Araştırma Makalesi
BibTex RIS Kaynak Göster
Yıl 2024, Cilt: 6 Sayı: 1, 99 - 138, 20.07.2024
https://doi.org/10.46474/jds.1461016

Öz

Kaynakça

  • Adkins, M. (2013). Designing a font (CorelDRAW Graphics Suite X6; pp. 1–30).
  • Althubiani, A. K. (2023). Clarifying Typeface vs . Fonts : Navigating Copyright Protection and Design Distinctions. Legal Speaking. https://www.linkedin.com/pulse/clarifying-typeface-vs-fonts-navigating- copyright-protection/
  • Aufderheide, Patricia, Jaszi, & Peter. (2011). Appendix D: Myths and Realities About Fair Use". Reclaiming Fair Use: How to Put Balance Back in Copyright. Chicago: University of Chicago Press.
  • Bojan, B., & Uroš, N. (2012). Font hinting techniques and the importance of applying these techniques for high- quality display of fonts on the output device screen. Journal of Graphic Engineering and Design, 3(1), 23– 30.
  • Boss, S. (2018). Digital Type Design for Branding; Designing Letters from Their Source. CRC Press Taylor & Francis Group.
  • Brown, P. (2009). CAD : Do Computers Aid the Design Process After All ? 2(1).
  • Bringhurst, R. (2015). The Elements of Typographic Style (4th edition). Hartley & Marks Publishers
  • Chapman, C. (2020, May 13). A Typeface History (with Infographic). Retrieved December 9, 2020, https://www.toptal.com/designers/ui/typeface-history
  • Cheng, K. (2006). Designing Type. Yale University Press.
  • Cheng, K. (2020). Designing Type (Second Edi). Yale University Press.
  • Elias, M., Dick, K., & Paulo, S. (2023). Influence of typographic properties on user experience in digital interfaces. Estudos Em Design| Revista (Online). Rio de Janeiro, 31(2), 99–109.
  • Eramudugolla, S. and Samarawickrama, S. (2023) ‘Legibility : Sinhala typeface features for Directional Informative Sign Boards’, Journal of Graphic Engineering and Design,14(3), pp. 15–25. doi: https://doi.org/10.24867/JGED-2023-3-015. ETalks.23927486htvk. (2022). Modifying fonts - Font License. Adobe Community. https://community.adobe.com/t5/adobe-fonts-discussions/modifying-fonts-font-license/m-p/12864300
  • Fleischmann, K. (2011) ‘Lettering and Signage in the Urban Environment of North Queensland’s Capital: Tropical Flair or Univernacular?’, Etropic, 10(11), pp. 83–95.
  • Guo, M., Wu, L., Tan, C. L., Cheah, J., Peng, J., Chiu, C., Ren, R., Aziz, Y. A., Peng, J., Chiu, C.-H., & Ren, R. (2023). The impact of perceived risk of online takeout packaging and the moderating role of educational level. In Humanities and social sciences communication (pp. 1–18).
  • LibreCAD. (2018). Text Font. In LibreCAD Forum. https://forum.librecad.org/Text-Font-td5716637
  • LibreOffice. (2018). Commercial font use for products made with LibreOffice ? The Document Foundation. https://ask.libreoffice.org/t/commercial-font-use-for-products-made-with-libreoffice/34515
  • Lupton, E. (2010) 'Thinking with Type'. Princeton Architectural Press.
  • Kelley, T. (2002). 'The Art of Innovation: Lessons in Creativity' from IDEO, America's Leading Design Firm. N.p.: Profile Books.
  • Martin,Mohsen, A. and Sayegh, E. (2018) ‘The Aesthetics Impact of the Typographic On the Logo Advertising and Meaning (Analytical Research)’, IOSR Journal of Research & Method in Education (IOSR-JRME), 8(2), pp. 18–28. doi: http://doi.org/10.9790/7388-0802051828 .
  • Mills, C. and Weldon, L. (1987) 'Reading text from computer screens. ACM Computing Surveys' , 19(4), 329- 357
  • Netaniel, N. W. (2011). Making Sense of Fair Use. Lewis and Clark Law Review, 15(3).
  • Oladumiye, E. B., Hassan, T. and Adelabu, O. (2018) ‘Appraising the Effects of ComputerAided Design (CAD) on the Creative Behaviour of Design Students in TertiaryInstitutions in Nigeria: A Case Study of the Federal University of Technology Akure’, Global Journal of Human-Social Science: H Interdisciplinary, 18(5), pp. 35–43.
  • Oluyemi, A. S., Asogwa, C. and Onwuekwe, C. (2022) ‘Types, Lettering and Layout’, in Introductory Notes on Basic Design and Creativity, pp. 85–94.
  • Oluyemi, A. S., Oladumiye, E. B. and Adelabu, O. S. (2021) ‘Zobo Tea Package Design Prototype Allied with Product Onomastics’, Journal of Design Studio, 3(2), pp. 237–259. doi: http://doi.org/10.46474/jds.1025264 .
  • Prasad, M., Mishra, D. and Prasad, R. S. (2018) ‘Technical letters ( capital ) writing : A new concept’, Journal of Graphic Engineering and Design, 9(1), pp. 45–48.
  • Pekta, Ö. (2014). ScienceDirect Calligraphic Forms in Contemporary Typographic Design. 122, 40–45. https://doi.org/10.1016/j.sbspro.2014.01.1300
  • Phalke, S. S., Shrivastava, A., & Sahgal, P. (2023). Identification of Digital Font Size and Font Type to Enhance the Attention Span of Children Living with ADHD in a Typical Learning Environment. The International Journal of Visual Design, 17(1), 43–60. https://doi.org/10.18848/2325-1581/CGP/v17i01/43-60
  • Read, D., & Bohemia, E. (2012). The functions of the design brief. International Design Conference, DESIGN 201, 1587–1596.
  • Ryan, H. (2008). The Complete Graphic Designer_ A Guide to Understanding Graphics and Visual Communication (p. 1991).
  • Sadowska, N., Laffy, D., Sadowska, N., & Laffy, D. (2017). a learning journey The design brief : inquiry into the starting point in a learning journey. The Design Journal, 6925, S1380–S1389. https://doi.org/10.1080/14606925.2017.1352664
  • Sari, L. D. and Prada, A. W. (2020) ‘The Essence of Hand Lettering in the Design Industry. The Definition of Design Industry’, in 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019). SCITEPRESS – Science and Technology Publications, Lda, pp. 155–158. doi: http://doi.org/10.5220/0008556301550158 .
  • Sharma, S., Kumar, J., Zheng, J., & King, T. H. (2023). Contextual Font Recommendations based on User Intent. Proceedings of ACM SIGIR Workshop on ECommerce (SIGIR ECom’23). ACM, New York, NY, USA, 5 pages.
  • Strizver, F. (2006). Type Rules: the designer’s guide to professional typography. John Wiley & Sons, Ltd. Turgut, Ö. P. (2014) ‘Calligraphic Forms in Contemporary Typographic Design’, Procedia
  • Walia, C. (2019). A Dynamic Definition of Creativity. In Creativity Research Journal. Routledge. https://doi.org/10.1080/10400419.2019.1641787
  • Wang, Z., Yang, J., Jin, H., Shechtman, E., Agarwala, A., Brandt, J., & Huang, T. S. (2015). DeepFont : Identify Your Font from An Image.
  • Yusoff, Y. M., Ruthven, I., & Landoni, M. (2013). Measuring Emotion : A New Evaluation Tool for Very Young Children. Proceedings of the 4th International Conference on Computing and Informatics, ICOCI, 126, 358–363.

CAD Inspiration for Design Students on the Geometric Modification of Letters

Yıl 2024, Cilt: 6 Sayı: 1, 99 - 138, 20.07.2024
https://doi.org/10.46474/jds.1461016

Öz

This study explores geometric modifications in letter design to encourage originality among elementary design students. It emphasizes viewing Computer-Aided Design (CAD) as a tool for boosting students' inspiration and familiarity with innovative letterforms. The study equips students with skills to create original designs and navigate copyright issues related to the use of typeface for their project. To achieve its objectives, the study targets: identifying challenges faced by design students, illustrating geometric modifications, developing procedures to encourage creativity, and evaluating the effectiveness of these procedures. An exploratory method is employed, involving focus groups with ten participants each, utilizing CAD for geometric modifications of existing and original design, and applying the semantic differential scale (SDS)/Likertscale to assess perceptions and efficacy of the suggested procedures. Both descriptive (mean, standard deviation, bar charts) and inferential statistics (chi-square, independent sample t-test, one-way ANOVA) are used in the analysis. The findings highlight gender issue, challenges related to inadequate access to technology and demonstrate CAD'S effectiveness in enhancing geometric modification processes. The study emphasizes the significance of understanding anatomy and design principles, particularly in original designs created from scratch, underscoring CAD's role in reinforcing these principles. The outcome shows that students can independently create display and decorative letters for various applications without relying entirely on already existing one for originality purpose. Suggested procedures, including drafting design briefs, seeking mentorship, and integrating CAD with manual techniques, are found to enhance creativity and originality. Thus, it is likely that the suggested procedure has significant effect on the student's creative letter design especially when the elementary design students are flexible and not when they are unyielding. The combination of CAD and manual techniques notably improves students' intuition and creativity in letter design, with the overall positive impact on their creative output.

Kaynakça

  • Adkins, M. (2013). Designing a font (CorelDRAW Graphics Suite X6; pp. 1–30).
  • Althubiani, A. K. (2023). Clarifying Typeface vs . Fonts : Navigating Copyright Protection and Design Distinctions. Legal Speaking. https://www.linkedin.com/pulse/clarifying-typeface-vs-fonts-navigating- copyright-protection/
  • Aufderheide, Patricia, Jaszi, & Peter. (2011). Appendix D: Myths and Realities About Fair Use". Reclaiming Fair Use: How to Put Balance Back in Copyright. Chicago: University of Chicago Press.
  • Bojan, B., & Uroš, N. (2012). Font hinting techniques and the importance of applying these techniques for high- quality display of fonts on the output device screen. Journal of Graphic Engineering and Design, 3(1), 23– 30.
  • Boss, S. (2018). Digital Type Design for Branding; Designing Letters from Their Source. CRC Press Taylor & Francis Group.
  • Brown, P. (2009). CAD : Do Computers Aid the Design Process After All ? 2(1).
  • Bringhurst, R. (2015). The Elements of Typographic Style (4th edition). Hartley & Marks Publishers
  • Chapman, C. (2020, May 13). A Typeface History (with Infographic). Retrieved December 9, 2020, https://www.toptal.com/designers/ui/typeface-history
  • Cheng, K. (2006). Designing Type. Yale University Press.
  • Cheng, K. (2020). Designing Type (Second Edi). Yale University Press.
  • Elias, M., Dick, K., & Paulo, S. (2023). Influence of typographic properties on user experience in digital interfaces. Estudos Em Design| Revista (Online). Rio de Janeiro, 31(2), 99–109.
  • Eramudugolla, S. and Samarawickrama, S. (2023) ‘Legibility : Sinhala typeface features for Directional Informative Sign Boards’, Journal of Graphic Engineering and Design,14(3), pp. 15–25. doi: https://doi.org/10.24867/JGED-2023-3-015. ETalks.23927486htvk. (2022). Modifying fonts - Font License. Adobe Community. https://community.adobe.com/t5/adobe-fonts-discussions/modifying-fonts-font-license/m-p/12864300
  • Fleischmann, K. (2011) ‘Lettering and Signage in the Urban Environment of North Queensland’s Capital: Tropical Flair or Univernacular?’, Etropic, 10(11), pp. 83–95.
  • Guo, M., Wu, L., Tan, C. L., Cheah, J., Peng, J., Chiu, C., Ren, R., Aziz, Y. A., Peng, J., Chiu, C.-H., & Ren, R. (2023). The impact of perceived risk of online takeout packaging and the moderating role of educational level. In Humanities and social sciences communication (pp. 1–18).
  • LibreCAD. (2018). Text Font. In LibreCAD Forum. https://forum.librecad.org/Text-Font-td5716637
  • LibreOffice. (2018). Commercial font use for products made with LibreOffice ? The Document Foundation. https://ask.libreoffice.org/t/commercial-font-use-for-products-made-with-libreoffice/34515
  • Lupton, E. (2010) 'Thinking with Type'. Princeton Architectural Press.
  • Kelley, T. (2002). 'The Art of Innovation: Lessons in Creativity' from IDEO, America's Leading Design Firm. N.p.: Profile Books.
  • Martin,Mohsen, A. and Sayegh, E. (2018) ‘The Aesthetics Impact of the Typographic On the Logo Advertising and Meaning (Analytical Research)’, IOSR Journal of Research & Method in Education (IOSR-JRME), 8(2), pp. 18–28. doi: http://doi.org/10.9790/7388-0802051828 .
  • Mills, C. and Weldon, L. (1987) 'Reading text from computer screens. ACM Computing Surveys' , 19(4), 329- 357
  • Netaniel, N. W. (2011). Making Sense of Fair Use. Lewis and Clark Law Review, 15(3).
  • Oladumiye, E. B., Hassan, T. and Adelabu, O. (2018) ‘Appraising the Effects of ComputerAided Design (CAD) on the Creative Behaviour of Design Students in TertiaryInstitutions in Nigeria: A Case Study of the Federal University of Technology Akure’, Global Journal of Human-Social Science: H Interdisciplinary, 18(5), pp. 35–43.
  • Oluyemi, A. S., Asogwa, C. and Onwuekwe, C. (2022) ‘Types, Lettering and Layout’, in Introductory Notes on Basic Design and Creativity, pp. 85–94.
  • Oluyemi, A. S., Oladumiye, E. B. and Adelabu, O. S. (2021) ‘Zobo Tea Package Design Prototype Allied with Product Onomastics’, Journal of Design Studio, 3(2), pp. 237–259. doi: http://doi.org/10.46474/jds.1025264 .
  • Prasad, M., Mishra, D. and Prasad, R. S. (2018) ‘Technical letters ( capital ) writing : A new concept’, Journal of Graphic Engineering and Design, 9(1), pp. 45–48.
  • Pekta, Ö. (2014). ScienceDirect Calligraphic Forms in Contemporary Typographic Design. 122, 40–45. https://doi.org/10.1016/j.sbspro.2014.01.1300
  • Phalke, S. S., Shrivastava, A., & Sahgal, P. (2023). Identification of Digital Font Size and Font Type to Enhance the Attention Span of Children Living with ADHD in a Typical Learning Environment. The International Journal of Visual Design, 17(1), 43–60. https://doi.org/10.18848/2325-1581/CGP/v17i01/43-60
  • Read, D., & Bohemia, E. (2012). The functions of the design brief. International Design Conference, DESIGN 201, 1587–1596.
  • Ryan, H. (2008). The Complete Graphic Designer_ A Guide to Understanding Graphics and Visual Communication (p. 1991).
  • Sadowska, N., Laffy, D., Sadowska, N., & Laffy, D. (2017). a learning journey The design brief : inquiry into the starting point in a learning journey. The Design Journal, 6925, S1380–S1389. https://doi.org/10.1080/14606925.2017.1352664
  • Sari, L. D. and Prada, A. W. (2020) ‘The Essence of Hand Lettering in the Design Industry. The Definition of Design Industry’, in 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019). SCITEPRESS – Science and Technology Publications, Lda, pp. 155–158. doi: http://doi.org/10.5220/0008556301550158 .
  • Sharma, S., Kumar, J., Zheng, J., & King, T. H. (2023). Contextual Font Recommendations based on User Intent. Proceedings of ACM SIGIR Workshop on ECommerce (SIGIR ECom’23). ACM, New York, NY, USA, 5 pages.
  • Strizver, F. (2006). Type Rules: the designer’s guide to professional typography. John Wiley & Sons, Ltd. Turgut, Ö. P. (2014) ‘Calligraphic Forms in Contemporary Typographic Design’, Procedia
  • Walia, C. (2019). A Dynamic Definition of Creativity. In Creativity Research Journal. Routledge. https://doi.org/10.1080/10400419.2019.1641787
  • Wang, Z., Yang, J., Jin, H., Shechtman, E., Agarwala, A., Brandt, J., & Huang, T. S. (2015). DeepFont : Identify Your Font from An Image.
  • Yusoff, Y. M., Ruthven, I., & Landoni, M. (2013). Measuring Emotion : A New Evaluation Tool for Very Young Children. Proceedings of the 4th International Conference on Computing and Informatics, ICOCI, 126, 358–363.
Toplam 36 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Görsel İletişim Tasarımı (Diğer)
Bölüm Research Articles
Yazarlar

Ayorinde Samuel Oluyemi 0000-0002-2743-2992

Erken Görünüm Tarihi 16 Temmuz 2024
Yayımlanma Tarihi 20 Temmuz 2024
Gönderilme Tarihi 29 Mart 2024
Kabul Tarihi 6 Temmuz 2024
Yayımlandığı Sayı Yıl 2024 Cilt: 6 Sayı: 1

Kaynak Göster

APA Oluyemi, A. S. (2024). CAD Inspiration for Design Students on the Geometric Modification of Letters. Journal of Design Studio, 6(1), 99-138. https://doi.org/10.46474/jds.1461016

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