Brief introduction to typography study in the antique book (original) (raw)
We are pleased to present this catalog of design titles from three leading book publishers: Laurence King Publishing, Princeton Architectural Press, and Chronicle Books. Compiled for architecture educators, practitioners, students, and enthusiasts, this listing offers a glimpse at the comprehensive line of books offered by these three publishers in the areas of graphic design, 3-D design, typography, illustration, and theory. As you look through this catalog, or on the website, we hope you'll find books that will inspire, challenge, and educate.
1st International Conference on Design & Innovation UniMAS Kuching Sarawak Malaysia, 2012
Typography is one of the magical things that people use on a daily basis. Any approach can be used to create a typeface including hand rendering, computer code or program generation. Based on ‘Text and Image’ by Mark Wigan (2008), letterforms can be manipulated in many different ways depending on the mood or context to be conveyed. Besides that, different classes of typefaces (fonts) have different innate levels of readability and legibility when using typography manipulation. This paper aims to identify the most suitable ways to apply manipulation in print advertising. The objectives are to analyze the important of typography manipulation, to investigate the awareness of public about typography manipulation effectiveness and identify the elements that brings about visual impact.
The typographic contribution to language
1987
This thesis presents a model that accounts for variations in typographic form in terms of four underlying sources of structure. The first three relate to the three parts of the writer-text-reader relationship: topic structure, representing the expressive intentions of the writer; artefact structure, resulting from the physical constraints of the medium; and access structure, anticipating the needs of the self-organized reader. Few texts exhibit such structures in pure form. Instead, they are evidenced in typographic genres – ordinary language categories such as ‘leaflet’, ‘magazine’, ‘manual’, and so on – which may be defined in terms of their normal (or historical) combination of topic, access and artefact structure. The model attempts to articulate the tacit knowledge of expert practitioners, and to relate it to current multi-disciplinary approaches to discourse. Aspects of typography are tested against a range of design features of language (eg, arbitrariness, segmentation and linearity). A dichotomy emerges between a linear model of written language in which a relatively discreet typography ‘scores’ or notates the reading process for compliant readers, and a diagrammatic typography in which some concept relations are mapped more or less directly on the page for access by self-directed readers. Typographically complex pages are seen as hybrid forms in which control over the syntagm (used here to mean the temporal sequence of linguistic events encountered by the reader) switches between the reader (in the case of more diagrammatic forms) and the writer (in the case of conventional prose). Typography is thus most easily accounted for in terms of reader-writer relations, with an added complication imposed by the physical nature of the text as artefact: line, column and page boundaries are mostly arbitrary in linear texts but often meaningful in diagrammatic ones.
Beginning of Typographic Installation and Contemporary Graphic Creativity
Papers in Arts and Humanities, 2021
Beatrice Warde’s crystal goblet has changed the perception of typography and typographic expression in the print and online media since it was published. “Bear with me in this longwinded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography” (Warde,1956, p. 1). Since 1932, when Warde introduced type and typography as a ‘crystal goblet’, typography has evolved significantly, and probably in the fastest way with the contributions of technological improvements and printing technologies. Typography has proliferated in the early decades of the 20th century as an essential and highly visible aspect of modern art and design. It has also became a production practice in post-modern art in the middle of the 20th century and early 21st century. As it is known, text is not new to art and avant-garde and so is typography. With postmodernism, the usage of text, type and typography in post-modern art practices, contemporary art...
Current theory and vocabulary used to describe typographic practice and scholarship are based on a historically print-derived framework. As yet, no new paradigm has emerged to address the divergent path that screen-based typography is taking from its traditional print medium. Screen-based typography is becoming as common and widely used as its print counterpart. It is now timely to re-evaluate current typographic references and practices under these environments, which introduces a new visual language and form. This paper will attempt to present an alternate typographic framework to address these growing changes by appropriating concepts and knowledge from different disciplines. This alternate typographic framework has been informed through a study conducted as part of a research Doctorate in the School of Design at Northumbria University, UK. This paper posits that the current typographic framework derived from the print medium is no longer sufficient to address the growing differences between the print and screen media. In its place, an alternate cross-disciplinary typographic framework should be adopted for the successful integration and application of typography in screen-based interactive media. The development of this framework will focus mainly on three key characteristics of screen-based interactive media – hypertext, interactivity and time-based motion – and will draw influences from disciplines such as film, computer gaming, interactive digital arts and hypertext fictions.