Results 321 to 330 of about 36,361 (349)
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2005
A survey of display typefaces designed during the photocomposition era, concentrating on styles for advertising created in New York City.
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A survey of display typefaces designed during the photocomposition era, concentrating on styles for advertising created in New York City.
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An Experimental Investigation of Typeface Connotations
Journalism Quarterly, 1964In an experimental study calling upon three groups of subjects with differing knowledge of typography to rate sets of typefaces, the authors find proof that typography can communicate connotative variations.
Percy H. Tannenbaum +2 more
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Typeface as a mediating technology of organization
2019Type was moulded from metals, before becoming immaterial. This chapter acknowledges this mediating transformation toward digital modulation, whilst holding on to the persistent sense of type having a face, an aesthetic form whose organizing affects permeate human understanding.
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Typeface recognition and legibility metrics
Cognitive Systems ResearchIn the digital age, people prefer digital content, but screen-related health concerns like eye strain and blue light emerge. Legibility gains importance in digital text, especially in fields like optometry and for those with low vision. Therefore, having good letter recognition ensures better readability of words and written language in general.
Molinero Albareda, Xavier +3 more
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2021
The identity of culture also comes from its language. In India, which is known for its diversity in culture, each language that exists establishes a cultural identity. In this paper, an exploration conducted on reviving the identity of the Assamese script which represents Assamese language and culture of North-East India has been described.
Abhijit Padun, Amarendra Kumar Das
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The identity of culture also comes from its language. In India, which is known for its diversity in culture, each language that exists establishes a cultural identity. In this paper, an exploration conducted on reviving the identity of the Assamese script which represents Assamese language and culture of North-East India has been described.
Abhijit Padun, Amarendra Kumar Das
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TYPEFACE IDENTIFICATION FOR PRINTED CHINESE CHARACTERS
International Journal of Pattern Recognition and Artificial Intelligence, 1998In this paper, we propose a methodology for identifying typefaces of printed Chinese characters in documents. Three kinds of features, stroke width means, stroke width variations, and aspect ratio, are first used to classify character typefaces as: Black, Li, Kai-Round, or Ming-Song. Each of the last two groups contains two typefaces.
Hsi-Jian Lee +2 more
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A Comparison of Typefaces for the Telephone Directory
Clinical and Experimental Optometry, 1982A new typeface, Bell Centennial, proposed for use in Australian telephone directories is compared to the typeface, Bell Gothic, which is used at present. The comparison was made using five alternative typographical layouts and the criteria for evaluation were errors made reading the sample material, reading speed and time taken to search for target ...
C. Clare Madigan, Barry L Cole
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typEm: a generative typeface that represents the emotion of the text
ARTECH, 2019The introduction of programmatic concepts brought to typography new experiments, concepts, and the possibility to create generative typefaces, capable of adapting to different contexts.
Catarina Maçãs, D. Palma, Artur Rebelo
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The Indépendant, a Typeface as Period Document
Quaerendo, 2008[The Independant is a modish display type from 1930 which was cast in Brussels by Etablissements Plantin, the Belgian branch of the Dutch company 'Lettergieterij Amsterdam' (Amsterdam Type Foundry). The typeface was designed by G. Collette and J. Dufour, probably by using matrices that were engraved in the Netherlands. It is the only hot-metal typeface
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Typefaces and Format for Modern Books
Library Review, 1939DURING the past decade we have witnessed a remarkable improvement in the typography of books, although in large part this has been confined to the design of typefaces rather than to the design of the books themselves. “Cold type” has undoubtedly become far more legible and far more aesthetic than it had been for many years.
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