#20404
U&lc Online is ITC’s international journal of graphic design and digital media.
Upper and lowercase Magazine. Journals>Graphic Design>Typography
#29800
This article considers various notions of 'beauty' and how these have informed the creative and critical processes of graphic design, specifically typography. The author considers how the Renaissance revival of Greek mathematics to support a 'universal beauty' was gradually unpicked by Enlightenment thinkers such as Descartes, Kant and Hume, and how this process has subsequently shaped modernist and postmodernist attitudes towards 'beauty'. From our current vantage point it could be argued that 'beauty' should now be considered a redundant concept; however, design schools and studios continue to make value judgments dividing the 'beautiful' from the 'ugly'. On what basis are these judgements made and are they still valid in a pluralistic society? Is it possible that we now have a new sensibility, a different notion of beauty? Reflecting upon important questions raised by the American designer and writer Steven Heller in his controversial essay 'The Cult of the Ugly' in _Eye_ magazine in 1993, the author proposes that 14 years on from the article, we can indeed witness a new aesthetic sensibility, shared but not universal, rooted in loss yet also 'found'.
Rigley, Steve. Visual Communication (2007). Articles>Graphic Design>Typography>History
#20997
I'd like to point out something that you may not have noticed yet. And though I'm quite sure many of you have seen it by now, its subtlety is worth mentioning here again. Go take another look at the FedEx logo — specifically, take another look at the white space surrounding the logo. There may have been years when you didn't notice this arrow in its negative space. Now you can't stop noticing how the figure and its ground produce an entirely new object. The brand may have even taken on new meaning. Josef Albers describes the arrow's visual effect as 1+1=3 or more, or the creation of an incidental new element from two intentionally placed elements. What has happened here is that you're stopped recognizing the logo, and started to perceive it as having another quality.
Danzico, Liz. Bobulate (2001). Design>Typography>Graphic Design>Usability
#20415
Designers are used to being detail-oriented and mathematically precise, nudging things a point this way and a pixel that way until technical perfection is achieved. However, when it comes to typographic alignment, the mathematical approach to design doesn’t apply: it’s all in the eye of the beholder. Visual alignment (also called optical alignment) means exactly that: using that high-tech tool, the human eye, to line up your text until it looks right.
Strizver, Ilene. Upper and lowercase Magazine (2002). Design>Typography>Graphic Design
#18228
The purpose of my Web Page Design for Designers site is not to teach people how to produce web pages. There is little mention of HTML or any other technical stuff except where necessary. It is assumed that the reader already has a grasp of HTML programming, or has made the decision to use a WYSIWYG Web page editor. It is aimed at people who are already involved with design and typography for conventional print and want to explore the possibilities of this new electronic medium. They are probably already using page layout tools like QuarkXPress, Photoshop, Freehand and Illustrator and have discovered that designing web pages is something quite different.
#30529
What's the Right Typeface for Text? 
How to choose a typeface for clear, easy reading over long distances.
#25171
In this article, Fred talks about experiences with some of the greats of typography... and helps to answer the question with a quote from Jan White.
Showker, Fred. Design, Typography and Graphics (2004). Design>Typography>Graphic Design
#32104
iLT is designed to inspire its readers, to make people more aware of the typography that is around them. We really cannot escape typography; it's everywhere: on road signs, shampoo bottles, toothpaste, and even on billboard posters, in books and magazines, online...the list is endless, and the possibilities equally so.
I Love Typography. Resources>Graphic Design>Typography>Visual Rhetoric
#32263
Typotheque is a type foundry, run by Peter Biľak (who is responsible for the fonts and website in general), and Johanna Biľak, (who is responsible for other products, such as books and t-shirts). We also work with a number of freelance designers, writers, and programmers who assist in some of our current projects.
Biľak, Peter and Johanna Biľak. Typotheque. Resources>Graphic Design>Typography
#32572
Powerful design software makes many choices available to graphic designers, but just because you can do something doesn’t always mean you should. For example, sometimes it’s a good idea to convert your text layouts to outline, but sometimes it isn’t. Learn more about this occasionally necessary, often ill-advised practice before you decide whether or not it’s time to convert.
Strizver, Ilene. Upper and lowercase Magazine (2008). Articles>Document Design>Typography>Graphic Design
#32594
How to Design a Logo of Letters
Are you known by your initials? Turn those letters into a terrific signature!
#32719
Vintage and Retro Typography Showcase
In this article, we go retro, finding beautiful examples of vintage typography and the modern work they’ve inspired. Looking back, it’s easy to see why some of this type has stood the test of time and is still lingering in the design community today.
Smashing (2008). Design>Graphic Design>Typography
#35476
Rich Typography On The Web: Techniques and Tools
In addition to font stacks, why not replace the heading text with an image, embedded font, or bit of Flash? The methods described below are easier than they sound. And the end result is that the vast majority of users will see the beautiful typography you want them to see. A word of warning, though: don’t use dynamic text replacement for all of the text on your page. All that would do is slow it down and frustrate your visitors. Instead, save it for headings, menu items, pull quotes and other small bits of text.
Chapman, Cameron. Smashing (2009). Articles>Web Design>Typography>Graphic Design
#35483
Ampersands have long been the character in a typeface with which typographers can indulge themselves. Sweeping curves, flirtatious finishes and bold statements – these are the things that make ampersands an exciting character to use and, better still, to design. There are, however, two problems.
Smashing (2008). Articles>Typography>Graphic Design>Fonts
