Typography

Traces the application of the inverted pyramid (IP) principle by newspaper editors at the “macro” level of page layout and typography from the 1830's. Considers the reasons for emergence of IP as the norm for writing news stories, at the “micro” level, from the 1880's.

Robin Fuller Rick Griffin was a leading figure of the psychedelic design movement in late 1960s San Francisco. This paper argues that although not an overt theorist, in his lettering for posters and comic books, Griffin reveals aspects of the visual semiotics of writing that provide insights for the semiotic study of graphically-embodied language. Griffin was preoccupied with the visual substance of writing. Not only was Griffin a student of myriad styles of letter (including, cholo graffiti, comic book lettering, Jugendstil and Victorian typography), but he was also preoccupied with how writing functions and how letterforms attain meanings. Through an analysis of Griffin's comic book and poster lettering, this paper will discuss aspects of the visual semiotics of alphabetic writing including: the relationship of embodied tokens to alphabetical symbols, the socio-semiotic function of styles of letter, and lettering as aesthetic signification.

Typography performs a critical role integrating signs into contemporary culture yet typography’s role in the design and conceptualization of meaning has been underestimated and its position as a critical component in the discourse of visual culture has been neglected. The role of design is fundamental in maintaining social stability and cohesion and the manipulation of form, structure and behaviour of typography’s letterforms are instruments in this system. Typography operates as a linguistic and visual communication device and possesses the agency to be symbolically meaningful to individuals and groups and representative of social, cultural and economic concerns. Professional practices demonstrated in the design, media and arts industries have far outpaced the extent to which this phenomenon has been written about in the academic or public domain. As such, little is known about the complex role typography performs in the social, economic or cultural realm of contemporary practice.
This research study aims to make visible the mechanisms through which social classes and social institutions are established and validated in contemporary culture offering critical insight into the investment toward expressing how particular facets of tastes are constructed to demarcate cultural distinctions.  Cultural festivals are a form of cultural capital in an objectified state and an increasingly important aspect of our contemporary experience. Branding is a vital part of this festival space presenting impressions of urban freedoms, rich histories, and cultured places, that seek to subvert our daily existence while performing the task of engaging local, national, and international visitors and participants. There is prestige in holding culturally relevant and socially acceptable festivals that serve the discourses of “city branding” and the “creative industries” in a competitive global context. Festivals have become a central figure of not only the political economy of tourism but also of urban regeneration and cultural tourism. The intention is to establish recognition suited to the significant role typography performs within this context and to offer a contribution to design research that not only engages with the artifacts of design but with the conceptualization of designed meaning in 21st century visual culture.

Greetings: The 7th edition of Visual Communication: Images with Messages is available at a drastically reduced price for students and others at $35: http://goo.gl/r53bFs with a color print version available for $100: http://goo.gl/Cqg3hr through Amazon. The fully updated edition includes 739 figures for photographs and illustrations along with weblinks to additional images and videos. If you plan to teach visual communication, visual literacy, and/or media and culture or if you are an interested student or professional, please consider taking advantage of this opportunity. Let me know if you have any questions. All best things, paul _________

Substantial cognitive skills such reading, writing and learning are dismantled and deformed to suit the nonlinear experience of a digital text that is developed on and transmitted by singular medium — device’s screen. The textuality within digital media urges for new ways of information reproduction, dissemination and consumption. Methods that, simultaneously are dealing with the burden of information overload and the limitations inherited from previous typographic media.

The advent of new typographic standard — OpenType Font Variations appears as a necessary consequence and a natural drive towards a redefinition of digital typography.

The relevance of this study is to speculate about conceptual possibilities that arise, not realistic promises and the implicit theoretical understanding of the processes that are collaterally intertwined.

SERGİLEME TASARIMLARINDA TİPOGRAFİ KULLANIMI ÖZ Grafik tasarım alanında etkili sunum olanağı sağlayan sergileme tasarımı, bir fikri, bir kavramı ya da ürünü geniş kitlelere duyurmak ve aktarılmak istenen mesajı yaratıcı uygulamalarla hedef kitlesine iletmektir. Günümüzde bilginin ulaşılabilir hale gelmesi beraberinde karmaşık bilgiyi planlı ve düzenli hale getirme ihtiyacını da artırmaktadır. Bilgi aktarımı ve iletişim açısından sergi mekanlarına ve sergileme tasarımı uygulamalarına her zamankinden daha fazla ihtiyaç duyulmaktadır. Dolayısıyla etkili bir sergileme tasarımı, nesnelerin sunumunun yanı sıra izleyiciyi heyecanlandıran, bilgilendiren, ilgi çekici, yaratıcı ve akılda kalıcı tasarımlarla mümkün olabilir. Sergileme tasarımlarında kullanılan tipografik uygulamalar izleyiciye mesajın içeriğini hızlı ve etkili biçimde anlatılmasına imkan sunar. Bu noktada sergi nesneleri, yapı, zemin, fon, ışık gibi özellikler de mekanın atmosferini etkilemektedir. ABSTRACT The exhibition design, which provides an effective presentation in the field of graphic design, is to announce an idea, a concept or a product to a wide audience and to convey the message to the target audience through creative applications. Nowadays, the availability of information increases the need to make complex information planned and organized. In terms of information transfer and communication, exhibition spaces and exhibition design applications are needed more than ever. Therefore, an effective exhibition design can be made possible by the presentation of the objects as well as by the exciting, informative, interesting, creative and catchy designs. Typographic applications used in exhibition designs allow the audience to quickly and effectively explain the content of the message. At this point, features such as exhibition objects, structure, floor, background, light also affect the atmosphere of the place.

While Arabic typography has witnessed significant developments in the last decade, it still lacks standardized anatomy and a typeface classification system. Should Arabic typography stick to its roots and borrow from the long-established rules of calligraphy? Or should it devise its own standards? The purpose of this research was to explore the possibilities and practicality of applying calligraphic anatomy terminology and classifications to Arabic typography. Through a quantitative analysis of interviews conducted with typography and calligraphy experts, this study found that calligraphic standards are sometimes applicable to typography. The data revealed that Arabic typography also requires additional standards of its own. Further research is needed in the area of Arabic typeface classification methods.

Ilica za uvijek Sredinom 2013. na ulicama Zagreba počele su se pojavljivati nove ploče s nazivima ulica i kućnim brojevima. Kao i u slučaju nogometa ili politike, sva-ko je tad iznenada postao stručnjak za tipografiju i signali-zaciju i smatrao da ima što reći o tom projektu, pa smo tako u medijima slušali i čitali razne književnike, povjesničare, jezikoslovce, kolumiste i opinion-makere kako iznose svoje stručne stavove o tome što im se u tom rješenju sviđa ili, još češće, ne sviđa. Tako je i poetski razbarušeni novinski kolumnist samouvjereno, kako to sa slavnim piscima često biva, ustvrdio da su: nove ploče, a naročito brojke na njima, nepregledne, izrazito loše dizajniranog fonta (oblika i vrste slova, ako tko ne zna što je font). U povijesti Zagreba nije bilo nečitljivijih. Pritom je prozvao i Hrvatsko dizajnersko društvo da se nije pobunilo, a loš bi ih se dizajn, valjda, trebao ticati. Ako preskočimo činjenicu da je iz teksta vidljivo da ni sam pisac u stvari ne zna baš točno što je font, nego se oslanja na kolokvijalnu upotrebu pojma, nejasno je kojim se kriterijima, osim osobnog ukusa, u svojoj ocjeni vodio.

This essay examines Samuel Jackson Pratt’s Emma Corbett: Or, the Miseries of Civil War (1780), a popular novel about the American Revolution that mounted an argument against the violence of the war. Pratt’s critique of the transatlantic conflict between the colonies and the mother country arises from his depiction of suffering veterans with injuries and missing limbs. In an interpolated tale that he titles “A Military Fragment,” he uses what I call a “typographical prosthetics” to represent absent body parts. Through a creative typography that includes extended dashes and multiple asterisks, he creates an architecture of the page that visually describes the placement and displacement of limbs. He thus criticizes and remediates discourses of national conflict by making the disabled bodies of injured soldiers discernible on the page.

Typography is one of basic elements in Visual Communication Design. Almost every promotional tools and media are using typography as a message conveyor. It is also has become an important yet attractive branding feature from Small and Medium Enterprises (SMEs) or Industri Mikro, Kecil dan Menengah (UMKM) in Indonesia. Nevertheless, the lack of knowledge and understanding from the SMEs on how to build their brand has been camouflaged by the use of typography to represent a brand. There are at least 11.610 of Small Medium Enterprises available in the City of Semarang nowadays. This usage of typography as a brand representation is shown from packagings of apparel products, snacks, and processed foods comes from local plantations. These products will not be able to compete with any other modern day packaged products if not interfered by the knowledge on how to build a brand using visual communication design. The purpose of this research is to provide brand building knowledge bridging fo...

El diseño de tipos es una actividad relativamente nueva en Brasil. Su práctica viene incrementándose desde finales de la década de 1980, como resultado de la difusión de las tecnologías digitales. De manera paralela al fenómeno de creación tipográfica, se desarrolló en el diseño gráfico una tendencia que se caracteriza por la incorporación de formas y estilos inspirados en objetos y en prácticas populares, manifestaciones gráficas previas al surgimiento de las modernas escuelas de diseño. Esta tendencia se  ha denominado “diseño vernáculo”. El presente artículo analiza la producción de tipografía brasileña inspirada en elementos vernáculos, con el objetivo de revelar sus motivaciones, las estrategias de diseño implicadas, y los nuevos significados que esas fuentes pueden adquirir en su uso cotidiano.

Özet
Grafik tasarım eğitimi sürecinin temel yapı taşlarından birini tipografi öğretimi
oluşturmaktadır. Öğrenci, tipografi dersi ile harfleri ve yazı sistemlerini tarihi gelişim süreci içerisinde tanır. Yazının bir tasarım öğesi olarak kullanımıyla birlikte tipografinin gelişim evrelerini farklı dönemlere ve üsluplara göre öğrenir ve ayırt edebilir. Bu öğrenim sürecinde ayrıca öğrenci yüzlerce farklı yazı karakterini kuramsal olarak tanır ve
uygulamalarında kullanır. Herbiri farklı bir yazı tipi sınıflandırmasına dahil olan bu yazı karakterlerinin tasarımcı tarafından tercih edilmesi konunun içeriği ile yakından ilişkilidir. Her yazı karakterinin çağrışım yoluyla ifade ettiği bir duygu durumu, temsil ettiği bir iş kolu veya konu içeriği bulunabilir. Dolayısıyla görsel iletişimde tasarımın etkisini belirleyen en önemli unsurlardan biri içeriğe uygun yazı karakterinin tercih edilmesidir.
Bu araştırma, grafik tasarım eğitimi alan lisans öğrencilerinin farklı konu ve içeriklere göre yazı karakteri seçimindeki yönelimlerini belirlemeyi amaçlamaktadır. Bu kapsamda, öğrencilere dağıtılmak üzere bir veri toplama aracı geliştirilmiştir. Söz konusu veri toplama aracında belirli kavramları, olguları veya faaliyet türlerini içeren 20 adet soru bulunmaktadır. Sorularla birlikte verilen ek belgede ise 20 farklı yazı tipinin bulunduğu
bir liste yer almaktadır. Öğrencilerden, soruda geçen kavram, olgu veya faaliyet türünü görsel olarak en iyi ifade edeceğini düşündükleri yazı karakterini listeden seçerek numarasını boş kutucuklara işaretlemeleri istenmiştir. Öğrenci, bir yazı karakterini dilerse birden fazla soru ile eşleştirebilir. Öğrencilerin, ölçme aracı ile belirlenen yönelimleri, betimsel istatistiklerden yararlanılarak özetlenmiştir. Araştırma bulguları, grafik
tasarım eğitiminde önemli bir ağırlığa sahip tipografi konusunda öğrencilerin farkındalık düzeylerini bir yönüyle ortaya koymaktadır. Hemen her projede tipografik unsurları kullanan grafik tasarımı öğrencisi için içeriğe uygun yazı karakteri seçimi oldukça önemlidir. Metinler, görsellerle bir arada düzenlenebileceği gibi yalnızca tipografik düzenlemeler olarak da mesajdaki anlamı tek başına yüklenebilir. Dolayısıyla görsel
iletişim sürecinde mesajın doğru ve etkili şekilde karşı tarafa aktarılması, içeriğe uygun yazı karakteri seçimi ile yakından ilişkilidir. Yukarıda ifade edilenler dikkate alındığında, grafik tasarımı öğrencilerinden elde edilen ampirik veriler temelinde betimsel istatistiklere ulaşmanın, tipografi öğretiminin karar alma süreçlerinde rehberlik edici bilgiler sunacağı düşünülmektedir.

Typography teaching is one of the basic building blocks of graphic design education process. The student recognizes typography and letters and writing systems in the course of historical development. With the use of writing as a design element, typography can learn and distinguish the stages of development according to different periods and styles. In this learning process, the student also recognizes theoretically hundreds of different characters and uses them in their applications. The choice of these type characters, each of which belongs to a different type face classification, is closely related to the content of the subject. Each writing character can have a state of emotion expressed by association, a business line or subject content it represents. Therefore, one of the most important factors that determine the effect of design in visual communication is the choice of the appropriate type face. This research aims to determine the tendency of undergraduate students in graphic design education in choosing type face according to different subjects and contents. In this context, a data collection tool was developed to be distributed to the students. The data collection tool has 20 questions that contain specific concepts, phenomena, or types of activities. The supplementary document provided with the questions contains a list of 20 different type faces. The students were asked to mark the number in the empty boxes by selecting the type face from the list which they think would best express the concept, phenomenon or activity type in the question. The student can match a type face to more than one question if he wishes. The orientations of the students determined by the measurement tool are summarized by using descriptive statistics.The findings of the research reveal the students' level of awareness about typography which has an important weight in graphic design education. It is very important for the graphic design student to use typographic elements in almost every project. Texts can be edited together with visuals, or they can be loaded alone as typographic arrangements. Therefore, the correct and effective transmission of the message in the visual communication process is closely related to the choice of type face appropriate to the content. Considering the above, it is thought that reaching descriptive statistics on the basis of empirical data obtained
from graphic design students will provide guidance in decision-making process of typography teaching.

This is a book about contemporary literary and artistic entanglements: word and image, media and materiality, inscription and illustration. It proposes a vulnerable, fugitive mode of reading poetry, which defies disciplinary categorizations, embracing the open-endedness and provisionality of forms. This manifests itself interactively in the six case studies, which have been chosen for their distinctness and diversity across the long twentieth century: the book begins with the early-twentieth-century work of writer and artist Djuna Barnes, exploring her re-animation of sculptural and dramatic sources. It then turns to the late modernist artist and poet David Jones, considering his use of the graphic and plastic arts in The Anathemata, and next, to the underappreciated mid-century poet F.T. Prince, whose work uncannily reactivates Michelangelo's poetry and sculpture. The second half of the book explores the collaborations of the canonical poet Ted Hughes with the publisher and artist Leonard Baskin during the 1970s; the innovative late-twentieth-century poetry of Denise Riley, who uses page space and embodied sound as a form of address; and, finally, the contemporary poet Paul Muldoon, who has collaborated with photographers and artists, as well as ventriloquizing nonhuman phenomena. The resulting unique study offers contemporary writers and readers a new understanding of literary, artistic, and nonhuman practices and shows the cultural importance of engaging with their messy co-dependencies. The book challenges critical methodologies that make a sharp division between the textual work and the extra-literary, and raises urgent questions about the status and autonomy of art and its social role.

Este trabalho teve como objetivo desenvolver uma família tipográfica, no estilo Slab Serif, para textos, abordando todas as etapas da produção de uma família de 5 estilos (Regular, Bold, Semibold, Medium e Itálica - Regular). A abordagem foi feita a partir dos processos iniciais de esboço, aos processos de pós-produção, como espacejamento, kerning e hinting, até questões relativas à comercialização e distribuição. Além disso, foi buscado estruturar a família em questão como um produto de software, mostrando os quesitos básicos de OpenType features.

O desenvolvimento se deu a partir do desenho das fontes mestras (Regular e Bold) e os demais pesos foram criados a partir da tecnologia de Multiple Masters. Além dos demais pesos Romanos, também foi desenvolvido e criado para a família uma fonte no estilo Itálico Regular, totalmente original, com inclinação de 8 graus.

O desenvolvimento desta família se deu a partir de diversas fontes teóricas, porém, o mais importante, foi o desenvolvimento prático, no qual a observação dos caracteres e o treinamento do olhar foram de extrema importância para o desenvolvimento e aprimoramento da qualidade técnica da família tipográfica em questão.

Le 28 avril 1529, Geofroy Tory publie L’art & Science de la deue & vraye Proportion des Lettres Attiques… Tory y prône la restauration de l’éloquence gallique vantée par Lucien et symbolisée par l’Hercule gaulois assimilé pour l’occasion à François Ier. La prolixité et la prodigalité de l’antique modèle herculéen l’engagent dans une digression sur la notion même de libéralité et d’abondance et son contrepoint, l’avarice. Se posant tour à tour comme récipiendaire et comme dispensateur de largesses supérieures, Tory exalte un modèle dans lequel celui qui manie les arts libéraux, à la manière antique, fait profiter ses admirateurs des munificences de sa science en concordance avec le modèle cicéronien qui lui sert d’exempla. Tory se place ainsi sous le patronage d’une figure idéale chez qui l’éthique la plus exigeante passe par une splendide libéralité, consacrant ses revenus au service de l’État et au profit du plus grand nombre tout en étant impliqué dans l’action publique et les responsabilités politiques. Le Champ fleury devient alors métaphore de la bienfaisance, reflet des idéaux nouveaux, parfaitement incarnés dans les formes artistiques dont il traite et qui sont à l’image de ce que François 1er devrait être à l’égard des humanistes : « libéral ».

La scrittura, per linguistica e semiotica, è invisibile. Nei testi verbali, infatti, è soltanto un dispositivo esterno al linguaggio, la cui unica funzione è di essere trasparente rispetto al contenuto veicolato.
Esistono alcuni testi verbali, tuttavia, in cui la sostanza espressiva grafica gioca un ruolo chiave, come nei carmina figurata medievali e nella poesia concreta moderna, sia orientale sia occidentale, e nelle ricerche visive del graphic design contemporaneo. Come ha sottolineato James Elkins, questi testi, verbali e visivi allo stesso tempo, possono essere considerati “mixtures of reading and seeing” (The Domain of Images, 1999, p. 84).
Questo contributo si incentra, in particolare, sull’opera di Massin, considerato uno dei più importanti graphic designer del secondo Dopoguerra in Francia. Le sue sperimentazioni grafiche (celebri, tra le altre, le interprétations typographiques basate su alcune pièce teatrali di Ionesco) tentano di dare vita alla pagina scritta con mezzi puramente tipografici, lavorando sulla possibile connessione tra il verbale e altri registri espressivi.
L’obiettivo principale di questo lavoro sarà dunque quello di riflettere più da vicino sulle diverse possibilità di articolazione tra verbale e visivo in testi verbo-visivi complessi come quelli di Massin, in cui la scrittura non è soltanto notazione, ma si rivela anche una vera e propria pratica espressiva.


In the place of the author.
Typographic alterations and strategies of enunciation in Massin’s interprétations typographiques

Writing, according to linguistics and semiotics too, is invisible. In written and verbal texts, indeed, writing is considered to be a mere external device, whose function is to be transparent to the language beyond itself.
Sometimes, nevertheless, it happens that the graphic expression-substance plays a key role in verbal texts too: you could bracket together medieval carmina figurata and modern concrete poetry (both Eastern and Western) plus the visual researches of contemporary graphic design. As James Elkins pointed out, such texts, verbal and visual at the same time, become “mixtures of reading and seeing” (The Domain of Images, 1999, p. 84).
The main theme of this paper is centred on the work of Massin, one of the most important post-war French graphic designers. His experimentations (famous, amongst others, the interprétations typographiques based on Ionesco’s plays) attempt to bring a page to life by purely typographical means, working on the connection between verbal and other ways of signification.
The aim of this paper, then, will be to focus on different possibilities of articulation of word and image in complex verbal-visual texts, such as the Massin’s ones, in which writing is not just a notation, but also a real expressive practice.

Revista Diseña - Agosto 2011 | Quienes manipulan información digital se convierten en tipógrafos. Una afirmación como ésta nos lleva a preguntarnos qué le aporta a un tipógrafo de escritorio la mirada profesional. La reflexión gira en torno a de qué forma las decisiones de usuarios pueden verse enriquecidas con la adición de puntos de vista concretos a las tareas que implican el uso de la tipografía. Se establecen algunas perspectivas sobre cómo el aprendizaje de la tipografía dirigida a otras disciplinas, y no sólo como lo que se enseña a los diseñadores, permite entenderla como un recurso clave de comunicación, y cómo, asimismo, constituye una oportunidad para expandir el pensamiento del tipógrafo profesional. Muchas de las decisiones sobre cómo editar la información son en la práctica opciones de diseño. Por lo tanto, más allá de la formación académica, se plantea que lo importante es constituir un pensamiento y cultura tipográficos, para entenderla como una herramienta para optimizar la comunicación cotidiana.

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Those who manipulate digital information become typographers. A statement like this makes us ask ourselves what the professional approach can contribute to the desktop typographer. The reflection revolves around the ways in which the decisions of users can be enriched with the addition of concrete viewpoints about the tasks that imply the use of typography. Some viewpoints are established on how the learning of typography oriented towards other disciplines, and not as taught to designers, allows its understanding as a key resource in communication, and how at the same time it becomes an opportunity to expand the thinking of the professional typographer. Many of the decisions about how to edit the information are in fact design options. So, beyond academic education, it is proposed that the important thing is to constitute a typographic body of thought and culture, to understand it as a tool for the optimization of everyday communication.

We can approach the knowledge of the city from multiple ways. We think that urban typography is a very attractive element to know the cities. In this article vindicates typography as an educational value, which allows also a better knowledge of the urban culture. Letters as a design constitute a decisive visual element in the urban environment. This article purposes a new look upon the city, at the same time that it opens up unusual spaces linked to the cultural arena and suitable geographies for the creation of learning spaces. The city is offered to us full of messages, patrimonial elements that can turn out to be very attractive if we observe them from new, interdisciplinary, suggestive or creative standpoints. Visual arts educators have a powerful graphic resource with which to articulate the complex communicative network of streets. We vindicate walking as an aesthetic practice, strolling around the city as a very suitable cultural means to motivate our university students. Following the trails of letters we find trajectories that lead us to art, to heritage, to literature, to photography, and very especially, to the educational context. We have at our disposal, in our cities, a genuine museum woven together with the threads of the alphabet.

Typeface and fonts have a subtle but powerful impact on how online learners react to, view, interact with, and learn online content. Yet fonts have been overlooked as elements of online learning design. This article explores the power of the mighty little font in eLearning courses.

Typography reflects and expresses culture, and the limits we place on the use of type may reflect the limits we intend to place on our culture, including who is allowed to participate in it and in what way. An examination of typography critiques of “bad” typefaces often reveals the cultural biases and beliefs of the critic. Descriptions of type “character” tend to reflect the character of the critic, audience, or user, rather than the type itself. The use of “bad” type may also be a tactical form of resistance to power (de Certeau, 1984), visually conveying its intended audience or speaking back to assumptions about the message or author. Examples of “bad” type as tactical resistance include church bulletins; Comic Sans printed “I Can’t Breathe” shirts protesting police brutality against communities of color; and the website for a family-owned medical body donation service.

Since the days of silent cinema, opening title sequences have provided audiences with far more than just a list of names. Their designers—whether anonymous studio employees or world-renowned artists such as Saul Bass and Maurice Binder—have found countless ways to captivate and entertain us while the credits unfurl. Featuring all the creative devices at the filmmakers’ disposal, these introductions serve to whet our appetite for the films ahead while helping to shape our viewing expectations in crucial ways.

This anthology brings together 18 years of publications by Deborah Allison, who was one of the first scholars to conduct extensive research into the history of American film title sequences. Topics covered include the main functions of opening title sequences; an historical survey of key design trends in American film titling; aesthetic responses to the advent of widescreen cinema; theme songs and generic iconography in Westerns; novelty title sequences and self-reflexivity; cartoons and caricatures of cast and crew; and retro title sequences. The collection also features a new and exclusive essay about title sequence design in the twenty-first century.

En los últimos años la naturaleza de la tipografía parece haber cambiado radicalmente, debido sobre todo a la proliferación de experimentos digitales que han usado la letra y su condición tecnológica como base de investigación estética. Esta ponencia, de hecho, parte de estas producciones —y en concreto de las que exploran la tridimensionalidad tipográfica y su potencial cinético— como punto inicial de reflexión sobre la posible evolución de la tipografía futura.

Este texto pretende demostrar la importancia de la integración de los sistemas tipográficos en el proyecto arquitectónico a partir del análisis de la reforma del Grand's Restaurant (Filadelfia, 1962) de Robert Venturi y William Short. Elegir este caso de estudio permite entender el impacto de este recurso en la etapa temprana de Venturi (1962-1969). El tema remite a contenidos y aspectos que, hasta la fecha, permanecen prácticamente inéditos a pesar de los muchos estudios dedicados a la obra y escritos del arquitecto. A pesar de su discreto tamaño y presupuesto, el Grand's concen-tró de manera ejemplar tanto aspectos teóricos de la propia investigación de Venturi, como fue, asimismo, precursor de otras corrientes interdisciplinares del momento como Supergraphics. La escritura es aquí un elemento arquitectónico de ‹pleno derecho› que afecta a la interpretación del proyecto, a su carácter simbólico y su entendimiento como integrante del orden y la composición arquitectónicos.

Typography as an element integrated into the early work of Robert Venturi, 1962-1969.
This article, based on an analysis of the refurbishing of Grand's Restaurant (Philadelphia, 1962), designed by Robert Venturi and William Short, aims to show the importance of integrating systems of typography into architectural design. Choosing this case study enables the impact of typogra-phy on Venturi's early period (1962-1969) to be examined. The theme involves content and aspects which have remained virtually unexplored to date despite the many studies devoted to Ventu-ri's architecture and those written by the architect himself. Despite its modest size and budget, Grand's not only exemplarily condensed theoretical aspects of Venturi's own investigation but also served as a precursor for other interdisciplinary trends of the time such as Supergraphics. Writing in Grand's is a ‹fully-fledged› architectural element affecting the design's interpretation, its symbolic nature and its understanding as part of an architectural order and composition.

In this article, we analyze letters designs of Disney imaginary from visual culture. We investigate the styles that have supposed some of the most emblematic productions of this film producer, as a consequence as sample they are chosen 12 representative films of the 60 titles of Disney Classics set. Using a case study we developed a comparative to find out visual messages made with letters have clearly penetrated collective imagination. Communication and technology go together in this stylistic evolution. We also provide an educational perspective on the subject, attending to our involvement in training teacher, offering a detailed examination of posters and credits. We believe that this material can be useful to better understand the influence of Disney sensibility on successive generations of audiences. Disney’s power in the media directly affects our reception of classical literature, something that is maintained in every process or change that happens, since Disney has demonstrated for a century its ability to adapt to technological uses and currents aesthetic. The letters of the Disney iconography offer us an exclusive catalog of adaptation to fashions from constant innovation in its ideological, aesthetic, technological, communicative and cultural proposals

This remarkable volume is a collection of eleven essays and shorter articles which for the first time provide rich contexts – social, cultural, and political – for graphic design in Britain.

Hyphen Press / University of Reading
https://hyphenpress.co.uk/products/books/978-0-907259-39-8

The subject of the analysis undertaken in the article are the covers and dust jackets of books belonging to the “Golden Series” – “Humanities Monographs of the Foundation for Polish Science”. The author takes into account three stages of the graphic development of the series, named after the dominant colours – the brown style (1995–2004), the brown-gold style (2004–2011) and the gold style (2011–2020). Numerous imperfections of the first one, which emphasized the prestigious character of the series by the archaizing cover, are revealed, both in terms of design and typographic inconsistencies. The author then states that while the introduction of the golden dust jacket and graphic photographs in the second style has increased visual attractiveness of the series, one cannot speak of a comprehensive graphic creation process until the third stage of the aforementioned evolution. The categories of motifs appearing on the dust jackets are also described, with an attempt to find patterns between their selection and the topics discussed, as well as to interpret examples from particular categories. Comparing projects from the second and third stage, the author comes to the conclusion that the former group was based mainly on illustrations from the inside of the books or on relatively simple visual associations, while the latter is the result of creative work and intellectual effort – getting acquainted with a specialist publication – and the character of these projects, sometimes fully abstract, is challenging for the recipient to interpret.

*Impressive Shakespeare* reassesses Shakespeare’s relationship with "print culture" in light of his plays' engagement with the language and material culture of three interrelated "impressing technologies": wax sealing, coining, and typographic printing. It analyses the material and rhetorical forms through which drama was thought to "imprint" early modern audiences and readers with ideas, morals and memories, and—looking to our own cultural moment—shows how Shakespeare has been historically constructed as an "impressive" dramatist. Through material readings of four plays—Coriolanus, A Midsummer Night’s Dream, Measure for Measure and The Winter’s Tale—Harry Newman argues that Shakespeare deploys the imprint as a self-reflexive trope in order to advertise the value of his plays to audiences and readers, and that in turn the language of impression has shaped, and continues to shape, Shakespeare’s critical afterlife. The book pushes the boundaries of what we understand by "print culture", and challenges assumptions about the emergence of concepts now central to Shakespeare’s perceived canonical value, such as penetrating characterisation, poetic transformation, and literary fatherhood.