Abstract: Psychophysical research on text legibility has historically investigated factors such as size, colour and contrast, but there has been relatively little direct empirical evaluation of typographic design itself, particularly in the emerging context of glance reading. In the present study, participants performed a lexical decision task controlled by an adaptive staircase method. Two typefaces, a 'humanist' and 'square grotesque' style, were tested. Study I examined positive and negative polarities, while Study II examined two text sizes. Stimulus duration thresholds were sensitive to differences between typefaces, polarities and sizes. Typeface also interacted significantly with age, particularly for conditions with higher legibility thresholds. These results are consistent with previous research assessing the impact of the same typefaces on interface demand in a simulated driving environment. This simplified methodology of assessing legibility differences can be adapted to investigate a wide array of questions relevant to typographic and interface designs. Practitioner Summary: A method is described for rapidly investigating relative legibility of different typographical features. Results indicate that during glance-like reading induced by the psychophysical technique and under the lighting conditions considered, humanist-style type is significantly more legible than a square grotesque style, and that black-on-white text is significantly more legible than white-on-black.

Abstract: In television broadcasting, there are no general rules about the implementation of various short inscriptions that accompany video image and provide additional information for the viewer. Therefore, we wanted to study what combination of typeface, letter case and position should be used for an on-screen presentation when fast recognition of a text is required. The present study investigated the minimum time required for recognising three-letter words presented in bold style on the screen in different experimental conditions. The typeface Georgia showed better legibility than Verdana, Calibri, Trebuchet and Swiss 721. Upper case letters were recognised faster compared to sentence and lower case letters. The recognition times were shorter for upper on-screen positions compared to the lower ones. The resulting combinations of text properties that are processed faster thus seem more appropriate for the on-screen use especially for television broadcasts.

Abstract: The use of rhetorical figures has become a widely–accepted method for capturing attention and positively increasing cognitive effort in print advertisements. So far research studies mostly analyzed the effect of rhetorical figures in the written as well as pictorial elements of an ad. However, there have been few studies addressing the effect of rhetorical figuration in the specific area of typeface design. This study analyzes the effects of typeface figuration (i.e., regular vs. irregular stylization of the form) on attention and attitude of the viewers. The study also looks at how the effect of typeface figuration changes in relation to the type of a product (hedonistic vs. utilitarian) being advertised. Through the use of a 2 × 2 experimental design, the study measures data using a combination of eye tracking (an objective method) and attitude scaling (a subjective method). 65 volunteers participated in the study. The eye tracking results show that using rhetorical figures in typeface mainly affects attention of the viewers. We have also determined that they influence their attitude. Additionally, the study shows that a typeface and a type of products are correlated; it shows that the hedonistic type of products can benefit more from the figuration. In conclusion, our study builds on and expands the current understanding of the use of rhetorical figures by proving that there is a correlation between the use of rhetorical figures in typeface and viewers' attention, depending on the type of product being advertised.

Abstract: In-vehicle user interfaces increasingly rely on digital text to display information to the driver. Led by Apple's iOS, thin, lightweight typography has become increasingly popular in cutting-edge HMI designs. The legibility trade-offs of lightweight typography are sparsely studied, particularly in the glance-like reading scenarios necessitated by driving. Previous research has shown that even relatively subtle differences in the design of the on-screen typeface can influence to-device glance time in a measurable and meaningful way. Here we investigate the relative legibility of four different weights (line thicknesses) of type under two different rendering systems (suboptimal rendering and optimal rendering). Results indicate that under suboptimal rendering, the lightest weight typeface renders poorly and is associated with markedly degraded legibility. Under optimal rendering, lighter weight typefaces show enhanced legibility compared to heavier typefaces. The reasons for this pattern of results, and its implications for design considerations in modern HMIs, are discussed.

Abstract: Various projects to digitize the document and book inventories around the world are proceeding recently. At the same time, utilizing the IT/ICT technologies for the paleographic works is becoming an interesting issue among the historical and academic circles especially in the Republic of Korea where both Chinese characters and native Korean alphabets have been used in their ancient articles. There are some subtle differences in the typefaces and Great Seals used in each dynasty or year depending on the writers or the popular writing style of the time. The typeface recognition technique proposed in this article includes an alphabet analysis DTW algorithm and an alphabet position analysis method to determine the periods and possible authors of old documents. The results of analysis showed that the former was more reliable compared to the latter.

Abstract: This article deals with the contrasting views of designers, educationalists and scientific legibility researchers concerning children’s typefaces. Guidelines about typefaces and their legibility for beginner readers remain inconclusive due to these different perspectives. The article first discusses the opinions of each of these parties on children’s typefaces. Educationalists’ views are often based on prejudices and forces of habit. Designers tend to follow the views of their potential clients and scientific legibility researchers often lack typographical knowledge for creating valid test material. To conclude, a new perspective on a need for collaboration between the different parties within typographic design research is suggested. This approach might be able not only to acquire a deeper understanding and explanation of the question which typefaces are best for children, but also for the development and design of concrete new, functional typefaces and/or guidelines. DOI: 10.18146/2213-7653.2016.268

Abstract: This study examined three common Chinese typefaces to determine the optimal font and point size to increase the legibility of medicine labels for the elderly. Three tests were applied and the outcome shows different performance results for each one of the tests. Heiti performed better in the reading test, whereas Kaiti performed well in both the character recognition and the searching a phrase tests. Songti performed adequately in all of the tests. Kaiti’s resemblance to Chinese calligraphy significantly improved its performance. The findings indicate that increasing point size alone does not significantly improve legibility among the elderly.

Abstract: IntroductionUntil about the early 1960s, most published mathematics was typeset professionally by skilled compositors working on Monotype machines. As this form of"hot-metal" composition became less readily available, on account of both cost and the fact that skilled compositors were retiring and not being replaced, "enhanced" typewriters began to be used to prepare less prestigious publications. Phototypesetting ("cold type") began to appear gradually, although it was more expensive than typewriter-based composition, and generally not as attractive in appearance as professionally prepared Monotype copy.By the mid-1970s, Monotype composition was essentially dead. Donald Knuth, a professor of computer science at Stanford University, was writing a projected seven-volume survey entitled The Art of Computer Programming (TAOCP). Volume 3 was published in 1973, composed with Monotype. By then, computer science had advanced to the point where a revised edition of volume 2 was in order but Monotype composition was no longer possible. The galleys returned to Knuth by his publisher were photocomposed. Knuth was distressed: the results looked so awful that it discouraged him from wanting to write any more. But an opportunity presented itself in the form of the emerging digital output devices-images of letters could be constructed of zeros and ones.1 This was something that he, as a computer scientist, understood. Thus began the development of TeXThe problemMathematics as a discipline depends on its own arcane language for communication. Prior to the ubiquitous availability of personal computers, the options for communicating mathematical knowledge were limited to faceto-face contact, preferably with a writing surface handy, although conventions developed to enable intelligible telephone discussion, personal letters (at least bits of which required handwritten notation), or formal publication. The last mode required a highly skilled compositor, working either with traditional hand-set type or with a hot-metal typecaster, or a combination of the two.The gold standard for typeset mathematics in the midtwentieth century was the Monotype typecaster [PhR, PhH]. The audience was relatively small, and the work exacting. Since mathematical notation is essentially multi-level (see Figure 1), the Linotype, the linear-type workhorse for newspapers and most book publishing, was not up to the task. Only a few suppliers would take on such work, and mathematical composition was always considered "penalty copy''.2For the first half of the twentieth century, a mathematical work for publication began as a manuscript, either handwritten or partially typewritten (the text) with mathematical symbols inserted with pen and ink. A typescript was typically prepared by a secretary: senior faculty had their own personal assistant, junior members relied on departmental staff. Often the secretary primarily responsible for manuscript preparation had a typewriter with special capabilities, greatly reducing the need for manual insertions.Various mechanical advancements improved the visual quality of manuscripts, and documents intended for limited audiences or quick distribution, such as lecture notes or proceedings of meetings, were often published from such copy. The Varityper and IBM Selectric Composer, two enhanced typewriters with interchangeable type heads (and type styles emulating traditional printing typefaces), in the hands of a skilled typist, were capable of producing quite readable output, with character sets for typical mathematical notation and variant type sizes needed for accurate representation of sub- and superscripts. What they generally lacked was an easy mechanism for justifying lines, an easily recognizable characteristic of typeset copy; justification was possible, but it always required a second pass, which was usually not fully automatic. Nonetheless, as prices increased for hot-metal composition, even some traditional journals began to use this method of preparing copy for the printer. …

Abstract: The invention provides an idea of copying on a tablet computer or a mobile phone of supporting touch employing an APP. The APP displays an original typeface on a screen; a user writes out a typeface in a copying manner; and the APP compares the typeface of the user with the original typeface, gives a score and feeds back information to the user in the first time, so that the calligraphy practicing interest and motivation can be greatly improved; and the practice effect can also be greatly enhanced.

Abstract: This study explores the effect of color of book cover and typeface of title and author name on human gaze behavior while browsing bookshelves. An eye-tracking experiment was performed with 23 participants, using a wearable eye-tracker and 96 books. The difference of gaze duration time and the number of book subjects chosen was analyzed in two categories: between warm color book covers and cold color ones, and between Ming-style typeface and Gothic typeface. Results showed no effect of book cover color on gaze duration and user choice. However, typeface of book title and author name had an effect. It was revealed that Gothic typeface was more attractive if book titles had meaning.

Abstract: An operator's capacity to correctly judge the distance of a word or text that appears combined with the physical environment is of utmost importance in Virtual Environments applications. In those cases, textual information tends to function as a visual anchor and when linked up with other 3D digital content, could potentially help to visually organize the space where the action takes place. With the increasing popularity of Head worn displays, home and work environments will soon benefit from more readable fonts that allow users to correctly estimate distances. The purpose of this article is to identify which visual properties a typeface should have in order the user to better estimate the distance related to the text when using a binocular HMD device. The laboratorial test present in this study shows that a flat and bi-dimensional font style performs better than a tri-dimensional and embossed font style.

Abstract: In recent years, designers claim to have created typefaces that help people with dyslexia, but what evidence supports these claims? We look at studies involving these fonts to see evidence for or against them. The studies try to be scientific, but lack internal validity; i.e., the studies don’t eliminate the possibility that something else could explain the result. We provide a short summary of the studies and why they do not provide internal validity.

Abstract: In desktop publishing, fonts are essential components in each document design. With the development of font design software and tools, there are thousands of digital fonts. Increasing the number of available fonts makes selecting an appropriate font, which best serves the objective of a design, not an intuitive issue. Designers can search for a font like any other file types by using general information such as name and file format. But for document design purposes, the design features or visual characteristics of fonts are more meaningful for designers than font file information. Therefore, representing fonts’ design features by searchable and comparable data would facilitate searching and selecting a desirable font. One solution is to represent a font’s design features by a code composed of several digits. This solution has been implemented as a computerized system called PANOSE-1 for Latin script fonts. PANOSE-1 is a system for classifying and matching typefaces based on design features. It is composed of 10 digits, where each digit represents a specific design feature. It is used within several font management tools as an option for ordering and searching fonts based on their design features. It is also used in font replacement processes when an application or an operating system detects a missing font in an immigrant document or website. Currently, PANOSE-1 is only defined for fonts that have Latin characters. Therefore there is a need for providing a model that describes and classifies fonts with Arabic characters. In this research, a new model PANOSE-A is defined to extend PANOSE-1 coverage to support Arabic characters. The model defines eight digits in addition to the first digit of PANOSE-1which indicates the font script and family type. Each digit describes a visual or a design feature and takes value between 0-15. The meaning of 0 and 1 values is similar to what is defined for PANOSE-1. Each of the remaining values indicates a specific variation of its represented feature. Weight and contrast are two essential features in any font design. Two digits of the models describe the common variations of the weight and contrast features for text fonts. Another four digits describe the shape of some strokes that usually vary in their design between fonts. One digit describes the end shape of terminal strokes using three letters with different terminal strokes. Another digit describes the shape of the bowl stroke while the third digit describes the shape of curved stroke. The thresholds that used to define each shape class are taken from Naskh calligraphy guidelines. The fourth digit describes the shape of rounded strokes with enclosed counter. The shape classes of this digit are based on how the counter shape is similar to one of five geometric shapes. These basic geometric shapes are triangle, square, rectangular, oval and circle. The last two digits describe the characteristics of two important vertical references of the Arabic font design which are tooth and loop heights. The reliability of the model was evaluated by conducting two clustering processes on 30 fonts of Naskh style. The proposed PANOSE-A model was used to construct a similarity matrix for one the clustering processes while the other clustering process used a similarity matrix that was produced by using a font matching tool. The result clusters of the two clustering processes have been evaluated by silhouette coefficient. Silhouette is a method to measure data consistency validation within clusters. It indicates how objects are similar in their own cluster compared to other clusters. Clustering result based on the similarity matrix produced by font matching tool got 97.04 while using clustering result based on the similarity measured by PANOSE-A model got 98.24.The similarity between the results of the two clustering processes has been estimated, indicating that the model succeeded in classifying 85% of the fonts as a font matching tool.

Abstract: “Computers have rendered us all gods of type, a privilege we could never have anticipated in the age of the typewriter.” Simon Garfield states this in his book Just My Type: A Book About Fonts. The fact that one can scroll through the pull-down typeface menu on any word processor and choose any style, made us much more familiar with typefaces and this led to us having favourite ones and ridiculing others. Helvetica for instance, is generally perceived as a typeface loved by hipsters and lazy designers. It even has its own documentary. Comic sans, another well known typeface, is an often ridiculed because of its informal character. It is said that it should never be used unless you write for children under age 10 and some people want banned all together. Typefaces, in other words, evoke some strong feelings. Garfields book is aimed at a general audience and not specifically at an academic audience and was well received, showing that there is an interest in typography among the general public. There has been some scientific research on how different typefaces shape our experience of reading too and it has become a commonplace in the design and communications field that different typefaces have different connotations and therefore have some kind of power. In this essay the proclaimed power of typefaces is explored by using the example of a recently developed typeface, Dyslexie. This is a typeface that should help people with a reading disorder read faster and with less errors. First, the main features of a typeface will be given. After that, a closer look will be taken at the Dyslexie typeface. Its main features will be discussed and research about the Dyslexie typeface will be examined to, in the end, make clear what the power of Dyslexie is.

Abstract: Recently, led by Google, operations to digitize the books stocked at the libraries around the world. Accordingly, both the digitization of documents and the assessment of ancient books, documents and seals using ICT equipments have become interesting issues among the historical circles in the Republic of Korea where historical ages are often distinguished and classified based on the kings governing respective ages. The different kinds of Great Seals and typefaces were used in each year and era by the kings or high ranking officials for the diplomatic documents, letters and orders. Thus, in this paper, a typeface searching technique which includes an alphabet analysis DTW algorithm and a alphabet position analysis method, both of which identify the periods by analyzing the typefaces used in respective eras, are proposed. A reliable result has been obtained for the former with this technique.

Abstract: Are characters in writing systems (e.g. Latin or Chinese) perceived in the same way as objects or do we process characters in a different way? Previous research [Gauthier et al., 2006] has suggested that readers familiar with a writing system are able to take advantage of the stylistic regularities in typefaces, whereas those without this expertise cannot. The experiments described in this chapter explore whether a different form of expertise, acquired through design training, also affects our perception of unfamiliar characters, meaningless shapes if we cannot read the script. A comparison was made of Chinese bilinguals and English monolinguals and those with and without design expertise. All participants were asked to discriminate between strings of characters in both Latin and Chinese and in different typefaces. The results reveal that non-designers are more susceptible to interference from incongruent font information than designers, particularly in an unfamiliar, or less familiar, writing system. However, design expertise appears to facilitate the abstraction of the character shapes from the stylistic variations. These results were found in UK students and not the more fluent bilingual students in Hong Kong suggesting the need for further exploration of the effects of different types and levels of expertise on character recognition.

Abstract: This article responds to problems arising from defining the notion of “expert” with respect to the subject of text typeface design. What and who is a type design expert? The author has identified that in both contemporary and historical contexts, paucity exists in relation to recorded knowledge regarding the processes of designing text typefaces. Accounts of knowledge of the practice of text typeface design differ in their perspectives relating to what may be deemed expertness. In attempting to explain or rationalize differences in perspectives of such accounts of practice, the problem of describing expertness arose. In terms of degrees of expertise relative to accounts of subject knowledge in text typeface design, the author developed the concept of “vicinage” in order to explore how we render expertness within research enquiry. This concept has the potential to focus future research in the area of defining expertise in typeface design and more generally beyond this field.

Abstract: The utility model discloses a template of practising handwriting belongs to the educational aid field for it sets up the unreasonable problem that is unfavorable for the exercise of typeface basic training to solve current template of practising handwriting chinese character. Which comprises a bottom plate, be equipped with a plurality of check of practising handwriting on the bottom plate, be equipped with an indent chinese character in every check of practising handwriting respectively, the indent chinese character matches 21 following regular script typefaces at least: " art ", " monopolizing ", " the heart ", " exchanging ", " word ", " being good for ", " raising ", " a team of four horses ", " hiding ", " flying ", " tiger ", " sight ", " milk ", " mystery ", " chen ", " pot ", " skill ", " the people ", " pleasure ", " concave ", " protruding ". This template of practising handwriting with 21 regular script typefaces respectively the indent setting on satisfying the basis of typeface basic training exercise, can improve the efficiency of practising handwriting of typeface in the check of practising handwriting.

Abstract: Words constitute a crucial aspect of visual presentation in marketing communication and convey meanings not only through their semantic properties but also through the manner in which they are presented (e.g., typeface and layout). Numerous studies have examined typeface, but few studies have examined Chinese typefaces, particularly the differences between traditional Chinese and simplified Chinese typefaces. In addition, most previous studies have focused on the semantic meaning or affective responses of typefaces; rarely has academic attention been directed toward exploring the persuasive effects of typefaces. The purpose of this research is to propose a conceptual framework showing the influence of typeface shape (circular vs. angular) on the persuasive effects of various types of information (group oriented vs. individual oriented) and to compare the influences of English, traditional Chinese, and simplified Chinese typefaces. We assert that circular (angular) typefaces are more likely to elicit a need to belong (a need to be unique), which in turn positively affects the persuasiveness of group-oriented (individual-oriented) information. In addition, consumers’ self-construal (independent/interdependent) and language (traditional Chinese, simplified Chinese, and English) play moderating roles in these relationships. We propose that consumers who engage in interdependent self-construal perceive that group-oriented information presented in circular typefaces is more persuasive than do consumers who engage in independent self-construal, whereas consumers who engage in independent self-construal perceive individual-oriented information presented in angular typefaces as more persuasive than consumers who engage in interdependent self-construal do. Furthermore, congruency between typeface shape and information orientation increases processing fluency, thus increasing persuasiveness. We expect that the effects of congruency between typeface shape and information orientation on persuasiveness will be the strongest in traditional Chinese, followed by simplified Chinese, and be the weakest in English.

Abstract: The typeface a company uses for its products can positively influence consumers’ attitude towards the products due to the fact that typeface conveys connotative meaning. An important factor for thi ...

Abstract: Through the metaphor that derives from the origins of the word "text" as "fabric", we are defining the alphabet as a lattice or confluence of knowledge of many kinds. Therefore, text could be considered and defined according to its different dimensions. From the point of view of the designer, this article aims to analyse certain dimensions of typefaces that are external to the project, and which the designer must be profoundly aware of, before going deep into the matter of the project.

Abstract: This article aims to accumulate and explore the aesthetic concepts, the typographic designer’s creative ideas, and the evolution of the typeface, which reflected the personality of Thai women during 1888 – 1988. The researcher studied and analyzed both the historical data and the creativity of the design by using typographic design theory, principles of visual elements, history of art and design, history of fashion, and the personality theory. The study focused on the three issues which are (1) the influence of art and design, (2) typographic design process and aesthetics, and (3) the personality of Thai women. The researcher linked these three issues and found the relationship between the typeface on the magazine covers and the personality of Thai women. The research instruments included the typeface prototype and the questionnaire for the specialists. The study resulted in the taxonomy of the typeface and their characters, which is applicable to the typographic design to reflect the personality of Thai women. Finally, the result was evaluated through the typographic design experimental workshop and another questionnaire. This research will be beneficial in directing the typographic design to represent the characters of Thai women during 1888 – 1988, and the emphasis of the Thai typeface usage within the communication design industry. วตถประสงคของบทความนเพอรวบรวมแนวคดทางสนทรยศาสตร, สบสานแนวคดในการสรางสรรคงานออกแบบแบบอกษรประดษฐเเละววฒนาการของการออกแบบแบบอกษรประดษฐทสะทอนบคลกผหญงไทยระหวาง พ.ศ. 2431- พ.ศ. 2531 ขอมลทงหมดในงานวจยเปนการศกษาและวเคราะหทงดานประวตศาตรและความคดสรางสรรคของการออกแบบ โดยใชทฤษฎทางการออกแบบแบบอกษร, หลกการทางทศนธาต, ประวตศาสตรศลปะการออกแบบ, ประวตศาสตรแฟชน, และทฤษฎบคลกภาพ ซงเนนไปทการศกษาเเละวเคราะหในสามประเดน ประเดนทหนงดานอทธพลของศลปะและการออกแบบ ประเดนทสองกระบวนการออกแบบแบบอกษรเเละแนวคดทางสนทรยศาสตรของแบบอกษรประดษฐ และประเดนทสามบคลกของผหญงไทย นำสามประเดนนมาเชอมโยงและสรางความสมพนธของแบบอกษรประดษฐบนปกนตยสารผหญงกบบคลกของผหญงไทย เครองมอในการวจยประกอบดวย ตนแบบของการออกแบบแบบอกษรประดษฐและแบบสอบถามสำหรบการสมภาษณผเชยวชาญ ผลของการวจยคอหมวดหมรปแบบของประเภทแบบอกษรประดษฐและบคลกแบบอกษรประดษฐ เพอใชเปนแนวทางการออกแบบแบบอกษรประดษฐทสะทอนบคลกของผหญงไทย สดทายประเมนผลวจยดวยการทดลองออกแบบแบบอกษรประดษฐและแบบสอบถามอกครง ประโยชนของงานวจยนจะชวยในการกำหนดแนวทางการออกแบบแบบอกษรประดษฐทตองการสอถงลกษณะผหญงในชวงป พ.ศ. 2431-2531 เปนสอกลางในการถายทอดองคความร สงเสรมวงการการศกษา วชาชพการสรางงานออกแบบนเทศศลปโดยเนนใชตวอกษรไทยในการออกแบบ ใหกบผสนใจเเละเปนประโยชนตอสาธารณะชนตอไป