative areas of public art, large-scale typographic installations, this book features thirty-seven works from all over the world, from the USA to Europe to Asia, in all manner of materials. Organized by designer, it includes projects by artists and designers with large international followings, such as Joan Brossa, Maya Lin, Lawrence Weiner, Pentagram, Why Not Associattes and Paula Scher. Photographs, maps and diagrams are used to explore each project in detail, and an introduction highlights the cultural importance and common themes of the works featured. Interviews with key designers provide a personal insight into why they chose words over images to transmit their message, how the locations for their work are chosen, how they selected the material and the typeface, and how they think their work connects with its particular landscape or setting. Endmatter includes detailed information on the typefaces used and their designers.

Abstract: This research proposes the framework for an automation tool that facilitates the graphic design process of image-font pairing or matching. Considering traditional graphic design principles, a multi-step software algorithm was developed to emulate the process of determining proportions and visual axes of both images and fonts. The algorithm then matches these visual markers using a decision hierarchy to produce a ranking of appropriate fonts from an existing font dataset. To test the algorithm, 8 benchmark images were selected with varying proportions and visual axes. To build the font data set, each image was manually analyzed through a traditional graphic design process and then two fonts per image with similar, matching characteristics were manually selected. The 8 benchmark images and 16 fonts were then used as inputs into the proposed matching software program. The results of the manually prescribed font-image pairings and calculated matches were then compared. Two images had the intended font in the top 4, two images had one of the intended fonts in the top 4, and 4 images had neither of the intended fonts in the top 4. An additional step in image-font pairing includes detail matching by determining curvature similarities. This detail analysis will affect the pairing outcomes and should be further investigated. This research began to analyze these details, and makes recommendations for continuing this work. Additional future directions for this work include incorporating a user-interface to the matching algorithm, introducing expert testing, and down-selecting the first font pool based on deviation.

Abstract: The Field Guide to Typography explores and explains the myriad typefaces that we see around us in our day-to-day lives, from airplane liveries to computer screens, from billboard hoardings to signage systems. It presents over 120 typefaces old and new, common and unusual with photographic references to help font spotters identify particular typefaces in the wild. Accompanying background information explains the origin, usage and key features of each typeface, and Field Facts provide little-known nuggets of information to expand your typographical awareness. Attractive and informative, The Field Guide to Typography is a unique visual reference for novice font fans and experienced designers alike, and a comprehensive celebration of our expanding typographic world.

Abstract: During its long history, slowly but sure, Indonesia had accepted the influence of the written language from various nation and civilization. Approximately in the 15th century AD, European brought their language system, Latin, to Indonesia, which had been developed until present time. The usage of Latin alphabet for daily communication in Indonesia has created a disadvantage for the local/ethnic language, especially since the Latin provided an easier writing and speaking system. Latin uses alphabet system in which one sound represents one letter: A, B, C, etc. In contrast, the ethnic language uses syllable system in which one sound could consist of more than one letter ( a, ba, ta, ka, nga, kha , etc ). The growing of the nation of Indonesia with its various ethnic groups created the need for unification language, a language with a universal system. Furthermore, the alphabet system is easier to be used for various written and spoken language in the world. The richness of ethnic alphabet from Indonesia could become infinite ideas in developing computer typefaces. A typographer could design Latin alphabet with the characteristic of ethnic alphabets by capturing the traditional elements from the letters. These findings could enrich the field of visual communication nowadays.

Abstract: Multiculturalism constitutes a mixture of expressions where languages are fundamental, not only as the vehicular form of thought, but also as a powerful tool for social cohesion and relationships within a community. Languages are often the first barrier encountered when communicating or relating to other culture. Whereas, typography can provide valid solutions, not only in terms of text layout but also regarding the specific aspects of multilingualism: the design of glyphs for multilingual text composition. Type design is at the core of how communication takes place in our multicultural society. As multilingual communication becomes more apparent, the need for multi-script fonts including more than a single script is unquestionable. This practice-based research focuses on the designing of a multi script Latin-Arabic typeface for literary reading text purposes based on an understanding of Arabic script in order for the result obtained to be respectful of the tradition of Arabic calligraphy. The approach to Arabic has been carried out taking into account the Spanish Arabic tradition from a study on the Arabic types which were designed and in use in Spain during the Printing Press years. The methodology proposed tries to complete every stage in the work process, from sketching to final font production, with the aim of harmonising both Latin and Arabic scripts in the same font file: Pradell Al-Andalus. Pradell Al-Andalus, although not designed to be a revival of any specific Arabic Spanish typeface, establishes a link with Spanish type History in order to build a bridge between tradition and our contemporary multilingual needs.

Abstract: To visualise relation to the Japanese culture (and in some cases the Chinese as well) by Latin letters, Western as well as Japanese designers are using “Japanese style fonts”; which are also called “bamboo fonts” or “brush fonts”. The route of the so called “Japanese style fonts” can be tracked back to the beginning of graphic poster design in Europe in the late 19th century. This develop ment – which can be seen as the foundation of contemporary poster design – happened at the same time as the movement in art Japonism. In some poster designs for product advertisments, Japanese motifs were shown along with lettering styles which translated brush strokes inspired by Japanese calligraphy and applied to the shape of Latin letters. In colloquial speech, typefaces with these attributes are also known as “bamboo fonts”. This stereotypical style of typefaces – used to represent Japanese culture and products – was not only selected by Western graphic designers. Japanese designers themselves applied those fonts for graphics on packages of tea and other products back in the 19th century, to address and attract Western consumers. Until today “bamboo fonts” are used to represent the idea of Japanese culture with typographic means, moreover Asian culture in general.

Abstract: In this paper, we develop a scheme for reshaping and reconstructing a typeface of handwritten characters. First, we measure and store a set of handwriting motion data using the pen-tablet device, and then the corresponding characters are modeled based on so-called dynamic font method and a theory of smoothing splines. Next, in order to improve the aesthetic quality of such characters, we present a method for reshaping the typeface of characters. Such a method is developed using the nonlinear transformation based on Yasumoto's work. Moreover, we show how such a reshaped characters are reconstructed as those with the omitted running style as seen in Japanese calligraphy. The performance are demonstrated by some experiments.

Abstract: Practitioners and scholarly researchers agree that different typefaces have different personas. Document design, which is largely dependent on the use of different typefaces, stems from the content of the verbal text and the purpose of the text is expressed through typography. In an age of electronic information set in microcosmic structure, possibilities we have come to face present freedom to modify and manipulate visual attributes of a document with software packages. This practice has given the opportunity to many untrained people to become publishers and active users of type and often times this practice is directed without understanding the principles of document design and the very notion of the intended perception of type’s persona. The relevance of typeface persona is an important aspect of technical or any other document that has its intended audience. Therefore, by choosing the appropriate typeface, communicators can determine the visual tone and character of the text. This paper outlines the visual rhetoric and consequently the role of typography as a part of that rhetoric. The literature review concentrates on typeface persona in theory, practice and research, exploring the idea of ‘’atmosphere’’, connotative meaning and semantic quality of type. The paper concludes with a discussion of the demand in the field of practitioners to classify typefaces according to their persona.

Abstract: The rapid technological growth of the past few decades has introduced dramatic changes in publishing technology, accompanied by an ever-increasing access to that technology. Pu­blishing has largely moved from the print shop to desktop. With more people having to deal with publication design (whether in MS Word or in professional design software), general knowledge of typography has become more significant in their work. In addition, typography has been facing new challenges as “page media” (books, magazines etc.) are becoming increasingly visual in order to serve the needs of a visually mediated society. These changes caused the emergence of new approaches dealing with typography as a visual medium. The object of this article is the impact of typography on the visual communication of a book. The theoretical part describes the history of typography and visual communication theories. The analysis showed that typographic elements can carry symbolic meanings and for this reason, typography has to be analyzed in the fields of semiotics and medium theory. Conducted qualitative research was des­ignated to determine the predominant viewpoint amongst Lithuanian book designers on the topic. The following conclusions have been drawn: typography has a strong pictorial potential, various typefaces (or fonts) carry different connotations and have diverse influences on the readability, as­similation, interpretation, and impact of the words and concepts they represent. Thus, if a document is a perceptual object, readers actively make judgments as they look at the page. Their perceptions of that page and its typeface(s) are determined in part by their prior experiences and by the asso­ciations connected with those experiences. It follows logically that readers could ascribe persona to both the typeface and the text itself based on these perceptions and associations. Additionally, it has been observed that Lithuanian book designers use such techniques in their works. Nevertheless, Lithuania has not developed a strong typographic culture yet due to the lack of typographic tradi­tions and theoretical works regarding this field. This article can be useful for publishing houses and their book designers, students and teach­ers of book graphics, book design and typography. Based on the theoretical and empirical material collected in this work, further researches can be made analyzing typographic culture in Lithuania.

Abstract: Italic type is originally a cursive typeface in western language. It is widely used as a form of typographical cuing, mainly for quotation and emphasis. However, there is no italic type in Chinese typography. When converting English text to Chinese, italicized texts are usually changed to other formats such as bold, underlined, oblique, or even the same as normal text. This obvious change of typographical cuing may lead to communication gap. In order to find potential italic styles for Chinese typography and give clues to future type design, two experiments were carried out. The first experiment focused on the impression comparison of classical western italic types and tradition Chinese types. As a result, the impression pattern of both western italic types and Chinese text types were found. In addition to that, we described and located Chinese types in 3 dimensions through semantic differential method and factor analysis. The second experiment focused on the legibility and reading effects of transformed types and typical types when inserted into normal texts. The result revealed how Chinese readers look at types and their preference in type combination.

Abstract: This paper studies the relationship between the selected typeface for a logo design and the brand positioning that the company wants to achieve among their audiences. Typography, by their morphology, can carry specific symbolic meanings. And in the process of designing a logo, these symbolic meanings must be considered consistent with the brand positioning. To demonstrate this relationship, this article analyzes the brand positioning of Audi and compares it to the associated symbolism with the font used in its logo.