Do designers show categorical perception of typefaces?

Readers need to easily discriminate between different letters, so typefaces are designed to make these differences distinctive. But there is also a uniformity of style within a typeface. These styles are recognised by typographic designers and may be categorised to enable more efficient discrimination among typefaces. The manner in which designers perceive typefaces is explored using the paradigm of Categorical Perception (CP). A continuum of fonts is created by interpolating between two typefaces and two tasks (identification and discrimination) are used to test for CP. As the application of CP to typefaces is a new approach, various methodological issues are pursued. The experiments reveal that the conditions required to demonstrate CP are quite specific and CP was only evident in Times and Helvetica and not Garamond and Bodoni. Possible reasons for this difference are the characteristics of the two typefaces and their context of use. Speculation as to the purpose of CP in non-designers raises the under-researched question of how we identify letters in different typefaces when reading.

Materials Education and Research in Art and Design: A New Role for Libraries - Session 4. Designers

Designers respond to issues and synthesize ideas from throughout the day as voices from the field who directly encounter the need for recently graduated students to possess the ability to investigate and interrogate materials.

Inter-relações entre engenheiros mecânicos e designers industriais: uma abordagem transdiciplinar e holística do processo acadêmico

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

ECODESIGN: designers brasileiros de adornos que trabalham com sustentabilidade

The ornaments have always been appreciated by human. And today is obviously the need to include the concepts of ecology in all areas. In this scenario ecodesign becomes a great ally for professionals who work in the making of ornaments, including jewelers. Aiming to decrease and the preservation of noble metals and the use of alternative materials, the ecodesign of adornment makes even more valued and attractive, it promotes sustainable consumption. Based on these concepts, this paper aims to investigate the Brazilian professionals who use sustainable ideas for making your accessories and social work related to this activity.

Not for Designers: On the Inadequacies of EU Design Law and How to Fix It

Design rights represent an interesting example of how the EU legislature has successfully regulated an otherwise heterogeneous field of law. Yet this type of protection is not for all. The tools created by EU intervention have been drafted paying much more attention to the industry sector rather than to designers themselves. In particular, modern, digitally based, individual or small-sized, 3D printing, open designers and their needs are largely neglected by such legislation. There is obviously nothing wrong in drafting legal tools around the needs of an industrial sector with an important role in the EU economy, on the contrary, this is a legitimate and good decision of industrial policy. However, good legislation should be fair, balanced, and (technologically) neutral in order to offer suitable solutions to all the players in the market, and all the citizens in the society, without discriminating the smallest or the newest: the cost would be to stifle innovation. The use of printing machinery to manufacture physical objects created digitally thanks to computer programs such as Computer-Aided Design (CAD) software has been in place for quite a few years, and it is actually the standard in many industrial fields, from aeronautics to home furniture. The change in recent years that has the potential to be a paradigm-shifting factor is a combination between the opularization of such technologies (price, size, usability, quality) and the diffusion of a culture based on access to and reuse of knowledge. We will call this blend Open Design. It is probably still too early, however, to say whether 3D printing will be used in the future to refer to a major event in human history, or instead will be relegated to a lonely Wikipedia entry similarly to ³Betamax² (copyright scholars are familiar with it for other reasons). It is not too early, however, to develop a legal analysis that will hopefully contribute to clarifying the major issues found in current EU design law structure, why many modern open designers will probably find better protection in copyright, and whether they can successfully rely on open licenses to achieve their goals. With regard to the latter point, we will use Creative Commons (CC) licenses to test our hypothesis due to their unique characteristic to be modular, i.e. to have different license elements (clauses) that licensors can choose in order to adapt the license to their own needs.”

Japanese virtual communication survey : a brief analysis of contemporary graphic designers from Japan

To research graphic design in a globalized context it is primordial to consider cultural, social, historical and even anthropological studies to fully understand the aesthetics’ choices made by the designer’s. Being the “Japanese graphic design” a topic still to be better understand in the West, it is mandatory to gather information from primary sources. These data will be analyzed with support of secondary sources of information about Japanese visual communication, social and cultural studies. This paper presents comments about the result of a survey applied to 105 Japanese graphic designers. The survey was designed with 44 questions. The original survey, to better follow this report can be found in www.studiohobo.com/CONVERGENCIAS/Flavio_Hobo_Survey.pdf

Preliminary human factors guidelines for automated highway system designers. Volume I: guidelines for AHS designers.

Federal Highway Administration, Washington, D.C.

Design standards manuals : their meaning and use for Federal designers /

Based on a presentation to the Second Studio Seminar for Federal Graphic Designers, Nov. 9, 1976, held at the Illinois Institute of Technology.

Technology of textile design : a practical treatise on the construction and application of weaves for all textile fabrics and the analysis of cloth : containing also an appendix describing all the latest methods and improvements in designing and manufacturing : for the use of students, operatives, overseers, designers, mill managers, commission merchants and manufacturers /

Mode of access: Internet.

Structural shapes; information and tables for architects, engineers and designers of buildings and other steel structures.

Cover-title: Bethlehem manual of steel construction.

National handbook of plan reading and material listing for lumber and building material dealers, contractors, estimators and designers,

Blank pages for "Memoranda" (149-150)

Ornamental treasure ; a collection of designs of all styles and periods, for architects, sculptors, modelers, gold and silversmiths, designers, porcelain and glass painters, glass stainers, engravers, lithographers, decorative painters, academies, school of industry, etc. /

Mode of access: Internet.