Indian Journal of Science and Technology

Abstract

Background/objectives: The problem addressed in this research is that some deconstructions of typography occur in Iranian graphics, such as breaking the letters from attached to detached form, filling the gaps of circular letters, removing dots, etc., which may sometimes have a purely aesthetic purpose and distract typography from its main function, reading the verbal message. Methods: In this paper, the plastic action (direction, emphasis, balance, rotation, movement, etc.) of dot on its place in Farsi fonts has been studied through analysis of dotted letters in the application of title and slogan in which for their larger size, dots of letters take a plastic situation- based on rules of visual arts by the approach of Gestalt theory in art. Samples were dotted letters of simple Farsi fonts those are structurally similar and accessible to graphic designers. The analysis emphasizes the detached letters and an example of ligaments as a statement. Finding: The results show that the dot’s place of dotted letter, in simple Farsi font is important from the formation of regulated visual relations viewpoint and it was emphasized the non-regulated move of dots in Farsi font impairs visual relationships that dominate it. The purpose of this study was to achieve the plastic function of letter dots in Farsi typography to encourage designers to create a plastic challenge reasonably consistent with the message content and maintaining both aesthetic and functional aspects of typography, in their graphic artwork. Application/Improvements: Application of this article is the need to make any changes and innovations in Farsi typography, in the context of the Cognition of the basic design that dominate them, and at the same time maintaining the ease of reading of visual message.
Keywords: Dot’s Place, Farsi Fonts, Plastic Dot, Typography