Two groups of people (design students and university students) rated twelve different typefaces on a number of semantic rating scales. Analysis of the data revealed four major semantic dimensions. Comparisons between the factor scores for the two groups of people revealed both general similarities of pattern and marked discrepancies on certain factors for most of the typefaces. It was concluded that designers must be aware of the fact that their audience may perceive the semantic qualities of typefaces differently to themselves. These differences may have significant effects on the perceived appropriateness of a typeface for a given design function.
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Xu, Long, Su Jin Park & Sangwon Lee
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Oygür, Işıl & Selen Devrim Ülkebaş
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Tudorică, Ioana-Ciliana
2022. The Use of Japanese Calligraphy when Promoting Japanese Traditional Products. SAECULUM 53:1 ► pp. 48 ff.
Febriani, Dea Mariska & Juhri Selamet
2020. College Students’ Intention to Volunteer for Non-profit Organizations: Does Brand Image Make a Difference?. Journal of Nonprofit & Public Sector Marketing 32:2 ► pp. 166 ff.
Wayne Wu, Y., Michael Gilbert & Elizabeth Churchill
2019. “I Kept Browsing and Browsing, But Still Couldn’t Find the One”: Salient Factors and Challenges in Online Typeface Selection. In Human-Computer Interaction – INTERACT 2019 [Lecture Notes in Computer Science, 11749], ► pp. 225 ff.
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Jordan, Timothy R., Alya S. AlShamsi, Hajar A. K. Yekani, Maryam AlJassmi, Nada Al Dosari, Ehab W. Hermena & Mercedes Sheen
2017. What's in a Typeface? Evidence of the Existence of Print Personalities in Arabic. Frontiers in Psychology 8
Grohmann, Bianca, Joan L Giese & Ian D Parkman
2013. Using type font characteristics to communicate brand personality of new brands. Journal of Brand Management 20:5 ► pp. 389 ff.
Li, Ying & Ching Y. Suen
2010. Proceedings of the 9th IAPR International Workshop on Document Analysis Systems, ► pp. 231 ff.
Leblanc, Tatjana
2009. Transdisciplinary Design Approach. In Creativity and HCI: From Experience to Design in Education [IFIP – The International Federation for Information Processing, 289], ► pp. 106 ff.
Juni, Samuel & Julie S. Gross
2008. Emotional and Persuasive Perception of Fonts. Perceptual and Motor Skills 106:1 ► pp. 35 ff.
Doyle, John R & Paul A Bottomley
2004. Font appropriateness and brand choice. Journal of Business Research 57:8 ► pp. 873 ff.
Doyle, John R. & Paul A. Bottomley
2006. Dressed for the Occasion: Font‐Product Congruity in the Perception of Logotype. Journal of Consumer Psychology 16:2 ► pp. 112 ff.
Doyle, John R. & Paul A. Bottomley
2009. The massage in the medium: Transfer of connotative meaning from typeface to names and products. Applied Cognitive Psychology 23:3 ► pp. 396 ff.
Evans, M.B., A.A. McBride, M. Queen, A. Thayer & J.H. Spyridakis
2004. International Professional Communication Conference, 2004. IPCC 2004. Proceedings., ► pp. 300 ff.
Mackiewicz, J. & R. Moeller
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MacKiewicz, Jo
2004. What Technical Writing Students Should Know about Typeface Personality. Journal of Technical Writing and Communication 34:1 ► pp. 113 ff.
Mackiewicz, J.
2003. IEEE International Professional Communication Conference, 2003. IPCC 2003. Proceedings., ► pp. 14 pp. ff.
Childers, Terry L. & Jeffrey Jass
2002. All Dressed Up With Something to Say: Effects of Typeface Semantic Associations on Brand Perceptions and Consumer Memory. Journal of Consumer Psychology 12:2 ► pp. 93 ff.
McCarthy, Michael S. & David L. Mothersbaugh
2002. Effects of typographic factors in advertising‐based persuasion: A general model and initial empirical tests. Psychology & Marketing 19:7-8 ► pp. 663 ff.
McCarthy, Michael S. & David L. Mothersbaugh
2002. Les effets de la typographie sur la persuasion publicitaire: un modèle général et des tests empiriques préliminaires. Recherche et Applications en Marketing (French Edition) 17:4 ► pp. 67 ff.
This list is based on CrossRef data as of 6 january 2025. Please note that it may not be complete. Sources presented here have been supplied by the respective publishers.
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