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I am a final year student at Nottingham Trent University, desperate for some primary research for my dissertation on typography.
I was wondering if anyone could offer their opinion on any of the following questions...
Is typography a craft?
Has the quality of type design been affected by digitization?
Are all new typefaces just an imitation of existing designs or is it still possible to achieve original type design?
Has the internet become saturated with poor quality type design?
Is it possible to avoid?
What defines good typography?
Any help or comments you may give will be extremely helpful and much appreciated.
I am collecting information on the ethics and legality of digital font usage for my undergraduate thesis using a survey. I'm focusing on students, instructors, and professionals who are involved in the design community. I've received over 80 responses so far, but am looking for as many as I can obtain, so please feel free to share with your friends or colleagues!
If you would like to offer any additional resources/information in regards to these issues, please contact me at: email@example.com
The link is below, and the survey takes about 5 minutes to complete. Thank you in advance!
I'm a new and learning designer just taking my first typography class. It is something I am really enjoying.
As part of my class, I was assigned a typeface to study and do research on and present as my final project. The face I was given is "Filosophia." It is a beautiful one and I know it was developed by Zuzana Licko of Emigre Fonts in the 1990's. I also know that it was inspired by the classic "Bodoni." Outside of that, I have found very little information on Filosphia itself.
Does anyone know of any books that include information about it or its history? Are there any groups, or communities dedicated to Filosophia? How about any valid websites?
Thanks for the help!
I'm in the middle of research about typography used on Wrocław's (Poland) trams and buses.
I'm looking for a clues about history of such typography use or just some background about history of such digit design.
Of course it can't be connected with transportation but we're close to thinking it has some functional matter.
I'll be very glad if you could help me a little with it.
Thank you very much.
first I'm going to briefly introduce myself (silent reader and observer for a longer time, now finally joined):
My name is Cornelia but I prefer to be called Conny, I'm 26 and studying media design at Rheinische Fachhochschule Köln (Cologne), what I really enjoy, it is a great experience with a lot of demandful tasks. Like the one I could need your help:
My topic will need some space.
I am planning on printing a booklet that contains a potrait about the "Didot" font. (I'm afraid my English is a bit rusty, please don't hesitate to correct me in case of failing at technical terms.)
It is a task at my typography discipline (Rheinische Fachhochschule Köln). Every student does another font.
I'm currently writing an essay which includes some short case studies of typefaces. I would like to include Didot as one of them but I cant seem to find out that much information about its history.
I already know some bits about the typeface and its designer but I'm struggling for its context really - I dont know anything about what else was happening at the time and what made both didot and bodoni both design such similar typefaces at similar points in history?
Thanks for any help, Rick
This Collaborative Doctoral Award Studentship is between the University of Reading and St Bride Library, London.
The Typeface Designs of Eric Gill
STARTING OCTOBER 2011
An AHRC Collaborative Doctoral Award studentship (fully funded fees and maintenance) between the University of Reading and St Bride Library, London is available to a suitably qualified UK or EU student.
Imagine you’ve been tasked with delivering a design brief across multiple digital platforms. You’ve constructed a pristine template with evenly set grids and equally balanced guidelines. It looks perfect, but it only applies to print. How would it look on a mobile phone screen? You certainly can’t replicate it there. And what about the explosion in tablets? You quickly find it’s not as simple as you first thought. But you’re not alone – it turns out the ‘digital niggles’ associated with fonts are the most challenging aspect of digital design briefs today.
As part of a research degree I would love to interview anyone who works on exhibitions or is part of a design team for a gallery, museum or arts program. My research will look into the growing use of type in exhibitions, and look at the value of typefaces when curating and promoting exhibitions, and how choosing appropriate type faces is essential for marrying artwork, photography and other types of exhibitions with information.
If anyone is interested in being part of this research and would later like to be interviewed, please reply to this forum post - and thanks a million!
I'm involved in designing a logo for a research group that is going to be established soon. The research is in a field somewhere between natural sciences and their application in engineering. It's about the opposite of an art exhibition or a virtual social network internet site, so there is not much room for eccentric ideas.
There are now two basic choices, and slight changes to the design are still possible. Can anyone help me to decide between the two variants? Thank you!!
The mission of Center for Advanced Design Research and Evaluation (CADRE) is to develop and execute relevant original research in the areas of architectural and engineering design solutions having an impact on: end users, including occupant well-being and user effectiveness; operational performance; and sustainability of the built environment. Dissemination of this new knowledge to end users and the design community is inherent in our organizational intent.
After much discussion we decided the logo needed to be bold, technological, and organized. It could represent in an abstract fashion the ideas of dissemination, the center point for emerging ideas, a surveyors benchmark, form which new directions are established and buildings built.