When the Kingdom of Italy was created in 1805 a new printing works was established in Milan, the 'Stamperia Reale', which was directly answerable to the Ministry for Internal Affairs. Its main ...purpose was to produce the various Napoleonic legal codes and the vast number of official forms which were needed for governmental administration. Thanks to its perfect organisation, due to figures such as Leonardo Nardini, Luigi Castiglioni, Giuseppe Taverna as well as to its highly skilled employees, its revenues were considerably high. The government used this money to subsidise the publication of works of high cultural value, to acquire parts of literary and scientific editions which would not easily have found a sufficient market, and to make loans to some favourably regarded publishers who found themselves in financial difficulty.
Silvano Burgalassi in two articles on the incunabula of Pisa, the first published in 1975 and the second in 1981, gave the total as 24 editions and 27 editions respectively. The present article ...reduces the total to 18 editions and shows why nine entries in Burgalassi’s later list were erroneous. A few notes are added to emphasize that there was no printing at Pisa between 1499 and 1600.
Text designers are likely to benefit from guidance on how to use typographic differentiation for emphasis. Three experiments use purposely-designed fonts to explore the size and nature of differences ...in the stylistic characteristics of fonts (weight, width, contrast, italic) which affect letter identification. Results indicate that words set in bold and expanded fonts, when alternated with words set in a Neutral test font, may impair performance, whereas changing to italic does not. Possible explanations are explored through measuring the physical and perceptual similarities of the test fonts.
Usamos tipografia para transmitir mensajes de forma adecuada. La expresividad que el diseño de la letra transmite es un factor importante para escoger un tipo. En el contexto de la enseñanza superior ...de Diseño, con estudiantes de 1.º año, del 1.º ciclo, se ha observado que una de las dificultades iniciales está relacionada con los tipos de letra adecuados para utilizar nosotros en sus proyectos. Con la base en esta observación, surgió la pregunta a investigar: ¿Cómo perciben éstos estudiantes la expresividad de la tipografia? El estudio se inició en la base de un encuadramiento teórico, que permitió definir la elección de cinco tipos de letras y de las escalas semánticas, que posteriormente fueran validados por un panel de peritos. El modelo de ocho ejes dicotómicos fue usado en las indagaciones a través de cuestionarios aplicados a los estudiantes.
The first-ever book-length history of Arab graphic
design PROSE AWARD WINNER, ART HISTORY & CRITICISM
Arab graphic design emerged in the early twentieth century out
of a need to influence, and give ...expression to, the far-reaching
economic, social, and political changes that were taking place in
the Arab world at the time. But graphic design as a formally
recognized genre of visual art only came into its own in the region
in the twenty-first century and, to date, there has been no
published study on the subject to speak of. A History of Arab
Graphic Design traces the people and events that were integral
to the shaping of a field of graphic design in the Arab world.
Examining the work of over eighty key designers from Morocco to
Iraq, and covering the period from pre-1900 to the end of the
twentieth century, Bahia Shehab and Haytham Nawar chart the
development of design in the region, beginning with Islamic art and
Arabic calligraphy, and their impact on Arab visual culture,
through to the digital revolution and the arrival of the Internet.
They look at how cinema, economic prosperity, and political and
cultural events gave birth to and shaped the founders of Arab
graphic design. Highlighting the work of key designers and
stunningly illustrated with over 600 color images, A History of
Arab Graphic Design is an invaluable resource tool for graphic
designers, one which, it is hoped, will place Arab visual culture
and design on the map of a thriving international design
discourse.
Typographic patterns are one of the design elements in commercial advertising for their ability to deliver the message and information to the recipient smoothly and quickly, and it is indicated that ...there are many different techniques that can use typographic patterns in commercial advertisements, including spacing, spaces between letters, letter height, length, weight, and contrast and this Usage must be studied according to the type of font and how it can be used in advertising campaigns. Based on the above, the research came to study (employing typographic patterns in commercial advertising design) in which the researcher identified his question for the purpose of reaching a solution to his research problem which is (Is it possible to employ typographic patterns to be used as a basic element in designing the advertising idea for commercial advertising to achieve functional, aesthetic and expressive values? It also included the importance of research and limitations as well as the definition of terminology. As for the theoretical framework, the literature related to the research topic was reviewed to include the concept of typography, and the functional dimension of typographic patterns, and it was concluded with the indicators of the theoretical framework. As for the research procedures, the researcher adopted the descriptive approach, the method of analyzing the content in the analysis procedures, in order to achieve the goal of the research, as the research community came to be represented by the products of international advertising agencies and for the large number of advertisements issued by them, the researcher decided to approve the designs issued by them and chose the designs of printed advertisements only and issued by them for the year 2018. And the last of this research, the results and conclusions were reviewed, the most important of which are: 1. The result of the use of three-dimensional letters has the ability to attract the consumer more than the two-dimensional lettering. 2. Changing the typographic character, size, weight, color, and position changes the way the message appears and often changes the meaning. He concluded with recommendations, proposals and sources
Este artículo estudia la relación entre la tipografía y los procesos de apropiación de la identidad en un territorio en particular, como resultado del desarrollo de su cultura visual. El estudio se ...enfoca en un análisis de caso específico, el desarrollo de la tipografía Granaína. Se profundiza en su origen gráfico, basado en la cerámica autóctona de Granada, que inspiró la creación de sus formas tipográficas. Además se describen los procesos de diseño y difusión de la tipografía estructurados en un análisis sintáctico, semántico y pragmático que finaliza con la reflexión sobre las aplicaciones que se sucedieron tras su distribución con una licencia gratuita de libre uso (Creative Commons).
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