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- Genre: Art--Reproduction.
- Genre: Cartographic
- Creators: Arizona State University
Description
When cartographers and graphic designers create maps they choose typefaces. Often, serif and sans serif typefaces are paired together to represent different information on a map. Typefaces have a communicated tone and choosing the correct typeface combination to send the intended message can be challenging. The purpose of this study was to create an analysis of the aesthetic characteristics of typeface pairings to assist map creators when choosing typefaces. An online survey was utilized to collect responses from graphic designers who have been trained in at least one year or more in design from a higher education institution. There were 30 participants in the study and they scored 24 typeface pairings, 12 differentiating and 12 superfamily, on 48 maps. Scoring was done on eight aesthetic characteristics: friendly, whimsical, cheap, neutral, bland, corporate, serious and modern. The researcher conducted an analysis of each typeface’s microaesthetics and then compared these to the survey’s scored aesthetic characteristics. It was concluded that there are many factors that go into comparing the typeface pairings of serif and sans serif typeface combinations. However, a selection of a superfamily typeface pairing is better than selecting a differentiating pairing. Future research should focus on conducting studies with a varying amount of typeface styles. Also, to include less maps per survey and a survey completion status bar.
ContributorsFinden, Nathan (Author) / Ralston, Laurie (Thesis advisor) / Carrasquilla, Christina (Committee member) / Westover, William (Committee member) / Arizona State University (Publisher)
Created2018
Description
In times of fast paced technology, the ability to differentiate quality differences between a reproduction and an original work of art has new urgency. The use of digital reproductions in the classroom is a useful and convenient teaching tool, but can convey visual distortions specifically in regards to texture, size, and color. Art educators often struggle to achieve a balance between incorporating the use of digital technology and fostering an appreciation for experiences with original artworks. The purpose of this study was to examine the ways in which Dewey's theory of experiential learning explains how thoroughly high school students differentiate between a reproduction and original artwork. This study also explored the influences of painting style (realistic or semi-abstract) and sequence on a student's ability to identify the differences and select a preference between the reproduction and original artwork. To obtain insight into how a student is able to differentiate between a reproduction and an original artwork, this study engaged 27 high school student participants in viewing a digital reproduction and the respective original artwork of one realistic and one semi-abstract painting at the ASU Art Museum. Analysis of qualitative and quantitative data suggests that sequence influences a student's ability to differentiate between a reproduction and original artwork. Students who saw reproductions before viewing the originals, demonstrated a more comprehensive understanding of the differences between the two presentation formats. Implications of this study include the recommendation that art educators address definitional issues surrounding the terms original and reproduction in their teaching, and consider collaborative ways to prepare students for meaningful experiences with original artworks.
ContributorsUscher, Dawn (Author) / Erickson, Mary (Thesis advisor) / Stokrocki, Mary (Committee member) / Young, Bernard (Committee member) / Arizona State University (Publisher)
Created2011