birkvig thewordaspicture lores

xxxdanishxschoolxofxmediaxandxjournalismxhenrikxbirkvigxhbi@dmjx.dkxbiadx2011xthexwordxasxpictures

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Ralph du Carrois via @spiekermann on Twitter sunday.


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TID OG STED PRIS TILMELDING Tirsdag den 22.9.2009 80 kr incl. frokost, www.dream.dk Kl. 10.00-16.30 kaffe og vand senest den 27.8.2009 Biografen i hus 41 Roskilde Universitet Den digitale kultur giver nye muligheder for en styrket kommunikation til flere potentielt interesserede brugere. Men ekstern kommunikation er ikke kun god formidling af et fagligt indhold. Kommunikation præger, forandrer, forvrænger ... indholdet. Mere, og mere forskellig, kommunikation ændrer på forholdet mellem afsender, indhold og modtager samtidig med, at skel mellem oplevelsescentre, videncentre og museer viskes ud. Disse udfordringer inviterer DREAM til at diskutere. Hvad sker der med den forandrende kommunikation? Hvem kommunikerer med hvem? Hvad forandres? Og hvem? Hvad betyder denye kommunikationsformer for museers og science centres selvforståelse og udvikling?

PROGRAM 09.30 Ankomst og registrering 10.00 Museernes kommunikation og de digitale udfordringer Kirsten Drotner, professor, Syddansk Universitet, og centerleder for DREAM 10.15 Ocular predations and other dimensions of the use of mobile media in science museums

James E. Katz, professor, Rutgers University 11.00 The logic of participation in museum learning designs Palmyre Pierroux, projektleder, Intermedia, University of Oslo 11.45 Frokost 12.30 Hvem kommunikerer med museet? Bruno Ingemann, lektor, Roskilde Universitet 13.15 Fantasiens museum i den digitale tidsalder: samlingen på nye måder Ane Hejlskov Larsen, lektor, Aarhus Universitet og Vinnie Nørskov, museumsleder og lektor,

Antikmuseet, Aarhus Universitet 14.00 Kaffepause 14.20 Fire parallelle workshops 15.30 Plenumdiskussion 16.30 Afslutning

RESUMÉER OG CV Ocular predations and other dimensions of the use of mobile media in science museums James E. Katz, Rutgers University Ethnographic observation spanning more than two years of visitor activity in a US science museum has yielded some useful insights into the role of mobile communication in informal STEM learning. A major conclusion of the study to date is that mobile phones and digital cameras were used to a moderate degree to document and create artifacts of certain visitor experiences and exhibits. The topics that elicited the most attention were often related to exhibits that induced fear or that were related to contemporary events. Less successful were mobile device-driven program content that aimed at generating further visitor inquiries (and thus learning) about the exhibit. The high hopes for post-visit learning via mobile connectivity does not seem likely to be fulfilled, based on this investigation, though this could well be a result of the structure of the


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typographics/typograms:the word as pictureHenrik BirkvigSome research and investigations


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partitio• 1. Background• 2. Empirical objects (the collection)• 3. Research• 4. Definition• 5. Analysis 1• 6. Analysis 2• 7. Theorizing and analyzing• 8. Conclusion• 9. Perspective


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1. backgroundHow it began:

• Graduated 1982, started teaching 1984/85


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• Graduated 1982, started teaching 1984/85• Creative process > display typography


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• Graduated 1982, started teaching 1984/85• Creative process > display typography• Assignment:

make some ‘typographics’!(the student as graphic designer as author(Are we gonna come up with the words ourselves?)


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• Graduated 1982, started teaching 1984/85• Creative process > display typography• Assignment: make some ‘typographics’ (did not know better)• Still on my list of assignments today


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• Graduated 1982, started teaching 1984/85• Creative process > display typography• Assignment: make some ‘typographics’ (did not know better)• Still on my list of assignments today• Collecting (more) examples from 2005


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2. empirical objects• 192 examples collected from 2005 til now A variety of sources: screendumps from the internet, scan from prints, photographs, digital files …


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3. ongoing research• Litterature (typographic textbooks)• Internet search (Google, Encyclopedia Brittanica)• Network inquiries (three typo experts)


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3. research• Litterature (textbooks: looking for definitions)

Some of ‘The usual suspects’


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3. research• Netsearch: typographics (too much general typography)


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3. research• Netsearch: typogram (typography, calligram)


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3. research• Netsearch (encyclopedia: looking for definitions)


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3. research• Netsearch (google: looking for definitions)


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3. research• Typographics?• Typograms?


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3. research• Back to the books: more litterature studies


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3. research• Back to the books: more litterature studies

Karl Gerstner in ‘Kompendium für Alphabeten’: Typogram(“Der Terminus für visualisierte Begriffe: Typogramme”).

Aaron Burns in ‘Typography’: Typographic illustration.

David Consuegra in ‘American Type’: Typogram

Massin in ‘Letter and Image’: [lots of different examples]

Emil Ruder in ‘Typography’ : [examples]


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3. researchRoger Ferriter in ‘Typerformance’: Typographic performances

Per Mollerup in ‘Marks of Excellence’: Letter marks

Gavin Ambrose & Paul Harris in ‘The Visual Dictionary of Typography’: Typogram

(“The deliberate use of typography to express an idea visually, but by incorporating something more than just the letters that constitute the word.”)


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4. definitionGavin Ambrose & Paul Harris in ‘The Visual Dictionary of Typography’: Typogram

The deliberate use of typography to express an idea visually, but by incorporating something more than just the letters that constitute the word.

[← fits my collection well]

contradiction!


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4. definitionGavin Ambrose & Paul Harris in ‘The Visual Dictionary of Typography’: Typogram

Typographics:a concept used specifically in New York from the late fifties (Brownjohn, Lubalin, ITC et al) →

A subclass under typogram?


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4. definition

U&lc, June 1975.


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5. analysis 1: the collection


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5. geography• Western World• No counting: How many from which countries?• The internet / cyberworld


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5. statistics


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5. method: looking


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a. execution1. ReplacementOne or more letters replaced

2. ManipulationChanged lettershape og fill

3. Pure type (‘typographic’)Space, placement, mirror, etc.

4. AdditionIllustration added to wordshape


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Replacement118/192Manipulation

36/192

Addition27/192Pure

type11/192

a. execution1. ReplacementOne or more letters replaced

2. ManipulationChanged lettershape og fill

3. Pure typeSpace, placement, mirror, etc.

4. AdditionIllustration added to wordshape


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b. number of wordsOne word

Two words

Three words

> Three words


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b. number of wordsOne word

Two words

Three words

> Three words

One word112/192

Two words49/192

>Three words12/192

Threewords19/192


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c. quality of designGood

Medium

Bad


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c. quality of designGood

Medium

Bad

Good71/192

Medium51/192

Bad70/192


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d. function: brands!BrandCompany, product etc.

OtherSigns, headline, statement, graffiti

Brands168/192

Other24/192


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e. typefacesSerif

Incised

Slab serif

Sans serif

Script, lettering etc.

Sans serif132/192

Serif23/192

Slabserif16/192

Incised2/192

Script,lettering19/192


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f. the letter ‘o’

0

10

20

30

40

50

60

70

80

Letter “o”79 instances

Letter “i”20 instances Letter “a”

17 instances

Mystery:Letter frequency of the letter ‘o’

Any suggestions as to why?


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6. analysis 2: the words as arguments

– or the relationship between the word and the illustration


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6. argumentNiels Heie: “One image can provide data for many claims.”

Stephen Toulmins theory in “The Uses of Argument”.

warrant

data claim


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6. argument

warrant

data claim

”This is a rose“.(Naming is

a claim).

(Me)


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6. argument

”This is made by a lion“.

(index sign)

(The sender, the context: an ad for a motion picture).

warrant

data claim


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6. argument

”This is made by a lion“.

(index sign)

Inferens: a challenge.

warrant

data claim


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6. argument

warrant

data claim

Eating potatoes in stead of meat

reduces the emission

of gasses …Inferens: a bigger challenge!


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6. argument


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7. theorizing & analysing 1*: best of two worlds modalities?

*) unfinished work


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Allan Paivio, T.B. Rogers, and Padric C. Smythe, Department of Psychology, University of Western Ontario, Canada:Why are pictures easier to recall than words?

“Pictures of objects were recalled significantly better than their names on the first two of four free recall trials.”

7. theorizing & analysing 1:

The picture superiority effect


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The right picture helps a fast perception


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I de allerfleste produkter der skal læses,formidles budskabet som en kombinationaf sproglige og ikke-sproglige elementer,tekster og illustrationer.

I nogle produkter er der få sproglige ele-menter og mange ikke-sproglige, altså lidttekst og mange illustrationer som f.eks. i etnummer af Se og Hør.

I andre produkter er der mange sprogli-ge elementer og blot et ikke-sprogligt, altsåmasser af tekst og en enkelt illustration,som f.eks i en roman der har en tegning påforsiden.

Tekst og illustration ses som regel sam-men. I kraft af gestaltlovene forsøger læse-ren at forstå elementerne som samhørende,som om det var meningen at de var dér vedsiden af hinanden, placeret i samme blik.

De to typer betydningsbærende elemen-ter som man bygger visuelle meddelelseraf, opleves og læses sammen. Men hvadforholdet mellem de to elementtyper bety-der for forståelsen af budskabet, det vides

der ikke så meget om, det har vi mest påfornemmelsen.

På Den Grafiske Højskole har vi fåetmulighed for at sætte os bedre ind i proble-matikken, fordi Nilpeter-fonden har done-ret nogle midler til at indkøbe eyetrack-apparatur for.

Med eyetrack-udstyr registrerer man,hvordan en læser bevæger sine øjne underlæsningen. Øjnenes position »affotografe-res« tyve gange i sekundet. De tyve stederdefineres som punkter i et koordinatsystemved hjælp af tal. Tiden måles også.

Siden hen bruger man rækken af tal tilat rekonstruere øjets position på et bestemttidspunkt i forhold til det, læseren så.

Registreringen resulterer i et billede aflæseruten: den vej som læserblikket hartaget under læsningen.

Nu har vi så fået etableret Nilpeter-Lab,et laboratorium hvor vi skal lave forsøg,der giver os mere viden om læserøjne ogopfattelsen af det sete. Vi vil arbejde med

UA

LA TV U

A

LA TV U

A

LA TV

En passende illustration gør detlettere at omsætte bogstaver til ordOg en upassende gør det sværere. Sådan kan man tyde det første eyetrack-for-søg udført på Den Grafiske Højskoles nyetablerede Nilpeter-Lab

Af Niels Heie

Pretest by Niels Heie et. al.:

Testpersons should guess a word influenced by looking at a deconstructed word with and without irrelevant and relevant illustrations.

The content of the illustrations influenced the inference process.


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• The illustration is good for remembering• The word is good for identifying, clarifying, defining

and configuring the illustration• The typogram has both word and illustration


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8. conclusion• I have none yet (apart from the term being typogram)


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9. perspectivePossible further work:

• Database with tagged samples for easier analysis• Kinetic and interactive typograms• Commercial >< non commercial• Samples from other parts of Europe and The World• Semiotic analysis• Historical studies of The New Yorker School• Laboratory tests reg. perception, eyetracking etc.


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que?tionsContact:[email protected]

xxxdanishxschoolxofxmediaxandxjournalismxhenrikxbirkvigxhbi@dmjx.dkxatypix2010xseptemberxfontquality++

53HORIzONS

for listening.

NDthe

← An English-Danish typogram!

↑ Kind of rebus – not a typogram!


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References

booksAmbrose, Gavin & Harris, Paul (2010). The Visual Dictionary of Typography. Lausanne: AVA Books.Baines, Phil & Haslam, Andrew (2002). Type and Typography. London: Laurence King.Bringhurst, Robert (1999). The Elements of Typographic Style. Washington: Hartley & Marks.Burns, Aaron (1961). Typography. New York: Reinhold Company.Consuegra, David (2004). American Type Design & Designers. New York: Allworth Press.Ferriter, Roger (1983). Typerformance. Palo Alto: Communication Arts Books.Gerstner, Karl (1985). Kompendium für Alphabeten. Eine Systematik der Schrift. Teufen: Arthur Niggli.Jury, David (2002). About Face. Reviving the Rules of Typography. Mies: RotoVision.Massin (1970). Letter and Image. New York: Van Nostrand Reinhold Company.Mollerup, Per (1997). Marks of Excellence. London: Phaidon.Rosch, Eleanor (1978). Principles of Categorization. In: Cognition and Categorization. P. 27-48. New Jersey: Lawrence Erlbaum Ass.Ruder, Emil (1981). Typography. New York: Hastings House.Snyder, Gertrude & Peckolick, Alan (1985). Herb Lubalin. Art director, graphic designer and typographer. New York: American Showcase, Inc.Spiekermann, Erik & Ginger, E.M. (1993). Stop Stealing Sheep & find out how type works. Mountain View: Adobe Press.Willberg, Hans Peter (2001). Wegweiser Schrift. Erste Hilfe für den Umgang mit Schriften was passt – was wirkt – was stört.

Mainz: Verlag Hermann Schmidt.

webwww.aiga.org/content.cfm/medalist-herblubalinhttp://electricink.posterous.com/what-is-a-typogram-0http://blog.fonts.com/tag/ulc/

periodicaSpencer, Herbert (ed.) (1962). Typographica New Series No. 6. London: Lund Humphries.

articlesHeie, Niels (2010). One image can provide data for many claims. Copenhagen: Danish School of Media and Journalism.(http://www.dmjx.dk/kontakt/medarbejdere.html - search Niels Heie)Paivio, A., T.B. Rogers, & Smythe, P.C. (1968). Why are pictures easier to recall than words? Psychonomic Science 1968; 11:137-138.

personal correspondance with type expertsErik Spiekermann, Berlin, Germany. Paul Shaw, New York, USA. Jay Rutherford, Weimar, Germany.