Adobe Devanagari typeface

Typeface design: collaborative work commissioned by Adobe Inc. Published but unreleased. The Adobe Devanagari typefaces were commissioned from Tiro Typeworks and collaboratively designed by Tim Holloway, Fiona Ross and John Hudson, beginning in 2005. The types were officially released in 2009. The design brief was to produce a typeface for modern business communications in Hindi and other languages, to be legible both in print and on screen. Adobe Devanagari was designed to be highly readable in a range of situations including quite small sizes in spreadsheets and in continuous text setting, as well as at display sizes, where the full character of the typeface reveals itself. The construction of the letters is based on traditional penmanship but possesses less stroke contrast than many Devanagari types, in order to maintain strong, legible forms at smaller sizes. To achieve a dynamic, fluid style the design features a rounded treatment of distinguishing terminals and stroke reversals, open counters that also aid legibility at smaller sizes, and delicately flaring strokes. Together, these details reveal an original hand and provide a contemporary approach that is clean, clear and comfortable to read whether in short or long passages of text. This new approach to a traditional script is intended to counter the dominance of rigid, staccato-like effects of straight verticals and horizontals in earlier types and many existing fonts. OpenType Layout features in the fonts provide both automated and discretionary access to an extensive glyph set, enabling sophisticated typography. Many conjuncts preferred in classical literary texts and particularly in some North Indian languages are included; these literary conjuncts may be substituted by specially designed alternative linear forms and fitted half forms. The length of the ikars—ि and ी—varies automatically according to adjacent letter or conjunct width. Regional variants of characters and numerals (e.g. Marathi forms) are included as alternates. Careful attention has been given to the placements of all vowel signs and modifiers. The fonts include both proportional and tabular numerals in Indian and European styles. Extensive kerning covers several thousand possible combinations of half forms and full forms to anticipate arbitrary conjuncts in foreign loan words. _____

Describing the design of children’s books: an analytical approach

Descriptions of graphic language are relatively rare compared to descriptions of spoken language. This paper presents an analytical approach to studying the visual attributes and conventions in children’s reading and information books. The approach comprises development of a checklist to record ‘features’ of visual organization, such as those relevant to typography and layout, illustration and the material qualities of the books, and consideration of the contextual factors that influence the ways that features have been organized or treated. The contextual factors particularly relevant to children’s reading include educational policy, legibility and vision research and typeface development and availability. The approach to analysis and description is illustrated with examples of children’s reading and information books from the Typographic Design for Children database, which also demonstrates an application of the checklist approach.

The power of perceptions: exploring the role of urban design in cycling behaviours and healthy ageing

Good urban design has the power to aid in the provision of inclusive journey environments, yet traditionally neglects the perspective of the cyclist. This paper starts from the premise that more can be done to understand and articulate cyclists’ experiences and perceptions of the urban environment in which they cycle, as part of a closer linking of urban design qualities with transport planning and infrastructure interventions. This approach is particularly applicable in relation to older cyclists, a group whose needs are often poorly understood and for whom perceptions can significantly influence mobile behaviours. Currently, knowledge regarding the relationship between the built environment and physical activity, including cycling, in older adults is limited. As European countries face up to the challenges associated with ageing populations, some metropolitan regions, such as Munich, Germany, are making inroads into widening cycling’s appeal across generations through a combination of urban design, policy and infrastructure initiatives. The paper provides a systematic understanding of the urban design qualities and built environment features that affect cycling participation and have the potential to contribute towards healthy ageing. Urban design features such as legibility, aesthetics, scale and open space have been shown to influence and affect other mobile behaviours (e.g. walking), but their role as a mediator in cycle behaviour remains under-explored. Many of these design ‘qualities’ are related to individual perceptions; capturing these can help build a picture of quality in the built environment that includes an individual’s relationship with their local neighbourhood and its influences on their mobility choices. Issues of accessibility, facilities, and safety in cycling remain crucial, and, when allied to these design ‘qualities‘, provides a more rounded reflection of everyday journeys and trips taken or desired. The paper sets out the role that urban design might play in mediating these critical mobility issues, and in particular, in better understanding the ‘quality of the journey’. It concludes by highlighting the need for designers, policy makers, planners and academics to consider the role that design can play in encouraging cycle participation, especially as part of a healthy ageing agenda.

The influence of serifs on 'h' and 'i': useful knowledge from design-led scientific research

The typographical naivety of much scientific legibility research has caused designers to question the value of the research and the results. Examining the reasons underlying this questioning, the paper discusses the importance of designers being more accepting of scientific findings, and why legibility investigations have value. To demonstrate how typographic knowledge can be incorporated into the design of studies to increase their validity, the paper reports on a new investigation into the role of serifs when viewed at a distance. The experiment looks into the identification of the lowercase letters ‘j’, ‘i’, ‘l’, ‘b’, ‘h’, ‘n’, ‘u’, and ‘a’ in isolation. All of the letters originate in the same typeface and are presented in one version with serifs and one version without serifs. Although the experiment found no overall legibility difference between the sans serif and the serif versions, the study showed that letters with serifs placed on the vertical extremes were more legible at a distance than the same letters in a sans serif. These findings can therefore provide specific guidance on the design of individual letters and demonstrate the product of collaboration between designer and scientist on the planning, implementation, and analysis of the study.

Affective trajectories: locating diegetic velocity in the cinema experience

Films that feature high-speed diegetic motion, and present those high speeds through fast mobile framing and fast cutting, are frequently charged with generating a sensory overload which empties out meaning or any sense of spatial orientation. Inherent in this discourse is a privileging of optical-spatial intelligibility that suppresses consideration of the ways cinema can represent diegetic velocity, and the spectator’s sensory experience of the same. This paper will instead highlight the centrality of the evocation of a trajectory for movement for the spectator’s experience of diegetic speed, an evocation that does not depend on optical-spatial legibility for its affective force.