Typography is the study and process of typefaces; how to select, size, arrange, and use them in general. Traditionally, typography was the use of metal types with raised letterforms that were inked and then pressed onto paper. In modern terms, typography today also includes computer display and output.
#31984
HTML Museum: Font and Page Size
I want to spend some time on a series of articles on web design usability practices. I call this series, the HTML Museum. I hope to update it with articles that address past web design practices and why they are no longer in use.The first exhibit deals with font, text and page size.
Lanier, Clinton R. sense and usability (2008). Articles>Web Design>Typography>History
#20420
Hyphens, En-Dashes and Em-Dashes
Hyphens, en-dashes and em-dashes are frequently used punctuation marks that are just as frequently misunderstood. All three marks are essentially horizontal lines, though their lengths vary (as do, occasionally, their designs – see figure 1). However, these three different marks have very different purposes, and using a hyphen to do an m-dash’s job is just as much of a punctuation error as using a question mark in place of a comma.
Strizver, Ilene. Upper and lowercase Magazine (2002). Design>Typography>Grammar
#25753
A font identifier that enables you to identify a font from a sample by answering a series of simple questions. It is ideal if you want to match an existing typeface, or identify a typeface you have seen in a publication.
#19175
InfoDesign serves as a forum for moderated discussions about information design issues. Information design is the art and the science of presenting information so that it is understandable and easy to use: effective, efficient and attractive. Information design involves knowledge and skills in various areas, such as graphic design, psychology, language, typography, diagramming, and user-testing.
Infodesign. Resources>Mailing Lists>Information Design>Typography
#19174
This site is designed to give you an impression of the contents and dynamics of IDJ by providing abstracts, a selection of illustrations, and occasional additional sound and video clips. The site is updated with every issue (three times per year). Information Design Journal is an international refereed journal which provides a forum for theoretical and practice-oriented discussions concerning the effective, efficient and attractive presentation of information. Topics include the design of infographics, public information signs, forms, product labeling, typography, instructions for use, user interfaces, websites, and instructional textbooks. The editors invite contributions. Please consult the Guidelines for Contributors.
Information Design Journal. Journals>Information Design>Graphic Design>Typography
#20406
What kind of font is best savored one letter at a time? If you guessed an initial font, you’re correct. Often overlooked yet extremely useful, initial fonts are collections of ornamental letters that are designed for individual use. The characters in an initial font are usually too decorative to be legible if set as complete words or sentences, but they’re perfect for setting a single eye-catching letter at the beginning of a sentence, paragraph, article, or chapter.
Strizver, Ilene. Upper and lowercase Magazine (2003). Design>Typography
#25174
Have a lot of text to set and want to spice it up? Try using an initial letter.
Strizver, Ilene. Design, Typography and Graphics (2004). Design>Typography
#20434
Want to get your text off to a great start? Try using initial letters. An initial letter (or initial cap, as they are also called) is an enlarged letter that is used as the first character of a paragraph. It can sit above, below, to the left of, or even behind the body text, and can be set in a contrasting weight, style or color.
Strizver, Ilene. Upper and lowercase Magazine (2001). Design>Typography
#13200
Intercultural Research in Page Design and Layout for Asian/Pacific Audiences 
We, Fuji Xerox, implemented an intercultural survey in page design and layout of customer documents for business machines such as copy machines and printers. The research covered the main regions in Asia/Pacific: Australia, Japan, Korea, Singapore, and Taiwan. We studied their preferences in printed colors, typography, page layout, and pictographs. The results show Asia/Pacific audiences share a lot of preferences in page design and layout, though there are some uniqueness in printed colors and pictographs. It also became clear American English is not a serious problem for people who are Queen’s English natives.
Ichimura, Mitsuyuki. STC Proceedings (2001). Presentations>Web Design>Typography>Asia
#27528
Is Multiple-Column Online Text Better? It Depends!
This study investigated the effects of multi-column displays and justification on reading performance and satisfaction of an online narrative passage. Participants read a short story displayed in one of six formats (one, two, or three columns, in either a full or left-justified format). Results showed a significant column x justification interaction with reading speed significantly faster for the two-column full-justified text than for one-column full-justified, and significantly faster for one-column left-justified than for one-column full-justified or three-column full-justified text. Post-hoc analyses indicate that the faster readers may have benefited most from the two-column justified format.
Baker, J. Ryan. Usability News (2005). Design>Web Design>Typography>Usability
#20431
When it’s time to emphasize a word or phrase, do you automatically reach for the font style menu? Boldface and italics are two of the most common techniques for lending emphasis to text, but these basic typographic tools are often used incorrectly. Here’s how the pros handle text that needs to stand out from the crowd.
Strizver, Ilene. Upper and lowercase Magazine (2001). Design>Typography
#20432
We’ve all seen newspapers, books, magazine articles and ads which use justified type; that is, type that is flush on both the left and right margins. Used well, justified type can look clean and classy. When it’s carelessly set, however, justified type can make your text look distorted and hard to read. Proper justification is a tricky technique to master, but it’s well worth the effort if high quality, professional-looking typography is your goal.
Strizver, Ilene. Upper and lowercase Magazine (2001). Design>Typography
#24371
Keep it Simple Stupid: Using Basic Design Maxims for Effective Communication
This paper focuses on research results presented by Colin Wheildon in his book, Type & Layout: How Typography and Design Can Get Your Message Across – or Get in the Way. Wheildon’s research was conducted over a nine-year period outside the laboratory, using people who actually consume the printed word. This paper reviews five of the design maxims Wheildon tested and cites opinions @om other design and ppography publications. Wheildon's design maxims aren't complex or new. On the contrary, they are simple design maxims that have been used for hundreds of years.
Smith, Maggie. STC Proceedings (1998). Design>Typography
#25173
Let's take a look at legibility vs. readability in typesetting and typography. Let's see if the if the rules can be broken. Never underestimate the powers of a good sans serif!
Design, Typography and Graphics (2004). Design>Typography>Usability
#13611
Sometimes technological progress backfires, and the 'better' technology turns out to be worse for users. The Web is no stranger to this problem, and has experienced many innovations that would have been best avoided. Examples include frames, changing the color of browser scrollbars, and scrolling text. Another example of harmful Web technology comes with the increasing use of style sheets, which let web designers specify the exact size of text down to the pixel. Unfortunately, many designers are using this ability, leading to reduced readability of an increasing number of websites.
Nielsen, Jakob. Alertbox (2002). Design>Accessibility>Web Design>Typography
#22534
Letterpress in the Digital Age
Stern and Faye combine fine letterpress printing and an eclectic sense of fun to produce traditional printing that could only be done today.
Berry, John D. Creative Pro. Design>Typography>Prepress>Printing
#20399
Ci-après vous trouverez la liste de probablement toutes les familles de caractères conçues par les créateurs de caractères Français durant le vingtième siècle.
Larcher, Jean and Jean-François Porchez. ADPF (1998). (French) Design>Typography>Regional>France
#28339
Lists are commonly found on Web sites. These may be lists of, for example, people, drugs, theaters, or restaurants. Each list should be clearly introduced and have a descriptive title. A list should be formatted so that it can be easily scanned. The order of items in the list should be done to maximize user performance, which usually means that the most important items are placed toward the top of the list. If a numbered list is used, start the numbering at 'one,' not 'zero.' Generally only the first letter of the first word is capitalized, unless a word that is usually capitalized is shown in the list.
Usability.gov (2006). Design>Web Design>Typography
#20407
If you’ve ever gone looking 'behind the scenes' in your fonts, you might have stumbled upon a wonderful surprise: a logotype. Logotypes are usually small, commonly used words – such as the, for, and, of and to – that are designed as a unit. Like ligatures, logotypes are treated as a single character by your application (and are usually accessed with one keystroke or keystroke combination). Unlike ligatures, the letters within a logotype are not necessarily connected. In fact, the sky’s the limit when it comes to the design of these useful little words.
Strizver, Ilene. Upper and lowercase Magazine (2003). Design>Typography>Graphic Design
#10243
Looking for Art in All the Right Places
Although this doesn't seem to be a Design and Publishing topic, it really is. Your visual experience should always be digesting new and different input. You need visual stimulation to maintain your creative edge. Looking at art is one way of doing this -- and the web offers an unlimited wealth of visual wonders. Pull out your daytimer, or your palm, and make an appointment with yourself. Take one or two hours each month and discover new visual landscapes. It will serve you well, and you'll come to look forward to those little jaunts into the visual web.
Showker, Fred. Design, Typography and Graphics (2000). Design>Graphic Design>Typography
#20429
Magazine Typography: Designing for Browsers and Readers
Magazine typography is all about communicating, but magazines communicate in many different ways. One of those ways is through the text, the traditional meat of any publication. Other ways include photography, artwork, suggestive and allusive headlines, cartoons, and even the advertising. All of these require integrating words and images in imaginative ways.
Berry, John D. Upper and lowercase Magazine (2001). Design>Typography>Graphic Design
#21952
Multiple-master fonts - what they are, how they work, and what they can do for you.
Tinkel, Kathleen. Adobe Magazine (1995). Design>Typography>Standards
#22824
The Measurement Of Readability: Useful Information For Communicators 
Discusses the application of readability principles and formulas. It is based upon the survey of the literature presented in succeeding chapters, and represents an interpretation of these data.
Klare, George R. Journal of Computer Documentation (2000). Design>Typography>Assessment>Formulas
#26381
A re-assertion of the personal as essential to design innovation and the development of a strong character among students.
Inciong, Anthony. AIGA (2005). Design>Typography
#19425
No Web page fonts should be less than 10-points, Optimal reading speed for most adults will be elicited with 12-point fonts (size=3). There is probably no reliable difference in reading speed for most adults when viewing common font styles (Arial, Verdana, Georgia, Times New Roman). Most users tend to prefer sans serif fonts (Arial, Verdana). Older users will benefit from type sizes that are at least 14-points.
Bailey, Robert. Web Usability (2002). Design>Typography>Web Design>Usability
