Why people perceive typefaces to have different personalities

Mackiewicz, Jo; Moeller, Robin A.

doi:10.1109/ipcc.2004.1375315

Cited by 38 publications

(27 citation statements)

References 5 publications

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“…More specifically, instructors might begin by showing students several typefaces that have strong cultural associations (script and Comic Sans, for instance) followed by typefaces that tend to be more flexible in how they are interpreted and more commonly used like serif (Times New Roman) and sans serif (Arial) options. Instructors might also differentiate between what Mackiewicz and Moeller (2004) have described as text typefaces and display typefaces-that is, typefaces used for body copy and those used for headers, respectively-and discuss how the design style of the typeface (e.g., rounded or narrow letters, and serif vs. sans serif) may be interpreted metaphorically.…”

Section: Visual Topoi: a Heuristic-based Approach For Visual Analysismentioning

confidence: 99%

Toward a Topos of Visual Rhetoric: Teaching Aesthetics Through Color and Typography

Welhausen

2016

Journal of Technical Writing and Communication

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This article proposes a heuristic that teachers and students can use together to create a vocabulary for discussing the aesthetic aspects of color and typography in document design work. By using this framework, teachers and students can generate a collection of shared visual topoi or commonplaces for describing the aesthetic value of color and typography that they can then draw from to inform visual analysis and production work.

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Section: Visual Topoi: a Heuristic-based Approach For Visual Analysismentioning

confidence: 99%

Toward a Topos of Visual Rhetoric: Teaching Aesthetics Through Color and Typography

Welhausen

2016

Journal of Technical Writing and Communication

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“…Mackiewicz and Moeller [3] have done research on the kind of personalities different typefaces have according to the subjects' assessment. They determined that subjects identify different personalities of typefaces based on their previous experience with those typefaces.…”

Section: Introductionmentioning

confidence: 99%

Detecting universal structure and effects of typefaces

2017

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Original scientific paper This study investigates the effects of universal and specific characteristics of typefaces with combined method-through comparison of the results of digital analysis and subjects' responses to binary images stimuli. Results point to the dependency of the response in relation to the isolated characteristic of the universal structure. In other words, with the combined method in this study we disclose that certain attributes are assigned to typefaces in accordance with their matching or mismatching to the universal structure. The findings open the question of the functionality of existing classifications, and the need of redefining the old, or establishing the new classification systems of typefaces.Keywords: SSIM; typeface; typeface personality; universal structure Otkrivanje univerzalne strukture i djelovanja pisamaIzvorni znanstveni članak Ova studija istražuje učinke univerzalnih i specifičnih karakteristika pisama kombiniranom metodom -usporedbom rezultata digitalne analize i odgovora ispitanika na binarne slike podražaje. Rezultati ukazuju na zavisnost odgovora ispitanika u odnosu na izdvojeno svojstvo univerzalne strukture. Drugim riječima, kombiniranim postupkom, korištenim u ovom istraživanju, možemo otkriti da li su određena svojstva dodijeljena pismima sukladna s njihovim podudaranjem ili nesukladna s univerzalnom strukturom. Rezultati ovog istraživanja otvaraju pitanje funkcionalnosti postojećih klasifikacija i potrebu redefiniranja starih, ili uspostavljanja novih sustava klasificiranja pisama.

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“…-Fonts more consistently patterned, with consistent stroke widths and lower contrasts between upper/lower case, generally feel reliable, if not boring [11], [12].…”

Section: Conclusion: Results and Usabilitymentioning

confidence: 83%

Emotion-spectrum response to form and color: Implications for usability

Manning

Amare

2009

2009 IEEE International Professional Communication Conference

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Previous empirical studies have shown consistent emotional responses to form and color, across a variety of contexts and especially across cultures. What varies across contexts and cultures is evaluation of the color/form/emotion response. For example, both the color red and jagged, high contrast forms consistently evoke one emotional response neutrally described as agitation or activation, a response evaluated negatively as anger or positively as excitement. Standard taxonomies of emotion do not consistently distinguish between the positive/negative evaluation of an emotion (e.g. committed/obsessed) and its raw quality (e.g. focused). Consequently, the consistent relationships between form/color and emotion have been obscured. We propose a new model of emotional response that treats color/form triggers of emotion quality separately from triggers of emotion evaluation. This new model identifies a spectrum of emotional quality (agitated-stimulated-amused-rested-focused-organized-concerned) generally parallel to the familiar color spectrum (red-orange-yellow-green-blueindigo-violet). With this model, we can demonstrate a stable emotion-spectrum response in a population of viewers, to any given combination of form and color. This paper will report on empirical tests of this emotion spectrum model and discuss implications for usability testing of visual information designs.

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Why people perceive typefaces to have different personalities

Cited by 38 publications

References 5 publications

Toward a Topos of Visual Rhetoric: Teaching Aesthetics Through Color and Typography

Toward a Topos of Visual Rhetoric: Teaching Aesthetics Through Color and Typography

Detecting universal structure and effects of typefaces

Emotion-spectrum response to form and color: Implications for usability

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