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.
#20413
What kind of a bullet doesn’t travel at high speeds and is completely non-violent? A typographer’s bullet, of course! This very useful typographic element can add emphasis, clarity and visual interest to all kinds of copy. Simply put, a bullet is a large dot used to draw attention to each item in a list or series. The items can be single words, phrases, sentences or paragraphs. Even if you use the bullet that is part of your font, don’t automatically assume it’s the right size: it might need to be altered in scale or position to make it look balanced next to the text.
Strizver, Ilene. Upper and lowercase Magazine (2003). Design>Typography
#20425
Calligraphic fonts resemble elegant handwriting. They often look as if they were drawn with flat-tipped pens or brushes; occasionally, they even include the drips, spots, blotches and irregularities characteristic of hand-drawn letters.
Strizver, Ilene. Upper and lowercase Magazine (2002). Design>Typography
#20952
Two new typefaces came into being for very different reasons, in very different ways, and with a completely different appearance.
Shinn, Nick. ShinnType (2001). Design>Typography
#22661
The Changing Vocabulary of Type
If a ligature falls in a paragraph and no one notices, does it make a sound? Or an impression? When people are no longer aware of old 'standard' typographic conventions and they've lost their meaning, does it make them archaic?
Will-Harris, Daniel. Typofile (2003). Design>Typography>Glossary
#20396
The purpose of the Character Design Standards is to state the general rules for character shapes in Latin based languages in digital fonts. Primarily defining the guidelines designers use for character alignments, both vertical and horizontal and how these relate to other similar characters or character groups.
Microsoft (1999). Design>Typography>Fonts>Online
#22660
Type is important because it's an unconscious persuader. It attracts attention, sets the style and tone of a document, colors how readers interpret the words, and defines the feeling of the page--usually without the reader recognizing a particular typeface.
Will-Harris, Daniel. Typofile (2003). Design>Typography
#20202
You can easily create a simple circular type effect in just a few easy steps with this quick tutorial.
Kelby, Scott. Mac Design Magazine (2003). Design>Typography>Software>Adobe Photoshop
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Compare: Verdana and Helvetica
The Design Center and DT&G have taken pride over the years in remaining as non-platform specific as possible, and provide content that is accessible to everyone without a lot of fancy configuration and bother. With the advent of Verdana however things will change a bit. In the early '90s we switched to Frutiger as our official replacement for Helvetica. We have used it for all the anchor ('house') typography in The Design Center as well as The User Group Network. Verdana has tested out to be a very close knock-off of Frutiger so we're going to experiment with it a bit here in the web site.
Showker, Fred. Design, Typography and Graphics (2001). Design>Typography
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A Comparison of Popular Online Fonts: Which is Best and When?
A general survey of the Web finds that a majority of sites use 12-point fonts (size= 3) for much, if not all of their written content. With this in mind, we examined the most popular font types at this size for differences in effective reading speed (accuracy/reading time), as well the perception of font legibility.
Bernard, Michael, Melissa Mills, Michelle Peterson and Kelsey Storrer. Usability News (2001). Design>Typography>Online
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A Comparison of Two Computer Fonts: Serif versus Ornate Sans Serif
Fonts are described in terms of their face, style, size and color. There are two main types, namely, serif and sans serif. Serif fonts have small appendages at the top and bottom of the letter. Serif fonts are the preferred fonts for large blocks of text, since the serifs are thought to help to distinguish each letter and thus, make it easier to read strings of characters. Sans serif fonts consist of only primary line strokes and are therefore simpler in shape, e.g. Arial and Futura. In standard typography these fonts are used primarily for short phrases, e.g. headings. This study compares reading performance between an ornate sans serif font (Gigi) and Times New Roman. The traditional measures of reading speed, comprehensibility, and subjective preference were employed.
Morrison, Sarah and Jan Noyes. Usability News (2003). Design>Typography>Fonts>Online
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Could Stravinsky Have Made Fonts? or: Fear and Loathing in A Minor
Is something being lost in the translation to a digital world?
Rakowski, David. Typofile (1996). Design>Typography>History
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An interactive website dedicated to typography and its history.
Collins, Brett Yancy and Ed Stull. Motivo.com (1998). Design>Typography>Graphic Design
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Create Your Own Style and Flair with Custom Fonts
Are you tired of those same boring fonts for your web applications and print projects? Do you know most fonts are licensed and can’t be added to web applications? Well, you can solve that problem by creating your own fonts with FontStruct, a slick flash application that allows you to create nice fonts right from your browser and save them to your computer or server.
Robbins, Kyle. ReEncoded (2008). Articles>Web Design>Typography
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Sometimes the most simple techniques can really dress up your publication. One of the most popular sections of the Creative Layout Techniques workshop is on 'Typography'. Today, let’s take a look at yet another of our '101 things you can do with Type.' If you’ve got color, or grayscale printing capabilities you may want to consider a textured letter. This technique is easily done with your favorite painting program and a little vision.
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Indenting the first line of every paragraph is a habit most of us acquired in grammar school. However, for those daring souls who have always insisted on coloring outside the lines, it’s time to consider using a different style paragraph indent. There are more options than you might have realized!
Strizver, Ilene. Upper and lowercase Magazine (2001). Design>Typography>Style Guides>Grammar
#26383
What made Lubalin’s Avant Garde such a troubled face? Heller reports on its use and abuse.
Heller, Steven. AIGA (2005). Design>Typography
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From boutiques to department stores, where to shop for type on the Internet.
Shinn, Nick. ShinnType (2002). Design>Typography>Online
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An article about the graphic design of logotypes using typographic widely successful techniques.
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Design, Typography and Graphics Magazine
Design, Typography and Graphics is the official publication of the Design and Publishing Center. It offers tips and tricks for design, printing, photography and publishing of all kinds.
Design and Publishing Center. Journals>Graphic Design>Typography
#18962
The aim of this tutorial is to provide an introduction to typography. Typography is defined as: the art of designing printed matter; the appearance of printed matter. There are many different types of printed matter, books, brochures, newsletters and many more. This tutorial focuses on technical documents. Typography is relevant for user interface designers from two perspectives. Firstly, user interface design often includes the presentation of text on a display. Although typography is mainly concerned with printed matter, it provides valuable guidance for these situations. Secondly, user interface design involves to a large degree documenting and communicating designs, usually on paper. Knowledge of typography can aid this process.
HCIRN (2003). Design>Typography>Rhetoric>Visual Rhetoric
#20933
Designing for Interactive Television
We are so accustomed to watching television that we easily overlook the limited resolution of the television screen. Compared to TV, even VGA looks good. Although both use a similar display monitor, they differ in both the way the screen is 'painted' and in how much information can be placed on the screen. To design effectively for interactive television, it is essential to understand the technical constraints of the medium.
Quesenbery, Whitney. WQusability (1996). Design>Multimedia>Video>Typography
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Type does more work than merely forming words. Every type face has weight, mood, import, and emotional impact. For centuries, since the time of Gutenberg and the monks who hand lettered before him, Type has changed and evolved, influenced by natural and artificial sources. Styles have ebbed and flowed. The greatest type is seen as high art; the lowest is seen as avant-garde–or maybe just plain garbage. Designorati:Typography aims to explore everything about type, from who made it and helped develop the styles to what it is now to design type and where technology takes us. Along the way, it hopes to throw an accessible light on the great typographers of the past and present, and to help the visitor appreciate the beauty in the published letter.
Klein, Samuel John. Designorati (2005). Design>Typography
#23143
Desktop Publishing and Design: Took, Tips and Techniques 
The organization of your document in combination with its typographic and graphic elements comprise its design. Good design improves your document's ability to communicate effectively. Novice document designers will want to attend this workshop to learn how to use design to their advantage.
Tucker, Kimberly and Lisa Burke-Marose. STC Proceedings (1996). Design>Document Design>Typography
#13331
Determining the Best Online Font for Older Adults
Studies examining the legibility of fonts on computer screens have almost exclusively investigated young to middle aged adults. However, because of many age-related factors affecting reading, one should be fairly cautious in generalizing these findings to older adults. In light of this, this study sought to examine this population by studying the legibility, reading time, as well as the general font preference for two types of serif and sans serif fonts at 12- and 14-point sizes on computer screens.
Bernard, Michael, Corrina Liao and Melissa Mills. Usability News (2001). Design>Typography>Accessibility>Elderly
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The buried treasures of typography: comprising the Style Guide of the Type Club of Toronto, with illustrations, and an Expert Font Guide.
Shinn, Nick. ShinnType (2001). Design>Typography>Style Guides
