Legibility: same for all scripts! (original) (raw)
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Digital Typeface Design and Font Development for Twenty-First Century Bangla Language Processing
Technical Challenges and Design Issues in Bangla Language Processing
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.
Bengali Typesetting for Graphics Design: Difficulties and Way Out
typography. There are some rules on typography to apply on innovative design. Most of the designer doesn't follow these rules for their typesetting. That why the aesthetic values of graphics design is going down day-byday in Bangladesh. It is also more time consumed with complexity. We talked with 50 designers in different design firms and asked some basic questions on typography as questionnaires in different geographical area in Dhaka city. The purpose of this paper is to find the difficulties and solutions to overcome these lacks on typesetting for graphic designer.
Legibility Investigation: Towards controlling typeface variables
One frequent problem in legibility investigations is that the tested typefaces vary on too many variables. In an investigation which compares typefaces that – at the same time – vary on letter width, weight, contrast and skeleton, it will be difficult to determine precisely why the findings come out as they do, and the external validity suffers. By applying a method of integrating design practice with academic research, I have designed a new typeface family that addresses this problem of multiple typographical variables. At its current stage, the typeface family Neutral Test has seven members. One is the master typeface; three of the remaining typefaces have one stylistic feature that differs from the master (skeleton, weight, and width); and three have two stylistic features that differ from the master (weight/skeleton, weight/contrast and weight/width). In an experimental investigation where the test material is based on the different members of Neutral Test, the researcher will thus be able to identify the specific stylistic feature that causes a given difference in performance.
The purpose of the study was to analyse findings in the field of the pattern recognition, visual word recognition and legibility ofgraphemes. The paper focuses on the most significant findings for comprehending the function of the graphemic characteristic during word and letter recognition. The aim of the study, as it is presented in the discussion part, was to analyse the factors which have induced inconsistencies between the findings acquired by confusion matrix, as well as to compare findings which continually lead type scholars to progression.
Anatomy of Bengali Letterforms: A Semiotic Study
ICoRD’15 – Research into Design Across Boundaries Volume 1
The anatomy of letterforms defines the structural formation of letters. The study is based on semiotic approach. The methods used here are Syntagmatic and Paradigmatic analysis. The anatomy is developed through analysis based on the work on Latin letterforms from three different aspect which are structural grid lines, anatomical features and parameters. This syntagmatic analysis is yielded in identification of various structural features of letterforms like terminal, bowl, blob, stem, dot or nukta, ascender and descender. The analysis has been carried out using two techniques, repeated forms and unique forms of letters. The paradigmatic analysis discusses the comparative study of structure and feature of letterforms across different typefaces such as Lohit Bengali, Vrinda, Solaimanlipi and etc. The analysis offers distinct anatomical nomenclatures after analyzing paradigmatic transformations. Further the study categorizes the letterforms according to the appearance of common features.
Comparison of various writing characteristics of Hindiand Marathi languages of Devanagari origin
The examination of handwriting analysis has always been a challenging task and it becomes more challenging in India due to various languages and scripts with different styles of writing. The Hindi language which is one of the official languages of India is written in Devanagari script. Some other languages also written in Devanagari script and resemble with each other. The analysis of these languages which belongs to the same script is problematic. An attempt has been made in this paper to compare handwritings of two different languages of same script written by same persons. A total of 50 samples were taken for present study. Manual examination is done to compare the class and individual characteristics in the handwriting of same scripts but different language. This study is helpful in understanding the basic concepts of handwriting analysis and also helpful in determining the authorship of the handwriting if written in different language of same script. .
Legibility in typeface design for screen interfaces
2017
This thesis explores the considerations related to the design of a typeface specifically for the use in interface typography. The genre of interface typefaces is outlined and essential attributes and requirements of this category of typefaces are inspected from the viewpoints of legibility, readability and type design practices. The research is based on the analysis of interface typeface samples, interviews with type designers as well as empirical findings documented by designers. These trade practices and design artefacts are contrasted with findings from cognitive psychology and legibility research. Furthermore the author’s design of the «Silta» typeface and its creation process are used to scrutinize and validate these observations. Amongst the crucial factors in the design of interface typefaces the legibility of confusable characters is extensively analysed. Furthermore, the rasterized on-screen rendering of outline based fonts is identified as a major contributing factor requi...
THE STUDIES ON LEGIBILITY IN FONT DESIGNS OF 21th CENTURY
Idil Journal of Art and Language, 2017
Okunabilirlik kavramı, tipografinin birincil işlevidir. Grafik tasarımcı için tasarımda yer alan tipografik karakterlerin seçimi okurun gereksinimine bağlıdır. İletişim için gerekli olan mesaj iletimi, yazıların okunur olmasıyla sağlanmaktadır. Yazıyı okunur kılan nitelikler bir araya getirilerek okurun bilgiyi en az çaba ve zorlukla algılayabilmesi ön görülmektedir. 21. yüzyılda yapılan font tasarımlarında okunurluk ilkesinin ön planda olduğu gözlemlenmiştir. Yeni yüzyılda, hem basılı üründe hem de ekran üzerinde okunurluğu sağlamak için fontlar elverişli hale getirilmeye çalışılmıştır. Okunurluk konusu bağlamında 20. yüzyıl öncesinde tasarlanan fontlar, yeniden ele alınarak geliştirilmiştir. Söz konusu fontlar yorumlanıp, dijitalleştirilerek fontların okunurluk kalitesi artırılmıştır. Bu güncelleme hareketiyle ekran ve basılı ürün üzerinde hem küçük ölçek hem de büyük ölçek okumalarda iyileşme görülmüştür. Yapılan bu çalışmada yeniden yorumlanan fontların okunur olma bağlamında gelişimleri incelenecektir. Tasarımcıların okunur font tasarımı sürecinde yazı karakteri üzerinde değişen yapılar irdelenecektir.
Legibility: Sinhala typeface features for Directional Informative Sign Boards
Journal of graphic engineering and design, 2023
Typefaces designed for the purpose of directional informative sign boards (DISB) communicate legible information related to drivers and passengers to navigate within road systems to: maintain road discipline and assist drivers to make instant decisions within a short period while operating a vehicle. The legibility of these typefaces works as a fundamental requirement. The reader's preference test (RPT) highlights that a typeface is unique due to its visual features–the anatomy of a typeface and it influences legibility performance, comprehension, memorability, priming, persuasion, perceptual fluency, and practical usage. This visual perception and the neurotic process of connecting human vision and brain is the intellectual cognition between; reader and information that acutely affects the reader to process information. When considering the amount of research work towards the advancement of DISB and typefaces designed for this purpose is at large within the western context, and...
preprint, PsyArXiv, 2024
Typeface design, i.e. the way the characters from a particular font are drawn, affects the similarity and legibility of character shapes and, consequently, reading performance. Yet, character recognition and similarity studies are usually conducted with stimuli from a single font and script which makes the results difficult to generalise. This paper reports on a study conducted to examine the perceived similarity in a range of common typefaces intended for continuous reading in Cyrillic, Devanagari, and Latin scripts. A contextual similarity task was used in order to avoid stimulus presentation that would be detrimental to the quality of typeface designs (e.g. low resolution, small size, short exposure time). Participants were presented with character triplets and asked to pick the odd one out, thus judging the remaining two characters as more similar. The cognitively simple, yet challenging, task was used to obtain data that permit a more detailed and realistic enquiry of internal character representations to better understand character similarity relationships. The diverse selection of typefaces, world scripts, and participants (n=1721) challenged the robustness of the method and illustrated its transferability across world scripts. The results of comparisons across typefaces and with other studies showed that the contextual similarity task is sensitive to the effects of typeface design and elicits similarity judgements that are hard to predict using typical similarity matrices derived from tasks with pairs or individual characters. Comparison across groups of participants with different script expertise showed no significant difference in their similarity judgements.