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In human–computer interaction (HCI), typography was initially used for visual communication, which enhanced visual interest in graphic design. The investigation of how modulating visual elements (e.g., typography) to visualize sound (e.g., voice) has received substantial attention. Musical lyrics typography is a commonly used form of visual communication. However, the mapping of musical features to lyrics typography features is rarely diverse studied. And modulating lyrics typography from musical features by a certain model may not strongly arouse people’s perception of auditory and visual connections. In this paper, we first proposed several models of modulating typography from musical features. Then, we investigated which model can modulate lyrics typography well to visualize music. Finally, the experiment results show that the lyrics typography by the mapping of musical features (loudness, pitch, and duration) and typography feature (character size, baseline shift, and character width) can better arouse people’s perception of auditory and visual connection. And the lyrics typography modulated by a moderate mapping parameter can evoke people’s high visual aesthetic preference. We aspire for our work to offer a novel perspective on music visualization, assisting the hard-of-hearing people to experience musical content.

Find examples of editorial design, audiences for content, what forms the content takes, and how workflow is managed. This book provides a primer on the elements of editorial design that result in rich editorial experiences.

Identify your audience You wouldn't write a popular-science talk as you would a research paper, and the same goes for visualizations (see 'Focus on basic design principles'). [...]they say, it's better to design a range of items - an infographic for social media, a visual abstract and a figure for a seminar presentation, for instance - using the same information. \"The difference here is that the data that we're training on isn't just random data from the Internet, it's our massive library of vetted icons,\" says Aoki, adding that humans must still provide the final stamp of approval. Hierarchy * Let the graphic match the flow of the language used. Because most languages read from leftto right, you might want to design your graphic to 'start' at the top left. * Use numbers, bold and italicized lettering, and different font sizes to guide the reader through the image. * Use left- or right-justified text.

This essay explores the search for an ideal typography course for design students. It analyzes the historical and social context of typography in post-war Poland, highlighting the impact of a non-democratic state on graphic design. It addresses the legacy of elitist education and linguistic uniformity, revealing challenges in the current education system. An interdisciplinary team seeks to define the ideal course through qualitative and quantitative research, underlining the need to understand the history of typography and its current challenges. Models of design education are discussed, recognizing the absence of a perfect course and focusing on the need to define clear frameworks, standardize content and include modern media in typography education.

This article develops empirically based guidelines to assist managers in selecting or modifying package designs for achieving desired consumer responses. Seven studies identify the key types of package designs, including the factors that differentiate those package designs, and determine how these holistic designs are related to consumer brand impressions. The selection of package designs can be simplified with the use of five holistic types: massive, contrasting, natural, delicate, and nondescript designs. Sincere brands should have natural package designs, exciting brands should have contrasting designs, competent brands should have delicate designs, sophisticated brands should have natural or delicate designs, and rugged brands should have contrasting or massive designs. The authors discuss the potential trade-offs among the impressions created by holistic design types and illustrate their findings with numerous real packages.

The recent advancements in the fields of AI technology, generative AI, and Large Language Models (LLMs) have increased the potential of the deployment of such tools in educational environments, especially in contexts where student assessment fairness, quality, and automation are a priority. This study introduces an AI-enhanced evaluation tool that utilizes OpenAI’s GPT-4 and the recently released custom GPT feature to evaluate the typography designs of 25 students enrolled in the Visual Media diploma offered by King Abdulaziz University. A mixed methods approach is adopted to evaluate the performance of this tool against the rubric-based evaluations offered by two human evaluators, considering both grading and text feedback. The results indicate that there are statistically significant differences between the AI tool’s grading and feedback when compared to that of Evaluator 2; however, none is reported with Evaluator 1. The study presents a qualitative interpretation of the comprehensive feedback by the evaluator and reflects in further research in this area.