{"id":2478,"date":"2024-11-07T16:36:59","date_gmt":"2024-11-07T14:36:59","guid":{"rendered":"https:\/\/cult.uth.gr\/?page_id=2478"},"modified":"2026-10-12T12:09:29","modified_gmt":"2026-10-12T09:09:29","slug":"contemporary-publishing-typographic-and-digital-practices","status":"publish","type":"page","link":"https:\/\/cult.uth.gr\/en\/course\/contemporary-publishing-typographic-and-digital-practices\/","title":{"rendered":"Contemporary Publishing, Typographic and Digital Practices"},"content":{"rendered":"

Code: \u0395\u03a0 592<\/p>\n

Semester: 5, 7<\/p>\n

ECTS: 6<\/p>\n

Course Instructor: Apostolos Kordas<\/a><\/p>\n

 <\/p>\n

COURSE DESCRIPTION<\/h4>\n

The structure of the course comprises both a theoretical and a studio\/laboratory component, which develop in parallel. The theoretical component consists of a series of lectures, discussions and screenings aimed at familiarising students with issues related to the history of typography, editorial design, the graphic arts, visual storytelling and digital communication. Through a brief historical overview, from the era of Gutenberg and the development of print culture to contemporary digital production, the course examines the role of typography in the formation of knowledge, aesthetic experience and visual identity. Particular emphasis is placed on typefaces, page layout, visual hierarchy, the relationship between text and image, as well as the transition from the printed page to the screen. At the same time, contemporary applications of typographic and editorial design are analysed, including books, magazines, posters, digital publications, websites, social media content, and opening and closing titles for films.<\/p>\n

The studio\/laboratory component of the course focuses on the practical application of the above principles through exercises in the design and production of print and digital applications. Students experiment with the use of typefaces, the arrangement of text and image, the creation of visual hierarchy, page design and the adaptation of the same content to different media. Within the studio\/laboratory framework, applications such as small-scale publications, printed or digital brochures, magazine pages, website structures, social media posts and typographic compositions for film titles may be developed. The course approaches typography not only as a technical choice, but also as an expressive and narrative tool that organises information, shapes readability and contributes to the formation of visual experience.<\/p>\n

 <\/p>\n

SUGGESTED BIBLIOGRAPHY<\/h4>\n
    \n
  • \u0392\u03b1\u03c1\u03bb\u03ac\u03bc\u03bf\u03c2, \u0393. (1957), \u00ab\u03a0\u03c9\u03c2 \u03b3\u03af\u03bd\u03b5\u03c4\u03b1\u03b9 \u03ad\u03bd\u03b1 \u03b2\u03b9\u03b2\u03bb\u03af\u03bf\u00bb, \u0396\u03c5\u03b3\u03cc\u03c2, 23 (8-9) \u03c3\u03b5\u03bb. 29-31.<\/li>\n
  • \u039a\u03b1\u03c1\u03c5\u03ba\u03cc\u03c0\u03bf\u03c5\u03bb\u03bf\u03c2, \u03a0. (1976), \u0391\u03c0\u03cc \u03c4\u03bf\u03bd \u0393\u03ba\u03bf\u03cd\u03c4\u03b5\u03bc\u03c0\u03b5\u03c1\u03b3\u03ba \u03c3\u03c4\u03b7\u03bd \u03b7\u03bb\u03b5\u03ba\u03c4\u03c1\u03bf\u03bd\u03b9\u03ba\u03ae \u03c4\u03c5\u03c0\u03bf\u03b3\u03c1\u03b1\u03c6\u03af\u03b1, \u0399\u03b4\u03b9\u03c9\u03c4\u03b9\u03ba\u03ae \u03ad\u03ba\u03b4\u03bf\u03c3\u03b7.<\/li>\n
  • \u039c\u03b1\u03c4\u03b8\u03b9\u03cc\u03c0\u03bf\u03c5\u03bb\u03bf\u03c2, \u0393. (2009), \u0391\u03bd\u03b8\u03bf\u03bb\u03cc\u03b3\u03b9\u03bf \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae\u03c2 \u03c4\u03c5\u03c0\u03bf\u03b3\u03c1\u03b1\u03c6\u03af\u03b1\u03c2. \u03a3\u03c5\u03bd\u03bf\u03c0\u03c4\u03b9\u03ba\u03ae \u03b9\u03c3\u03c4\u03bf\u03c1\u03af\u03b1 \u03c4\u03b7\u03c2 \u03c4\u03ad\u03c7\u03bd\u03b7\u03c2 \u03c4\u03bf\u03c5 \u03b5\u03bd\u03c4\u03cd\u03c0\u03bf\u03c5 \u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03bf\u03cd \u03b2\u03b9\u03b2\u03bb\u03af\u03bf\u03c5 \u03b1\u03c0\u03cc \u03c4\u03bf\u03bd 15\u03bf \u03ad\u03c9\u03c2 \u03c4\u03bf\u03bd 20\u03cc \u03b1\u03b9\u03ce\u03bd\u03b1, \u03a0\u0395\u039a.<\/li>\n
  • \u03a6\u03c1\u03b1\u03b3\u03ba\u03cc\u03c0\u03bf\u03c5\u03bb\u03bf\u03c2 \u039c., \u0395\u03b9\u03c3\u03b1\u03b3\u03c9\u03b3\u03ae \u03c3\u03c4\u03b7\u03bd \u03b9\u03c3\u03c4\u03bf\u03c1\u03af\u03b1 \u03ba\u03b1\u03b9 \u03c4\u03b7 \u03b8\u03b5\u03c9\u03c1\u03af\u03b1 \u03c4\u03bf\u03c5 graphic design, \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u039c\u03b9\u03c7\u03b1\u03ae\u03bb \u03a0\u03b1\u03c0\u03b1\u03c1\u03bf\u03cd\u03bd\u03b7\u03c2, \u0391\u03b8\u03ae\u03bd\u03b1 2006.<\/li>\n
  • BarthesR., \u0395\u03b9\u03ba\u03cc\u03bd\u03b1-\u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae-\u039a\u03b5\u03af\u03bc\u03b5\u03bd\u03bf<\/em>, \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u03a0\u03bb\u03ad\u03b8\u03c1\u03bf\u03bd, \u0391\u03b8\u03ae\u03bd\u03b1 1988.<\/li>\n
  • Betancourt M., 2019. Typography and Motion Graphics. New York: Routledge.<\/li>\n
  • BolzN., \u03a4\u03bf \u03b1\u03bb\u03c6\u03b1\u03b2\u03b7\u03c4\u03ac\u03c1\u03b9 \u03c4\u03c9\u03bd \u03bc\u03ad\u03c3\u03c9\u03bd<\/em>, \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u03a7\u03c1\u03ae\u03c3\u03c4\u03bf\u03c2 \u039a\u03bf\u03c5\u03c4\u03c3\u03b9\u03b1\u03cd\u03c4\u03b7\u03c2, \u0391\u03b8\u03ae\u03bd\u03b1 2008.<\/li>\n
  • BringhurstRobert, \u03a3\u03c4\u03bf\u03b9\u03c7\u03b5\u03af\u03b1 \u03c4\u03b7\u03c2 \u03c4\u03c5\u03c0\u03bf\u03b3\u03c1\u03b1\u03c6\u03b9\u03ba\u03ae\u03c2 \u03c4\u03ad\u03c7\u03bd\u03b7\u03c2, \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03b9\u03b1\u03ba\u03ad\u03c2 \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u039a\u03c1\u03ae\u03c4\u03b7\u03c2, 2002<\/li>\n
  • Gill, E. (1936), An Essay on Typography, London.<\/li>\n
  • DondisD., \u0392\u03b1\u03c3\u03b9\u03ba\u03ad\u03c2 \u0391\u03c1\u03c7\u03ad\u03c2 \u039f\u03c0\u03c4\u03b9\u03ba\u03ae\u03c2 \u03a0\u03b1\u03b9\u03b4\u03b5\u03af\u03b1\u03c2, \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03cc \u0391\u03bd\u03bf\u03b9\u03ba\u03c4\u03cc \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf, \u03a0\u03ac\u03c4\u03c1\u03b1 2002.<\/li>\n
  • EcoU., \u03a3\u03b7\u03bc\u03b5\u03b9\u03bf\u03bb\u03bf\u03b3\u03af\u03b1<\/em>, \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u039c\u03b1\u03bb\u03bb\u03b9\u03ac\u03c1\u03b7-\u03a0\u03b1\u03b9\u03b4\u03b5\u03af\u03b1, \u0391\u03b8\u03ae\u03bd\u03b1 2019.<\/li>\n
  • Krause J., Color Index XL<\/em>, Watson-Guptill 2017<\/li>\n
  • Krause J., The Logo Brainstorm Book – A Comprehensive Guide for Exploring Design Directions,<\/em> HOW Books 2012.<\/li>\n
  • Lankow J., Ritchie J., Crooks R., Infographics: The power of visual storytelling<\/em>, John Wiley & Sons, 2013<\/li>\n
  • Meggs, Ph. (1983), A History of Graphic Design, Van Nostrand Reinhold.<\/li>\n
  • Morison, S. (1957), First Principles of Typography, CUP.<\/li>\n
  • Oxide Design Co (Ed.), Letterhead & Logo Design 12, Rockport Publishers 2011<\/em><\/li>\n
  • Rand P., Paul Rand: A Designer\u2019s Art<\/em>, Princeton Architectural Press, New York 2016<\/li>\n
  • Tschichold, J. (1987), The New Typography, Univ. of California Press.<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"

    Code: \u0395\u03a0 592 Semester: 5, 7 ECTS: 6 Course Instructor: Apostolos Kordas   COURSE DESCRIPTION The structure of the course comprises both a theoretical and a studio\/laboratory component, which develop in parallel. The theoretical component consists of a series of lectures, discussions and screenings aimed at familiarising students with issues related to the history of […]<\/p>\n","protected":false},"author":131,"featured_media":507,"parent":223,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-2478","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/cult.uth.gr\/en\/wp-json\/wp\/v2\/pages\/2478","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cult.uth.gr\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/cult.uth.gr\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/cult.uth.gr\/en\/wp-json\/wp\/v2\/users\/131"}],"replies":[{"embeddable":true,"href":"https:\/\/cult.uth.gr\/en\/wp-json\/wp\/v2\/comments?post=2478"}],"version-history":[{"count":5,"href":"https:\/\/cult.uth.gr\/en\/wp-json\/wp\/v2\/pages\/2478\/revisions"}],"predecessor-version":[{"id":6076,"href":"https:\/\/cult.uth.gr\/en\/wp-json\/wp\/v2\/pages\/2478\/revisions\/6076"}],"up":[{"embeddable":true,"href":"https:\/\/cult.uth.gr\/en\/wp-json\/wp\/v2\/pages\/223"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cult.uth.gr\/en\/wp-json\/wp\/v2\/media\/507"}],"wp:attachment":[{"href":"https:\/\/cult.uth.gr\/en\/wp-json\/wp\/v2\/media?parent=2478"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}