To see, hear and feel letters

Letrak ikusi, entzun eta sentitu.

  •  Spanish

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Eduardo Herrera Fernández
Leire Fernández Iñurritegui
Manuel Ángel García Seco
Daniel Raposo
José Miguel Gago da Silva


Eduardo Herrera Fernández
Leire Fernández Iñurritegui

The philosopher Ludwig Wittgenstein said that "thinking is essentially operating with signs" and it is precisely in the activity of seeking, creating, transforming, communicating or speculating with graphic signs where a substantial opportunity from the Design point of view is opened, and within this discipline it will be specially significant the realization of operations from the language phonetic transcription signs: letters.

The ability to formulate a spoken language and interpret it through a visual code, such as the alphabet - are the essential requirements to achieve a graphic communication. Understanding the relationship between these two foundations is the current challenge of the typographical design teaching: understanding textual systems as a conceptualization of reality and an essential vehicle of communication, relating history, morphology, expression, function and technology. We use letters to convey our voice, but also to convey signified ideas formally: letters speak of history, culture, ideals, persuasion, technology, identity, expression, interaction ...

"To see, hear and feel letters" was organized with the general objective of helping to create a way more of capturing the graphic phenomenon and helping to overcome the weakness of conceptual resources that a discipline such as Design has to contextualize practices in higher education studies.

To do this, from professional experience, teacher and researcher of the selected authors, it is intended to contribute with stimulating theories that allow, in first place, the application of motivational conceptual bases regarding the necessary synthesis between typographical tradition and new reading modes that new technologies provide, as well as to the design processes of identity typographical systems -to see-; the stimulus for the development of formal sensitivity, reflecting on those aspects that put the emphasis on the aesthetic and kinesthetic value of typographic signs -to hear-; and finally, the exploration of letters' nature by a look from its minimal components, the dash, through the support of historical knowledge that sustains many of the features of the formal and expressive of space of the lyrics. A space that, definitively, implies a mind map, which often is also a map with a social character, from which it proceeds-. For better or worse, minds and social orders change.



This book is intended primarily for the scientific community in the area of ​​design such as researchers, teachers and students, but also designers with a professional activity based on companies.


Copyright 2010
Daniel Raposo. All rights reserved.

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