#23143
Desktop Publishing and Design: Took, Tips and Techniques 
The organization of your document in combination with its typographic and graphic elements comprise its design. Good design improves your document's ability to communicate effectively. Novice document designers will want to attend this workshop to learn how to use design to their advantage.
Tucker, Kimberly and Lisa Burke-Marose. STC Proceedings (1996). Design>Document Design>Typography
#20411
Setting type means selecting and arranging groups of characters, but not all of those characters have to be part of the alphabet. Dingbats are non-typographic elements that can enhance your work by adding variety and functionality.
Strizver, Ilene. Upper and lowercase Magazine (2003). Design>Typography>Document Design
#18337
The Euro: What Will It Mean to the Desktop Publisher?
How will the character be inserted into typeset copy? Every time typesetters set a piece containing a monetary amount in Euros, they will have to type a character that doesn't exist in most typeface character sets. A partial remedy is the inclusion of a Euro character in the character set of Macintosh and Windows. For instance, starting in Mac OS 8.5, pressing Option-Shift-2 will insert the Euro character — but only in the fonts that come with the Mac. Older fonts will insert a different character.
Adams, Peter C.S. Makingpages.org (2002). Design>Document Design>Typography>Europe
#29236
Explicit Structure in Print and On-Screen Documents 
The structure of print and on-screen documents is made explicit through headings and links. Three important concepts for understanding explicit structure are (1) the display-unit properties of each document medium, (2) the flexible relationship between explicit and implicit structure, and (3) the distinction between populated and unpopulated locations in a hierarchy. These concepts help us better understand standard print documents, structured writing, websites, help systems, and PowerPoint, as well as the potential effects of content management systems on how documents are created.
Farkas, David K. Technical Communication Quarterly (2005). Articles>Document Design>Information Design>Typography
#22390
Fehlende WingDings-Zeichen in PDF-Dateien
Gewisse WingDings Zeichen fehlen, wenn ein PDF File erstellt wird. Dies ist unabhängig davon, ob Winword (Office 97) oder eine andere Applikation benutzt wird. Ausserdem spielt es keine Rolle ob das PDF mit dem Word Makro erstellt wurde oder nicht.
Transcom (2000). (German) Design>Typography>Document Design>Adobe Acrobat
#20410
Can you find the fractions on your keyboard? If not, you’re not alone. Believe it or not, there are no designated keystrokes for fractions on a Mac. PCs offer a few (1/4, 1/2, 3/4), but they’re so well-hidden most users can’t find them anyway. Yet fractions appear fairly often in copy, so what’s a person to do? It’s too frustrating by half!
Strizver, Ilene. Upper and lowercase Magazine (2003). Design>Typography>Document Design
#25055
OpenType fonts act just like PostScript Type 1 or TrueType fonts in programs like Microsoft® Word or QuarkXPress, but Adobe® InDesign® can perform special tricks with them, such as replacing characters with swashes (fancy versions of a letter), or with ligatures for character pairs such as “ct” and “ffi.” InDesign ships with several OpenType fonts, including Adobe Garamond® Pro, Adobe CaslonTM Pro, Caflisch Pro, and Kozuka Mincho Pro (a Japanese typeface).
Kvern, Olav Martin and David Blatner. Adobe (2004). Design>Typography>Document Design>Adobe InDesign
#21866
Acrobat lets you 'pack' fonts into a PDF in three basic ways: by fully embedding, subsetting, or not embedding them. Each method differently affects a PDF file's size, editability, and typographic fidelity.
Patrick, Teri and Tamis Nordling. Adobe Magazine (1998). Design>Document Design>Typography>Adobe Acrobat
#20419
One of the most irritating typographic faux pas is the use of straight quotation marks (also called ‘dumb’ quotes) instead of true typographic quotation marks (‘smart’ or ‘curly’ quotes). How did this dumb-versus-smart muddle begin? Blame the engineers: the standard keyboard layout (which was not created by typographers!) has straight quotes in place of real quotes. As designers, it’s our job to use our ‘smarts’ to work around this all-too-common problem.
Strizver, Ilene. Upper and lowercase Magazine (2002). Design>Typography>Document Design
#29047
Typographic Settings for Structured Abstracts
Structured abstracts contain more information, are of higher quality, and are easier to search and read than are traditional abstracts. However, there is a bewildering variety of ways in which structured abstracts can be printed and little is known about how the typography of structured abstracts can affect their clarity. The aim of this article is to delineate some of these major typographic variables and to comment on their effects upon the layouts of structured abstracts.
Hartley, James. Journal of Technical Writing and Communication (2000). Design>Document Design>Typography
#29483
Typography and Page Layout: Classification of Type 
The number of type faces in use today runs into the thousands and as such presents difficulty in selecting the appropriate design for a particular job. Because there are so many type designs to choose from, it is easier to first choose a general type style or classification to suit your graphic design, and then, look for a particular type face that relates to that classification.
Magnik, John. Typography First. Design>Document Design>Typography
#29478
Typography and Page Layout: Copy Preparation
Copy preparation is a skilled job which, if done properly, assists the smooth flow of work through later stages of the production cycle. All personnel, especially those involved in the composition areas, have seen the results of ineffective copy preparation.
Magnik, John. Typography First. Design>Document Design>Editing>Typography
#29480
Typography and Page Layout: Principles of Design
Principles of design should always be incorporated in any graphic design project to assist its communicating and graphic interest, however in the planning of a basic design, the designer must produce a job to suit the class of work, the copy, and the tastes of the customer.
Magnik, John. Typography First. Design>Document Design>Typography
#29479
Typography and Page Layout: The Printers' Point System
In the year 1898 the English typefounders, as a body, adopted a system (which had been in use in America since 1878) of casting their types to a certain fixed standard. That standard was the American pica, 83 of which equalled 35 centimetres. The pica, which measured 4.21mm, was divided into 12 equal parts called 'points', which makes the size of a point approximately 0.35 mm.
Magnik, John. Typography First. Design>Document Design>Typography>History
#25308
Typography and Page Layout: Type Faces
To identify type or recognise a wrong font, you must know what the variables are, because differences amongst the thousands of type faces available today can be minute. Since an untrained eye cannot distinguish even gross differences, you should become familiar with the fundamental features of type.
Magnik, John. Typography First. Design>Document Design>Typography
#29484
Typography and Page Layout: Typesetting
Typing or setting text lines to the same length so that they line up on the left and the right is known as 'justification.' The information that you are now reading has been typeset using this method. The practice originated with Mediaeval scribes who ruled margins and text lines so as to speed writing and fit as many characters on a line as possible.
Magnik, John. Typography First. Design>Document Design>Typography
#29487
Typography and Page Layout: Typesetting Terminology
A glossary of typographers' terms.
Magnik, John. Typography First. Design>Document Design>Typography>Glossary
#27470
Margaret Richardson explores South African magazine i-jusi.
Richardson, Margaret. Font Magazine (2005). Design>Document Design>Typography
#31235
As business communicators, our goal is typically to influence opinion or change behavior in order to achieve business objectives. To accomplish this, we must get people to interact with our message. A page of 12-point Times New Roman text is seldom compelling, so what you are left with to persuade people to read your publication is graphic design.
Canfield, Jocelyn. Communication World Bulletin (2007). Design>Document Design>Typography>Visual Rhetoric
#20408
When setting type, most of us are very conscious of type style, size, width and line spacing. Many of us also pay attention to letter spacing and kerning, even if we’re not as confident in these areas. But word spacing--the space between words--is probably the most neglected of typographic attributes. This seemingly small detail plays an important role in the color, texture and readability of your type.
Strizver, Ilene. Upper and lowercase Magazine (2003). Design>Typography>Document Design
#32560
Small Caps in InDesign CS3 and QuarkXPress 7
We previously discussed small caps and the importance of using true-drawn versions rather than computer-generated, “fake” ones. Many of today’s OpenType fonts include true-drawn small caps, making it easier than ever to take advantage of this typographically sophisticated feature, but the OpenType interface in both Adobe® InDesign® CS3 and QuarkXpress® 7 can be a bit confusing.
Strizver, Ilene. Upper and lowercase Magazine (2008). Articles>Document Design>Typography>Adobe InDesign
#32561
Will the “Real” Garamond Please Stand Up
Garamond typefaces, in both their American and European flavors, are generally considered ideal book faces. The design is also an excellent choice for most other forms of continuous text. Magazines, newsletters, annual reports, lengthy advertising copy – for example – are all naturals for the Garamond design.
Illuminating Letters (2008). Design>Document Design>Fonts>Typography
#32562
Hung Punctuation and Optical Margin Alignment
Even with all the technology at the disposal of today’s designers, in the end it’s what the human eye sees that counts. That’s why hung punctuation is one of the skills to master when you’re ready to add professional finesse to your typography. Learn what hung punctuation is and how to achieve it in the leading page layout applications.
Strizver, Ilene. Upper and lowercase Magazine (2008). Articles>Document Design>Typography
#32563
Double Spaces Between Sentences…NOT!
Typing two spaces after a period is a relic of the typewriter era that has hung around long past its sell-by date. Here’s how to make sure none of those double-space dinosaurs find their way into your typeset work.
Strizver, Ilene. Upper and lowercase Magazine (2008). Articles>Document Design>Typography
#32564
Automatic, or manual? No, we’re not talking about transmissions - we’re talking about bullet lists, those frequently used tools for organizing lists of information. Your layout application will be happy to format these lists for you, but for true typographic finesse, it’s time to learn to “drive stick” and call your own shots about bullets, alignment and spacing.
Strizver, Ilene. Upper and lowercase Magazine (2008). Articles>Document Design>Typography
