Ich habe mir das Buch “Typohacks” nun bestellt und angefangen es zu Lesen. Ich denke die Thematik hat viel Potential und man kann verschiedene Bereiche extrahieren um auf diese näher einzugehen. Bis jetzt habe ich Bereiche erfasst, welche für mich am interessantesten sind und Potential für weitere Forschung haben.

Forschungs-Feld:

Die typografische Hervorhebung von gendergerechter Sprache → Ziel: geschlechtergerechte Ausdrücke in Texten visuell deutlicher machen, um ihre Bedeutung und Präsenz zu betonen. Mögliche Ansätze und Techniken:

• Farbliche Hervorhebung: Verwendung bestimmter Farben, welche dazu beitragen könnten, geschlechtergerechte Ausdrücke visuell hervorzuheben.
• Schriftstile: Untersuchung verscgiedener Schriftstile und ihre Auswirkungen auf die Wahrnehmung von gendergerechter Sprache. Experimente mit fetter, kursiver oder anderer Betonung, um geschlechtergerechte Ausdrücke visuell zu verstärken.
• Textgrößen: Die Wahl der Textgröße kann ebenfalls dazu beitragen, gendergerechte Ausdrücke im Text hervorzuheben.
• Einsatz von Symbolen oder Icons: Du könntest erforschen, ob der Einsatz von Symbolen oder Icons neben gendergerechten Ausdrücken ihre Wirkung verstärkt. Dies könnte beispielsweise das Hinzufügen eines geschlechtsneutralen Symbols neben einem geschlechtsneutralen Pronomen oder einer gendergerechten Bezeichnung sein.

Um die Auswirkungen meiner Forschung bewerten zu können, würde es sich eignen Experimente mit Probant:innen durchzuführen. Sie könnten beispielsweise verschiedene Texte durchlesen, die die angeführten Hervorhebungen beinhalten und danach bewerten, wie der Lesefluss beeinflusst wurde und wie geschlechtergerechte Ausdrücke in den Texten wahrgenommen und verstanden wurden.

In der zweiten Experimentierphase möchte ich, wie bereits erwähnt, eher ausgefallenere Designs ausprobieren, um sich dadurch von der Konkurrenz abzuheben.

Dafür habe ich recherchiert und folgendes Bild hat mich inspiriert:

Hierbei gefällt mir, dass es etwas mehr verspielt ist, jedoch nicht zu sehr exotisch. Auf Basis dessen, habe ich für das 2. Experiment ein Moodboard erstellt, dass mich beim Gestalten unterstützen soll.

Moodboard für das 2. Experiment

Hier möchte ich mehr mit Farben und Formen spielen, um eine jüngere Zielgruppe diesmal anzusprechen. Wie in den Recherchen zuvor erwähnt, sind Milchverpackungen im Supermarkt gewöhnlich sehr überladen. Eine aufgeräumte und doch ausgewöhnlichere Darstellung, verschafft eine Abhebung von der Konkurrenz. Dadurch ist die Verpackung ein Eye-Catcher und man greift eher zu dieser Verpackung.

Als Verpackungsart wird wieder ein Tetrapack verwendet, da dies die gängigste Variante für Milchverpackungen ist.

Quellen:

1. https://de.freepik.com/vektoren-premium/abbildung-der-milchverpackung_21334526.htm
2. https://www.absatzplus.at/milchpackung-metallic-sweets-781200319-weiss.html
3. https://www.giffits-werbeartikel.ch/kleine-milchverpackung-werbemittel-387174.htm
4. https://www.istockphoto.com/de/foto/milch-box-gm155749055-19418621
5. https://www.google.com/imgres?imgurl=https%3A%2F%2Flauraschoch.ch%2Fwp-content%2Fuploads%2F2020%2F01%2FMilchhof_Verpackung-2.jpg&tbnid=kH7G0v4RmqUzGM&vet=10CA8QxiAoB2oXChMI6LyX3bn5_gIVAAAAAB0AAAAAEBg..i&imgrefurl=https%3A%2F%2Fgopalpurcollege.ac.in%2Fmilch-verpackung-k.html&docid=TStDBgp9dhlzSM&w=1400&h=3100&itg=1&q=milchverpackung&client=safari&ved=0CA8QxiAoB2oXChMI6LyX3bn5_gIVAAAAAB0AAAAAEBg

Um die Auswahl der richtigen Font für meine eigenen praktischen Versuche weiter zu erleichtern möchte ich erneut auf die Wirkung der verschieden Schrifklassen eingehen. Dazu wurde ein 1. kleines Experiment durchgeführt um die Aussagen über die Wirkung zu bestätigen. Die Betrachtung der unten angeführten Beispiele 1-5 zeigt, dass die jeweiligen Synonyme der Schriftklassen immer am besten zur jeweiligen Kategorie passen.

Serif:

• traditionell, seriös, elegant, vertrauenswürdig, klassisch, professionell
• lange Tradition, gedruckt besonders gut lesbar als Fließtext

Slab Serif (Serifenbetonte Schriften):

• kühn, markant, selbstbewusst
• ähnlich zu Serif, markantere Details (quadratische, stärkere Serifen)

Sans Serif: 

• sauber, klar, modern, zeitlos, sachlich, objektiv
• heutzutage sehr weit verbreitet

Script Fonts (Schreibschriften): 

• elegant, kreativ, luxoriös, alternativ, einzigatig, persönnlich, emotional
• sehr unterschiedlich (Kritzelei bis Kalligrafie), daher unterschiedliche Wirkung

Display Fonts: 

• auffallend, neuartig, einzigartig
• lassen sich schwer einordnen, sehr unterschiedlich, sehr unterschiedliche Wirkung, Einsatz nur für großformatige Elemente

Quelle: https://www.neofluxe.com/blog/storytelling-durch-typografie/

For this blog post’s experiment, I used the opportunity to prepare my next Christmas presents. I personally really like illustrations that tell a story where the longer you look, the more little details you notice. I wanted to try to make illustrations that contain a personal story for the people who will receive my gifts. Each element in the pictures is kind of an “easter egg” that the recipients will recognize and understand. For example, one person really likes hiking, while the other person is interested in specific machines used on construction sites and collects little model toys of those machines.

I have wanted to try bookbinding for quite a while now but never really knew how to, so I was very happy about the bookbinding workshop(s) we had at FH until now and that I finally found some time to try this in personal projects. So, I ended up making mini notebooks.

As it fits the topic, I would also like to show another illustration I did for a Christmas card last year that also had the concept of telling a story in an image that reveals more details the longer you look at it. It has the theme of teddy bear characters creating chaos while doing Christmas preparations, and the longer you look, the more situations where something is going wrong you will notice – like the Christmas tree being about to fall, one character secretly stealing some freshly baked cookies and spilling the frosting on the curtain…

After experimenting with different popular bookbinding methods, I will now take a look at a lesser known technique, known as Chinese Dragon Scale Binding.

On the line between craftmanship and art, this ancient Chinese way of bookbinding dates back to the Tang dynasty and has a tradition of more than 1,000 years. Generation to generation it has been passed down between high-ranking members of society, like royals and upper class families. Its name stems from the appearance of the finished product – the pages overlapping resemble the scales on the skin of a dragon.

This method was an early attempt to resolve the issue of the awkwardness of handling lengthy scrolls. A dragon scale bound book is still a scroll, but contains pages that are pasted in by their edges. The pages are stacked, with the shortest page on top and longest page at the bottom. The book can then be rolled up like a scroll, but pages could be turned in the manner of future binding styles. It has some flaws though, as the individual pages have a tendency to roll up on their own when the scroll is unraveled. 

A Brief History of Chinese Bookbinding

1,700 years before the invention of paper, the first bodies of Chinese writing appeared during the Shang Dynasty. These were oracle bones used for divination, written on turtle shells and ox scapulae. For the first bound books bamboo was used. Since bamboo grows in form of a cane, it needed to becut into long, vertical strips. Each strip contained one column of carved text, and the strips were bound together with string and rolled up. The bound books were both sturdy and waterproof.

105 AD is traditionally named as the date of the invention of paper. An official named Cai Lun created a sheet for the court out of a mixture of materials including morus skin, bast fibers, fishnets, and hemp. The technique of papermaking quickly spread throughout China and other parts of Asia. Along with the widespread use of paper came the need for new bookbinding techniques. The first form of binding for paper books was scroll roller binding. Scrolls developed from the long, vertical silk banners that were hung on walls to display calligraphy in earlier times. Paper strips with images and writing could now be pasted onto the fabric in handscrolls, which could be laid flat on a table and read section by section. The oldest printed book in the world, dating to 868 AD, was made with this technique.

Over time, the inconvience of rolling and unrolling scrolls sparked new innovations in binding. The first new style to develop was folded sutra binding, also known as concertina binding, in which the scroll was folded like an accordion, and typically held between two wood blocks. This allowed readers to quickly find the desired section.

The first instance of the Chinese book breaking away from the scroll format was found in butterfly binding. Butterfly-bound books were made by folding sheets of paper in half. The folded edges could then be stacked together so that the edges formed a spine. The manner in which the pages opened resembled the fluttering of a butterfly’s wings. Due to their sturdiness and convenience of use, by the Song Dynasty (960-1279), butterfly books were the most common ones.

The final phase in the development of Chinese book binding, called stitched thread binding, became the norm in the Ming Dynasty (1368-1644). Improvements in paper allowed for more detailed, multicolored printing. Sheets of paper were bound with white silk thread and placed within a cover made of stronger paper backed with silk. Oftentimes threaded books were placed within a box made of wood and covered with silk. While stitched thread binding is largely not used anymore today, traditional scrolls and concertina binding techniques have survived modern times.

The Revival of Dragon Scale Binding

Over the course of time, the majority of dragon scale books were either lost or damaged. Before artist Zhang Xiaodong started researching on the topic and slowly reviving dragon scale binding, it was therefore at risk of becoming just another part of history and being replaced by more modern ways of bookbinding. With only one dragon scale book as an example, he spent years learning, experimenting and perfecting the craft.

Zhang undertook visits to ancient towns and heritage sites to acquire traditional bookbinding materials like rice paper, bamboo, silk, and wood. The next stage of the binding process proved to be the most critical and challenging: ensuring precise positioning of every page.

In order to create a complete picture, each sheet of paper needs to be placed meticulously in exactly the right place. An error of just a hundredth of a centimeter can result in a significant and noticeable flaw when a book’s hundreds of pages are displayed together.

Despite Zhang’s work, dragon scale bookbinding remains an endangered form of art. But growing efforts in China to preserve the country’s cultural heritage and the interest in traditional Chinese art of young artists gives hope that this ancient technique will stay alive.

Sources:

https://edition.cnn.com/style/article/china-ancient-art-dragon-scale-bookbinding/index.html

https://english.gov.taipei/News_Content.aspx?n=8988BC727AE3A8A3&s=28C27DCA614D99BA