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Event C source code 7th ICTVC 2019 | Challenging design paths
by Klimis Mastoridis published Feb 10, 2019 last modified Feb 10, 2019 06:07 PM — filed under: , , , , , , , , , , , , , , , , , , , ,
7th International Conference on Typography & Visual Communication (ICTVC), Main Conference 19–21 June | Workshops 17–18 June 2019, Patras, Greece
Located in Events
Page Octet Stream A Typography for India
by Rathna Ramanathan published Jan 09, 2017 — filed under: , ,
Rathna Ramanathan ATypI 2016 • Warsaw, Poland Academy of Fine Arts in Warsaw ASP
Located in Type & typography
Page Everyday handwriting
by Sue Walker published Jan 09, 2017 — filed under: ,
Sue Walker ATypI 2016 • Warsaw, Poland Academy of Fine Arts in Warsaw ASP
Located in Type & typography
Page D source code Text in need
by Sonja Knecht published Jan 09, 2017 — filed under: , ,
Sonja Knecht ATypI 2016 • Warsaw, Poland Academy of Fine Arts in Warsaw ASP
Located in Type & typography
Event Octet Stream Typography Day 2017, Sri Lanka
by Mark Barratt published Nov 16, 2016 — filed under: , , , ,
February 23-25, 2017 at Colombo Department of Integrated Design, University of Moratuwa, Sri Lanka. http://www.typoday.in/
Located in Events
Event Octet Stream IV Encuentro Internacional de Bibliología
by dario Manuel muhafara published Aug 30, 2016 — filed under: , , , , ,
La materialidad de las escrituras: de la paleografía y la tipografía digital
Located in Events
Event Talk : Digitizing The Arabic Manuscripts at the Welcome Library
by Catherine Dixon published Dec 20, 2010 last modified Aug 26, 2015 11:40 PM — filed under: , ,
The Middleton Lecture given on behalf of the Designer Bookbinders by Gillian Boal at the St Bride Foundation, London.
Located in Events
File Learning how to swim
by Roman Wilhelm published Dec 20, 2010 last modified Aug 26, 2015 11:39 PM — filed under: , , ,
On “Multilingual Typography / Cohabitation typographique / Koexistenz der Zeichen” and “Learning How To Swim: Issues in Latin-Chinese Typeface Design” PDF slides from the ATypI 2012 conference in Hong Kong.
Located in Type & typography
File object code RE-TRANS-formation of Chinese typography
by Jackson Choi published Dec 20, 2010 last modified Aug 26, 2015 11:39 PM — filed under: , , ,
This paper aims to present our approaches of teaching Chinese typography at Hong Kong Design Institute that blend Chinese culture with modern context. The unique historic and cultural background of Hong Kong favoured the flourish of Western culture and values, which in some way weaken our link with Chinese culture. Language, as a basic reflection of cultural heritage in daily utilization, is a perfect platform to inject Chinese culture and tradition back to the heart of our young generation.
Located in Type & typography
File Black and white in Indian typography
by D. Udaya Kumar published Dec 20, 2010 last modified Aug 26, 2015 11:39 PM — filed under: , , ,
By D. Udaya Kumar. India is a diverse country with multiple scripts, Tamil and Sanskrit being the earliest among them. The ancient script, Brāhmī is the root of all Indian scripts. The script is also the parent to several other major script families of Central and Southeast Asia. Each of these Indian scripts evolved on its own course over centuries. The medium and tools used for writing played an important role in the evolution process. The palm leaf manuscripts were one of the major mediums used for written communication during the early periods. Their writing system and calligraphy were unlike the Far Eastern and Western calligraphic cultures. The concept of black and white was no concern for the calligrapher. In the majority of manuscripts the content was more important than the aesthetics of lettering or composition. On the other hand the present scripts have its roots from the unique writing system and medium. The scripts that has evolved with such culture and written practices reflected the same in the contemporary typography. Similar to the manuscript calligraphy the present typography that is seen all around has no concerns for the black and white. This raises the several important questions such as, is it important to balance the black and white in typography? Does the concept of black and white really matters in typography of Indian scripts? This paper primarily aims at understanding the concept of black and white in Indian typography especially in Tamil script. It discusses the calligraphy on palm leaf manuscript, influence of the medium and its writing system on letterforms. It also explores the issues related to aesthetics in Indian language typography in comparison to Western typography. From the ATypI 2012 conference in Hong Kong.
Located in Type & typography