Skripsi Linguistics: "The Typography of Gamestation Magazine: Semiotics Analysis"

THE TYPOGRAPHY IN GAMESTATION MAGAZINE: A
SEMIOTIC ANALYSIS
THESIS
BY:
TRI HAKSAGIAN PASUNGGINGAN
NPM. 09.321.296
DEPARTEMENT OF ENGLISH TEACHING

FACULTY OF TEACHER TRAINING AND EDUCATION
PGRI UNIVERSITY OF MADIUN
2017
xi
THE TYPOGRAPHY IN GAMESTATION MAGAZINE: A
SEMIOTIC ANALYSIS
THESIS
Presented to the Department of English Teaching, Faculty of Teacher

Training and Education, PGRI UNIVERSITY of MADIUN, in Partial
Fulfilment of the Requirements for an Undergraduate Degree of English
Teaching
BY:
TRI HAKSAGIAN PASUNGGINGAN
NPM. 09.321.296
DEPARTEMENT OF ENGLISH TEACHING

FACULTY OF TEACHER TRAINING AND EDUCATION
PGRI UNIVERSITY OF MADIUN
2017
x
SIGNATURE PAGE OF ADVISORS
Thesis by Tri Haksagian Pasunggingan entitled The Typography in Gamestation

Magazine: A Semiotic Analysis has been reviewed and approved by the advisors
for the thesis examination.
Madiun, February 10, 2017

Advisor
Dr. Aris Wuryantoro, M.Hum.

NIDN. 0318097104

Co-Advisor
Lusia Kristiasih Dwi P., S.S., M.A.

NIDN. 0709067201
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SIGNATURE PAGE OF THE BOARD OF EXAMINERS
Thesis by Tri Haksagian Pasunggingan entitled The Typography in Gamestation

Magazine: A Semiotic Analysis has been defended and is approved by the board of
examiners on February 16th, 2017.
Board of Examiners
Drs. H. Sumani, M.M., M.Hum. Chair

NIDN. 0030016602
Samsul Arifin, S.Pd., M.Pd Secretary

NIDN. 0704108503
Dr. Aris Wuryantoro, M.Hum. Member

NIDN. 0318097104
Lusia Kristiasih Dwi P., S.S., M.A. Member

NIDN. 0709067201
Dr. Lulus Irawati, M.Pd. Member

NIDN. 0713047501
Faculty of Teacher Training and Education Department of English Teaching

Dean, Chair,
Dr. drh. C. Novi Primiani, M.Pd. Samsul Arifin, S.Pd., M.Pd

NIDN. 0727116903 NIDN. 0704108503
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STATEMENT OF ORIGINALITY
I, the undersigned:
Full Name : Tri Haksagian Pasunggingan

Student ID No. : 09.321.296
Department : English Teaching
Faculty : Faculty of Teacher Training and Education
Hereby declare that this submission is my own work and that, to the best of my
knowledge and belief, it contains no material previously published or written by
another person nor material which to a substantial extent has been accepted for the
award of any other degree or diploma of the university or other institute of higher
learning, except where due acknowledgment has been made in the text.
Tri Haksagian Pasunggingan
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MOTTO
So Make It Easy
DEDICATIONS
This thesis dedicated to:
1. Thanks to ALLAH SWT.
2. Her lovely father and mother Mr.Sugianto and Mrs.Sumilah. Who always
support in every single need and obstacles.
3. My special person Jasmine, thanks for love, care, pray, support, and who
make wonderful life.
4. All of his friends in old PBI, PGRI UNIVERSITY of MADIUN, especially
2010,2011 who give his inspiration, support in making this thesis and
during his study
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FOREWORDS
Praise is to Allah SWT, the most Gracious and the most Merciful, who has
given strength, blessing and love so that the researcher is able to finish this final
project. By the Gods permission, the researcher can fulfil the partial requirement
to get the Undergraduate Degree of the Department of English Teaching, the
Faculty of Teacher Training and Education, PGRI UNIVERSITY OF MADIUN.
Furthermore, there are many person who give helps to the researcher in
doing the research up to arranging the researchs report. For all person who give
helps to the researcher, the researcher is awfully grateful, especially to:
1. Dr. H. Parji, M.Pd., the Rector of PGRI UNIVERSITY OF MADIUN who
has given his permission to write the thesis.
2. Dr. drh. C. Novi Primiani, M.Pd, the dean of the Faculty of Teacher Training
and Education
3. Samsul Arifin, S.Pd., M.Pd., the chair the Department of English Teaching
for approving this thesis.
4. Dr. Aris Wuryantoro, M.Hum., the first advisor who gives the researcher
advices and suggestions to make the researcher thesis better.
5. Lusia Kristiasih Dwi P., S.S., M.A., the second Advisor who gives the
researcher advices and suggestions to make the researcher thesis well too.
6. All the lectures and the officer in the Department of English Teaching who
give their helps in facilitating the researcher to make the research.
7. My beloved parents, brother, and friends for their everlasting love, unlimited
patience, and wonderful support.
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8. The librarian who give their helps to the researcher in serving and facilitating
the references that are need by the researcher.
9. Those who help the writer that cannot mentioned one by one.
The researcher also thanks everyone who gives their help and support.
Without their help support, the thesis would never be like this. Therefore, the
researcher accepts gratefully every suggestion, criticism, and comment from those
who concern to this thesis. Hopefully this thesis will be able to give contribution
and be useful of the readers, especially for the next researchers.
Madiun, 14 February 2017
The researcher
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TABLE OF CONTENTS
Page
INNER COVER .............................................................................................. i
SIGNATURE PAGE OF ADVISOR .............................................................. ii
SIGNATURE PAGE OF THE BOARD OF EXAMINERS .......................... iii
STATEMENT OF ORIGINALITY ................................................................. iv
MOTTO AND DEDICATION ........................................................................ v
FOREWORDS ................................................................................................ vi
TABLE OF CONTENTS ................................................................................ vii
LIST OF TABLES .......................................................................................... viii
LIST OF FIGURES ........................................................................................ ix
LIST OF APPENDIX . ................................................ x
ABSTRACT .................................................................................................... xi
Chapter I INTRODUCTION .................................................................... 1
A. Background of the Study ....................................................... 1
B. Limitations of the Study ......................................................... 4
C. Problems of the Study ............................................................ 4
D. Purposes of the Study ............................................................ 4
E. Significances of the Study ...................................................... 4
F. Research Method .................................................................... 5
G. Theoretical Framework .......................................................... 10
H. Definition Key Terms ............................................................ 36
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Chapter II THE RESEARCH FINDING ...................................................... 37
A. Data Presentation ................................................................... 37
B. Discussion ............................................................................. 41
Chapter III THE RESEARCH FINDING ...................................................... 49
A. Data Presentation ................................................................... 49
B. Discussion ............................................................................. 53
Chapter IV CONCLUSIONS AND SUGGESTIONS .................................. 57
A. Conclusions ............................................................................ 57
B. Suggestions ............................................................................ 58
BIBLIOGRAPHY . .................................................... 59
APPENDIX . ............................................................. 62
VITA ............................................................................................................ 65
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LIST OF TABLES
Page
Tables 2.1. The Anatomy of Typography ............................................................. 39
Tables 3.1. The Meaning of Typography Gamestation Magazine ........................ 50
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LIST OF FIGURES
Figures 1. Pictographs 4000 BC....................................................................... 11

Figures 2. Phonograms 3000 BC ..................................................................... 11
Figures 3. The Phoenicians 1800 BC ............................................................... 11
Figures 4. The Greeks and Romans 1000 BC .................................................. 12
Figures 5. The Chinese 1040............................................................................ 12
Figures 6. Textura Blackletter1454 .................................................................. 12
Figures 7. The advent mass communication 1500 ........................................... 13
Figures 8. John Baskerville 1760 ..................................................................... 13
Figures 9. Die Neue Typographie 1928 ........................................................... 14
Figures 10. Times New Roman 1932............................................................... 14
Figures 11. Bold Mode 1930s-1940s ............................................................ 14
Figures 12. The New York School 1959.......................................................... 15
Figures 13. Photosetting 1960s ....................................................................... 15
Figures 14. Apple Macintosh 1984 .................................................................. 16
Figures 15. Richard Doyle ............................................................................... 17
Figures 16. Art and craft movement ................................................................ 18
Figures 17. Art Nouveau .................................................................................. 18
Figures 18. Art Deco ........................................................................................ 19
Figures 19. Modernism by Jan Tschihold ........................................................ 20
Figures 20. Postmodernism .............................................................................. 20
Figures 1.1. Renaissance 15th & 16 centuries .................................................. 21
Figures 1.2. Baroque 17th centuries ................................................................. 21
Figures 1.3. Neoclassical 18th centuries ........................................................... 22
Figures 1.4. Romantic 18th & 19th centuries .................................................... 22
Figures 1.5. Realist 19th & 20th centuries ......................................................... 23
Figures 1.6. Geometric Modernist 20th centuries ............................................. 23
Figures 1.7. Lyrical Modernist 20th centuries .................................................. 24
Figures 1.8. Postmodernist late 20th centuries.................................................. 24
Figures 1.9. Typographic Anatomy ................................................................. 25
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Figures 1.1.1. Example of Serif ....................................................................... 28
Figures 1.1.2. Example of Sans Serif ............................................................... 28
Figures 1.1.3. Example of Dingbats ................................................................. 29
Figures 1.1.4. Example of Mono-Spaced ......................................................... 29
Figures 1.1.5. Example of Text ........................................................................ 29
Figures 1.1.6. Example of Display ................................................................... 30
Figures 1.1.7. Example of Script ...................................................................... 30
Figures 2.1. Geestorial Part Gamestation Magazine ........................................ 38
Figures 2.2. Marvel on Geestorial Part Page 20 ........................................... 42
Figures 2.3. VS on Geestorial Part Page 20 ................................................. 43
Figures 2.4. CAPCOM on Geestorial Part Page 20 ...................................... 44
Figures 2.5. Fate of Two Worlds on Geestorial Part Page 20 ...................... 45
Figures 2.6. 3 on Geestorial Part Page 20 .................................................... 46
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LIST OF APPENDIX
Page
Tables 1. Gamestation Magazine vol 181November 2010 ................................... 65
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ABSTRACT
Tri Haksagian Pasunggingan, 2017. THE TYPOGRAPHY IN GAMESTATION

MAGAZINE: A SEMIOTIC ANALYSIS. Undergraduate Thesis.
Department of English Teaching, The Faculty of Teacher Training and
Education, PGRI UNIVERSITY of MADIUN. First advisor Dr. Aris
Wuryantoro, M.Hum, Second advisor Lusia Kristiasih Dwi P., S.S., M.A.
Key Terms: Typography, Gamestation Magazine, Semiotics
Restrictions problem in this research is to use the typography semiotics

viewpoint. The focus of research is what kinds of typography does Gamestation
magazine contain? In addition, what are meaning of the typography in
Gamestation magazine? The purpose of this research is to identifying and
describes the meaning contained in the sign using semiotics analysis of Charles
Sanders Pierce.
The research uses qualitative method. The researcher applies descriptive
qualitative method. The technique of collecting data is documentation. To analyse
the data, the researcher uses content analysis.
The results showed that the use of kinds typography MARVEL, VS,
CAPCOM, 3 and Typography FATE OF TWO WORLDS. The meanings
of typography in Gamestation are, typography in Gamestation magazines are
reflected the new identity of video game. Their combination from two brands with
different of games and typography style into single invention of games.
MARVEL bases modernist, it seems on Helvetica fonts. VS with Geometric
style design like a MARVEL and the Agency FB fonts, VS provided the
emphasis with silver colour on the fonts between typography MARVEL and
CAPCOM. Typography CAPCOM has style older than MARVEL it seems
on Serif type Korinna ITC fonts.
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CHAPTER I
INTRODUCTION
This chapter presents about background of the problems, limitation of the
study, statement of the problems, purpose of the study, significances of the
study, research methodology, theoretical review and definition of key terms.
A. Background of Study
Typography or study of typesetting occurs since human lived are cause of
poor message on writing. Communication and giving information are practiced
on oral. Before acquainting with type, that was remembered much event creating
in poems and orality. Then delivering the messages with new model appears, for
means other imagery messages the human rooted, carve, drawer and then write
and printing.
Historical of typography started from utilization of pictograph. The
language has been used people of Viking Norwegian and Indian. The Egyptians
font was raised. They called Hieratic, with the famous of name hieroglyphs in
thirteen century. That forms have begun to be written with special marker. In
Rome, Romanians had been studying about typing system. In addition,
Romanians had succeeded creating the Romanian fonts.
This time typography had been growing of hand creation to
computerized. Computerization of typography makes the typographer works
more quickly and easily. Every character on the alphabet has unique forms. It
makes different between fonts G, I, A, or N. Depending on how the
reader sees its visuals correlation. Currently one of aspects has been ignored the
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writer, the researcher or professionals typography. The aspects are much link
with problem of readability visual comfy. Moore (1995) showed some aspects
that must be hint there are readability, suitability, producibility, line width and
space. It means that the aspect is linked readability in certain texts. Text or types
will be legible if every type is easy to acquaint.
Plumley (In Suwardjono, 2008) Say: The main purpose of printed
material, for example, is to convey a message to the reader. Likewise, the main
purpose of design is to convey a message that attracts your readers attention and
persuade them to pick up the printed material and read it, creating readers rather
than browsers. It means that, typography is important for magazine not only to
attract attention but also persuade readers. It is typography that makes a
magazine designed interestingly. The typography is apply on productions of
mass media namely GameStation magazine. The typography is to convey
visualization attractive message.
GameStation magazine is one of game magazine in Indonesia
manufactured by PT. Megindo Tunggal Sejahtera. The company is built in
Bandung 1996. Gamestation is a monthly magazine that focuses on everything
related to video game. While, Animonster is a monthly magazine that provide
information about various Japanese culture phenomenon such as anime, manga,
cosplay, and J-music that has been very popular around the world, including
Indonesia. In other segment, PT. Megindo Tunggal Sejahtera are also publishing
Cinemags, movie & entertainment magazine offering the latest movie and
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entertainment news both from local and International sources.
(http://megindo.wordpress.com/about/, 2013/09/19)
From the three of main products, GameStation has complete typography.
To understand sign and meaning of typography the researcher choses
GameStation magazine as an object. It will do with kinds of typography and
meaning behind.
To study sign and meaning of the typography in GameStation magazine,
the researcher used model semiotics of Charles Sanders Peirce. According to
Peirce (1894), sign organize in semiotics are Icon, Index and symbol. Icon is a
sign of replicated from that truth representative object. Index is a sign had
relation cause effect from the representative object or called sign as a proof.
While symbols is a sign based on convention, rules and engagement.
Based on the background of study, the researcher is interested in analyzing
about what kinds and intended meaning of typography are in GameStation
magazine. From all of the statements, the researcher takes the title of research
THE TYPOGRAPHY IN GAMESTATION MAGAZINE: A SEMIOTIC
ANALYSIS
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B. Limitations of the Study
The limitation lies on GameStation magazine Vol 181 November 2010. It
will take on style design
C. Problems of the Study
Based on the background of study, the problems formulated as follow:
1. What kinds of typography does Gamestation magazine contain?
2. How is meaning of typography in Gamestation magazine?
D. Purposes of the Study
In accordance with the problem of the study, the objectives formulated as
follows:
1. Identifying the kinds of typography in GameStation magazine.
2. Describing intended meaning of typography in gamestation magazine.
E. Significances of the Study
The significances of the study formulated as follows:
1. The result of the study can be expected to give contribution of typography
designer analysis for the next researches
2. The result of the study can be expected to give understanding about style
design, type and fonts in typography
3. The result of the study can be expected to give understanding to readers
about the meaning of typography in GameStation magazine
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F. Research Method
1. Types and Approach of Research
a. Approach of Research
The method must have right steps based on the characteristics of the
object that be studied. This research uses the qualitative method.
According to Flick (2009: 4),
Qualitative research is establishing itself in many social

sciences, in psychology, in nursing, and the like. As a notice to
the field or as an experienced research, you can use a great
variety of specific methods, each of which start from different
premises and pursue different aims. Each method in qualitative
research based on specific understanding of its object.
The data collected is in the form of the words or pictures rather
numbers, Bogdan and Biklen (In Fraenkel, 2012: 427). This research uses
qualitative descriptive method that is kind of document analysis by
researching the kinds and meaning of typography in the Gamestation
magazine volume 181 November 2010 edition. The researcher will work
with words.
b. Types of Research
Considering the limitations of the study and the nature of the
problems of study, this research is a descriptive qualitative one. According
to Borg and Gall (2005: 38), Descriptive research is unique in the number
of variable employed. Descriptive research emerges following creative
exploration, and serves to organize the finding in order to fit them with
explanation and then, test or validate those explanations.
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Some qualitative studies present descriptive research of the central
phenomenon. This research takes the central phenomenon on words, to see
types and meaning of sign the research uses semiotics. It will explain the
data as suggested by Creswell (2009: 14) In qualitative research, inquirers
employ theory as a broad explanation
Referring to Peirce (1894) semiotics is divided into three of elements
on signs; Icon, Index and symbol. Semiotics is as a meaning builder in a
message. Message means investigating to see intended meaning of sign.
2. Sources of Data
Source of data refers to a condition which is gathering some data or
information that needed by a writer. Based on Yin (2011: 51), A source of
data-in many cases a fieldwork setting (where are you going to get the data
that are to be collected?). It means that source of data refers to a condition
which represents some data or information that will be collected by a writer.
In this research, the reseacher takes sources of data from Gamestation
magazine volume 181 November 2010 editions downloading from websites.
3. Methods of Collecting Data
In doing a research, some of data are need to achieve the objectives of
the research. The way of collecting data in this study is conduct through
documentation and content analysis method. In documentary method, the
data are obtained without the intervention of the researcher and are usually
applied in literature or culture research( Lincoln and Guba, 1985: 227).
According to Bogdan and Biklen (2007: 64) Popular culture document:
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produced by commercial purposes to entertain, persuade, and enlighten the
public.
According to the theories of documentation method, the data of these
studies collected through several steps. First, the researcher reads and
observes the content of the Gamestation magazine thoroughly. Second, the
researcher consults the content of the typography in Gamestation magazine
with the theories of typographical. Third, the researcher analyses the kinds of
typography in Gamestation magazine by a semiotics analysis.
Based on statement above, this research uses documentation method to
collect data, that suitable with the source of data taken from Gamestation
magazine volume 181 November 2010 editions
4. Techniques of Analyzing Data
This research is qualitative, data analysis used to describe, all the result
of the study to answer the queestion from the problem. This type of analysis
was use to reveal the content of Gamestation magazine. Wiersma (1995: 216)
states, Data analysis in qualitative research is a process of successive
approximation towards an accurate description and interpretation of
phenomena. Therefore, this research aimed to present an description and
interpretation of the phenomenon by revealing the words as typography when
it written in the Gamestation magazine vol 181 November 2010 editions.
According to Miles and Huberman (1984: 21-22), Qualitative data are
attractive. They are a source of well-grounded, rich descriptions and
explanations of processes occurring in local contexts. With qualitative data
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one can preserve the chronological flow, assess local causality, and derive
fruitful explanations. Data analysis is a process of organizing and classifying
data into a certain pattern, category, and basic unit of analysis, so the theme
can found and working hypothesis suggested by the data can formulated.
Technique of data analysis used by the researcher of some step,
a. Reducing Data
The first step, process of selecting, focusing, simplifying,
abstracting, and transforming the raw data that appear in written-up field
notes The researcher uses eliminates the data of typography in
Gamestation magazine vol 181 November 2010, make summary and only
chosen related data based on limitation the study
b. Displaying data
The second of analysis activity is data display. A display is an
organized assembly of information that permits conclusion drawing and
action taking. The most frequent form of display for qualitative data has
been narrative text. The researcher needs to display the data of
typography in order to give clear description about result of the research.
c. Conclusion
The third of analysis activity is conclusion. After data collection
and displaying data has done, the researcher makes a conclusion as final
of research.
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5. Validity Data
Maxwell highlights the issues of validity by referring to the
correctness or credibility of a description, conclusion, explanation,
interpretation, or other sort of account (1996:87). Referring to Flick (2009:
417) triangulation is also used as a strategy for improving quality of
qualitative research by extending the approach to the issue under study. It
means that this research involves the main source and secondary source so it
has called as a data sources triangulation.
The main sources in this research are the kinds of typography and the
meaning of typography in Gamestation magazine volume 181 November
2010 editions. Secondary source is the theories. The writers try to recheck the
result of the study by reviewing theories. Further, it called methodological
triangulations for the reason that the writers describe and analyse the kinds of
typography and the meaning of typography in Gamestation magazine volume
181 November 2010 editions and review the theories by semiotics analysis
approach in analysing the data.
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G. Theoretical Framework
This chapter takes details various studies from the typography,
Gamestation magazine and semiotics literature to support studying kinds of
typography and meaning of it in the Gamestation magazine.
1. Typography
Typography is the art or work to preparing books, for printing,
especially of designing how text will appear when it is printed, (Hornby,
2010). Typography, one of the most important elements of design, refers to
the style, arrangement, or appearance of typeset elements and the general
appearance of printed page. Plumley (in Suwardjono, 2008:1). In these
cases, typography is composed fonts on the alphabets is important for
media.
The communication based on representation of symbols to object
(pictograph), for example a circle with lines shining out perhaps pictograph
of sun and representative of message or main ideas (ideograph). Refer to
Rustan (2008) teks merupakan salah satu elemen layout terpentng. . .
setiap jenis huruf mempunyai sifat dan dapat memberi kesanya berbeda
satu sama lain it means that shape or form of fonts giving impression to
create realities of sound.
According to Felici (2011:51) A font contains all the information
needed to position and image the characters that it represents. It means that
more than the uses of fonts are crucial to give image. So that it is a must
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a. History of Typography
The long history of typography was begin as far as 4000 B.C.
Typefaces started primitively as symbol carvings on cave wall and
slowly developed throughout many years. The historical period of
typography the following pictures are:
Figure 1. Pictographs 4000 BC (http://www.godesignnow.com/)
Beginnings of written language on Pictographs (symbols used to
represent object in nature evolve).
Figure 2. Phonograms 3000 BC (http://www.godesignnow.com/)
The Sumerians create Cunieform, a written system of communication
using Phonograms (symbols designed to represent sound).
Figure 3. The Phoenicians 1800 BC (http://www.godesignnow.com/)
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The Phoenicians 1800 BC. Create the precursor to the modern alphabet
as system comprised of twenty-two symbols that correspond to spoken
sound.
Figure 4. The Greeks and Romans 1000 BC
(http://www.godesignnow.com/)
The Greeks and Romans adapt the Phoenician system, refining the
letterform and adding characters representing vowel sounds.
Figure 5. The Chinese 1040 (http://www.godesignnow.com/)
The Chinese develop an innovative movable type system using carved
wooden block, though the vast number of characters make this system
impractical for widespread use.
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Figure 6. Textura Blackletter1454 (http://www.godesignnow.com/)
Fifteen century ago invention of hand press or type machine by Johannes
Gutenberg (1398-1468). Gutenberg made big expansion in the world art
of typeset (typography). The first results of his creation are forty-two
rows on the Bible with kinds font Textura Blackletter. That was printing
in Mainz German 1454.
Figure 7. The advent mass communication 1500
(http://www.godesignnow.com/)
The advent mass communication through print help bring about the
Renaissance, during which page design and typography are greatly
refined.
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Figure 8. John Baskerville 1760 (http://www.godesignnow.com/)
John Baskerville develops the first Traditional typeface, which differ
from the classical Roman in its upright stroke contras. Until in 1793,
Giambattista Bodoni creates the first modern typefaces.
Figure 9. Die Neue Typographie 1928 (http://www.godesignnow.com/)
Die Neue Typographie is publishing, which promotes Bauhaus and
Constructivist ideas such as asymmetrical typography and extensive use
of sans serif type.
Figure 10 Times New Roman 1932 (http://www.godesignnow.com/)
In the 1932 it is begun the Stanley Morison introduces Times New
Roman font. The all researcher must be thanks for Stanley Morison with
his imagine create the font. Now Times New Roman font is international
standard of written thesis.
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Figure 11. Bold Mode 1930s-1940s (http://www.godesignnow.com/)
It still on war of world II, the typography in this era is very readability.
Many nations utilize Bold, those innovations types in the form of printed
wartime propaganda. Until on 1954, Adrian Frutiger introduces
universal, an extensive and very influential sans serif typeface.
Figure 12. The New York School 1959 (http://www.godesignnow.com/)
The New York School ushers is an unprecedented period of
experimentation in art direction and typography.
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Figure 13. Photosetting 1960s (http://www.godesignnow.com/)
Photosetting becomes the predominant method of typesetting, and
continues until the mid-1980. In their 1980, its time the introduction of
the personal computer revolutionizes many technical aspect of design,
including typography.
Figure 14. Apple Macintosh 1984 (http://www.godesignnow.com/)
The advent of digital typesetting and web design greatly influences
typography. Apple introduces Macintosh computer and then joined
Microsoft in 2002 they also introduces Open Type.
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In the long way of design included the font and typography, it was
more influence by cultural and procedure making with traditional or
technological machines. Onto the era of postmodernism based on the
eight century, shapes postmodern came to apply and it is special without
the rule. Whereas postmodern fusion between art history and the new
technology is to get challenging shapes. The course of style design
typography, historic of typefaces and the anatomy of typefaces are:
1) Early Modern (Victorian1820-1900)
The characteristic Early Modern are always decorated
with the ornament, hard texture drawing illustration, and uses
typeface Fat Face and Egyptian.
Figure 15. Richard Doyle. (Punch cover magazine)
(www.victorianweb.org/art/design/books/cooke12.html)
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2) Art and Craft Movement Art Nouveau Art Deco
It begins from last the revolution industry that individuals
commited work and aesthetics. There has characteristic return to
period gothic, rococo, and renaissance. In the other side, one of
the characteristic art and movement are made individual with
special artistic with visual characteristic shape, colour, and
simple ornament. Showing natural design and fully meaning of
sign it used typography sans serif and rejected classic font like
Roman.
Figure 16. Art and craft movement
(http://guildofstgeorge.org.uk/)
Art and Movement is divided into two parts: Modern
formalism and Stylish. Then it was creates the art nouveau style
that deviate from Victorian and popular style at the periods.
Through illegible typography and showed the individual
creations of fonts. There are sample of Art Nouveau:
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Figure 17. Art Nouveau
(https://wordpress.com/?ref=footer_website)
Art Deco starts on Paris but is not current of art like an art
Nouveau. Art Deco is followed the Art Nouveau style that
showed the luxurious of design and few ornaments. The
ornament always uses straight lines or rectilinear. Art Deco is
purge style without ideology. There are sample of style:
Figure 18. Art Deco
(http://www.theenglishgroup.co.uk/blog/tag/art-deco/)
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3) Modernism (New Typography)
The modern design was begun on the first twenty century
almost same with the purge of art. The prominent marker of
modern design is typeface sans serif. Jan Tschihold structured
the modern typography on the book of New Typography.
Tschihold and the other typographer such as Adrian Frutiger,
Theo Ballmer are popular master of graphic design.
Their technique and style of production was used as long
as the twenty centuries, although the computer changed system
production; however their technique and style were still
relevant. In the visual characteristics of it was design influenced
by futurism, geometric, and ignored the all of ornament.
Figure 19. Modernism by Jan Tschihold
(The Principles of the New Typography.pdf)
For the next years graphic, design with modern style accepted
and use at all.
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4) Postmodern Style Design
In 1980, the term of postmodern has applied for
international specific style and based on all kinds theories
designer in the world.
Figure 20. Postmodernism
(http://www.historygraphicdesign.com/images/u3.png)
Postmodern was changing modernism as a new
international style. As like art deco, postmodernism mixed
history of art and new technology with decorative trend to get
visual commercial society. For the characteristic postmodern,
there is unreal geometry, showing float shapes, and unstable
point colours.
b. The Historic Typefaces
According to Bringhurst (1996:12-15) on the book of Elements of
Typographic Style, it is historic typefaces. There are:
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1) Renaissance
Figure .1.1. Renaissance 15th & 16 centuries.
(The elements_of_typographic_style.pdf)
Renaissance 15th & 16th centuries: Modulated stroke; humanist
(oblique) axis; crisp, pen-formed terminal; large aperture; italic equal
to and independent of roman.
2) Baroque
Figure .1.2. Baroque 17th centuries.
Baroque 17th centuries: Modulated stroke; variable axis; modelled
serif and terminals; moderate aperture; italic subsidiary to roman and
closely linked with it. A secondary vertical axis often develops in
Baroque letters but the primary axis of the penstroke is normally
oblique.
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3) Neoclassical
Figure .1.3. Neoclassical 18th centuries.
Neoclassical 18th centuries: Modulated stroke; rationalist (vertical)
axis; refined, adnate serifs; lachrymal terminals; moderate aperture;
italic fully subjugated to roman.
4) Romantic
Figure .1.4. Romantic 18th & 19th centuries.
Romantic 18th & 19th centuries: High contrast; intensified rationalist
axis; abrupt, thin serifs; round terminals; small aperture; fully
subjugated italic. In Neoclassical and Romantic letters alike, the
primary axis is usually vertical and the secondary axis oblique.
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5) Realist
Figure .1.5. Realist 19th & 20th centuries.
Realist 19th & 20th centuries: Unmodulated stroke; implied vertical
axis; small aperture; serifs absent or abrupt and of equal weight with
main stroke; italic absent or replaced by sloped roman.
6) Geometric Modernist
Figure .1.6. Geometric Modernist 20th centuries.
Geometric Modernist 20th centuries: Unmodulated stroke; bowls
often circular (no axis); moderate aperture; serifs absent or of equal
weight with main stroke; italic absent or replaced by sloped roman.
The modelling, however, is often much more subtle than it first
appears.
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7) Lyrical Modernist
Figure .1.7. Lyrical Modernist 20th centuries.
Lyrical Modernist 20th centuries: Rediscovery of Renaissance form:
modulated stroke; humanist axis; pen-formed serifs and terminals;
large aperture; italic partially liberated from roman.
8) Postmodernist
Figure .1.8. Postmodernist late 20th centuries.
Frequent parody of Neoclassical and Romantic form: rationalist axis;
sharply modelled serifs and terminals; moderate aperture; italic
subjugate to roman. There is one of many kinds of Postmodernist
letter.
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c. The Anatomy of Typefaces
A system of distinctive visually consistent design for the symbol in
an alphabet and a complete set of characters yet the impression of
printing on the page. Understanding the fundamental principles and
concepts of typography is the rst step to being a successful typographer.
The most basic component of typography is the letter, and each letter of
the alphabet distinguished by its unique shape, or letterform. The basic
set is made of three cuts: Roman, Italic and Bold. Segalini (2010)
(http://homes.ieu.edu.tr/asegalini).
Typography employs a number of technical terms. These mostly
describe specific parts of letterforms. Knowing a letterforms component
parts makes it much easier to identify the types classification and even
the specific typeface. There are components of letterforms and definition:
Figure 1.9. Typographic Anatomy
(http://momentumpress.com/sccc/type1/)
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1) Ascender height
The upward vertical stem on some lowercase letters, such as h
and b that extends above the x-height is the ascender.
Spiekermann and Brody 1989. (www.fontshop.com/education)
2) Cap height
The height from the baseline to the top of the uppercase letters
not including diacritics. Spiekermann and Brody (1989).
(www.fontshop.com/education)
3) X-height
The height of the lowercase letters, disregarding ascenders or
descenders, typically exemplified by the letter x. The
relationship of the x-height to the body defines the perceived
type size. A typeface with a large x-height looks much bigger
than a typeface with a small x-height at the same size.
Spiekermann and Brody (1989). (www.fontshop.com/education)
4) Baseline
The baseline is the most stable axis along a line of text. The
curves at the bottom of letters such as a or c hang slightly below
the baseline. Commas and semicolons also cross the baseline. If
a typeface were not positioned this way, it would appear to
teeter precariously. Spiekermann and Brody (1989).
(www.fontshop.com/education)
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5) Descender height
Any part in a lowercase letter that extends below the baseline,
found for example in g, j, p, q, y, etc. Some types of
descenders have specific names. Spiekermann and Brody
(1989). (www.fontshop.com/education)
d. The Classification of Typefaces
A basic system for classifying typefaces created in the nineteenth
century, when printers required identifying a heritage for their own craft
analogous to that of art history. Humanist letterforms closely connected
to calligraphy and the movement of the hand. Transitional typefaces have
sharper serifs and a vertical axis than humanist letters. (Baskerville
1757:1). While the modern typefaces more abstract and less organic.
These three main groups correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art and literature. Designers in
the twentieth and twenty-first centuries have continued to create new
typefaces based on historic characteristics. Refer to Creamer (2003:1)
fonts has classified into several groups. There are seven main groups,
Serif, Sans Serif, Mono-Spaced, Text, Dingbats, Display and Script.
1) Serif
A Serif is the pointed ending of a stroke as in I or I. The
letters carved on stone, using chisels. Thickness of the strokes also
changes in these letterforms, like those drawn by flat brushes.
xi
Figure 1.1.1 Example of Serif (TypographyBasics.pdf)
Serif fonts are recognize for their readability and are widely used in
text composition for books, newspapers, magazines etc., where a
large amount of text is to be composed in small point sizes.
2) Sans Serif
Sans Serif means without Serif. Sans serif fonts have blunt
endings to the strokes. Almost all the strokes look like equal
thickness, as if drawn by a marker pen.
Figure 1.1.2 Example of Sans Serif (TypographyBasics.pdf)
Sans serif fonts give a modern look and are widely used in logos
and symbols, packaging, signages, websites, mobile phone
interfaces, gaming consoles etc.
3) Dingbats
Dingbats are symbols that are small pieces of art used to
enhance the design of the text or page. There are sample of
Dingbats:
Figure 1.1.3 Example of Dingbats (TypographyBasics.pdf)
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4) Mono-Spaced
Mono-Spaced, Most fonts are proportionally spaced; that is,
smaller characters take up less space than larger ones.
Figure 1.1.4 Example of Mono-Spaced (TypographyBasics.pdf)
For example, the letter I is not as wide as the letter M. In
contrast, mono-spaced font usually typewriter-style fonts, take up
the same amount of space regardless of the actual letter.
5) Text
Text, Based on hand-drawn letter made by early monks for
religious books, Text fonts have an Old-World feel to them. They
are mostly uses for certificates, diplomas, and invitations.
Figure 1.1.5 Example of Text (TypographyBasics.pdf)
xi
6) Display
Display and Decorative fonts designed to be uses as
attention-getting headline fonts. They should rarely, if ever be used
as body copy fonts.
Figure 1.1.6 Example of Display (TypographyBasics.pdf)
7) Script
Script fonts recreate the visual styling of calligraphy. The
letters imitate the feeling of calligraphic nibs, with a slant to the
right and changing thickness of strokes. These fonts give a festive
and personal look to the reader and are very common used in
wedding invitations.
Figure 1.1.7 Example of Script (TypographyBasics.pdf)
x
2. SEMIOTICS
There are two prominent figures believed as the semiotics founders,
namely Ferdinand de Saussure and Charles Sander Peirce. Saussure is a
linguist, and Peirce is a philosopher. Saussure uses semiology as a term for
this science, and Peirce uses Semiotics. Semiotics is a science talking about
signs. This science regards the social or cultural phenomena are signs.
Actually, semiotics is the continuance or development of structuralism due to
the basic theory used which have correlation each other. In structuralism,
Saussures linguistic theory is the basis, which explains about diachronic and
synchronic, langue and parole, paradigmatic and syntagmatic, then signifier
and signified.
In the Saussures book A Course in General Linguistics, first published
posthumously in 1915, suggests the possibility of semiotic analysis. It deals
with many of the concepts that applied to signs. Saussure (1915/1966) wrote,
The Linguistic sign unites not a thing and a name, but a concept and a
sound-image...I call the combination of a concept and a sound image a sign,
but in current usage the term generally designates only a sound-image.
His division of the sign into two components, the signifier (or sound-
image) and the signified or (concept), and his suggestion that the
relationship between signifier and signified is arbitrary were of crucial
importance for the development of semiotics. When the Saussure was
formulating two part dyadic model of the sign, consisting of a signifier, or
the form that a sign takes, and the signified, or concept it represents, Peirce
xi
was theorizing his own model of semiotics and signs. Peirce formulated a
three-part triadic model consisting of an interpretant, representamen, and an
object. (Peirce in Lanir, 2012:1) Sign in Peirces view (in Gorlee, 1994:51)
A sign, or representamen, is something which stands to somebody

for something in some respect or capacity the sign stand for
something, its object. It stands for that object, not in all respect, but
in reference to a sort of idea, which I have sometimes called the
ground of the representamen.
The point of semiotics Peirce focused on three aspects of signs or called
three trichotomies: Firstness, according as the sign in itself is a mere quality,
is an actual existent, or is a general law. Secondness according as the relation
of the sign to its object consists in the sign is having some character in itself,
or in some existential relation to that object, or in its relation to an
interpretant. Thirdness, according as it is interpretant represents it as a sign of
possibility or as a sign of fact or a sign of reason
a. The first trichotomy of signs:
According to the first division, a Sign may be termed a Qualisign, a
Sinsign, or a Legisign. Peirce (1931: 1563)
1. A Qualisign is a quality which is a Sign. It cannot actually act as a
sign until it is embodied; but the embodiment has nothing to do with
its character as a sign.
2. A Sinsign (where the syllable sin is taken as meaning "being only
once," as in single, simple, Latin semel, etc.) is an actual existent
thing or event which is a sign. It can only be so through its qualities;
so that it involves a qualisign, or rather, several qualisigns. But these
x
qualisigns are of a peculiar kind and only form a sign through being
actually embodied.
3. A Legisign is a law that is a Sign. This law is usually established by
men. Every conventional sign is a legisign (but not conversely). It is
not a single object, but a general type which, it has been agreed, shall
be significant. Every legisign signifies through an instance of its
application, which may be termed a Replica of it.
b. The second trichotomy of signs:
According to the second trichotomy, a Sign may be termed an Icon,
an Index, or a Symbol. Peirce (1931: 1563)
1. An Icon is a sign which refers to the object that it denotes merely by
virtue of characters of its own, and which it possesses, just the same,
whether any such object actually exists or not. It is true that unless
there really is such an object, the icon does not act as a sign; but this
has nothing to do with its character as a sign. Anything whatever, be
it quality, existent individual, or law, is an icon of anything, in so far
as it is like that thing and used as a sign of it.
2. An index is a sign which refers to the object that it denotes by virtue
of being really affected by that object. It cannot, therefore, be a
qualisign, because qualities are whatever they are independently of
anything else. In so far as the index is affected by the object, it
necessarily has some quality in common with the object, and it is in
respect to these that it refers to the object. It does, therefore, involve
xi
a sort of icon, although an icon of a peculiar kind; and it is not the
mere resemblance of its object, even in these respects which makes it
a sign, but it is the actual modification of it by the object.
3. A symbol is a sign which refers to the object that it denotes by virtue
of a law, usually an association of general ideas, which operates to
cause the symbol to be interpreted as referring to that object. It is
thus itself a general type or law, that is, is a legisign. As such it acts
through a replica. Not only is it general itself, but the object to which
it refers is of a general nature. Now that which is general has its
being in the instances which it will determine. There must, therefore,
be existent instances of what the symbol denotes, although we must
here understand by existent, existent in the possibly imaginary
universe to which the symbol refers. The symbol will indirectly,
through the association or other law, be affected by those instances;
and thus the symbol will involve a sort of index, although an index
of a peculiar kind. It will not, however, be by any means true that the
slight effect upon the symbol of those instances accounts for the
significant character of the symbol.
c. The third trichotomy of signs:
According to the third trichotomy, a Sign may be termed a Rheme, a
Dicisign or Dicent Sign (that is, a proposition or quasi-proposition), or an
Argument. Peirce (1931: 1564)
x
1) A Rheme is a Sign which, for its Interpretant, is a Sign of qualitative
Possibility, that is, is understood as representing such and such a
kind of possible Object. Any Rheme, perhaps, will afford some
information; but it is not interpreted as doing so.
2) A Decisign Sign is a Sign, which, for its Interpretant, is a Sign of
actual existence. It cannot, therefore, be an Icon, which affords no
ground for an interpretation of it as referring to actual existence. A
Decisign necessarily involves, as a part of it, a Rheme, to describe
the fact which it is interpreted as indicating. But this is a peculiar
kind of Rheme; and while it is essential to the Decisign, it by no
means constitutes it.
3) An Argument is a Sign which, for its Interpretant, is a Sign of law.
Or we may say that a Rheme is a sign which is understood to
represent its object in its characters merely; that a Decisign is a sign
which is understood to represent its object in respect to actual
existence; and that an Argument is a Sign which is understood to
represent its Object in its character as Sign.
Refer to Peirce argue and his model of sign. Meaning of sign cannot defines
consist, but it clarify agree with limitations that used. Meaning the concept or the
meaning of the signs depends on society agreement or convention. All the
individuals are meaning-makers. Distinctively, it makes meanings through our
creation and interpretation of signs. Signs take the form of different objects, but
such things have no any meaning and become signs only when our invest them
xi
with meaning. Anything can be a sign as long as someone interprets it as
'signifying' something - referring to or standing for something other than itself
H. Definitions Key Terms
1. Typography
Typography is study of typesetting fonts to makes aesthetics element in
book cover, magazine, poster, until graffitis Walls Street. Typography also makes
readability to help more clearly. Typography is one of the most important
elements of design, refers to the style, arrangement, or appearance of typeset
elements and the general appearance of printed page.
2. GameStation
GameStation is which one of product game magazine in Indonesia
manufactured by PT. Megindo Tunggal Sejahtera. The GameStation focuses on
everything related to video game. (http://megindo.wordpress.com/about/,
2013/09/19)
3. Semiotics
Semiotics is a science of signs which consist of trichotomies. The sign
consists in the meaningful interaction between first trichotomy, second trichotomy
and third trichotomy. The first trichotomy of sign termed a Qualisign, a Sinsign,
and a Legisign. The second trichotomy of sign termed an Icon, an Index and a
Symbol. And the third trichotomy of sign termed a Rheme, a Dicisign and
Dicentsign.
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CHAPTER II
THE KINDS OF TYPOGRAPHY IN GAMESTATION MAGAZINE VOL

181 NOVEMBER 2010 EDITION
The analysis of the study focuses on the kinds of typography in Gamestation
magazine vol. 181 November 2010 edition. There are some of form kinds of
typography in Gamestation magazine vol. 181 November 2010 edition. The
researcher defines the kinds and meaning of typography in Gamestation magazine
by semiotics analysis.
A. Data Presentation
There are various kinds of typography in Gamestation magazine vol. 181
November 2010 editions. The researcher analyzes on Geestorial part as a topic
main in Gamestation magazine vol. 181 November 2010 editions. The observation
of topic main Gamestation magazine vol. 181 November 2010 editions shows
some kinds of typography in Geestorial part that presented in the form of table.
xi
GEESTORIAL: Marvel vs. Capcom 3 Fate of Two Worlds.
Part of kinds
typography in
Gamestation
magazine vol
181 November
2010 editions.
Figure 2.1 Geestorial Part Gamestation Magazine on pages 20
There are fifth mains of typography it will be show:
1. Typography MARVEL
2. Typography VS
3. Typography CAPCOM
4. Typography FATE OF TWO WORLD
5. Typography Numeric 3
x
Table .2.1 The Anatomy of Typography
Description
No Data Type
Classification Kinds of Fonts
1 Sans Serif Helvetica
Helvetica designed
by max miedinger in
1957, is one of the
worlds most widely
used typefaces. Its
uniform, upright
character makes it
similar to
transitional Serif
letters. These fonts
are also referred to
as Anonymous sans
serif.
2 Sans Serif Agency FB
Font Bureau Agency is

a geometric sans-serif
typeface family
intended for titles and
headings, released
between 1990 and
1995. It was designed
by David Berlow of
Font Bureau.
3 Serif Korina
Capcom logo is the

word CAPCOM in
yellow with a blue
outline. The font
used for its logotype
is very similar to a
font called ITC
xi
Description
No Data Type
Classification Kinds of Fonts
Korinna designed by
Edward Benguiat
and Victor Caruso.
4 Sans Serif Futura
Futura designed by
Paul Renner in 1924-
1926. That is a subtly
crafted face, but
many copies have
been made in metal,
film and digital form.
Its proportions are
graceful and human.
Bringhurst
(1996:241)
5 Serif Electra
Several early
twentieth century
book faces are
creative variation on
Neoclassical and
Romantic form.
Bringhurst
(1996:214)
From the data above, it can be concluded that kinds of typography in
Gamestation magazine vol. 181. November 2010 edition consists of various kinds.
Furthermore, each kinds of typography in Gamestation magazine vol. 181
November 2010 editions described in the following discussion.
x
B. Discussion
According to (Hornby, 2010) typography is the art or work to preparing
books, for printing, especially of designing how to text will appear when it is
printed. It is reason why to setting a font in newspaper, book cover, magazine
etc. Typography has element aesthetics to make different visual in all media
types. Visualizations of typography develop rapidly and more creatively. From the
historical of typeface Bringhurst, that can be clarify the kinds of typography in
Gamestation magazine vol. 181 November 2010 editions.
The type classifications there used Sans Serif and Serif. The specification of
Sans Serif fonts has stroke weight, little contras for letters, that was evoked more
modern look to kinds of typography. Generally Sans Serif used in subhead and
headline. Then the specification of Serif fonts on the little feet or arms that hang
off the end of letter strokes and typically add a thick look to the letter, Serif fonts
are recognize for their readability. Serif fonts considered the easiest fonts to read
and widely used in text composition for books, newspapers, magazine etc.
From the data above, there are fifth kinds of fonts that used typography in
Gamestation magazine vol. 181 November 2010 editions, Helvetica, Agency FB,
ITC Korinna, Futura and Electra. Every typography there has historical and
unique the other one. The kinds can described as follow.
xi
1. Part of Typography: MARVEL
Figure 2.2 Marvel on Geestorial Part pages 20
The typography MARVEL has various element design fonts. It is one
of Geometric Modernist 20th centurys style designs. Unmodulated stroke,
bowls often circular (no axis), moderate aperture, serifs absent or of equal
weight with main stroke. MARVEL typography used kinds fonts
Helvetica.
Historical Helvetica Based on Bringhrst (1996: 97), Helvetica has define
is a twentieth century Swiss revision of a late nineteenth century German
Realist face. The first designed by max miedinger in 1956, constructed by
Sans Serif type classification. That uniform, strong central series, with
condensed and extended forms and extreme weights adapted. From the
anatomy above, it can be conclude that typography in the MARVEL uses
Sans Serif as a type classification, Helvetica kinds of fonts and included on
Geometric Modernist style design. (Lynotype, 2000)
x
2. Part of Typography: VS
Figure 2.3 VS Marvel on Geestorial Part pages 20
In these parts, typography VS are same like on MARVEL there uses
Geometric Modernist 20th centuries style design: Unmodulated stroke, bowls
often circular (no axis), moderate aperture, serifs absent or of equal weight
with main stroke.
Typography VS has a simple structure and futuristic view, it look
modern shape with silver colour. Sans Serif type classification be chosen
these typography. The characteristic of Sans Serif is stroke weight and little
contras accents. Typography on VS used kinds of fonts Agency FB.
Agency FB is a Geometric Modern sans-serif typeface family for titles
and headings. It released between 1990 and 1995 designed by David Berlow
of Font Bureau. It is an expansion of a capitals only titling face created in the
1930s by Morris Fuller Benton, adding lower case characters and a wider
range of widths and weights. (CastleType, 2002)
xi
3. Part of Typography: CAPCOM
Figure 2.4 CAPCOM Marvel on Geestorial Part pages 20
Typography CAPCOM refers to the font used in the logo of
CAPCOM, which are a Japanese developer and publisher of video games.
Famous games that developed and sold by Capcom include Resident Evil,
Street Fighter, Ace Attorney, Darkstalkers, Dead Rising etc.
CAPCOM has Lyrical Modernist 20th centurys style design. It style
rediscovery of Renaissance 15th & 16th centuries form, modulated stroke,
humanist axis, pen-formed serifs and large aperture. CAPCOM use Serif
type classification with characteristic, little feet or arms that hang off the
end of letter strokes and typically add a thick look to the letter.
The font used for its logotype very similar to a font called ITC
Korinna. ITC Korinna is Serif type classification first released by the H.
Berthold AG type foundry in 1904. A revival of the typeface was designed
in 1904 by Edward Benguiat and Victor Caruso for the International
Typeface Corporation (ITC). Korinna is best known for its usage in
television game shows, logos, movie posters or album covers etc. (Korinna
ITC, 2016)
x
4. Part of Typography: Fate of Two Worlds
Figure 2.5 Fate of Two Worlds Marvel on Geestorial Part pages 20
Typography Fate of Two Worlds has same type classification with
part of Typography: VS. The differences of typography are kinds of fonts.
Fate of Two Worlds used Futura fonts that included geometric sans-serif
typeface designed in 1927 by Paul Renner. It designed as a contribution on
the New Frankfurt-project. Based on geometric shapes, that became
representative of visual elements of the Bauhaus style design.
Futura has an appearance of efficiency and forwardness. Although
Renner was not associated with the Bauhaus, his shared many of its idioms
and believed that a modern typeface should express modern models, rather
than be a revival of a previous design. Renner's design rejected the approach
of previous sans-serif designs, which based on the models of sign painting,
condensed lettering and nineteenth-century serif typefaces.
In favour of simple geometric forms: Near perfect circles, triangles
and squares. It based on strokes of near-even weight, which are low in
contrast. The lowercase has tall ascenders, which rise above the cap line,
previously more common in handwriting than in printed text. The uppercase
characters present proportions similar to those of classical Roman capitals.
(The Futura Story on Fonts, 2017)
xi
5. Part of Typography: 3
Figure 2.6 3 Marvel on Geestorial Part pages 20
The fifth typography data in these analysis numeric of 3 it last data will
be analysis. Typography 3 from the anatomy above has an element
Neoclassical style design, Serif type classification and Electra fonts.
Neoclassical has designed in France 1690, not by a typographer but the
government committee. The letters on Neoclassical are moderate in contras
and aperture. Bringhurst (1996). For the serif type classification in
typography 3, it look sharp, little upper and lower serif.
Electra fonts which one of creative variation on Neoclassical and
Romantic form early twentieth century. This makes them seem, in retrospect,
significant precursor of modern design. Designed in 1935 by William
Addison Dwiggins, Electra has been a standard book typeface since release
because of its evenness of design and high legibility. Dwiggins himself a
sloped roman with the simple, crisp italic, small caps and text figures are
inherent in the design. Bringhurst (1996:214)
x
From the data given above, it can be seen that in analyzing the samples as
data. The kind of typography in Gamestation magazine vol 181 November
2010 edition. Researcher founds that over all samples are:
1) MARVEL
The typography MARVEL in Gamestation magazine founded in
GEESTORIAL PART OF GAMESTATION MAGAZINE: Marvel vs.
Capcom 3 Fate of Two Word. The typography MARVEL has related to
Geometric Modernist 20th centurys style designs. There are used kinds
Helvetica fonts, constructed by Sans Serif type classification.
2) VS
The typography VS in Gamestation magazine founded in
Capcom 3 Fate of Two Word. The typography VS looks like
MARVEL there are used Geometric Modernist 20th centurys style
designs. However, there are different on kinds of font. The typography
VS used kinds of fonts Agency FB.
3) CAPCOM
The typography CAPCOM in Gamestation magazine founded in
Capcom 3 Fate of Two Word. The typography CAPCOM refers to the
font used in the logo of CAPCOM, which are a Japanese developer and
publisher of video games. Typography CAPCOM which one of Lyrical
Modernist 20th centurys styles design used ITC Korinna kinds of fonts.
xi
4) Fate of Two Worlds
The typography Fate of Two Worlds in Gamestation magazine founded
in GEESTORIAL PART OF GAMESTATION MAGAZINE: Marvel vs.
Capcom 3 Fate of Two Word. The typography Fate of Two Worlds has
same type classification through typography VS. From the Geometric
style design on this typography, that was using Futura kinds of fonts.
5) 3
The typography 3 in Gamestation magazine are founded in
Capcom 3 Fate of Two Word. The typography 3 built in Neoclassical
style design, Serif type classification and Electra kinds of fonts. The
typography 3 simple shapes with sharp at the axis and compatible to
Electra fonts.
x
CHAPTER III
THE MEANING OF TYPOGRAPHY IN GAMESTATION MAGAZINE

VOL 181 NOVEMBER 2010 EDITION
In this chapter, the researcher analyzes the meaning of typography in
Gamestation magazine by semiotics Charles Sanders Peirce. Peirce believed that
if our need to know the intended meaning of something try realized the side of
object, ground and interpretant. Before discussed about that, the researcher makes
the simple resume Peirce categories.
If our seen the object, that are talking about the data in these studies
Typography. In other words, the object used as a signifier of Something. Then
the ground used as a signified Something different from another form of color,
logotype and typography, while the interpretant are result of people perceptions in
appreciated the object based on the ground.
A. Data Presentation
The data for this study are the kinds of typography in Gamestation magazine
vol 181 November 2010 edition. Based on the statement above the researcher can
describe the meaning of typography in Gamestation magazine vol 181 November
2010 edition as a unity typography shown in the following table.
xi
Table 3.1 The Meaning of Typography Gamestation Magazine
THE SEMIOTICS ANALYSIS

TRICHOTOMIES SIGN BY
CHARLES SANDERS PEIRCE
THE FIRST TRICHOTOMY OF SIGNS
Typography MARVEL has two colours, red in the

background and white fonts. Helvetica kinds of fonts,
Sans Serif type classification as an Geometric Modern
style design.
Typography VS has silver light colour. Used Agency

FB kinds of fonts and Sans Serif type classification as
an Geometric Modern style design.
Typography CAPCOM has three colours. Blue colour

as a background, white colour in lines the background
1. QUALISIGN
and yellow colour of fonts.Korinna ITC fonts, Serif
type classification as an Lyrical Modernist Style design.
Typography Fate of Two Worlds there are two

colour, black colour as background and then white light
colour of fonts. Used Futura fonts, Sans Serif type
classification and Geometric Modernist style design.
Typography 3 has yellow gold colour of fonts. The

kinds of fonts are Electra fonts with Serif type
classification and Neoclassical style design.
x
Typography Marvel used Helvetica fonts and Sans
Serif type classification. Sans Serif are symbolization of
modernist style design. In the anatomy typography
MARVEL the word it seen clear, big and strong as
like their heroes. MARVEL logotype of company
comic books publisher.
Typography VS has silver light colour. Used Agency

FB kinds of fonts and Sans Serif type classification as
an Geometric Modern style design. VS in the word
Versus it mean to shown two teams or sides are against
Typography CAPCOM has three colours. Blue colour

as a background, white colour in lines the background
and yellow colour of fonts.Korinna ITC fonts, Serif
2. SINSIGN
type classification as an Lyrical Modernist Style design.
CAPCOM which is Japanese company and publisher
of video game
Typography Fate of Two Worlds there are two

colour, black colour as background and then white light
colour of fonts. Used Futura fonts, Sans Serif type
classification and Geometric Modernist style design.
Fate of Two Worlds refer to MARVEL worlds and
CAPCOM worlds
Typography 3 has yellow gold colour of fonts. The

kinds of fonts are Electra fonts with Serif type
classification and Neoclassical style design. 3 its
shown position of series MARVEL vs CAPCOM
3. LEGISIGN MARVEL vs CAPCOM 3: Fate of Two World.
xi
THE SECOND TRICHOTOMY OF SIGNS
Typography MARVEL
Typography VS
1. ICON Typography CAPCOM
Typography Fate of Two World
Typography 3
Two company of comic book and video game publisher

Captain America
2. INDEXS Ryu
Superhero
Villain
The typography MARVEL vs CAPCOM 3: Fate of

3. SYMBOL Two World simbolization of video game publisher in
fighting genre.
THE THIRD TRICHOTOMY OF SIGNS
The typography of logotype MARVEL vs CAPCOM

1. RHEME
3: Fate of Two World are identified of name or brand
Typography MARVEL Helvetica fonts

Typography VS Agency FB fonts
2. DECISIGN Typography CAPCOM ITC Korinna fonts
Typography Fate of Two World Futura fonts
Typography 3 Electra fonts
The typography MARVEL vs CAPCOM 3: Fate of

Two World reflected the new identity of video game.
The combination from two brand with different
typography of games into single product games. That
3. ARGUMENT can be happen if same of the genre. for the reason that
the typography MARVEL vs CAPCOM 3: Fate of
Two World cleared the fifth different dimension in the
typography Gamestation magazine vol 181 November
2010.
x
Based on the table 3.1., above, it can be describing the meaning of typography
in Gamestation magazine vol 181 November 2010 editions.
B. Discussion
In this study, the researcher analyses about the meaning of typography in
Gamestation magazine vol 181 November 2010 editions by semiotics analysis
Charles Sanders Peirce. This study focus on three trichotomies Peirces: Firstness,
according as the sign in itself is a mere quality, is an actual existent, or is a
general law. Secondness according as the relation of the sign to its object consists
in the sign is having some character in itself, or in some existential relation to that
object, or in its relation to an interpretant. Thirdness, according as it is interpretant
represents it as a sign of possibility or as a sign of fact or a sign of reason.
The first trichotomy of signs, According to the first division, a Sign may be
termed a Qualisign, a Sinsign, or a Legisign.
1. A Qualisign, in the typography MARVEL vs CAPCOM 3: Fate of Two
World. Typography MARVEL has two colours, red in the background and
white fonts. Helvetica kinds of fonts, Sans Serif type classification as an
Geometric Modern style design. Typography VS has silver light colour.
Used Agency FB kinds of fonts and Sans Serif type classification as an
Geometric Modern style design. Typography CAPCOM has three colours.
Blue colour as a background, white colour in lines the background and yellow
colour of fonts.Korinna ITC fonts, Serif type classification as an Lyrical
Modernist Style design. Typography Fate of Two Worlds there are two
colour, black colour as background and then white light colour of fonts. Used
xi
Futura fonts, Sans Serif type classification and Geometric Modernist style
design. Typography 3 has yellow gold colour of fonts. The kinds of fonts
are Electra fonts with Serif type classification and Neoclassical style design.
2. Sinsign, in the typography MARVEL vs CAPCOM 3: Fate of Two World.
Typography Marvel used Helvetica fonts and Sans Serif type classification.
Sans Serif is symbolization of modernist style design. In the anatomy
typography, MARVEL the word it seen clear, big and strong as like their
heroes. MARVEL logotype of company comic books publisher.
Typography VS has silver light colour. Use Agency FB kinds of fonts and
Sans Serif type classification as a Geometric Modern style design. VS in
the word versus it mean to shown two teams. Typography CAPCOM has
three colours. Blue colour as a background, white colour in lines the
background and yellow colour of fonts. Korinna ITC fonts, Serif type
classification as a Lyrical Modernist Style design. CAPCOM are Japanese
company and publisher of video games. Typography Fate of Two Worlds
there are two colour, black colour as background and then white light colour
of fonts. Use Futura fonts, Sans Serif type classification and Geometric
Modernist style design. Fate of Two Worlds refers to MARVEL worlds
and CAPCOM worlds. Typography 3 has yellow gold colour of fonts.
The kinds of fonts are Electra fonts with Serif type classification and
Neoclassical style design. 3 its shown position of series MARVEL vs.
CAPCOM
x
3. Legisign, MARVEL vs CAPCOM 3: Fate of Two World.
The second trichotomy of signs, according to the second trichotomy, a Sign
may be termed an Icon, an Index, or a Symbol.
1. An Icon, in the typography MARVEL vs CAPCOM 3: Fate of Two World.
Typography MARVEL Typography VS Typography CAPCOM
Typography Fate of Two World Typography 3
2. An Index, in the typography MARVEL vs CAPCOM 3: Fate of Two
World. The index of typography MARVEL company of comic book and
video game publisher
3. A Symbol, in the typography MARVEL vs CAPCOM 3: Fate of Two
World simbolization of video game publisher in fighting genre.
The third trichotomy of signs, according to the third trichotomy, a Sign may
be termed a Rheme, a Dicisign or Dicent Sign (that is, a proposition or quasi-
proposition), or an Argument.
1. A Rheme, in the typography of logotype MARVEL vs CAPCOM 3: Fate of
Two World are identified of name or brand
2. A Dicisign, in the typography MARVEL vs CAPCOM 3: Fate of Two
World Typography MARVEL Helvetica fonts, Typography VS
Agency FB fonts, Typography CAPCOM ITC Korinna fonts, Typography
Fate of Two World Futura fonts, Typography 3 Electra fonts
xi
3. An Argument, in the typography of logotype MARVEL vs CAPCOM 3:
Fate of Two World reflected the new identity of video game. The
combination from two brands with different of games and typography style
into single product games, it can be happening if their similar genre.
MARVEL bases as modernist typography, it seems on kind of fonts
Helvetica. VS with Geometric style design like a MARVEL and the fonts
Agency FB, VS provided the emphasis with silver colour on the fonts
between typography MARVEL and CAPCOM. Typography
CAPCOM has style older than MARVEL it seems on Serif type
classifications fonts Korinna. For the reason that the typography MARVEL
vs CAPCOM 3: Fate of Two World was cleared to the fifth different
dimension in the typography Gamestation magazine vol 181 November 2010,
Geestorial parts.
x
CHAPTER IV
CONCLUSIONS AND SUGGESTIONS
A. Conclusions
The last chapter contains some conclusions that are of data analysis in
Chapter II III. The conclusion becomes the anwers of the problems
statements that are raised the first chapter. This research discusses about
kinds and meaning of typography in Gamestation magazine vol 181
November 2010 editions. Typography in Gamestation magazine is one of
correct elements style design to contribute the aesthetics in magazine to
attract the readers.
Fonts as a key element in typography, it has many kinds to give
something interest into structure of typography and conveys the main
message so that readers get the point of the words. From the data, analysis in
the chapter II, there showed kinds of typography in Gamestation magazine on
Geestorial part. The data finding are fifth kinds typography as follow:
Typography MARVEL, typography VS, typography CAPCOM,
typography Fate of Two Worlds and typography numeric 3.
The point of this research is describe kinds of typography and meaning
behinds them. Based on the table of data analysis that showed in chapter III
before, the researcher concluded the sign that was on the structure included
fonts, style design and colour in typography MARVEL vs CAPCOM 3: Fate
of Two World. It appropriate with their identity as brands video games
became reflected the new identity of video game. The combination from two
xi
60
brands with different of typography style into single product games and
complete visualisation.
B. Suggestions
After doing this study, the researcher would like to convey his suggestion
concerning with the topic of this study there are:
1. To the readers who tried to studies of typography that can uses Gestalt
theories to analysis written system.
2. To the readers who tried to studies of design typography that can uses
theories to analysis written system in T-Shirt
3. To the next researcher can uses this analysis to literature review.
x
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xi
APPENDIX
1. Gamestation Magazine
Entertainment is one of the most important needs in life. This fact so inspires
us to build Megindo Tunggal Sejahtera. Since the beginning of its birth in 1996,
Megindo has been committed to always bringing something new to Indonesias
publishing industry. Their also prioritizing in producing a reading material that is
not only entertaining, but also educating. That is why we initially start this
business by publishing several magazines and books that are focus to cater
Indonesias hobby and entertainment needs, such as; MGI and Game 13th. After
that, their strengthening our concept by releasing three of our main product:
Gamestation, Animonster, and Cinemags.
Gamestation is a monthly magazine that focuses on everything related to
video game. While, Animonster is a monthly magazine that provide information
about various Japanese culture phenomenon such as anime, manga, cosplay, and
J-music that has been very popular around the world, including Indonesia. In other
segment, their also publishing Cinemags, our very own movie & entertainment
magazine that offers the latest movie and entertainment news both from local and
International sources.
In 2005, Megindo released two new magazines: Gadget and Kiddo. Gadget is
Indonesias techno-magazine that gives its readers the most comprehensive
information regarding electronics, hobbies and lifestyle. Kiddo itself is a children
magazine that is being design to provide knowledge to children age 6-12 in a fun
and creative way. In 2008, Megindo received the license to publish Macworld
x
Indonesia. Macworld Indonesia is the magazine that offers detailed information
regarding APPLE products, services and accessories from iMacs, iPods, iPhones
and MacBooks.
Our target and focus is to fulfill the market has needs and publish new
magazines every two years. On its 12th years, Megindo keeps on refreshing its
commitment to become Indonesias most proactive and creative publishing
company who cares to its readers by giving only the best products and support the
mass media development in Indonesia. (http://megindo.wordpress.com/about/,
2013/09/19).
xi
GameStation Vol. 181, November 2010 edition has the front cover is Marvel
vs. Capcom 3: Fate of Two Worlds. The specification of Gamestation Vol. 181,
November 2010 Edition as follows:
COVERS : Avalon
PRICE : Rp. 32.500,-
BONUS : CD G-PLUS
ONSCREEN : Batman Arkham City, Street Fighter X Tekken, The
Legend of Zelda, Skyward Sword, Never Dead, Infamous
2, The 3rd Birthday.
GEESTORIAL : Marvel vs. Capcom 3: Fate of Two Worlds
REVIEW : Dead Rising II, Mafia II
HI-TECH : PlayStation 3 Solid State Drive
TIPS & TRICKS : Spiderman Shattered Dimensions
CHEAT : Toy Story 3 PSP, Batman: The Brave and the Bold Wii,
Kingdom, Hearts: Birth by Sleep PSP, Metroid: Other M
Wii, UFC 2010 Undisputed PS3, Spiderman: Shattered
Dimensions Wii, Scott Pilgrim vs. The World PS3, Deadly
Premonition X360, Halo: Reach X360
WALKTHROUGH : Mafia II
x
VITA
Tri Haksagian Pasunggingan was born on Juni 3th 1990 in Madiun, East
java. He is the seconds son his family. His fathers name is Sugianto. His
mothers name is Sumilah. He lives at Morang village, Kare, Madiun.
He had finished his elementary school in SDN Tawangrejo 5, graduated in
2003 and continued his study at Junior High school in SMPN 2 Mejayan,
graduated 2006. And then he had finished Senior High school in SMAN 2
Mejayan and graduated in 2009. Then continued his study in PGRI UNIVERSITY
of MADIUN at 2009 and studied in Department of English Teaching, The Faculty
of Teacher Training and Education. He studied in PGRI UNIVERSITY of
MADIUN until graduated.
xi

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THE TYPOGRAPHY IN GAMESTATION MAGAZINE: A

DEPARTEMENT OF ENGLISH TEACHING

Presented to the Department of English Teaching, Faculty of Teacher

DEPARTEMENT OF ENGLISH TEACHING

Thesis by Tri Haksagian Pasunggingan entitled The Typography in Gamestation

Madiun, February 10, 2017

Dr. Aris Wuryantoro, M.Hum.

Madiun, February 10, 2017

Lusia Kristiasih Dwi P., S.S., M.A.

Thesis by Tri Haksagian Pasunggingan entitled The Typography in Gamestation

Drs. H. Sumani, M.M., M.Hum. Chair

Samsul Arifin, S.Pd., M.Pd Secretary

Dr. Aris Wuryantoro, M.Hum. Member

Lusia Kristiasih Dwi P., S.S., M.A. Member

Dr. Lulus Irawati, M.Pd. Member

Faculty of Teacher Training and Education Department of English Teaching

Dr. drh. C. Novi Primiani, M.Pd. Samsul Arifin, S.Pd., M.Pd

Full Name : Tri Haksagian Pasunggingan

Madiun, February 14, 2017

Tri Haksagian Pasunggingan

This thesis dedicated to:

1. Thanks to ALLAH SWT.

support in every single need and obstacles.

make wonderful life.

4. All of his friends in old PBI, PGRI UNIVERSITY of MADIUN, especially

during his study

to get the Undergraduate Degree of the Department of English Teaching, the

Faculty of Teacher Training and Education, PGRI UNIVERSITY OF MADIUN.

helps to the researcher, the researcher is awfully grateful, especially to:

1. Dr. H. Parji, M.Pd., the Rector of PGRI UNIVERSITY OF MADIUN who

has given his permission to write the thesis.

for approving this thesis.

advices and suggestions to make the researcher thesis better.

give their helps in facilitating the researcher to make the research.

patience, and wonderful support.

the references that are need by the researcher.

and be useful of the readers, especially for the next researchers.

Madiun, 14 February 2017

INNER COVER .............................................................................................. i

SIGNATURE PAGE OF ADVISOR .............................................................. ii

SIGNATURE PAGE OF THE BOARD OF EXAMINERS .......................... iii

STATEMENT OF ORIGINALITY ................................................................. iv

MOTTO AND DEDICATION ........................................................................ v

TABLE OF CONTENTS ................................................................................ vii

LIST OF TABLES .......................................................................................... viii

LIST OF FIGURES ........................................................................................ ix

LIST OF APPENDIX . ................................................ x

Chapter I INTRODUCTION .................................................................... 1

A. Background of the Study ....................................................... 1

B. Limitations of the Study ......................................................... 4

C. Problems of the Study ............................................................ 4

D. Purposes of the Study ............................................................ 4

E. Significances of the Study ...................................................... 4

F. Research Method .................................................................... 5

G. Theoretical Framework .......................................................... 10

H. Definition Key Terms ............................................................ 36

A. Data Presentation ................................................................... 37

Chapter III THE RESEARCH FINDING ...................................................... 49

A. Data Presentation ................................................................... 49

Chapter IV CONCLUSIONS AND SUGGESTIONS .................................. 57

Figures 1. Pictographs 4000 BC....................................................................... 11

Tables 1. Gamestation Magazine vol 181November 2010 ................................... 65

Tri Haksagian Pasunggingan, 2017. THE TYPOGRAPHY IN GAMESTATION

Key Terms: Typography, Gamestation Magazine, Semiotics

Skripsi Linguistics: "The Typography of Gamestation Magazine: Semiotics Analysis"

Skripsi Linguistics: "The Typography of Gamestation Magazine: Semiotics Analysis"