An Investigation into justification and hyphenation methodologies in QuarkXPress and Adobe InDesign

Adobe\u27s newest page layout program, InDesign, includes a multi-line composing engine. This feature has been highlighted in presentations and preliminary literature about the program by Adobe. The claim being made by Adobe is that the multi-line composing method will produce visible improvements over traditional line-by-line justification methods, such as that employed by the current most-popular page layout program, QuarkXPress. Text produced using line-by-line justification methods tends to exhibit significant variances in interword spacing from one line to the next. Text often appears too loose or too tight in parts, and visual effects such as rivers of white space running through a column are often present. A multi-line method of justification should produce markedly better results, as interword spacing should be mostly consistent throughout an entire paragraph. The idea for a multi-line justification method is based on the hand-compositor\u27s practice of resetting previous lines of text when a line cannot be acceptably justified on its own. This practice became very difficult with the arrival of the Linotype in 1886 and practically impossible with the Monotype in 1887. First- and second- generation phototypesetters also did not allow any form of multi-line justification. Only with the arrival of typographical technology to desktop systems has it again become possible to employ a multi-line justification method. Two notable programs that were able to perform multi-line justification before the arrival of InDesign are Donald Knuth\u27s page description language, _fX, and the /zz-program, developed by Peter Karow and Hermann Zapf. InDesign\u27s multi-line composition engine is in fact based on TX and the /zz-program, and it employs similar algorithms. Although there have been comparisons done between TeX or the /tz-program and line-by-line justification methods, there have been no extensive comparisons between InDesign\u27s multi-linecomposing engine and a program using a line-by-line justification method, such as QuarkXPress. The hypothesis of this thesis, then, is that InDesign\u27s multi-line justification method will indeed produce a significant improvement over the line-by-line justification method used by QuarkXPress. This hypothesis is tested through flowing text into three templates that are designed to be representative of a book layout, a newspaper layout, and an magazine layout. Identical versions of these templates were created in both InDesign and QuarkXPress 3.32. A challenging, yet not extraordinary text was flowed into all templates. Wordspacing and hyphenation are evaluated

What Makes a Font Persuasive?: An Eye-Tracking Study of Perception in American and Chinese Assessment of Fonts

Professional, technical, and visual communication practitioners and academics have historically overlooked visual rhetoric and how it is employed in business communications as well as how various cultures comprehend and respond to the design elements and visual composition of business documents. More specifically typography, the building blocks of a document, has been little explored in professional and technical communication research. As such, this study utilizes eye-tracking technology in conjunction with other data collection methods to understand if and how fonts contribute to the persuasiveness of business communications and if different cultures vary in typeface assessment and perception. Mackiewicz and Brumberger have both examined typeface anatomy and its effect on perception of font personality. Similar methods are implemented in this study to determine if the anatomical characteristics of fonts contribute to the perception of typeface persuasiveness in business documents. Furthermore, this study also seeks to establish if any correlations exist in typeface persuasiveness between American and Chinese cultures. Through this study, it was discovered that there are in fact anatomical characteristics of typefaces that lend themselves to a font being perceived as persuasive. It was also found that the perception of persuasiveness differs between the two cultures, and the methods by which the two groups assess the typefaces for persuasiveness are quite distinct

ATLAS Style Guide

This is a compendium of rules, recommendations, information and advice for writing papers and notes within the ATLAS Collaboration at the CERN Large Hadron Collider. It covers what to include in the paper, and some general guidelines and specific points about writing a scientific paper. There are sections on the use of English (though it is not a guide to grammar), punctuation, and typography. Advice about the use of LATEX is also given

Sensing synesthesia

Sensing Synesthesia is an exhibition of experiments, carried out through the medium of graphic design as an attempt to generate a synesthesiac experience by visualizing sound. Since many elements within the realms of sound and sight are relative, creating a genuine synesthesiac experience for a viewing audience proved challenging. To address this problem, I created visual elements that corresponded with personal convictions, emotions and proclamations and presented them in a way congruent to the sounds being heard. Through these experiments, I discovered the personal growth of myself: the sharpened skills as a graphic designer, initiated interest in hand-rendered type as well as graffiti art as a style. Furthermore, I aimed that the interrelated, impactful relationship between sight and sound we all encounter on a daily basis generates a deeper experience despite our level of awareness

Visual Design Systems for Music Education

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The future of heuristic fossils

The authors propose that while many fields of design are involved in reflexive interactions with design research tools, others are strongly heuristic in both their application of historic knowledge bases and in the ways in which they allow themselves tomove forward, toconstructnewknowledgeasanextensionofcraft thinkingwithuser-centredevidence.Thesehistoricalframesbecomealimitingfactor inboththewaysthatpracticecandevelopbutalso,moreworryingly,inthewaysin whichthesefieldscandeveloptheirownresearchtools

The Economy Of Typography (the Arrangement or Mode of Operation of Typography)

The thesis will show that the current research into legibility and readability regarding certain aspects or characters of type is incomplete, and will demonstrate what further research is necessary to complete the analysis of these aspects or characters in the economy of typography in continuous text. Chapter 1 will show that the development of reading depends on the legibility of the typography and characters ‘recognizing patterns, planning strategy, and feeling’ in other words reading and writing are interdependent all depend in some part on the construction of the characters and their relationship to each other. It will also show that readable writing is desirable and important for the reader’s sake. Chapter 2 will deal with the practical presentation of the characters of what the reading public read, and the role played by legibility and readability of typography in conveying their message. Printers and designers will also have a working knowledge and experience of legibility and readability which is incorporated into typograhy presentations, and this also is taken into account in chapter 2. Chapter 3 reviews the criteria and methods used in typography readability and legibility research. The research will show that readability is the ease with which the eye can absorb the message and move along the line, and legibility is based on the ease with which one letter can be identified from another. Chapter 4 entitled Analysis and Recommendations concludes the thesis with a summary of chapters 1, 2 and 3 before presenting a comparative analysis of current research into legibility, with particular emphasis on misreading or misrecognition of characters, and provides illustrations of the conclusions reached by way of bar chart and tables. Appendix One of the thesis contains a comprehensive list of the research into legibility and readability. Appendix Two contains the graphics of Benjamin Sherbow showing typography layout supportive of type spacing matters discussed in chapter 2. The thesis has an extensive bibliography of the works referred to throughout the thesis

Proceedings of the 1st International Conference on Live Coding

Open Access peer reviewed papers on live coding published at the 1st International Conference on Live Coding (ICLC) in Leeds

What every designer should know about visual semiotics: A Videotape presentation

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