Over the past few decades, numerous prominent authors in various spheres of design discourse have discussed the rhetorical potency of type "icons" and how they come to embody cultural connotation. As ...icons, typefaces offer a universal language system-an expansive visual vocabulary that immediately references what we already know of their context. Iconic typefaces and their letterforms are subject to a process of narrative interpretation where what we "already know of them" is in a constant process of resignification. Here, critics tend to follow a Barthesian view that, as mythic structures, letterforms' narratives are continuously used and reused as signification in different contexts. This widely regarded view presumes that iconic meaning develops as a chain of signification, where one narrative builds onto the next. This, however, leaves little explanation for instances where symbolism embedded in iconic typefaces develops in unexpected ways. In this article, I therefore investigate and unpack other means by which iconic typefaces evolve rhetorical meaning. By referring to examples throughout, I explore typical perspectives on iconic type in the Barthesian sense, but also trace different processes of signification. In doing so, I aim to offer alternative insights into ideological type as a more fluid rhetorical entity.
Abstract The arrangement of Chinese characters has a significant impact on the visual effect and information dissemination in graphic design. In traditional Chinese layout, vertical arrangement of ...characters is predominant, but in recent times, there has been a gradual transition towards horizontal arrangement. To compare the influence of different character arrangement forms on visual meaning generation and information dissemination, This study employed an eye-tracking experiment to investigate two common Chinese character layouts in posters—horizontal and vertical, and collected data such as eye-tracking heatmap, pupil diameter and eye-tracking trajectory map. Based on objective eye-tracking data, combined with post-test interviews and questionnaire surveys, it was found that vertical character arrangement in Chinese typography is more effective in attracting visual attention and facilitating the expression and stimulating interest in viewing/reading under the premise of meeting formal requirements, which may provide guidance and inspiration for the practical application of Chinese characters in layout design, advertising design, packaging design, exhibition design, UI design, and other related fields.
Whether a document is of historical or contemporary significance, typography plays a crucial role in its composition. From the early days of modern printing, typographic techniques have evolved ...and transformed, resulting in changes to the features of typography. By analyzing these features, we can gain insights into specific time periods, geographical locations, and messages conveyed through typography. Therefore, in this paper, we aim to investigate the feasibility of training a model to classify serif typeswithout knowledge of the font and character. We also investigate how to train a vectorial-based image model able to group together fonts with similar features. Specifically, we compare the use of state-of-theart image classification methods, such as the EfficientNet-B2 and the Vision Transformer Base model with different patch sizes, and the state-of-the-art fine-grained image classification method, TransFG, on the serif classification task. We also evaluate the use of the DeepSVG model to learn to group fonts with similar features. Our investigation reveals that fine-grained image classification methods are better suited for the serif classification tasks and that leveraging the character labels helps to learn more meaningful font similarities.This repository contains: - Paper published in the Journal of data mining and digital humanities:WasimEtAl_Toward_Automatic_Typography_Analysis__Serif_Classification_and_Font_Similarities.pdf - Two datasets: The first for serif classification consisting of 126666 training and 2914 font-independent testing images in raster format. The second dataset for svg based similarity learning consists of 124010 training and 2914 font-independent testing images. The images have been categorized into sans-serif, linear-serif, slab-serif, and triangular serif by a designer at the EPFL+ECAL Labfont_serif_dataset.zipfont_svg_dataset.zip - model weights:serif_B_16_long_checkpoint.bin: refers to TransFG ViT B/16 Backendserif_B_32_long_checkpoint.bin: refers to TransFG ViT B/32 BackendViT-B_16.npz ViT-B_32.npz are publicly available at: https://github.com/TACJu/TransFGand were used for training TransFG ViT B/16 Backend and TransFG ViT B/32 Backend - code:https://github.com/TalalWasim/GEST-Serif
This quantitative and experimental research has as a main objective expand the knowledge we have about the influence of the typography in the communicative efficiency, therefore we intend to analyse ...in which level the typography can alter or condition the efficiency of the graphic message and how can we obtain different formal approach with different communicative efficiencies. Once the study was done, it was verified that style and family typography can alter or condition the preference to a brand and, also, that there is a precedence between the different typography styles.
Drawing from the concept of anemoia, the authors propose a new typology of nostalgia called vintage anemoia. Vintage anemoia encompasses consumers’ positive and nostalgic response to vintage cues, ...regardless of specific historical periods or individual lived experiences. Through a series of seven studies, the authors demonstrate that vintage typography, by evoking feelings of vintage anemoia, can enhance consumer perceptions of product safety. This effect has positive downstream consequences on key marketing outcomes, including brand attitude, purchase intention, and willingness to pay. Furthermore, the effect of vintage anemoia on product safety perceptions remains unaffected by whether product safety information indicates that a product is safe or unsafe. However, the effect diminishes when an explicit indexical cue (year of establishment) is utilized or when promoting futuristic products. The findings contribute to the existing body of knowledge in marketing and provide insights for marketers on leveraging vintage typography as a strategic tool for creating emotional connections with consumers and enhancing perceptions of product safety.
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