According to the OpenType standard, variable font is a single font file which contains all style versions of one typeface family, as opposed to standard font families that use different files for each style version. Therefore, they are 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. This shortens the font loading time, which enables wide range of typographical use on various devices. This paper investigates the readability of handwritten variable fonts in a responsible web environment on four screen sizes: extra small, small, medium, and large. Seven letter cuts were made from basic monoline handwritten font: thin, ultra-light, light, regular, semi-bold, bold, and ultra-bold. This paper presents model of readability evaluation using the fuzzy logic based postprocessing method for segmentation values related to evaluation criteria. Linguistic variable’s values are used to rate readability level against each of the criteria i.e., attributes. Prototype of a variable handwritten fonts are tested in responsive web environment, using CSS technology. The results show that readability evaluation has measurable output because the score combine various numeral factors affecting the readability of particular letter cut. Also, the results indicate that this type of font is not suitable for displays on extra small and medium screens such as mobile phones and tablets. That knowledge opens advanced possibilities to designers when designing for web because variable handwritten fonts are relatively simple, uniform and easily manageable. Using of proposed model in short time can show readability level of some font type on a new web.

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.

The development of web technologies has led to the availability of various multimedia content on the web. In addition to text, images, and videos, transitions, animations and interactivity are increasingly used. Transitions and animations present the...

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.

Internet users are bombarded every day with various ads, and they try to block them in all possible ways. If they do not block them, they usually pay little attention to them. Therefore, ads need to be creative and provide as much relevant information as possible about the advertised product or service at a glance in order to lead to conversions. For this purpose, the benefits of infographics can be used very well, in addition to dynamic forms of ads that consist of audio and video elements, especially in a responsive web environment. This type of advertising is also great for posting on social media, where the flow of information and responses is very fast. Infographics actually represent a visual presentation of information through a combination of typography, symbols, pictograms, shapes, and colours and are used to present complex information quickly and clearly. The use of infographics as one of the multimedia elements in digital advertising contributes to the optimization of advertising content, which also contributes to SEO optimization. To investigate the extent to which infographics in digital advertising can contribute to the optimization of advertising content in a responsive web environment, A/B testing of multimedia advertising content presented through infographics and content that contained all relevant information about the advertiser and was not presented in the form of an infographic was conducted on two types of screens. The A/B testing model itself provides the opportunity to maximize conversion rates, but it also provides a significant increase in knowledge about how advertising content is presented. It can also establish a set of optimized practices for multimedia elements of ad content. The proposed testing model provides the perfect opportunity to properly test your ad before launch. The same analogy can be applied to other multimedia elements used to create ads, such as photos, animations, colours, content management system elements, etc. The obtained results provide valuable information about infographics possibilities in advertising content optimization in a responsive web environment because they load faster, are suitable for small screens, and do not tire users.

This study investigates the potential, limitations, and pedagogical implications of applying a parallel multi-model AI evaluation workflow, using ChatGPT, DeepSeek, and Uizard, to assess student design projects in higher education. Because design assessment involves both formal criteria and subjective creative interpretation, the study first established a human expert baseline based on three independent university professors. The human inter-rater reliability was low to moderate, with a mean pairwise Spearman’s ρ of 0.36 and Cronbach’s α of 0.60 for packaging design, and ρ of 0.43 and α of 0.69 for web design. This finding is central to the study, as it shows that the human benchmark in creative design assessment is itself variable and interpretive. Against this baseline, AI–human alignment remained limited and task-dependent. For packaging design, the AI ensemble showed only a weak positive association with the human expert baseline (Spearman’s ρ = 0.30, p = 0.031), which should be interpreted cautiously given the Bonferroni-adjusted significance threshold used in the study. For web design, no significant AI–human association was observed. Qualitative analysis of AI-generated rationales identified recurring limitations, including hallucination, aesthetic shield effects, and missed context, where visually polished work was rewarded despite deeper conceptual or structural weaknesses. The findings suggest that current AI systems can provide useful formative feedback on visible formal features, but they are not reliable as autonomous grading tools for complex creative work. AI-assisted assessment is therefore best understood as a supervised formative support mechanism, while final evaluation should remain grounded in human pedagogical judgment.