Handwritten fonts are appealing to designers, but their application in web design can cause a readability problems. Different handwritten letter cuts in different font sizes are not equally readable on all screen types. The problem often occurs on extra small devices such as mobile phones. Therefore, it is necessary to choose the combination of the font type and appropriate font size that will ensure responsiveness and be readable on different devices, especially the small ones. For this purpose, a study of readability of monoline handwritten font in seven letter cuts (thin, ultra-light, light, regular, semi-bold, bold, and ultra-bold) in several font sizes was conducted. Variable font was used because it contains all style versions of one typeface family, as opposed to standard font families that use different files for each style version. Also, variable font is suitable for use on web because one file with all the necessary typeface styles is significantly smaller in size than classic families with multiple files which shortens the font loading time. Furthermore, model of readability evaluation using the fuzzy logic based postprocessing method for segmentation values related to evaluation criteria is proposed. Prototype of a variable handwritten fonts are tested in responsive web environment, using CSS technology. The results show that handwritten font size readability evaluation has measurable output because the score combine various numeral factors affecting the readability of particular font size in several letter cuts.  Using of proposed model in short time can show readability level of some font type in some font size on a new responsive web suitable for different screen sizes, including extra small devices.

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Original scientific paper Designing a postage stamp requires positioning of graphic security elements in a limited small format, so the design is made for two states: for the visible spectrum and the infrared spectrum. Individual screening elements are introduced as security elements in the steganography of invisible pictures in the 700 to 1000 nm spectrum. The CMYKIR theory of hiding the infrared message in the picture is extended by mixing process inks with the control of spot twins of the same colour tone in the X0 and X40 states. Two pictures are integrated in the security print; a multicolour picture visible to the naked eye, and another hidden picture visible when illuminated with an IR detecting instrument. The CMYKIR method is joined with the new element's algorithm used for dispersing of the hidden picture's ("Z picture's") fringes. This kind of steganography is applied in the design of postage stamps and it is a new way of securing them. Keywords: CMYKIR separation; individual screen element; infrared design; postage stamps with security features; steganography Steganografija na poštanskoj marci s infracrvenim individualiziranim rasterskim oblicimaIzvorni znanstveni članak Dizajn poštanske marke zahtijeva smještanje grafičkih i zaštitnih elemenata u ograničen mali format pri čemu ni jedan od elemenata ne smije biti zapostavljen. Uvode se individualni rasterski oblici kao element zaštite u steganografiji dvostrukih slika u proširenom vizualnom i infracrvenom spektru od 700 do 1000 nm. Proširuje se CMYKIR teorija skrivanja infracrvene poruke u slici miješanjem procesnih bojila uz kontrolu spot blizanaca tonova u stanju X0 te X40. U sigurnosnom otisku su integrirane dvije slike, višebojna slika vidljiva golim okom, te druga skrivena slika vidljiva aparaturom za infracrveni spektar. CMYKIR metodi pridružuje se algoritam novog rasterskog elementa, koji služi za raspršivanje rubova skrivene slike nazvane "Z slika". Ovaj način steganografije primijenjen je u dizajnu i tisku poštanskih maraka u svrhu njihove zaštite na nov način.Ključne riječi: CMYKIR separacija; individualni rasterski element; infracrveni dizajn; poštanske marke sa sigurnosnim svojstvima; steganografija

This paper proposes a method for changing pixel shape by converting a CMYK raster image (pixel) to an HSB vector image, replacing the square cells of the CMYK pixels with different vector shapes. The replacement of a pixel by the selected vector shape is done depending on the detected color values for each pixel. The CMYK values are first converted to the corresponding RGB values and then to the HSB system, and the vector shape is selected based on the obtained hue values. The vector shape is drawn in the defined space, according to the row and column matrix of the pixels of the original CMYK image. Twenty-one vector shapes are introduced to replace the pixels depending on the hue. The pixels of each hue are replaced by a different shape. The application of this conversion has its greatest value in the creation of security graphics for printed documents and the individualization of digital artwork by creating structured patterns based on the hue.

Kinetic typography - text in motion is an animation method of characters that has a video form instead of some "static" form such as picture, poster or book. The most important element for figuration of kinetic typography is the choice of font. Furthermore, one should think about the letter cut, the size and color of the characters, and the background color on which the animation takes place. It can be created in various ways, most often using software that applies a multitude of effects to the text or letter character, creating dynamic solutions. The effects vary from the simplest such as "fade-in" and "fade-out" (entering and exiting text in and out of the frame). Static characters can expand, narrow, move slowly or rapidly, grow and change in a variety of ways to very complex ones in which the author builds an entire story or promotional video by carefully combining software capabilities. However, each software has its limitations and for this reason the kinetic typography presented in this paper is programmed using codes. In a wide range of available programming languages due to the simple interface that does not require advanced programming concepts and gives exceptional results in the field of kinetic typography, Processing was chosen. The Processing programming language is intended for generating and modifying graphics and is based on the Java programming language. The most important difference between Processing and Java is that Processing offers a simple programming interface that does not require advanced levels of programming such as classes, objects, or animations. It also allows advanced users to use them. Processing uses a variety of typography rendering approaches such as raster and vector solutions and allows typography to be programmed and displayed on the Web independently of the user's Web browser and font database. Processing enables the use of visual elements in animation, including typographic ones, by introducing interaction to the user. The user is no longer a passive observer but actively participates in the performance of the application whose final appearance is not predefined but arises from the actions of each individual user. For the purposes of this paper, individual letters were created in a font-making program. The letters made are of various written classifications and cuts, which with their variety contribute to the attractiveness of the animation. In the creating of motion typography in this paper, the programming language Processing was used. Written program codes that manipulate words, letters, or parts of characters to create interesting visual effects for the viewer that aim to hold the viewer's attention and convey the desired message or emotion. There are no strict rules and patterns when making kinetic typography. In kinetic typography, each author determines his own rules, method of production, and there are no same solutions.