Results 31 to 40 of about 36,361 (349)

Development of "Sam Contemporary Font" Typeface Based on Sam Poo Kong Temple Ornament

open access: yesGelar: Jurnal Seni Budaya, 2022
The ornamental design found in the architectural building of the Sam Poo Kong Temple gives an oriental unique characteristic. As a cultural heritage tourism destination, Sam Poo Kong Temple is required to develop the concept of information as part of ...
Dzuha Hening Yanuarsari, Agus Setiawan
doaj   +1 more source

Optimal Typeface and Type Size on Thai Drug Labeling and Drug Documentation: A Recommendation for Legal Development

open access: yesArchives of Design Research, 2022
Background An earlier study by Punsongserm and Suvakunta (2022) investigated how using proper typefaces and type sizes on Thai drug packages and patient information leaflets affects reading times and participants' satisfaction.
Rachapoom Punsongserm, Pittaya Suvakunta
semanticscholar   +1 more source

Typefaces Are All Almost the Same. Non-systematic Review of Scientific Findings on the Impact of Typographic Features on Reading Performance

open access: yesDIID, 2021
The interest in discovering the limits of legibility has not ceased to interest those who use letters in typography and, to a certain extent, those who study the reading process. Sometimes the debate on the subject is marred by sensationalism.
Luciano Perondi
doaj   +1 more source

The Effect of Serif and San Serif Typeface of Luxury Fashion Logotype on Chinese Consumers’ Brand Perception

open access: yesJournal of Business Administration Researches, 2022
An appropriate and well-designed logotype is essential to create brand awareness and positive brand perception. The effect of different typefaces has not been well researched in the luxury fashion sector.
Wang Zheng, M. Shanat, L. R. Kanyan
semanticscholar   +1 more source

The Ottoman Printers’ 8 Point Naskh Typeface and its Turkish Type Maker Mehmed Emin Efendi

open access: yesSanat Tarihi Yıllığı, 2022
This paper discusses the 8 point (pt) naskh typeface created in Istanbul between 1870 and 1875 and utilized by Ottoman printers during the late 19th and early 20th centuries.
Onur Fatih Yazıcıgil
doaj   +1 more source

Visibility and legibility of five-letter words in different experimental conditions [PDF]

open access: yesJournal of Graphic Engineering and Design, 2022
The length of a word depends on the number of characters that make it up. Since we are constantly confronted with words (information), a suitable typeface should be chosen to make reading comfortable and easy.
Primož Weingerl   +2 more
doaj   +1 more source

Does a specialist typeface affect how fluently children with and without dyslexia process letters, words, and passages?

open access: yesDyslexia, 2022
Children with dyslexia are at risk of poor academic attainment and lower life chances if they do not receive the support they need. Alongside phonics‐based interventions which already have a strong evidence base, specialist dyslexia typefaces have been ...
Holly Joseph, Daisy Powell
semanticscholar   +1 more source

Signage Form and Character

open access: yesInterdisciplinary Journal of Signage and Wayfinding, 2020
Signs contribute significantly to the visual identity of neighborhoods, often representing the interplay of the collective social, political, cultural and economic values of the people who live and work there.
Muhammad Nafisur Rahman, Vikas Mehta
doaj   +1 more source

when the poet gives empty leaves

open access: yesJournal of Early Modern Studies, 2022
In the right light, blank pages in renaissance books routinely reveal legible  impressions of uninked typeface, especially interesting when these frisket-  hidden texts are intertextual, as when typeface from Aldo Manuzio’s April  1501 Vergil prints ...
Rosetta Stein
doaj   +1 more source

caligrafiasnoum, typeface

open access: yesMETAgraphias, 2016
ESCRITA, MEMÔRIA E IMAGINAÇÃO, PRÁTICA TIPOGRÁFICA/VISUAL COMO ESTRATÉGIA METODOLÓGICA DE CRIAÇÃO DE NOVOS SIGNOS, ESPECIFICAMENTE SOBRE A SINTAXE DA ESCRITA URBANA ATUALIZADA E RECODIFICADA A PARTIR DA PRÁTICA DO GRAFFITI PELO SEU AUTOR, PAULO ROBERTO COSTA CRUZ JUNIOR, AKA ASNOUM.   
Cruz Junior, Paulo Roberto Costa   +1 more
openaire   +4 more sources

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