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.
#32106
A Guide to Web Typography. The Basics
Typography for the Web has come a long way since Tim Berners-Lee flipped the switch in 1991. Back in the days of IE 1.0, good web typography was something of an oxymoron. Today things are different. Not only do we have browsers that support images (gasp!), but we have the opportunity to make our web pages come to life through great typography.
I Love Typography (2008). Design>Web Design>Typography
#32107
We owe it to the reader not to hinder their reading pleasure, but to aid it; second, we owe a responsibility to the typeface or typefaces we employ. Good typefaces are designed for a good purpose, but not even the very best types are suited to every situation.
I Love Typography (2008). Design>Typography
#32111
Fifteen Excellent Examples of Web Typography. Part 1
I have spent the last month searching, stumbling, noting, bookmarking and analysing in a quest to find 15 Excellent examples of Web Typography. I’ve chosen them because they make excellent use of type. Some of the examples mimic the typography of print, while others actually leverage web technology, smart CSS and delicious HTML to make their pages not only aesthetically pleasing, but legible, user-friendly and easily navigable.
I Love Typography (2007). Design>Web Design>Typography
#32112
Fifteen Great Examples of Web Typography. Part 2
What better way to start the year than with a little typographic inspiration. Last year I published 15 Excellent Examples of Web Typography, and owing to its popularity and people’s sateless appetite for lists, here are another 15.
I Love Typography (2008). Design>Web Design>Typography>Case Studies
#32113
Arial Versus Helvetica. How To Tell Them Apart. Is Arial Just a Poor Copy?
Today we’re going to de-robe two popular typefaces, namely Arial and Helvetica — faces that are often confused, and often the subjects of mistaken identity.
I Love Typography (2008). Design>Typography
#32114
Every subject, from dentistry to dog handling has its own vocabulary — terms that are peculiar (unique) to it. Typography is no exception. Learning the lingua franca (lingo) of type will make typography that much more accessible; and that will, in turn, lead to greater understanding, and hopefully a greater appreciation for all things 'type.'
I Love Typography (2008). Design>Typography>History
#32263
Typotheque is a type foundry, run by Peter Biľak (who is responsible for the fonts and website in general), and Johanna Biľak, (who is responsible for other products, such as books and t-shirts). We also work with a number of freelance designers, writers, and programmers who assist in some of our current projects.
Biľak, Peter and Johanna Biľak. Typotheque. Resources>Graphic Design>Typography
#32408
Seven Tips for Replacing the Font Tag
Replacing font tags with semantic code and CSS isn’t as terribly difficult as it might seem at the outset. To help you along your way, here are a few tips on how to tackle the project.
Glazebrook, Rob L. CSSnewbie (2008). Articles>Web Design>Typography>CSS
#32436
In this article I’ll look at exactly why typography is limited on the web (compared to print design) and present some tips to follow for good web typography, along with an example web page that demonstrates some of these tips. Don’t worry if you don’t understand the CSS and HTML code at this stage—the point here is to make you think about design. While you are going through the article, it might be an idea to have a pen(cil) and paper by your side so you can start to sketch ideas about text layout.
Haine, Paul. Opera (2008). Articles>Web Design>Typography
#32463
The Resurrection of Downloadable Web Fonts
Despite it being in the CSS 2 specification from 1998, downloadable fonts specified with the @font-face at-rule never caught on. The main reason was that Microsoft and Netscape chose to support different font formats, neither of which was in wide use. However, that may be about to change. As reported in Downloadable Fonts, recent nightly builds of Apple WebKit (not the normal nightly build but a feature branch) support @font-face rules with TrueType fonts. The browser will download the font file you specify and use the typeface it contains just like any other.
Johansson, Roger. 456 Berea Street (2007). Articles>Web Design>Typography
#32533
Setting Web Type to a Baseline Grid
This article covers the basics of baseline grids—defined grid areas within which content is placed—and how they can be applied effectively to the web medium. In print, baseline grids are almost mandatory. They ensure the bottom of each line of text—its baseline—aligns with a vertical grid, akin to writing on a ruled piece of paper. With books, this means text is always in the same position on the page. This ensures the gaps between lines of text aren’t “filled” with content showing through from the reverse of any page, thereby making the text easier to read. This advantage isn’t relevant for Web design, but the other major advantage—maintaining a vertical rhythm—is.
Grannell, Craig. Opera (2008). Articles>Web Design>Typography>CSS
#32555
Fonts for Web Design: A Primer
Modern CSS provides web designers with an unprecedented level of control over online typography. Restrictions are still imposed however by the limited number of “common” fonts—those typefaces that are generally available cross-platform. This article looks at the fonts web designers have available to them, and also considers their suitability for various tasks.
Grannell, Craig. Opera (2008). Articles>Web Design>Typography
#32557
OpenType fonts often contain a treasure trove of typographic options. Discover some easy ways to enhance your typography by taking advantage of discretionary ligatures, swashes or titling alternates – to name just a few.
Strizver, Ilene. Upper and lowercase Magazine (2008). Design>Typography>Fonts
#32558
The history of Helvetica includes a number of twists and turns. There are, in fact, two versions of Helvetica. The first one is the original design, which was created by Max Miedinger and released by Linotype in 1957. And secondly, in 1983, D. Stempel AG, Linotype’s daughter company, released the Neue Helvetica® design, which was a re-working of the 1957 original.
Strizver, Ilene. Upper and lowercase Magazine (2008). Design>Typography>Fonts
#32560
Small Caps in InDesign CS3 and QuarkXPress 7
We previously discussed small caps and the importance of using true-drawn versions rather than computer-generated, “fake” ones. Many of today’s OpenType fonts include true-drawn small caps, making it easier than ever to take advantage of this typographically sophisticated feature, but the OpenType interface in both Adobe® InDesign® CS3 and QuarkXpress® 7 can be a bit confusing.
Strizver, Ilene. Upper and lowercase Magazine (2008). Articles>Document Design>Typography>Adobe InDesign
#32561
Will the “Real” Garamond Please Stand Up 
Garamond typefaces, in both their American and European flavors, are generally considered ideal book faces. The design is also an excellent choice for most other forms of continuous text. Magazines, newsletters, annual reports, lengthy advertising copy – for example – are all naturals for the Garamond design.
Illuminating Letters (2008). Design>Document Design>Fonts>Typography
#32562
Hung Punctuation and Optical Margin Alignment
Even with all the technology at the disposal of today’s designers, in the end it’s what the human eye sees that counts. That’s why hung punctuation is one of the skills to master when you’re ready to add professional finesse to your typography. Learn what hung punctuation is and how to achieve it in the leading page layout applications.
Strizver, Ilene. Upper and lowercase Magazine (2008). Articles>Document Design>Typography
#32563
Double Spaces Between Sentences…NOT!
Typing two spaces after a period is a relic of the typewriter era that has hung around long past its sell-by date. Here’s how to make sure none of those double-space dinosaurs find their way into your typeset work.
Strizver, Ilene. Upper and lowercase Magazine (2008). Articles>Document Design>Typography
#32564
Automatic, or manual? No, we’re not talking about transmissions - we’re talking about bullet lists, those frequently used tools for organizing lists of information. Your layout application will be happy to format these lists for you, but for true typographic finesse, it’s time to learn to “drive stick” and call your own shots about bullets, alignment and spacing.
Strizver, Ilene. Upper and lowercase Magazine (2008). Articles>Document Design>Typography
#32568
Breaking up isn’t hard to do – just do it right so you don’t lose face. Learn why making the right line breaks in display type is essential for good looks and good sense.
Strizver, Ilene. Upper and lowercase Magazine (2008). Articles>Document Design>Typography>Usability
#32569
Space matters. Word space, that is. Different letter and word shapes call for subtly different amounts of space. Learn to see and finesse word spacing in both text and display type with these how-tos.
Strizver, Ilene. Upper and lowercase Magazine (2008). Articles>Typography>Usability>Adobe InDesign
#32571
InDesign Shortcuts: Special Characters
The keyboard is rarely the friendliest path to symbols and special characters. Sometimes a bit of menu magic can guide you past the overwhelming Glyph palette. Indeed, the Special Character flyout palette in Adobe InDesign CS3 is a great shortcut to frequently-used characters and will spare your fingers the keyboard contortions.
Strizver, Ilene. Upper and lowercase Magazine (2008). Articles>Document Design>Typography>Adobe InDesign
#32572
Powerful design software makes many choices available to graphic designers, but just because you can do something doesn’t always mean you should. For example, sometimes it’s a good idea to convert your text layouts to outline, but sometimes it isn’t. Learn more about this occasionally necessary, often ill-advised practice before you decide whether or not it’s time to convert.
Strizver, Ilene. Upper and lowercase Magazine (2008). Articles>Document Design>Typography>Graphic Design
#32574
OpenType Numerals in InDesign and Quark
Today’s OpenType fonts come equipped with a virtual buffet of numeral styles, but all those choices can be a bit much for your design application to swallow. Here’s a practical guide to help you find your way through the maze of oldstyle, lining, proportional, and tabular, in both InDesign and Quark.
Strizver, Ilene. Upper and lowercase Magazine (2007). Articles>Document Design>Typography>Adobe InDesign
#32576
Does designing a table of contents drive you dotty? Next time, remember to say “take me to your tab leader.” Learning how to use your application’s automated tab leader function is a great way to save time and keep your layouts looking professional, down to the last detail.
Strizver, Ilene. Upper and lowercase Magazine (2007). Articles>Document Design>Typography>Adobe InDesign
