1887
Volume 28, Issue 1
  • ISSN 0142-5471
  • E-ISSN: 1569-979X
USD
Buy:$35.00 + Taxes

Abstract

Abstract

There are situations where designs involve bilingual content. In such cases, to convey clear and consistent messages, we need to select typefaces in two languages. Traditionally, designers relied on their intuition and experience when selecting typefaces. This study, however, uses analytical research to explore the possibility of using data to inform designs and to make appropriate typeface selections in bilingual contexts. It collects and analyses participants’ responses toward sample typefaces and uses them to choose typefaces in two languages simultaneously, English and Chinese. This method is shown to be effective; it breaks language barriers and explores an original and efficient approach to typeface selection.

Loading

Article metrics loading...

/content/journals/10.1075/idj.22018.li
2023-06-05
2025-02-12
Loading full text...

Full text loading...

References

  1. Amare, N., & Manning, A.
    (2012) Seeing typeface personality: Emotional responses to form as tone. Paper presented at the1–9. 10.1109/IPCC.2012.6408605
    https://doi.org/10.1109/IPCC.2012.6408605 [Google Scholar]
  2. Armstrong, H.
    (2009) Graphic design theory: Readings from the field. New York: Princeton Architectural Press.
    [Google Scholar]
  3. Baki, R. A.
    (2013) Bilingual design layout systems cases from beirut. Visible Language, 47(1), 38–64.
    [Google Scholar]
  4. Bennett, A.
    (2006) Better Skills through Better Research. InBennett, A., & Heller, S. (Eds.), Design studies: Theory and research in graphic design (pp.14–25). New York: Princeton Architectural Press.
    [Google Scholar]
  5. Bowers, J.
    (2011) Introduction to graphic design methodologies and processes: Understanding theory and application. Hoboken, N.J: Wiley.
    [Google Scholar]
  6. Bringhurst, R.
    (2002) The elements of typographic style (Version 2.5 ed.). Point Roberts, WA: Hartley & Marks.
    [Google Scholar]
  7. Brumberger, E. R.
    (2003) The rhetoric of typography: The awareness and impact of typeface appropriateness. Technical Communication, 50(2), 224–231.
    [Google Scholar]
  8. (2003) The rhetoric of typography: The persona of typeface and text. Technical Communication, 50(2), 206–223.
    [Google Scholar]
  9. Cooke, M.
    (2006) Design Methodologies: Toward a Systematic Approach to Design. InBennett, A., & Heller, S. (Eds.), Design studies: Theory and research in graphic design (pp.130–146). New York: Princeton Architectural Press.
    [Google Scholar]
  10. Frascara, J.
    (2004) Communication design: Principles, methods, and practice. New York: Allworth Press.
    [Google Scholar]
  11. Grohmann, B., Giese, J. L., & Parkman, I. D.
    (2013) Using type font characteristics to communicate brand personality of new brands. Journal of Brand Management, 20(5), 389–403. 10.1057/bm.2012.23
    https://doi.org/10.1057/bm.2012.23 [Google Scholar]
  12. Gump, J. E.
    (2001) The readability of typefaces and the subsequent mood or emotion created in the reader. Journal of Education for Business, 76(5), 270–273. 10.1080/08832320109599647
    https://doi.org/10.1080/08832320109599647 [Google Scholar]
  13. Heller, S.
    (2006) Better Skills through Better Research. InBennett, A., & Heller, S. (Eds.), Design studies: Theory and research in graphic design (pp.10–13). New York: Princeton Architectural Press.
    [Google Scholar]
  14. Holst-Larkin, J.
    (2006) Personality and type (but not a psychological theory!). Business Communication Quarterly, 69(4), 417–421. 10.1177/108056990606900413
    https://doi.org/10.1177/108056990606900413 [Google Scholar]
  15. Hou, L., & Jiao, R. J.
    (2019) Data-informed inverse design by product usage information: A review, framework and outlook. Journal of Intelligent Manufacturing, 1–24. 10.1007/s10845‑019‑01463‑2
    https://doi.org/10.1007/s10845-019-01463-2 [Google Scholar]
  16. Hyndman, S.
    (2016) Why fonts matter. London: Virgin Books.
    [Google Scholar]
  17. Jones, R., & Merriman, P.
    (2009) Hot, banal and everyday nationalism: Bilingual road signs in wales. Political Geography, 28(3), 164–173. 10.1016/j.polgeo.2009.03.002
    https://doi.org/10.1016/j.polgeo.2009.03.002 [Google Scholar]
  18. Juni, S., & Gross, J. S.
    (2008) Emotional and persuasive perception of fonts. Perceptual and Motor Skills, 106(1), 35–42. 10.2466/pms.106.1.35‑42
    https://doi.org/10.2466/pms.106.1.35-42 [Google Scholar]
  19. Kane, J.
    1949 (2011) A type primer (2nd ed.). London: Laurence King.
    [Google Scholar]
  20. Kinross, R.
    (2004) Modern typography: An essay in critical history (2nd ed.). London: Hyphen Press.
    [Google Scholar]
  21. Koch, B. E.
    (2012) Emotion in typographic design: An empirical examination. Visible Language, 46(3), 206–227.
    [Google Scholar]
  22. Kurz, S.
    (2011) There’s more to it already. typography and literature studies: A critique of nina norgaard’s ‘the semiotics of typography in literary texts’ (2009). Orbis Litterarum: International Review of Literary Studies, 66(5), 409. 10.1111/j.1600‑0730.2011.01028.x
    https://doi.org/10.1111/j.1600-0730.2011.01028.x [Google Scholar]
  23. Li, Y., & Suen, C.
    (2010) Typeface personality traits and their design characteristics. Paper presented at the231–238. 10.1145/1815330.1815360
    https://doi.org/10.1145/1815330.1815360 [Google Scholar]
  24. Lu, X. Q., & Tang, T.
    (2016) Elements of Chinese typeface design. InDyson, M. C., & Suen, C. Y. (Eds.), Digital fonts and reading (pp.109–130). New Jersey : World Scientific. 10.1142/9789814759540_0007
    https://doi.org/10.1142/9789814759540_0007 [Google Scholar]
  25. Mayer-Schönberger, V., & Cukier, K.
    (2013) Big data: A revolution that will transform how we live, work and think. London: John Murray.
    [Google Scholar]
  26. Mccoy, K.
    (2006) Graphic Design in a Multicultural World. InBennett, A., & Heller, S. (Eds.), Design studies: Theory and research in graphic design (pp.200–205). New York: Princeton Architectural Press.
    [Google Scholar]
  27. Middendorp, J.
    (2012) Shaping text. Amsterdam: BIS Publishers.
    [Google Scholar]
  28. Monotype
    Monotype (2019) MyFonts. Retrieved fromhttps://www.myfonts.com
  29. Noble, I., & Bestley, R.
    (2011) Visual research: An introduction to research methodologies in graphic design (2nd ed.). Worthing;Lausanne;: AVA Academia.
    [Google Scholar]
  30. Norgaard, N.
    (2009) The semiotics of typography in literary texts: A multimodal approach. Orbis Litterarum: International Review of Literary Studies, 64(2), 141–160. 10.1111/j.1600‑0730.2008.00949.x
    https://doi.org/10.1111/j.1600-0730.2008.00949.x [Google Scholar]
  31. Porter, M. E., & Heppelmann, J. E.
    (2015) How smart, connected products are transforming companies. Harvard Business Review, 93(10), 96.
    [Google Scholar]
  32. Qiu, Q., Watanabe, S., & Omura, K.
    (2017) Images and anatomy of latin typefaces. International Journal of Affective Engineering, 16(2), 121–130. 10.5057/ijae.IJAE‑D‑16‑00028
    https://doi.org/10.5057/ijae.IJAE-D-16-00028 [Google Scholar]
  33. Serafini, F., & Clausen, J.
    (2012) Typography as semiotic resource. Journal of Visual Literacy, 31(2), 1–16. 10.1080/23796529.2012.11674697
    https://doi.org/10.1080/23796529.2012.11674697 [Google Scholar]
  34. Spiekermann, E., & Ginger, E. M.
    1948 (2002) Stop stealing sheep: Find out how type works (2nd ed.). Berkeley, CA: Ad Noble obe Press.
    [Google Scholar]
  35. Stöckl, H.
    (2005) Typography: Body and dress of a text – a signing mode between language and image. Visual Communication, 4(2), 204–214. 10.1177/1470357205053403
    https://doi.org/10.1177/1470357205053403 [Google Scholar]
  36. Tam, K.
    (2012) A descriptive framework for Chinese–English bilingual typography. Typographische Monatsblätter, 4(5), 38–46
    [Google Scholar]
  37. Tarbox, J. D.
    (2006) Activity Theory: A Model for Design Research. InBennett, A., & Heller, S. (Eds.), Design studies: Theory and research in graphic design (pp.73–83). New York: Princeton Architectural Press.
    [Google Scholar]
  38. Tschichold, J., & McLean, R.
    (2006) The new typography: A handbook for modern designers (New ed.). London;Berkeley, Calif;: University of California Press. 10.1525/9780520355019
    https://doi.org/10.1525/9780520355019 [Google Scholar]
  39. Tselentis, J.
    (2011) Type, form & function: A handbook on the fundamentals of typography. Beverly, Mass: Rockport.
    [Google Scholar]
  40. Tsonos, D., & Kouroupetroglou, G.
    (2011) Modeling reader’s emotional state response on document’s typographic elements. Advances in Human-Computer Interaction, 2011, 1–18. 10.1155/2011/206983
    https://doi.org/10.1155/2011/206983 [Google Scholar]
  41. (2016) Prosodic mapping of text font based on the dimensional theory of emotions: A case study on style and size. EURASIP Journal on Audio, Speech, and Music Processing 2016(1), 1–16. 10.1186/s13636‑016‑0087‑8
    https://doi.org/10.1186/s13636-016-0087-8 [Google Scholar]
  42. Tyler, A. C.
    (2006) Shaping Belief: The Role of Audience in Visual Communication. InBennett, A., & Heller, S. (Eds.), Design studies: Theory and research in graphic design (pp.36–50). New York: Princeton Architectural Press.
    [Google Scholar]
  43. Unger, G.
    (2007) While you’re reading (1st ed.). New York: Mark Batty.
    [Google Scholar]
  44. Van Leeuwen, T.
    (2005) Typographic meaning. Visual Communication, 4(2), 137–143. 10.1177/1470357205053749
    https://doi.org/10.1177/1470357205053749 [Google Scholar]
  45. (2006) Towards a semiotics of typography. Information Design Journal, 14(2), 139–155. 10.1075/idj.14.2.06lee
    https://doi.org/10.1075/idj.14.2.06lee [Google Scholar]
  46. Wittner, B., Thoma, S., Hartmann, T., Bilak, P., AbiFarès, H. S., Kwon, J., … Eps51 (Firm)
    (2019) Bi-scriptual: Typography and graphic design with multiple script systems (1st ed.). Salenstein: Niggli, imprint of Braun Publishing AG.
    [Google Scholar]
/content/journals/10.1075/idj.22018.li
Loading
/content/journals/10.1075/idj.22018.li
Loading

Data & Media loading...

This is a required field
Please enter a valid email address
Approval was successful
Invalid data
An Error Occurred
Approval was partially successful, following selected items could not be processed due to error