Designing novels for a visual audience: font psychology, digital text, and the value of printed books
Keyword
Research Subject Categories::HUMANITIES and RELIGION::Aesthetic subjects::ArtGraphic design
Research Subject Categories::HUMANITIES and RELIGION::History and philosophy subjects::History subjects::Book and library history
Fonts
Digital text
Printed text
Book design
Date Published
2020-05Metadata
Show full item recordAbstract
In early book design, printed text was defined by production demands and economic pressures. The standard of book design that most people are familiar with reflects traditional needs for communication. Now that modern society has evolved beyond the need for printed text and relies primarily on digital media to receive information, book design must reach a new standard of artistic and personal value to remain relevant. This paper analyzes the history of printed books and their transition from a primary source of information into an art form, as well as the differences between digital and printed texts, font psychology, and the necessity of defining print and digital reading as separate experiences. The primary outcome of this study is a redesign of the classic novel Jane Eyre by Charlotte Brontë that highlights the central moments of the novel in a way that is visually appealing and more understandable to a large audience.The following license files are associated with this item:
- Creative Commons
Except where otherwise noted, this item's license is described as Attribution-NonCommercial-NoDerivatives 4.0 International
Related items
Showing items related by title, author, creator and subject.
-
Make it Plain: MFA Thesis - MetalKnowing the history of craft and the material traditions are important to making my work. I insist on having this metalsmithing label, and I purposely challenge and subvert the discourse of what a metalsmith is. As a metalsmith I investigate like an archaeologist, and I search for objects and people that reflect the history of post colonialism in America. I had to take a critical look at the effects of slavery had on this country. How this country was built with was on the backs of slaves. History excludes working class minorities: The faceless and nameless who worked the land picking cotton, digging coal, and cleaning ditches.
-
Don’t keep it bottled up: an analysis of black glass wine bottles at Historic Huguenot Street New Paltz, NYHistoric Huguenot Street in New Paltz New York has been a site of human activity stretching back well over nine thousand years, including the Native American Munsee speakers and the French Huguenots who settled New Paltz in 1677. Archaeological excavations over the past twenty years have helped to uncover the rich prehistory and history at the site. In this paper I introduce and examine seventeenth century English black glass wine bottles, as objects of analysis that help illuminate the material culture and foodways of these early Huguenots. Furthermore, I demonstrate how an analysis of this material culture and their foodways, excavated from Historic Huguenot Street builds a data set on the social and economic lives of the Huguenots that the written record does not. This paper will draw heavily from the theoretical framework of Louis Binford’s trinomic categorization of artifacts into the ideotechnic, sociotechnic and technomic spheres to analyze the artifacts in question and gain insight on the interaction between the Huguenots and the world around them.
-
Comedy and tragedy : a history of theatre as a reflection of social identityIn The Poetics, Aristotle outlines the origins and history of Greek theatrical performance to set up his analysis of Tragedy as the successor to the Epic poem...As such, Aristotle, although most likely unintentional, frames Comedy and Tragedy as two genres that share little to no similarities other than being forms of theatrical performance. I acknowledge the two genres possess many differences in terms of plot structure, staging and the audience's emotional response, but these differences do not make them inherently oppositional. In fact, my paper will hopefully show by analyzing how Tragedy and Comedy functioned during eras when the theatre was a central artform in society--Greece, Rome, Renaissance England, and the post-WWII Theatre of the Absurd--that not only do these two genres share many similarities as art forms, but they also share the same communal function by reinforcing the ideologies of the time period.
