Authors

Lyaptsev Nikolay N., Naumova Svetlana V.
URBAN PUBLIC SPACES: THE EVOLUTION OF THE PROBLEMS (the contemporary design context)

Architecton: Proceedings of Higher Education №3 (63) September, 2018

The article analyzes the evolution of the problems of public spaces in large industrial cities. The urban problems generated by industrialization have had problems and challenges of the post-industrial period added to them. The design of an urban space in the traditional paradigm proves to be inefficient due to the rapidly changing design context. The problems of the current situation, therefore, need to be explored in two aspects: as problems of urban space mismatching the new needs, and as problems of inefficiencies in the application of design tools that was developed in the outgoing realities. The article defines the range of problems related to the sphere of interests of urban environment designers, predicts the directions for the further evolution of urban public spaces and formulates cultural values and reference points that could form a basis for the development of a new design paradigm.

Naumova Svetlana V., Naumova Polina M.
THE BOUNDARIES OF DIGITAL CALLIGRAPHY

Architecton: Proceedings of Higher Education №2 (46) June, 2014

The article considers the state of the art in modern calligraphy and reviews the processes that are taking place in it in connection with progress in digital technologies. In spite of the fact that the basic function of calligraphical lettering of preservation and transfer of verbal information is lost in the digital ear, calligraphy is seeing growing demand first of all in the sphere of graphic design. Analysis of the functions of modern calligraphy and its role in computerised society have an important theoretical value for developing the methodology of font design and educational programs graphic design students.

Naumova Svetlana V.
STYLE-FORMING FACTORS IN CALLIGRAPHY

Architecton: Proceedings of Higher Education №2 (34) June, 2011

Before the expansion of digital technologies into the areas of traditional hand-made art, calligraphy was understood as an art of writing.

Accordingly, the first style-forming factor in calligraphy is the technology of character drawing including a tool, materials and lettering techniques.

Before the invention of book printing, there existed three basic genres of writing: writing of significant texts "for ever" (religious texts and, later, fiction and science); business writing (writing of texts intended to exist as long as business needs them), and momentary writing «for oneself», the quality depending only on the writer’s will. Thus the time factor in its two manifestations – the length of time to be spent on interaction with the text and how much time is spent on its reproduction – became the second defining factor in style formation for writing genres.

The manner of writing of significant texts was always rigidly canonised, and these canons were influenced not only by writing technologies but also by the visual language of culture at the time of writing. Shorthand had its own canons ensuring the development of fast and economical lettering. It never belonged to art, and until recently art critics were not interested in it. It is as late as in the 20th century that experts in the art and theory of typography and calligraphy revealed a reciprocal influence of shorthand styles on calligraphic canons. Almost always there were intermediate variations, and in the European tradition any calligraphic style may be classified into a canonical, shorthand or intermediate variant considering the degree of care given to the lettering and the time spent on it. In Far East calligraphy, the attitude to shorthand writing was different — it has always remained one of the respected genres of art.

Jobbing, which started to develop rapidly in the 19th century, stimulated continual search for new means of attracting attention. However, in the 19th century office work was done manually, and the English calligraphic italic script was the peak of calligraphic art in both Europe and America. It took two things to change the situation: first, the engagement of calligraphy in advertising jobs; secondly, the influence of eastern calligraphic schools. These factors came into play in the 20th century.

Transition to digital technologies in all text transmission spheres has changed the situation no less radically than the invention of book printing. The continuing search for new jobbing means have led to the emergence of a lot of digital fonts simulating hand-script. These fonts are based on different techniques using a broad, thin or round pen; a brush, a marker, a felt-tip pen, or a pencil. On the other hand, calligraphy has become one of the respected genres of contemporary art. Now not only lay people but also artists are learning to use digital technologies in this traditionally unique, hand-made genre of visual art.

Naumova Svetlana V.
ROOTS OF JOBBING FONTS

Architecton: Proceedings of Higher Education №2 (30) June, 2010

The article considers the etymology of the term "jobbing fonts", provides a definition to this term in the modern context, shows the history of jobbing fonts and analyses all functions realized with their help. Also, the modern means of creating jobbing fonts are considered.