هدف هذا البحث إلى معالجة مسألة مهمة في تصميم الحروف اللاتينية، تتمحور حول دور الحرف الطباعي اللاتيني، و وظيفته، في التصميم (الغرافيكي)، و هي مسألة ذات أبعاد مفهومية تجريدية، و أبعاد بصرية مرئية مجسدة، لأن الحرف الطباعي ذو تأثير بصري يساعد على فهم التصميم و وضوحه، و تأثير هذا يكتسب الأهمية ذاتها التي تؤديها الصورة، و كثيراً
مايأخذ الحرف الطباعي مكان الصورة و يعطي مدلولاتها، و كأنه انبثق من المجرد إلى المحسوس المدرك (الصورة)، فأصبحت الصورة تجسيداً للمجرد، و بذلك دخل الحرف الطباعي – بسبب شحنته التعبيرية و الوظيفية- عالم الفن، و انتشرت أشكاله تبعاً للوظيفة الموضوعة له كهدف.
صحيح أن الحروف ذوات الذنيبات (سيرف -Serif ) ظهرت أولاً، ثم تبعتها حروف بلا ذنيبات (سانسيرف - Sans serif ) لكن كبر الحرف و صغرِه و سماكته، واكب مسيرة تلك الأبجدييتين، إلى أن وضع السويسريون في الخمسينيات أسساً و ضوابط سموها \تحديثية\ استمرت مسيطرةً مدةً طويلةً، فظهرت ردات فعل تجاهها أسفرت عن تصميمات خارجة عن الضوابط السويسرية كّلها، و بذلك انتشرت أفكار بصرية جديدة سماها الباحثون \ أفكار ما بعد الحداثة\ في التصميم الغرافيكي التايبوغرافي، و سنبين في بحثنا هذا أشكال الأبجديات التي انتشرت و تحولت إلى مدارس، و كانت محور الجدل بين المصممين على امتداد القرن العشرين حتى اليوم.
This research aims to treat an important issue in the field of Latin Characters design, which concentrates
on the role of the typography and its function in Graphic Design. This issue has abstractive conceptual
dimensions as well as embodied visual ones because Typography has visual effects that help in
understanding and clarifying the design which are as important as the image. Most of the time,
Typography replaces the image and its significations as if it emerged from the abstract to the concrete, so
the image symbolizes the abstract or signifies it.
In fact, Serif Type appeared first, then was followed by Sans serif type; yet, the big/ small, thick/ thin
characters has accompanied the journey of the two typographic until the Swiss has established basics and
rules during the 1950s which they called Modernized Typography that dominated for a long while. Later
on, reactions against it led to create designs that do not conform to any of the Swiss rules. Thus, new
visual theories has emerged which were called by researchers Postmodernism in typographic design. In
our research, we are going to discuss the types of characters that were widely spread and became like
schools which were the center of argument between designers since the 20th century up to date.
References used
Kate Clair, a typographic WORKBOOk, John Wiley & Sons, Inc 1999, p.64
Kate Clair, a typographic WORKBOOk, John Wiley & Sons, Inc 1999, p.91
Arnheim Rudolf, “The Dyanamics of Architectural”, California Univ, of California, 1997, p. 209
In this research, we tried to analyze the Optional
implementation of the invalid donation contract because of a lack of
the form and showed the rules, the conditions and the position of this
implementation. Then, we tried to found this implement, So, we deduced that the legal
nature of this implementation is just the legislator's will and this
implementation is the law text application.
Abstract:
This research was conducted to study the effectiveness of the
magic latin square design, to reduce the value of the
experimental error, compared with the traditional latin square
design experiences of microbiological (Lactobacillus
acidophilus ) by using the Cochran test ( Gmax ).
The recent situation in Syria requires the creation of new housing units models take
into account the functional, architectural, and safe requirements, in addition to specialty of
local and living conditions. The created models must achieve family
In this research I'm going to expose Averroes maturity conception of legal movement to occur in the world and among the assets ; as long as the assets are composed of material and form , the movement depends on the union between material and form unt
This research is based on comparisons between Arabic and Ugaritic.The considered side requires both theoretical and practical requirements .The theoretical requirement is for prepare an Arabic lexicon demonstrates the Lingual developments