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.
#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
#29562
Typography and the Aging Eye: Typeface Legibility for Older Viewers with Vision Problems
The population is rapidly aging and becoming a larger share of the marketplace. The demands of the aging eye require typefaces that function well under low-vision conditions. Can signage display useful information that is accessible to all ages?
Nini, Paul. AIGA (2006). Design>Typography>Accessibility>Elderly
#20231
It's a style thing. It's a usability thing. It's a tricky thing for large content sites and a step up for independents. It's typographically correct punctuation on the web, and ALA's associate editor makes the case for it.
Kissane, Erin. List Apart, A (2001). Design>Typography>CSS>Web Design
#27475
Peter Hall explores the changing role of typography in the news media.
Hall, Peter. Font Magazine (2003). Design>Typography>Journalism>Web Design
#20402
We all see it in advertisements and publications--potentially worthy designed pieces that suffer from a lack of good typography. Text matter is handled with little attention to hyphenation, line breaks, paragraph endings, kerning, and word spacing. Sometimes even headlines catch your attention with their bad spacing or straight quote marks.
Kjolby, Bent. NALC (1997). Design>Typography
#22489
Typography, Layout and Graphic Design
Typography may be defined as the theory and practice of letter and typeface design. In other words, it is an art concerned with design elements that can be applied to the letters and text (as opposed to, say, images, tables, or other visual enhancements) on a printed page.
Simpson, David L. Collaboratory Project, The. Design>Typography
#27943
Weblog van Gerard Voshaar over typografie.
Voshaar, Gerard. Typolog. (Dutch) Resources>Graphic Design>Typography>Blogs
#14929
Authors accustomed to controlling every aspect of their document's presentation are often frustrated by their inability to control document presentation on the Web. There is a Web Uncertainty Principle that says you cannot simultaneously determine the presentation of a document to all viewers and maintain its 'webness.' It is impossible, and it is a good thing. What appear to be problems controlling typography are the result of permitting users to control how information is presented to them. Modern web browsers provide many opportunities for users to change an author's intended presentation. To some this is a problem — possibly, a threat — while to others it is liberating.
Linderman, R. Ivan. Silicon Valley Connection (2002). Design>Typography>Web Design
#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
#27470
Margaret Richardson explores South African magazine i-jusi.
Richardson, Margaret. Font Magazine (2005). Design>Document Design>Typography
#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
#14440
Use Typography and Layout For Skimming
People know to look in border areas for navigation. They know that short, bold paragraphs on the side may be of interest, perhaps as summaries. Their eyes stop on bold words intermixed with normal. Decide which things the reader must find, and use these techniques to help them find those things.
Bricklin, Dan. Good Documents (1998). Design>Typography
#22321
Using the Photoshop 5 Type Tool
This tutorial explores the features and uses of Photoshop 5.5's type tool. Photoshop 6 uses a different type tool which we shall cover in a future tutorial, though a lot of the techniques mentioned here will work in Photoshop 6.
Elated (2001). Design>Typography>Software>Adobe Photoshop
#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
#13772
Visual Disciminability of Headings in Text 
Headings in text provide critical symbols that help a reader discern a writer's structural treatment of a topic.
Williams, Thomas R. and Jan H. Spyridakis. IEEE Transactions on Professional Communication (1992). Design>Typography
#20445
The War Between Text and Links
There are tiny typographic battles being fought on the Web, from page to page and site to site, skirmishes in a larger conflict between text and links. Like many wars, this one has a thin ideological gloss that obscures a deeper economic and territorial conflict.
Gunn, Eileen. Upper and lowercase Magazine (1998). Design>Typography>Web Design
#20198
When adding powerful new features from Photoshop 6, you can create amazing effects in very little time. Scott Kelby shows you how to create this great type effect in a few short steps.
Kelby, Scott. Mac Design Magazine (2003). Design>Typography>Software>Adobe Photoshop
#21848
A (detailed) peek into the brave new - and nostalgic old - days of typesetting, through the eyes of an InDesign insider.
Kvern, Olav Martin. Adobe Magazine (1999). Design>Typography>History
#28210
95% of the information on the web is written language. It is only logical to say that a web designer should get good training in the main discipline of shaping written information, in other words: typography.
Information Architects Japan (2006). Design>Web Design>Typography
