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.
#21842
It's the face you've always wanted. Font embedding on the Web may help you get it.
Fleishman, Glenn. Adobe Magazine (1999). Design>Web Design>Typography>Embedded
#20957
Neo-modernism is the tool that Carmen Dunjko (shift) and David Pratt (The Globe and Mail) are using to project the message. It’s a step beyond the old bare-bones functionality.
Shinn, Nick. ShinnType (2000). Design>Typography>Journalism
#22788
Mark van Bronkhorst's recent type family MVB Verdigris is easier on the eyes than many of the existing typefaces that are used for text at small sizes.
Berry, John D. Creative Pro (2004). Design>Typography>Fonts>Online
#29974
Seven new fonts will make their public appearance in Office 2007. Segoe UI will be used as the Office user interface, and will also be the font used throughout the Windows Vista user interface. For documents produced by Office, Calibri (a sans serif font) is recommended for headings, with Candara (a humanist sans font) recommended for sans body text, and Cambria for serifed. Consolas is a monospaced font, while the remaining two having characteristics that suit particular types of paragraphs.
Self, Tony. HyperWrite (2006). Design>Typography>Fonts>Microsoft Windows
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At the 1989 Developers’ Conference, Apple revealed an entirely new typographic universe to 1500 eager supporters. The combination of a new font technology, a greatly enhanced line layout manager, and an entirely new printer driver architecture promises to make the Macintosh the premier machine for print-oriented graphics, and open new opportunities for Macintosh developers. The three features are closely related and need to be discussed together to understand the full impact.
Alviani, Frank. MacTech (1990). Design>Typography>Online>Macintosh
#21841
You've put it off for months, maybe years, but it's finally time to get serious with your fonts.
McCleary, Whitney. Adobe Magazine (2000). Design>Typography
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Caplan gets lyrical about his favorite beauty marks as he explores the visual poetry of the ?!; and .
Caplan, Ralph. AIGA (2004). Design>Typography
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Leslie Cabarga has been a working illustrator and designer since 1970. He has authored over two dozen books on design, and as an illustrator he has drawn covers for Time Magazine, Newsweek, Fortune, and National Lampoon.
Cabarga, Leslie. Design, Typography and Graphics (2004). Design>Typography
#27473
Jonathan Barnbrook discusses type design and his Virus fonts.
Barnbrook, Jonathan. Font Magazine (2003). Design>Typography>Fonts
#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
#29317
Do you have questions about mixing font formats in one file, crossing platforms, automating old-style figures, the best apps for OpenType, and the fonts with the most bang for the buck?
Strizver, Ilene. Creative Pro (2007). Design>Typography>Standards
#19408
Optimal Line Length: Research Supporting How Line Length Affects Usability 
What is the optimal line length when reading prose text from a monitor? Certain aspects of usability have been researched for over 120 years. One active area of investigation has been the influence of line length on the speed of reading prose text. Weber (1881) made the first research-based recommendations when he suggested that an ideal line length was 4 inches (100 millimeters). He stated further that the maximum never should exceed 6 inches (150 mm). The same year Javel (1881) reported that line lengths should be no longer than 3.6 inches (90 mm). Two years later, Cohn (1883) confirmed that 3.6 inches (90 mm) was the best length, and that 4 inches (102 mm) was the longest admissible line length.
Bailey, Robert. Web Usability (2002). Design>Typography>Web Design>Usability
#20201
The new operating system is bringing a whole new design trend and the glass-look of OS X is a very desirable look that people have been begging to learn how to recreate.
Kelby, Scott. Mac Design Magazine (2003). Design>Typography>Software>Adobe Photoshop
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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
#28514
Perception of Fonts: Perceived Personality Traits and Uses
This study sought to determine if certain personalities and uses are associated with various fonts. Using an online survey, participants rated the personality of 20 fonts using 15 adjective pairs. In addition, participants viewed the same 20 fonts and selected which uses were most appropriate. Results suggested that personality traits are indeed attributed to fonts based on their design family (Serif, Sans-Serif, Modern, Monospace, Script/Funny) and are associated with appropriate uses. Implications of these results to the design of online materials and websites are discussed.
Shaikh, A. Dawn, Barbara S. Chaparro and Doug Fox. uiGarden (2007). Design>Typography
#27532
Perception of Fonts: Perceived Personality Traits and Uses
This study sought to determine if certain personalities and uses are associated with various fonts. Using an online survey, participants rated the personality of 20 fonts using 15 adjective pairs. In addition, participants viewed the same 20 fonts and selected which uses were most appropriate. Results suggested that personality traits are indeed attributed to fonts based on their design family (Serif, Sans-Serif, Modern, Monospace, Script/Funny) and are associated with appropriate uses. Implications of these results to the design of online materials and websites are discussed.
Shaikh, A. Dawn, Barbara S. Chaparro and Doug Fox. Usability News (2006). Design>Typography>Visual Rhetoric
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Planet Typography is a portal entirely dedicated to the art and the science of typography.
Loubet del Bayle, Jean-Christophe. Planet Typography. Design>Typography
#27471
The latest typo-environmental project by Why Not Associates. Six years in the planning, revising and making, “Flock of Words” is a 300-meter long typographic artwork constructed from granite, concrete, steel, brass, bronze and glass.
Richardson, Margaret. Font Magazine (2005). Design>Typography
#22803
Power To The People: Relative Font Sizes
Relative font sizes may make websites more accessible — but they’re not much help unless the person using the site can find a way to actually change text size. Return control to your audience using this simple, drop-in solution.
Mihelac, Bojan. List Apart, A (2004). Design>Web Design>Typography>CSS
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An interactive overview of design, color theory, composition and layout, perspective and typography.
Mundi, Andrew. Mundi Graphic Design (2001). Design>Graphic Design>Typography>Color
#20200
The new Layer Styles features in Photoshop 6.0, you can easily create a cool, realistic-looking plastic effect for your text.
Kelby, Scott. Mac Design Magazine (2003). Design>Typography>Software>Adobe Photoshop
#20422
Rags, widows and orphans – sounds more like a Dickens novel than type! In spite of their odd names, these concepts are important to understand if good typography is your goal.
Strizver, Ilene. Upper and lowercase Magazine (2002). Design>Typography
#28394
Everyone benefits from clear, readable text content. People with visual impairments benefit particularly.
Hunt, Ben. Web Design From Scratch (2006). Design>Web Design>Usability>Typography
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Designers who work in the day-to-day grind of deadline and presentation rarely find opportunity to bring a concentration of skills to one project. I’m going to suggest, however, that designers will benefit from following Warren Chappell’s example, and approach their work now and again as being written rather than assembled.
Allen, Dean. List Apart, A (2002). Design>Typography
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Reading Minds: The Book as a Communicational Space (Practice + Pedagogy) 
Book designers research, compile and interpret information that helps them to determine the various formal attributes of the book. What size should it be? What format should it have? What should be the approach to the cover design, the typography, and the structure of the layout? The selected attributes may make certain impressions, on the potential reader, about the nature of the content. These impressions are interpretations of meaning which may create expectations about the character of the book, its content and style of writing. In other words, the formal attributes give the book a certain 'visual identity' which is intended to represent to the reading public, in a carefully selected visual language, the 'essence' of the author’s work.
Colberg, Susan. University of Alberta (2003). Design>Typography>Visual Rhetoric
