Abstract: Information overload is the challenge of the modern era and text the medium. Every adult reader would benefit from faster reading, provided they could retain comprehension. The present work explores the reading speed gains possible solely by manipulating typeface. We consider that optimal typeface might be a matter of an individual's preferred font, or that some fonts might be better for all users. Indeed, eight in ten of our participants believed their favorite font would be their best. Instead, our findings showed that the preferred font was seldom best, and one font did not fit all. Adult readers in our study read better with varying fonts. An average 117 word per minute difference between worst and best typeface, or around 10 additional pages an hour, means font choice is of real-world significance. Our discussion focuses on the challenges of rapidly identifying an individual's optimal font, and the exciting individuation technologies such an advance allows.

Abstract: Although extensive political communication research considers the content of candidate messages, scholars have largely ignored how those words are rendered – specifically, the typefaces in which th...

Abstract: CD and digital album covers are part of the music purchase/consumption experience, yet very little is known about how album cover design influences people’s expectations concerning, and their perception of, music. This paper explores the effect of the typeface curvilinearity of album cover design on people’s expectations and perception of music. Typeface curvilinearity has been shown to influence expectations across other sensory modalities, such as taste (gustation). Across three studies, we demonstrate how angular versus rounded typeface can impact expectations concerning how the music will sound. We also demonstrate how angular and rounded typefaces influence emotion ratings of actual music samples. In Experiment 1, typeface curvilinearity influenced people’s expectations of music, with participants expecting the music to sound more angular, masculine, fast, rough, happy, evil, violent, exciting, and active when the typeface on the faux CD album cover was angular compared to when it was round. Conversely, participants expected the music to sound more round, feminine, slow, smooth, sad, good, gentle, calm, and passive when the typeface was round than when it was angular. Experiment 2 demonstrated that typeface curvilinearity influenced people’s ratings of emotional valence but not arousal in neutral music (i.e., music that is considered neither round nor angular). Specifically, participants evaluated the music as sounding more pleasant when the CD cover featured round typeface. Finally, in Experiment 3, we did not find evidence that CD album cover typeface influences people’s perception of arousal or valance of music when the music itself is rated as sounding highly round or angular. These results will be of interest to designers and marketing experts when creating CD covers, logos, posters, and lyric videos.

Abstract: In this contribution, we draw attention to prevailing issues that many speakers of Indigenous North American languages face when typing their languages, and identify examples of typefaces that have been developed and harnessed by historically marginalized language communities. We offer an overview of the field of typeface design as it serves endangered and Indigenous languages in North America, and we identify a clear role for typeface designers in creating typefaces tailored to the needs of Indigenous languages and the communities who use them. While cross-platform consistency and reliability are basic requirements that readers and writers of dominant world languages rightly take for granted, they are still only sporadically implemented for Indigenous languages whose speakers and writing systems have been subjected to sustained oppression and marginalization. We see considerable innovation and promise in this field, and are encouraged by collaborations between type designers and members of Indigenous communities. Our goal is to identify enduring challenges and draw attention to positive innovations, applications and grounds for hope in the development of typefaces by and with speakers and writers of Indigenous languages in North America.

Abstract: The first thing that stands out about Julie Fleck’s book ‘Are you an inclusive designer?’ is that it is itself inclusive; with a large typeface (13 point) and printed on uncoated paper to improve l...

Abstract: We propose a framework that enables to search fonts by using keywords even in the case of minor language fonts without keywords. For example, English letters have a number of font types, and their font data are very well coordinated by being associated with several keywords. Therefore, we can efficiently use the keywords as queries. In contrast, fonts of minor languages are not usually associated with keywords. As a result, users experience difficulty in searching fonts for the best ones. In this paper, we present a methodology comprising two steps to search fonts without keywords: 1) multimodal search of English fonts with keywords; and 2) a search for Japanese fonts across the language. An effective search function was realized at each step. Moreover, in the user test, we verified the effectiveness of font search across various languages.

Abstract: Typography is not a tool that is limited to delivering messages; it is a foundation for compositional communication. Letterforms are valuable graphic elements in representing language and organising type in order to serve multiple roles in a composition. Designers organise the fundamentals of typesetting in order to use typography to explore new opportunities for interaction and storytelling. They consider the formal qualities of every typeface they select, as these typefaces create connections between the graphic form and the messages they aim to reinforce. This study reviewed the theoretical understanding of the interactions between the experience of designing and experiencing emotion. Selected masterpieces of typographic design are investigated and categorised by several features. These masterpieces and their various approaches require further analysis, in order for designers to apply them in their typographic work.

Abstract: Chinese typeface is widely used in design works that have numbers of users. The majority of Chinese words today consist of two or more characters. Basically, the simplified forms of Chinese characters are used in mainland China, Singapore, and Malaysia. The corresponding traditional characters are used in Taiwan, Hong Kong, and Macau. This study quantifies the relationships between emotions and Chinese typefaces by the process of kansei engineering. 20 simplified types and 20 traditional types were extracted and the kansei evaluation experiment was conducted for the people in mainland China and Taiwan where are the main regions using Chinese. The results of cluster analysis, factor analysis, and dual scaling analysis are used for comparison of affective differences between mainland China and Taiwan. Particularly, it is found that for the widely used types Heiti, Songti, and Kaiti, the people in mainland China and Taiwan have opposite feelings of classic and contemporary.

Abstract: When people study something, it is common to memorize textbooks, reference books, and notes that are handwritten or typed. Those memorization tasks are known to be effectively done with typefaces that are hard to read. Then, it is assumed that handwriting would help you memorize things better than typed letters as it is often difficult to read and the form of letters is not uniform. In this research, we conducted experiments on handwritten characters and typefaces that have different features from each other to verify whether they work differently for memorization. The result found that handwritten characters are more likely to be retained in memory than typefaces. Specifically, familiar handwritten characters are more likely to be retained in memory.

Abstract: Typography is the study of the types and characters of letters. In addition, typography is also the art of choosing and using letters that are suitable for design needs both through print and digital media. So far, we have used more letters as elements in delivering messages. However, in this study we no longer use existing letters as objects of study, but instead focus on the aspect of letters as the visual identity of a city or region. During this time in designing the visual identity of the city (City Branding), we rarely see the use of distinctive letters in accordance with regional identity. This research using method of Domain Analysis by discussing the elements contained in the logo and typographic design criteria in particular. The implication of this study is to discuss the logotype of the appearance of destination brands in DKI Jakarta and Bandung City. The logotype of the DKI Jakarta and Bandung City logos uses the same typeface, so it does not have a different uniqueness in the appearance of the logo. Building a brand image should use a unique typeface and have differentiation according to values and philosophies. Keywords: Letters, Visual Identity, City Branding

Abstract: Typefaces are the primary means of reading. Without a quality display of the typeface on the display screen, reading becomes difficult. The paper aims to identify the display issues with the Indian typefaces on display screens. Further, the paper encounters the challenges and difficulties in the type design process with Indian scripts. India is a multilingual country with various scripts. Indian letterform structures are complex and sinuous. In this paper, the technical challenges related to the design process of Indian typefaces such as hinting, glyph positioning and substitution have been discussed. Hinting is a challenging task for Indian scripts since the letter structures are complex. Developing glyphs substitution instructions is a tedious task due to the large number of characters set. In the context of letter design, Indian letters lack a letterform grammar and visual language of type forms. Anatomical nomenclature and grid system are the primary deficiency in the design process that hinders the quality font production. Apart from that, identification of the legibility parameters is required for the Indian scripts to make the letters reading friendly and visually enhancing. Research on Indian typeface legibility has not been studied extensively. Therefore, a review on the current issues and challenges of Indian typeface becomes essential. The present paper is an attempt to discuss the design challenges and display issues with the Indian typefaces.

Abstract: Font design, which is the main unit of typography, is one of the most valuable fields of graphic design. Many designers who are familiar with typography benefit from ready-made fonts. In the documentary film Helvetica directed by Gary Hustwit (2007), famous Italian designer Massimo Vignelli argues that type characters should not mean anything, unlike designers who think type design should have the power of expression. This study does not aim to create a readable and useful typeface as suggested by Vignelli, but rather a font design that is produced from the sketches of a child and aims to give the childish feeling completely without any consideration of readability. Graphic designers are of course interested in typography and letters every second, but not everyone is a font designer. One of the important steps of being a good typography user is thought to be the production of at least one font family design. The purpose of this study is to provide an experimental point of view of font-family design while discussing the necessity of creating a system and the importance of each detail in font design.

Abstract: This study has been carried out to compare reading speed and visual comfort of different font types in young Ametropes. Nowadays every work uses computer in one way or the other. There is no other study done before for Ametropia with fonts. Thus, it becomes a crucial to find out the best font type for Ametropes to read text on a computer screen. Several studies have found no significant differences in reading efficiency between the font types at any size. But there were, however, significant differences in reading time. In this prospective study, 6 font types (Times New Roman; Arial; Verdana; Georgia; Courier new; Comic sans MS;) were chosen. The sample size for this study is 60, with 43.3% being male and 56.7% being female. They were asked to read the given passages in 6 different font types. They were also asked to grade the font types according to their visual comfort. The data collected were then analyzed by comparing the reading speed of different font types between different types of Ametropia.

Abstract: It is known that various peoples throughout the Islamic world adopted the Arabic alphabet to write their original writing with an adapted version of Arabic script. Thus, various languages are currently written using Arabic script, such as Persian (Iran), Pashto, Dari (Afghanistan), Urdu (India, Pakistan), Javanese (Indonesia), Malay (Malaysia), Kurdish (Iraq), and Uyghur (China). This variety of languages used different Arabic script styles such as naskh, ruq’a, nasta‘liq (farsi), diwani, and square kufic. When typography was first introduced in the Arab world in the 17th Century, there were no typefaces (printing letters) that respected the grammar of Arabic script. However, the Bulaq Press played an essential role in promoting the spirit of scholarship and knowledge dissemination in Egypt and the Near East during the nineteenth and twentieth centuries. The shift of book production in Egypt after 1850 was marked by the graphic technology evolution, the use of different languages in its printed productions: Arabic, Turkish and Persian. In addition, Bulaq Press managed to be a pioneer in the Islamic World by printing the Quran during King Fouad’s reign (1923). The latter is considered a master work from which the Bulaq Press typeface was revived and ready to be used in new publication. Thus, the BA Writing and Scripts Center (WSC) managed to digitize the naskh typeface of the Bulaq Press Quran and printed it on a CD. Our intent is to suggest a multidisciplinary project that investigates the evolution of Bulaq Press typefaces, then to explain the method used by the Bulaq Press Quran typeface to digitize, and finally to initiate a multidisciplinary collaboration to fulfill this ambitious project.

Abstract: This article describes the typeface design method based on Dayak Iban tattoo. It uses iconographic theory from Erwin Panofsky and the evaluate it through a Likert survey on a scale of 1-5 using four aspects of assessment(similarity, uniqueness, readability, and legibility). Based on the iconographic analysis, this study categorizes Dayak tattoo motifs into three worlds, which are; The Upper World (Hornbill), Middle World (Tree of Life, Eggplant Flowers), and the Underworld (Dragon and Scorpion) will put on each letter anatomies. The evaluation stage found that the typeface has a 3.8 average level of uniqueness, readability, and legibility, although the level of similarity in this typeface with Dayak tattoo motifs needs to be increased again because of the score is just 3 of a maximum of 5.

Abstract: In typography form , the counterform is the area of a letter that is entirely or partially enclosed by a letter form or a symbol (the counter-space/the hole of). Letters containing closed counters include A, B, D, O, P, Q, R, a, b, d, e, g, o, p, and q. Lettersم, ه, ص,ض,ط,ظ,ف,ق, containing open counters include c, f, h, i, s etc.ب,ت,ث ,ج,ح,خ,د,ذ,ر,ز,س,ش,ع.غ.ک,ل, ن, ى The digits 0, 4, 6, 8, and 9 also possess a counter. the aperture is the opening between an open counter and the outside of the letter. Typography form and counter form means negative and positive space in typography studies. Different typeface styles have different tendencies to use open or more closed apertures. although the letter typically functions as part of a word, individual letters are frequently combined into new forms and many configurations which can use especially in posters or printed ads Because of the conditions of the ease of the readability and the look. The Research is Aim to highlight the value of using typography form and counterform in printed ads, sometimes the designer may be unable to use typography form and counterform with its former knowledge of its basics in design. The Research is A theoretical framework, followed by a practical design experiment for a set of posters and newsletters to study the relation between figure & the ground through the form & counterform in Typography as an application of Binary Opposition theory in design which aims to create a visual contrast between the spaces in the presence of interrelated relations between the forms that combine harmony and contrast in color, size and shapes. The study problem can be demonstrated in the following two questions: To what extent the designer can use the typography form and counterform in printed ads? What is the visual relation between figure & the ground through the form & counterform in Typography as an application of Binary Opposition theory in design? It reached to the result that the using of typography form and counterform is one of the most prolific tools in designing printed ads. it assured that using of form & counterform of typography in design can create different visual rhetoric which can help to attract the attention of the audience.

Abstract: An art font is an artistic font that has an impressive and attractive shape with decoration and it is widely used in advertisements and posters, among others. The main contribution of this paper is to propose an art font generation method using machine learning approach using conditional generative adversarial networks. The first idea of the proposed method is using the separated two networks, the typeface network and the ornament network. The typeface network changes shape of an input font and the ornament network adds effects to the font. The second idea is providing the skeletons and edges of the character as auxiliary input to the typeface network to avoid disrupting the shape of the font. The experimental results show that our method is better than direct transfer of font and texture to generate better-looking art fonts, and it can generate a large number of art fonts from a very small number of observed characters of the same style at one time, which has higher practicability.

Abstract: I searched several times in vain to solve this problem. After finding a solution, I thought i’d put it up here. <strong>The problem</strong> Formatting of units using siunitx in LaTeX does not match the typeface of the body text. We like to use the helvet package to get a close approximation to Helvetica in LaTeX.

Abstract: Modern digital interfaces display typeface in ways new to the 500 year old art of typography, driving a shift in reading from primarily long-form to increasingly short-form. In safety-critical sett...

Abstract: The phrase 'embedded marginalia' refers to images on the pages of medieval manuscripts that are beyond the text block in both a physical and conceptual sense but integrated nevertheless in the form and meaning of the page as a whole. This study is focused on the many examples of embedded marginalia in the Psalter and Hours of Humphrey de Bohun (British Library, Egerton MS. 3277), a sumptuous manuscript produced in England between c. 1360 and c. 1380 by artists and scribes in the service of Humphrey de Bohun, earl of Hereford, Essex and Northampton, and his descendants. The analysis of the physical and conceptual relationships between all the pictorial and verbal elements on the page is intended to reshape the conventional view of marginalia as belonging entirely to the sphere of the 'other'.

Abstract: Text typeface design can often be a lengthy and solitary endeavour on the part of the designer. An endeavour for which, there is little in terms of guidance to draw upon regarding the design processes involved. This is not only a contemporary problem but also an historical one. Examination of extant accounts that reference text typeface design aided the orientation of this research (Literature Review 2.0). This identified the lack of documented knowledge specific to the design processes involved. Identifying expert and non-expert/emic and etic (Pike 1967) perspectives within the existing literature helped account for such paucity. In relation to this, the main research question developed is: Can knowledge of text typeface design process be revealed, and if so can this be explicated theoretically? A qualitative, Grounded Theory Methodology (Glaser & Strauss 1967) was adopted (Methodology 3.0), appropriate where often a ‘topic of interest has been relatively ignored in the literature’ (Goulding 2002, p.55). This research is specifically concerned with knowledge of design process relating to world-leading experts in the field. Data was derived via recorded in-depth interviews, these were transcribed, analysed and coded in accordance with Grounded Theory’s constant comparative method (Glaser & Strauss 1967, p.105). From the analysis, raised concepts and themes resolved in the generation of three unique Grounded Theory core categories, these have been named: Trajectorizing, Homologizing and Attenuating (chapters 4.0, 4.1, 4.2 and 4.3). The core categories describe how experts negotiate the initiation of design, relational qualities with respect to design and continual accretive refinement of design. The core categories combine to resolve together (chapters 5.0 and 6.0) as workable, conceptual theory that describes and explains text typeface design process generally. The developed theory this research contributes, is anticipated suitable to be applied as analytical and/or prescriptive tools for future study, research and pedagogy in the specific subject area. Beyond this, disciplines such as graphic design, typography, information design etc. may also benefit from this research.

Abstract: Machine learning starts with machine teaching: in the following paper, we present the data that we have gathered and created to train reliable OCR models for 17th c. French prints, and preliminary results based on these training data and experiments to improve them.