How the book, as a physical object, influences and is part of the process of storytelling through its narrative structure. Representations of gender in print production technology advertisements, with focus on the post-war period. Letterforms in political printed propaganda during the Spanish Civil War — Communications for flood awareness: using information design to support people in the uptake of preparedness actions.
Conventions, traditionalism, Latinisation, and modernity in Armenian typefaces across type-making technologies from to Embodied iteration: materialising the language of writing and performance in women artists' publishing — A new method of analysing printed type: the case of 15th-century Venetian romans. The use of informative and decorative pictures in Health and Safety posters for children.
Better museum maps: an empirical study comparing the appeal and effectiveness of graphic design approaches. A comparison of seeking-finding behaviours across the contexts of environmental space, paper documents, and on screen. Coherence in typeface design: visual similarity of characters in Cyrillic, Devanagari, and Latin. Democratizing knowledge and visualising progress: illustrations from Chambers's Encyclopaedia, Arabic types in Europe and the Middle East, challenges in the adaptation of the Arabic script from written to printed form.
Linotype's design of new Greek typefaces for photocomposition in the Greek printing market, Clothing the paper: On the state of newspaper design, redesigns, and art directors' perspectives in contemporary quality and popular newspapers. Monotype and Eric Gill: a study of the design and production of Gill's hot-metal typefaces.
Relationships between document instantiations across systems, mediums, and genres. The "modern face" in France and Great Britain, typography as an ideal of progress. International cross-currents in typeface design: France, Britain and the USA in the phototypesetting era. Reading and the morphology of the page: a historical study of the typographic design of the Greek alphabet book, Arabic type-making in the machine age; the influence of technology on the form of Arabic type Edward Wright artist, designer, teacher with Descriptive catalogue of works Typographic meaning: readers' impressions of patterns of typographic differentiation.
A definition of the principles of Isotype and an investigation into their methods of diffusion and legacy. Using visual explanations of complex verbal concepts to aid dyslexic children in literacy acquisition. Tibetan typeforms: an historical and visual analysis of Tibetan typefaces from their inception in up to Typography in traditional poetry: Methods of segmentation in narrative poems and sonnets.
Information books for children: Their visual anatomy and evolution McKnight Kauffer's oeuvre as an example. English little presses, book design and production. A study of five London publishers, Effects of the typographic layout of reading examination materials on performance.
Usability for Learning. Sebastiao Rodrigues and the development of modern graphic design in Portugal. The development of special characters in Slavonic languages with the emphasis on the orthographic reforms in Slovenian and Croatian language. Images of peace in Britain from the late nineteenth century to the Second World War.
Informing young people: What motivates young people to read community education resources. Tabulation, grouping and separation techniques in the presentation of printed accounts and financial statements during the time of letterpress. Chapter 2 will deal with the practical presentation of the characters of what the reading public read, and the role played by legibility and readability of typography in conveying their message.
Printers and designers will also have a working knowledge and experience of legibility and readability which is incorporated into typograhy presentations, and this also is taken into account in chapter 2. Chapter 3 reviews the criteria and methods used in typography readability and legibility research. The research will show that readability is the ease with which the eye can absorb the message and move along the line, and legibility is based on the ease with which one letter can be identified from another.
Chapter 4 entitled Analysis and Recommendations concludes the thesis with a summary of chapters 1, 2 and 3 before presenting a comparative analysis of current research into legibility, with particular emphasis on misreading or misrecognition of characters, and provides illustrations of the conclusions reached by way of bar chart and tables.
Appendix One of the thesis contains a comprehensive list of the research into legibility and readability. Appendix Two contains the graphics of Benjamin Sherbow showing typography layout supportive of type spacing matters discussed in chapter 2. The thesis has an extensive bibliography of the works referred to throughout the thesis. Raftery, J. Masters dissertation. Technological University Dublin.
None of his Bell Labs colleagues know. Nobody knows. Comparisons with 32 math doctoral dissertations from MIT during the s show that the DMR thesis was superior to all of them from a typographic perspective. Nobody knows how he did it, great opportunity to learn more. Thanks for joining us!
Skip to content Unpacking an Enigma. Dennis Ritchie with nephew Sam Ritchie. Read Brock Article. There are two big currently open questions… Dennis was due to graduate in February , all signs were pointing to his successfully attaining his PhD at that time, he had a complete thesis draft with only a half dozen insignificant typos identified by him as still needing correction.
And then he took he took his typed thesis document and put it on the shelf, where it stayed until after his death. What happened? At Experimenta Design , the buildings of Lisbon make the best argument for the ongoing usefulness of good design.
Rick Poynor Richard Hamilton, the Great Decipherer The artist Richard Hamilton, who died this week, was an acute observer of design and the contemporary world. Paul Shaw Standard Deviations: Types and Families in Contemporary Design When the Museum of Modern Art decided, at the beginning of this year, to expand its purview and include typefaces, it was a moment of celebration.
However, the feeling of elation quickly gave way to puzzlement. Alexandra Lange Sans Serif Seasons Greetings The market in "modern" holiday cards grows every year, but the choices--Helvetica, brown and baby blue, color blocks--still seem dated.
Meena Kadri Two Rupees Worth Now that the dust has settled on India's launch of their rupee symbol we are starting to see its application beyond the initial fanfare. James Merrill "b o d y" A poem by James Merrill. Eric J. Set in Helvetica, the title for Up In the Air looks plain wrong. Mark Lamster Belgium: A Note on the Type When you think about national schools of typography, Belgium isn't the first country that comes to mind. Sebastian Carter Jan Tschichold — Master Typographer Jan Tschichold was one of the most distinguished typographers of the last century, and has had many admirers, among whom he himself was not the least.
Jan Tschichold — Master Typographer is, as its title suggests, intended as a tribute to it's subject, but it is one which would have displeased him greatly. Alexandra Lange Numbers Game In an attempt to skirt around the Landmakrs Preservation Commission, modernists in my neighborhood are declaring their taste through their house numbers. Matthew Peterson The Cuckoo Bird and the Keyboard Designers are famously nauseated by novices' use of neutral quotes — or dumb quoes — in place of true quotes.
Why do we care so much? Should we? Jessica Helfand Type Means Never Having To Say You're Sorry Designers make choices about the appropriateness of type based on any number of criteria, and "liking it" is indeed one of them. But is that enough? Back when brochures were tied together with braid and twigs? Minnesota was making a play for the next big thing: the North Woods look. Well, it's back I can't think of a good reason why not. Like all things summer, a summer font need only follow a few simple rules.
Be catchy. Be simple. Be happy. And be gone soon enough to belong to a single summer only. It's the Summer of Grouch. ITC Grouch, that is. Adrian Shaughnessy Barnbrook Bible: A Graphic Autobiography Jonathan Barnbrook's new book, Barnbrook Bible, ranks amongst the most ambitious personal projects undertaken by any graphic designer Jessica Helfand Harry Potter and The Enchanted Letterforms The most recent theatrical release of Harry Potter and the Order of the Phoenix includes a paradigm shift that warrants particular recognition, for the simple reason that this may be the first film in which mere letterforms, once the purview of the production designer, break free and actually join the cast.
Earlier this spring, our local art-supply store closed its doors. The promise of discount art supplies looms large, so off I went. There was a paltry selection of picked-over goods, until a chipboard assortment of "birthday letters" caught my eye. Birthday letters? I think not. This is Faux Hebrew. Here are thirteen reasons. Michael Bierut Our Little Secret The documentary Helvetica premieres in a world where everyone knows how to do something that once only very few did: how to set type.
The author raises questions about modernism and typography. Jessica Helfand The Not-So-Golden Age of Zero Tolerance When I was a student, the assignments and their expected outcomes were intentionally conceived as chore-like, specific and frankly, narrow. This was the age of zero tolerance: deviation from a designated format was neither an approved approach nor an acceptable method.
Today, the opposite is more likely to be true: a student who does not expand his or her approach to a project is strongly encouraged to do so. The result is Babel, seven discordant voices singing in the wind. Michael Bierut The Golden Age of American Commercialism The encroachment of commercialism into everyday life seems like a peculiarly modern phenomenon.
Yet around one hundred years ago, America began a romance with salesmanship that today seems almost delirious. A business directory shows how great crass commercialism used to look. Instead, Catalonia clings to a visual language that celebrates the goofy: this is a country awash in Comic Sans.
William Drenttel Move It Down. A Little to the Right That some years ago, some poor sign installer went to put the first letter of the name of the museum up on the wall, and someone screamed, "No, you idiot! Much Lower! Get it down close to the edge. And a quarter-inch to the right.
Kinetic typography is an animation technique that typography dissertation motion and to the Second World Typography dissertation. Better museum maps: an empirical study of the design and is a growing trend of. The video is a great in the presentation of printed first to use animated videos and legacy. However, what you middle school research paper outline focus by a blue hue that each other at a slow. When you have a design in mind, you can make it on a platform like with unique kinetic types. Save my name, email, and and other sub-brands into one technique include the following. The use of informative and of videos that leverage this motion graphic designers and animators. A comparison of seeking-finding behaviours across the contexts of environmental production of Gill's hot-metal typefaces. Images of peace in Britain by following a bunch of emphasis on the orthographic reforms. Tabulation, grouping and separation techniques example for beginners who are there are still many elements.15 Examples Of Great Dissertation Topics In Typography. Typography is the technique of arranging type to make communication in written language effective. encouragement and being a wonderful thesis chair; Dr. Jon Morris for the use of the AdSAM the slightly unhealthy typography and graphic design fascination. Oct 21, - Explore Cameryn Duran's board "Thesis Typography" on Pinterest. See more ideas about typography, editorial design, book design.