Blaž Rat

Abstract
Using different mobile devices, we often come across the function anti-aliasing, which makes our typography look blurred, as we would be looking at a badly taken photo. The problem appears because of using fonts that were designed for printing and are not optimized for screen display. These are two different types of media and despite the fact we can find a compromise, the best screen fonts (used in small size) are created pixel by pixel.
iPhone 3G is an electronical device with, according to its size, a quite high screen resolution; nevertheless, the producer decided not to use pixel fonts as a device system font. They decided to use font Helvetica and hereby another question appears: Why not use Myriad Set, especially developed for them and which they use in all screen and print applications, instead of Helvetica?

Therefore, the purpose of this research was to define Helvetica as the system font of iPhone 3G, describe its advantages and weaknesses in comparison with Myriad Set font. We decided to check the suitability of individual font regarding device, screen and shown contents.

Keywords: iPhone 3G, Helvetica, Myriad Set, Legibility, Typography
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Martin Solli, Reiner Lenz

Abstract
We describe a novel system for interaction with large font databases. The system is an efficient tool for browsing in large font databases and as such it can be used by people in the Graphic Arts industry. The proposed approach is based on shape descriptors developed for visual characterization of character images rendered from different fonts. Here the descriptors are used in a visualization of a large font database containing more than 2700 fonts. By applying geometry preserving linear- and non-linear manifold learning methods, in combination with a refinement process, character images of different fonts are organized on a two-dimensional grid, where fonts are positioned based on visual similarity.

Keywords: Font selection, Visualization, Dimensionality reduction, Image analysis
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Siv Lindberg, Annika Kihlstedt

Abstract
There is a growing awareness in marketing today of the importance of sensory information in the evaluation of products. Functional attributes and product benefits are no longer enough in order to attract and commit the consumers. In the paper industry this translates to explore in which way the consumer perceives added value and how smelling, hearing, seeing, tasting or touching can enhance the interaction with printed products. The objective of present study was to create an inventory of the haptic and visual sensory impressions for different paper grades. Unimodal tactile and visual exploration of LWC, MWC, SC, copy paper, newsprint and book paper was performed. Paper grades were rated on seven point semantic scales consisting of the attributes Elegant, Exciting, Masculine, Modern, Feminine, Smooth, Brittle, Ecological, Warm and Cheap. The results show that for the five attributes Feminine, Modern, Cheap, Elegant and Exciting there are no significant differences in ratings between the tactile and visual condition, i.e. the perceptual differences between paper grades are stable over the two different senses. For Ecological, Brittle, Smooth, and Warm there are statistical differences between the senses for some paper grades. In particular the SC paper looks more ecological than it feels. Copy paper and newsprint feel smoother than they look. Paper nuances were measured instrumentally using an X-rite and correlated to the psychological measurements. The b* values are had a significant impact on attributes such as: Warm (0.97), Ecological (0.79), and Modern (-0.79). The lightness values of the samples, L* correlated to Feminine (0.63) and to Elegant (0.61), and negatively to Ecological (-0.72 and Brittle (-0.67).

Keywords: Paper quality, Tactile perception, Visual perception
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