A case study methodology is useful because it can be used to consider a distinct participant pool, drawing conclusions only about that group and only within a defined context.
Anchored in real life (Flyvbjerg 2001), suggests that the case study can be employed to illuminate and explicate a subject and its related contextual conditions (Thomas 2011).
Although the use of typographic design is not a ubiquitous practice in higher research degree exegeses, it is becoming increasingly evident in the fields of creative writing, architecture and visual communication design (Ings 2014).
In the broader domain, Ravelli and Starfield (2008) note that it builds upon emerging approaches adopted in wider academic scholarship.
The dialect of these theses is no longer Times Roman, Baskerville, or Arial normal.
Typography is nuanced, elegant and cognisant of Romano’s assertion that the purpose of type is to ‘to advocate, communicate, celebrate, educate, elaborate, illuminate, and disseminate.
Typographical consideration can lead to levels of embodiment and ways of being ‘in the physicality’ of voice.
Accordingly such emphasis may open spaces, trajectories and encounters that had not been previously envisaged or imagined.
This is because as Brumberger notes, ‘we assign personality/emotional attributes both to typefaces and to passages of text, and as a consequence, typographical treatments may be understood as having personas that convey not only visual texture and mood, but also rhetorical stances that vary in their emphases’ (Brumberger 2003: 208).
By encouraging writers to conceive typography as part of their written voice, supervisors can significantly enrich new ways of ‘knowing’ and creating.