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.
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One of the most important rules of web design is that your site should be easy to read. This is determined by a number of factors.
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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.
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Web Page Design for Designers: Typography
Good typography is just as important on a web page as it is in any other medium. The fact that it appears on a computer screen and not on a piece of paper is immaterial, it should still be pleasing to look at and easy to read. In every situation where type is used - in publishing, signage, packaging, television etc. - the designer has to adapt his techniques to suit the medium.
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While you may never consciously notice the typefaces used on a Web page, they subconsciously affect the way you feel about the page.
Will-Harris, Daniel. EFuse (2004). Design>Web Design>Typography
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What stays the same, and what's different when you go from books and magazines to websites? Allow me one digression, and then I'll get to specific implications of the switch to onscreen reading.
Boynton, J.R. Diamond Lane, The. Design>Web Design>Typography
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Though many outside the design community see type as 'just lines on a page,' it has long been considered an art form, as well as a potent form of communication with a stylistic language all its own. From the calligraphy schools of ancient China to the explosive new forms of David Carson, it's clear that type is more than just a vehicle for conveying information to the user. If done right, type can be one of the most powerful tools for shaping the way an audience perceives written information, written information such as these very fiery-hot words you see before you. The pages that follow are your mini-guidebook to the strange and magical land of type. Your guide on this tour is Webmonkey Nadav, the designer with a human-friendly touch.
Savio, Nadav. Webmonkey (2001). Design>Typography>Web Design
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Website Layout: What Works Best--Fluid, Centered, or Left-Justified? 
How should you lay out your website? Michael Bernard and Laurie Larsen from Wichita State University published a study where they compared three layouts: Fluid, Centered (fixed-width) and Left-justified (fixed-width).
Bailey, Robert. Web Usability (2002). Design>Typography>Web Design
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Weingart: A Craftsman to the Core
Experience with Wolfgang Weingart during his last year before retiring from the HGK Basel, Switzerland.
Rotmil, Adam M. AIGA (2004). Design>Typography>Interviewing
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For use in extensive text the font's rigid, uniform strokes will create eye problems right away. Additionally, the perfect circles in the round characters begin to form light spots or 'holes' in the text that disturb the calm texture of columns of type. The character count is so extended that in order to fit copy you have to run it at 8 or 9 point, which is not acceptable for comfortable reading. Bumping it up to 10 or 12 generates ugly text at best.
White, Alex W. Design, Typography and Graphics (2001). Design>Typography>Fonts
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Questions and answers on word spacing, kerning, tracking, period placement, missing fonts, and font-size confusion.
Strizver, Ilene. Creative Pro (2007). Design>Typography
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What's My Name? Nametags in Theory and Practice
At any planned gathering of a community that’s too large or far-flung for everyone to know everyone else by sight, the time-honored solution to the recognition problem is nametags. At a family gathering, these are probably plain white stick-on labels, with names handlettered by Aunt Frieda; at a conference, they’re usually preprinted and housed in plastic holders made for such an event. Nametags are a very local and specialized branch of information design, and, as such, they form part of the glue that binds together a community.
Berry, John D. Font Magazine (2005). Design>Typography>Information Design
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What's the Right Typeface for Text? 
How to choose a typeface for clear, easy reading over long distances.
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Typography traditionally thrived on its technical limits. Letterforms reflected material constraints. Typography was part of an ancient, terrific combat with the world’s physical limits.
Sterling, Bruce. Upper and lowercase Magazine (1998). Design>Typography
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Which Are More Legible: Serif or Sans Serif Typefaces?
In 1998 when Times New Roman was still widely used on the web, my then boss made sure we always designed our medical web sites with Arial, as she hated the look of serif fonts on the web. Was it the case that sans serif fonts were more legible, or was it just a matter of taste? In an effort to get at the truth, I reviewed over 50 empirical studies in typography and found a definitive answer.
Poole, Alex. Alex Poole (2005). Design>Typography>Research>Usability
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Which Fonts Do Children Prefer to Read Online?
Children today are reading large amounts of text on computer screens, either in the classroom or for leisure. In fact, currently there is a drive to supplement or even replace some traditional pen and paper lectures and tests with computer-based ones. However, to date there has been no research specific to a younger population investigating preferences for different types and sizes of fonts for reading online. This study sought to address this need by examining four types of fonts at 12- and 14-point sizes in order to help determine the font combination that is perceived as most readable on computer screens and most preferred by children.
Bernard, Michael, Melissa Mills, Talissa Frank and Jan McKown. Usability News (2001). Design>Typography>Usability>Children
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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
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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
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A thousand-word GIF essay and a dump of ill-edited correspondence on units of measure for Web design.
Fahrner, Todd. Cleverchimp (1999). Design>Web Design>Typography
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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
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It was advertised as a revolution in typesetting, but, when I first saw it, I thought it was wrong, misguided, and verging on the blasphemous. And I’m usually an open-minded sort. What was it about Adobe TouchType, a now defunct typesetting program for the now defunct NeXT machine, that prompted my feelings of outrage and intolerance?
Kvern, Olav Martin. Upper and lowercase Magazine (1999). Design>Typography>Online
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Read about em and en dashes in print and on the Web; specimen books; and the best way to convert quotation marks and primes from dumb to smart and back again.
Strizver, Ilene. Creative Pro (2007). Design>Typography
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A zoom layout uses CSS (cascading stylesheets) to automatically reformat a page so it's easier for a low-vision user to read. Multiple columns become single columns, navigation gets simplified and put at the top, fonts become bigger, and (usually) colours are set to light on dark.
Clark, Joe. JoeClark.org (2005). Design>Web Design>Accessibility>Typography
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The Rather Difficult Font Game
Have you a typographer's eye? Head on over to this site to test your skills.
I Love Typography (2008). Design>Typography
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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
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if you’re not a brilliant designer or a master calligrapher, well, don’t worry—you can still create some beautiful fonts with a little hard work, a lot of knowledge, and a little inspiration.
Julien, Alec. I Love Typography (2008). Design>Typography
