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논문 기본 정보
- 자료유형
- 학술대회자료
- 저자정보
- 발행연도
- 2013.12
- 수록면
- 36 - 39 (4page)
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초록· 키워드
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With the rapid development of modern technology, typography and typefaces are taking on a variety of new forms and functions. Many categories and kinds of typography, such as ‘type as image’ and ‘type in motion’, have evolved. Typefaces are no longer solely tools of visual communication; their form and appearance can now be manipulated to create certain moods or feelings in an audience.
In recent years, many typographic works have been designed to express particular emotions and feelings or stimulate them in an audience. Various typographic elements, such as colour and typestyle, may be used to convey or evoke the desired emotions. To elicit specific emotions in response to typographic works, designers must fully understand the relationships between emotions and typography. They must successfully select and manipulate such features as colours, shapes, textures and images to enrich viewers’ experiences of and emotional responses to typographical works.
Inspired by studies of the relationship between design and emotion in a range of disciplines, some design scholars have developed these ideas further by applying them to graphic design. They have explored the potential contribution of user-centred ‘design and emotion’ studies to typography, and established new criteria for defining the category of ‘emotion in type/typography’. This study investigates the relationship between emotional response and type/typography, and proposes new criteria for categorising typography that accommodate the emotional concerns and effects of typographic design.
In recent years, many typographic works have been designed to express particular emotions and feelings or stimulate them in an audience. Various typographic elements, such as colour and typestyle, may be used to convey or evoke the desired emotions. To elicit specific emotions in response to typographic works, designers must fully understand the relationships between emotions and typography. They must successfully select and manipulate such features as colours, shapes, textures and images to enrich viewers’ experiences of and emotional responses to typographical works.
Inspired by studies of the relationship between design and emotion in a range of disciplines, some design scholars have developed these ideas further by applying them to graphic design. They have explored the potential contribution of user-centred ‘design and emotion’ studies to typography, and established new criteria for defining the category of ‘emotion in type/typography’. This study investigates the relationship between emotional response and type/typography, and proposes new criteria for categorising typography that accommodate the emotional concerns and effects of typographic design.
목차
Abstract
1 Introduction
2 The Application of ‘Design and Emotion’ Theories to Graphic Design
3 An Alternative Category of Typography : ‘Emotion in Type/Typography’
4 Three Basic Criteria Proposed For ‘Emotion in Type/Typography’
5 Conclusions
References
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