WHAT’S HOT!
SAPPI BOOK EXPLORES THE NEUROSCIENCE OF TOUCH Daniel Dejan, Print & Creative Manager, Sappi North America
Did you know that more than half the brain is devoted to processing sen- sory experience, and much of that sensory receptivity focuses on touch? The brain, a 3-lb wet computer, is constantly processing incoming data from the senses. And like all good computers, the brain consumes more than one fourth of the body’s energy resources. Although you have touch receptors all over your body, they are not distributed equally. Your hands are some of the most metabolically expensive real estate on your body.
The Magazine 2 05.2016
Haptic Brain, Haptic Brand A new book from Sappi North America, Haptic Brain, Haptic Brand: A Com- municator’s Guide to the Neuroscience of Touch, looks at this intersection of the hands and communications through the lens of neuroscience, exploring how media shapes the brain and consequently the way a brand is perceived. This book examines haptics—the study of how what we touch shapes what we feel—and explores the science behind why our haptic brains respond so well to haptic brands. In the new book, case studies from three of the world’s best-known brands (Apple, BMW, and World Wildlife Fund) high- light the communicative power of touch in action.
Science Modern The Houston-based design fi rm Rigsby Hull conducted a great deal of research to support the content and design of Haptic Brain, Haptic Brand. For the project, the design fi rm was inspired by a font they found referenced in the recent Taschen-published reprint of the mid-1800s tome Atlas d’Anatomie Humaine et de Chirurgie. As a result, Haptic Brain, Haptic
The brain, a 3-lb wet computer, is constantly processing incoming data from the senses. And like all good computers, the brain consumes more than one fourth of the body’s energy resources.
HAPTIC BRAIN, HAPTIC BRAND
Brand features a distinctive typeface, Science Modern, originally created by Jules Didot.
The Didot family was to printing, publishing, and typography as the Bach family was to music: successive generations of artistic geniuses who dominated their fi eld for more than 200 years. Jules Didot’s father, Pierre Didot, established printing presses in the Louvre and created its most celebrated publications. His uncle, Fermin Didot, along with Giambattista Bodoni, designed and established the “Modern” classifi cation of type, including the time-honored classic Didot (redrawn by Adrian Frutiger in 1991). Jules’ innovative typographic contribution to Science Modern replaced the sharp edges featured in Didot with rounded curves. This lesser known, but equally beautiful font, was used in the original eight volumes of Atlas d’Anatomie Humaine et de Chirurgie created by Bourgery & Jacob and printed in France beginning in 1831.
After seeing a reference to the Science Modern font in the Taschen reprint, Rigsby Hull located the original 1842 volume of Jules Didot’s
WHAT’S HOT!
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