Digital typography is the evolving form of verbal communication in smart societies. This type of communication originates from the new communication needs in twentieth century media. In this article, which is aimed at understanding the principles of digital typography, the first question is how different types of typography were formed in the transition from the printing age to the digital era. For this purpose, at the beginning, the ideological dimension of the transformation of printed typography into dynamic typography is evaluated. Then, by analyzing how digital typography is formed and transformed in digital media, it was revealed that following The crystal Goblet visual poetry and the perception of the same observation, in a clear, expressive and interactive typography, respectively, which formed the role of the reader, and then from reader to viewer and finally leads to the user. The second question is about the origin of different types of verbal communication, within these three types of typographies and the role of that origin, in the development of specialized principles of digital typography. Thus, based on documentary research method, various forms of verbal communication in print, dynamic and digital media are analyzed from the perspective of McClellan and Manovich; and finally, the four principles of usability, meta-textual, limitation and interactionism are explained and presented in a graphic diagram based on Joyce's studies and also considering the origin of media and their determining role in shaping the principles of digital typography. In short, digital typography is the result of the idea of receiving the same observation, which, according to McClellan's theory, extends a new artificial organ of the human body. This type of typography is understood by the right hemisphere of the brain, and since the role of the audience in relation to this typography changes from viewer and listener to user, it is an interactive art that with the help of these four features, a kind of multifaceted verbal communication and simultaneously creates; verbal communication that in the past was limited to visual and auditory communication through speech and writing.

There is no doubt that technology plays a key part of almost every improvement in different sciences nowadays. As a case in point, digital typography is considered as one of this advancement achieved constantly through solving the technology limits, reinforcing its possibilities, and sometime innovating in it. However, there was less concern for these opportunities and challenges, and Very few researches have been done in digital typography chronology, documentation and even in translated Persian resources. Considering all of above-mentioned aspects, the author aimed to understand and access to the opportunities and challenges of the late 20th digital typography in its early appearance. To this end, this paper gathered data from library sources in order to employ descriptive-analytical method for scrutinizing the history of type design in that period. Thus, it addressed two following questions: first, what opportunities and challenges did early digital devices present to digital typography? The second is what potentials and limitations diverse digital formats have for type design? Regarding to the publication and display of digital typography in monitors and printers, the first hypothesis is that the impact of early display devices and printers’,developments–,processing due to the improvement of some pivotal limitations and sometimes as a result of reinforcing potentials and innovating in these devices–, put forward some pivotal opportunities and challenges to digital typography. Furthermore, digital formats–, nearly ten of which are divided into two groups named raster and vector–, varied to make digital devices appropriate for utilizing type design potentials, and sometimes mitigate inferiorities of devices. Consequently, the second hypothesis is that the variety of raster and vector formats formed to adapt type design potentials with digital device inferiorities–, resulted in bringing constantly some substantial opportunities and limitations to digital typography. In order to realize these hypotheses, this paper started with the statement of the problem, and then in the second part, it opened the discussion on research literature by reference to four main available sources. In the third part titled “, opportunities and challenges of digital technology in the 20th type design”,it attempted to answer to the paper’, s two research questions in two separate subtitles named “, possibilities and limitations of type design in digital devices”,and “, possibilities and limitations of type design in digital formats”, . Moreover, based on the hypotheses, each subtitle was organized into two specific parts so as to analyze the role of digital devices and digital formats in type design. Ultimately, in the part titled “, Results and suggestions”, , presenting two lists of challenges and opportunities (one for digital devices and another for digital formats), it reached a conclusion that digital devices have always had some significant possibilities and limitations for type design containing compatibility with display and printing features, scalability to small and large sizes, the quality of representation and image resolution. In addition, the use of the 20th digital formats have continuously generated fundamental possibilities and limitations for type design consisting of putting letters into geometric precise grids, economizing storage space, and inspiring from calligraphy traditions.

Introduction: Long-term clinical evaluation of dental implants and their surrounding structures is of utmost importance to acquire knowledge about reasons for implant success and failure.However, accurate and reproducible results are difficult to obtain. The aim of the present study was to examine bone height around endosseous implants on digital conventional radiographs (DCR) and direct digital subtraction images (DSI) prior to loading.Materials and methods: In this experimental study, bone height around 10 implants in 6 patients was assessed by 2 observers. Standardized digital radiographs were obtained just a week and 3 months postoperatively and subtracted by means of EMAGO software. Then the observers evaluated bone height on DCRs and DSIs. MINITAB software and paired t-test were used for statistical analysis (a=0.05).Results: Comparative evaluation of bone height indicated significantly higher values on DCR than on DSI (p value=0.002). The observers also had statistically significant variability in this assessment (p value=0.00003).Conclusion: DSI demonstrated lower values of linear measurement of bone height around endosseous implants compared with DCR. Interobserver variability should be considered when comparing values from follow-up studies.

Introduction: Extensive development of written interactions in the current world of technology in one hand, and noticeable dominance of English language in this milieu on the other hand, has led to inadequate utilization of Farsi language even amongst native speakers. Lack of experimental data regarding legibility and readability of printed and electronic texts related to this language has been the main theory behind the current research, which was designed to evaluate correlations between typography and reading performance.Materials and Methods: Eighty-four Persian speaking university students, without any specific visual impairments participated in the study. Frequently used Farsi fonts, edited in equal pixel areas and sizes, were evaluated through legibility and readability tests. Word detection and word search techniques were considered for each test. All trails were designed within similar visual interaction conditions to avoid any background biases.Results: Statistical analyses revealed correlations between typography and readying performance in Farsi (compared to English). Amongst six frequently used fonts studied, legibility was significantly higher in Yekan (t(83)=-2.649, p=0.012). Likewise, readability was significantly smoother in Zar font (t(83)=-2.194, p=0.037).Conclusion: The current approach towards classification of Persian fonts confirms the outcomes of the present study. Fonts frequently used for development of body of the texts usually have higher legibility, and types used for presentation purposes mainly possess higher readability.

“ Kinetic Typography” , or what is also known as the “ technique of oration using kinetic text” , is a branch of Visual Communications wherein, by integrating text and motion, it communicates the personal, emotional, and semantic characteris  tics of the text, and in the end, manipulates the attention of the viewer with a specific intent. The emergence of Kinetic Typography in the early twentieth century as a powerful tool in visual communications set the s  tage for scientific and experimental s  tudies about the effectiveness of this communication medium on information transfer processes. The result of these s  tudies, along with the technological challenges of the new age, lead to the emergence of a discourse which deems focusing merely on readability and attractiveness of various characters insufficient, and seeks to unders  tand the qualities and potentials of Kinetic Typography as a communication medium in information processing and also in its ability to conjugate and express a message. Aiming to achieve a s  tructured model, this s  tudy focuses on Kinetic Typography in the visual learning sys  tem with a Semiological approach, and gathers and analyzes data using a descriptive-analytic method, utilizing library and internet resources. By categorizing the characteris  tics of Kinetic Typography in different forms and media, and also by analyzing methods of creating visual content in visual learning, this s  tudy focuses on the ques  tion: “ By what characteris  tics does Kinetic Typography improve visual memory in visual learning? ” . In answering this ques  tion, through s  tudying exis  ting Iranian and international scholarly literature on “ Kinesis, expression, and creation of meaning based on visual thought and cognition” , the s  tudy comes to the conclusion that Kinetic Typography can be effective in better unders  tanding and relating to subject matters by the merit of its bringing spatial, temporal, and kinetic potentials, as well as expressive signs based on meaningful cognitive models, to the creation of kinetic learning materials. Kinetic Font, which is an attribute of novel outlooks towards text, makes possible a unique interaction experience with more effective and efficient potential for communication, more expressiveness, and attractiveness, compared with traditional approaches to text. Motion technology and its potentials create an attractive playing field to show the Semiological changes of Typography. It also creates a suitable vessel for the creation and presentation of kinetic Typography’ s abilities in this novel media atmosphere which will, in the end, lead to the effective exchange of information and knowledge. Additionally, with (1) the presence of reader in the role of viewer, (2) involvement of the audience in the context and formal relations of the text via variety in Kinetic Typography’ s behavior, and (3) with the improvement of the process of reading and comprehension and aiding the interpretation of a new layer of text as a way for transporting the audience from one thought to another in an axis of time, it increases the text’ s comprehension time.

Along with the social changes of the twentieth century, a new critical trend has emerged in social and artistic fields. Graphic design, as well as other fields of visual communication, has been influenced by these developments and developed new functions and approaches. Typography has undergone many changes as one of the most important issues and has not only been transformed by getting out of the traditional form, but has found special functions in social and social communication, which has become today one of the most important areas of visual communication. the relationship between graphic design with different fields such as cinema and digital art is becoming more and more elaborate. At the same time, by considering different aspects such as time, motion, and complementary non-visual elements like music to typography, its same to assume that were on the verge of acquiring a strong tool which can be manifested through kinetic typography. The increasing popularity of animated typography with a variety of critical themes in recent decades raises the important question of what are the most important visual measures used in the design of animated typography and what strategies do they use to induce meaning? This study aims to study the most important visual animation strategies for expressing critical meanings in animated typography to study the visual elements in animated typography. And then, by analyzing examples of critical animated typography, he explores the visual capacities and capabilities of animated typography in expressing concepts and especially critical themes. The sample community is works of animated typography with critical themes obtained by purposeful searches on video upload websites. The results show that kinetic typography has a great capacity to express critical narrations through society, culture, politics, and even auditory channels. Kinetic typography is an interdisciplinary process that can communicate between literary texts, poetry, music, cinema, and etc. Kinetic typography has a special communication language which can facilitate the understandings of the audiences by adopting a critical, neutral, or placid tone. And there is a special communication language that confronts the actor, the audience and the community. It also shows how choosing a typeface, thickness, distance, type of direction, type of movement, speed change, composition, color, frame, etc. can make sense of the meaning of an audience by creating a promising, indif-ferent, slow, or rogue tone. An animated text, acting through narration and storytelling, acts more efficiently than a static text, and facilitates the trust of the audience by facilitating the transmission of information by visual appeal and evasion of uniformity. It can be a louder voice for screams and critiques of the designer by acoustic elements, in completing text and visual elements Also the results of sample analysis show that the most important features of Critical kinetic Typography works are: use of expressive letters, synchronization of the letter form with the content and message content, inconsistency in the size, style and weight of letters in message text, message readability in short time And limited, limited use of the figurative image, and limited color variation in each sample.

The experience of an artifact can only be contained in space, and the interpretive trade between the audience and the work of art, forming aesthetic and semantic relations only occurs in a space. The emergence of concepts such as the virtual reality, has challenged the certainty of the senses, and the well-known human experience of the space dimensions And it has made it necessary to rethink and review the traditional ways of sense analysis-so far more defined in architectural and urban discourse, with a physical approach-This paper examines the role of space domains in the interpretation of art from a phenomenological and descriptive-analytical perspective and explores the role of truth and authority in producing the aesthetic meaning and experience of the work. In this paper, the main issue is the analogy of the physical and mental understanding of a place and its effects on the understanding of artwork and How human perceptions of the reality of place and perception of art have evolved through the design of virtual spaces? The results of dimensional exploration of space that deal with the relationship of the work and the audience have led to the pathology of deleting the actual dimension of the place in the representation of the work. this creates a crisis called human deconstruction, and the attempt to experience the effect only in the immaterial dimension reduces the observer’, s experiences to a lower level of perception. In the experience of a work of art, during the process of making sense of a historical object or any work of museum value, three pillars are known to be effective in communicating between the work and the audience. The first two part of this relationship is the work and the audience and The third part can be considered the place. We are discussing it in this article. The performance space is the context in which the experience of the work, its meaning, and the whole interpretation of the work are formed by audience. But today experience of place is not necessarily physical experience and is not defined exclusively through its dependence on physical components. In this case, space, as a factor in meaning making and interpretation, can be physical and tangible, or subjective and virtual. It can be argued that the foregoing issue is the product of the present age and has not been such a subject until the last century. Because the experience of the museum space, which until then was only influenced by the physical presence of the artist at the show, is now being challenged by the evolution of the art form. As the audience’, s intellectual infrastructure changes from the ex-perience of the work, many spiritual concepts and physical realities of the museum and artwork are viewed in a different way. As museums of the present age seek to familiarize their audiences with the subject matter, nature, and meanings of the works in various ways, the importance of one’, s physical presence in the material “, place”,in relation to the representation of the work is questionable.

Poster design is considered as one of the most important branches of graphic arts in Iran and other countries. It is in fact a guiding statement manifested as an indicative language. As visual purpose the relationship between image and letters is very important in posters. Today design of letters or typography has developed the visual possibilities and has functioned parallel with imagery. History of poster design and graphic arts in Iran and other countries shows posters with dominant use of the letters rather than pictorial elements, a fact that indicates the graphic potential of letters and its functions in this field.In the Iranian plastic arts in particular graphic arts, typography has a distinct position because of its particular aesthetic and functional possibilities, which has especially found a new definition and function in the field of typography. Because of aesthetic and structural features of Persian letters, it is distinguished from the Latin typography. These features are sometimes considered as disadvantages and sometimes as potencies by the experts. This article aims at studying the features of Persian letters with a typographical expression in poster design and exploring the functions of letters and or text, and the role of typography in poster design plus introducing some approaches. The information is resulted from laboratory studies and using the analytic and descriptive methods, and the research focuses on a structural study of Persian letters.The results indicate that the knowledge of (formalist and narrative) types of Iranian typography has a significant positive effect on the process and outcome of poster design. The role of legibility (informativeness, beauty and visual appeal) of the poster in the visual process of poster design is one of the important points to which every designer must fully attend. Understanding the visual characteristics of Persian letters, its possibilities for calligraphy and using that are fundamental principles for graphic designers and typographists. Knowledge of the role of letters as “legibility agents”, “challenging visual elements and agents” and “aesthetics agents” is important in the process of letter designing. Attention to the visual potency of each letter and visual potential (to create special effects) is directly linked to the use of the letters in typographic process.The methodology is based on descriptive and analytic approach with the gathering data from library.

Background & Aim: The majority of carious lesions are not well-defined radiolucencies. Approximately 40% demineralization is required for radiographic detection of a lesion. The actual depth of penetration of carious lesion is deeper than may be detected radiographically. However, digital subtraction images permit to detect 1-5% decrease of mineral mass per unit volume. The goal of the present study was to evaluate the accuracy of digital subtraction radiography in the detection of dental demineralization in vitro.Methods & Materials: This study was based on observational-diagnostic method which was done on 30 extracted human teeth, categorized in two groups A and B, each having 15 members. In each of teeth, one approximal enamel demineralization lesion was induced using an acidified system (PH=4.8). Direct digital radiography were obtained under standardized condition of teeth before demineralization. After 7 days, the teeth of group B and after 42 days, group A removed from acid and new radiographs were taken. The images of the 7th and 42nd days were subtracted from the baseline radiograph (before creation of the lesion). Then teeth were histologically evaluated. Direct digital and subtraction images were interpreted by three observers to detect presence or absence of the lesion, then the diagnostic accuracy of both methods was determined.Results: After 7 days, the sensitivity, specificity, accuracy, positive predictive value and negative predictive value for incipient lesions in direct digital radiography were 0%, 80%, 40%, 0% and 44% respectively and in digital subtraction radiography were 66.7%, 86.7%, 76.7%, 83.4% and 72.3% respectively. However after 42 days the sensitivity, specificity and accuracy of both methods were 100%.Conclusion: Digital subtraction radiography has a fairly acceptable accuracy in detection ofthe incipient proximal lesions in comparison with DDR. For moderate proximal lesions DSR has the same accuracy as DDR.