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.
#27301
The ability to customize fonts— in Mac OS, in word processing documents, in Web pages— is really nothing new. However, when it comes to changing fonts on Web pages, the mechanism is decidedly less intuitive and certainly less than easy. Having to litter a Web page with FONT FACE tags makes for larger files, and larger headaches as you weed through these tags to find that one misspelled word. CSS makes the process of selecting a font easy, and even better, it provides a fallback mechanism for those times when users don'’t have the fonts you wanted to appear.
Apple Inc. (2006). Design>Web Design>Typography>CSS
#21711
Font is a design for a set of characters. A font is the combination of typeface, style, weight and other qualities, such as size, pitch, and spacing. For example, Times Roman is a typeface that defines the shape of each character. Within Times Roman, however, there are many fonts to choose from -- different sizes, italic, bold, and so on.
STC India (2003). Design>Typography
#23136
Acrobat's intelligent font substitution is a godsend for office documents, but it can be a nightmare in situations where font fidelity is important. If you're a graphic designer, then you need to know how to work with fonts in PDFs.
Perets, Shlomo. Creative Pro (2004). Design>Typography>Fonts>Adobe Acrobat
#24057
One of the original ideas behind the Web is that readers should have control over how things look, since only they know what color combinations, point sizes, and so on they find easiest to read on their particular combination of hardware and software. That said, there's a difference between designing for the World Wide Web, where your documents can be read by anyone, and designing for an intranet, an internal network that's accessible only to people within your organization. On an intranet, you can (theoretically) know exactly what hardware and software your readers are using, so you can control the look to a much greater extent.
Ivey, Keith C. Editorial Eye, The (1997). Design>Typography>Fonts>Web Design
#29312
Fonts: They've Been Everywhere
Follow along as we travel from hot metal type to phototypesetting, to Type 1, to TrueType, to OpenType, then end the journey with a rousing rendition of a type-centric Johnny Cash song. Who knew the Man in Black was a font fan?
Romano, Frank J. Creative Pro (2007). Design>Typography
#20955
Throughout the 20th Century—the age of mass media—traditional serifed typefaces dominated the advertisements and editorial pages of mass circulation magazines.
Shinn, Nick. ShinnType (2001). Design>Typography>History
#26388
For Your (Typographic) Information: Initial Letters
The first in a series on typographic know-how by Ilene Strivener. Want to get your text off to a great start? Try initial letters.
Strizver, Ilene. AIGA (2004). Design>Typography
#20410
Can you find the fractions on your keyboard? If not, you’re not alone. Believe it or not, there are no designated keystrokes for fractions on a Mac. PCs offer a few (1/4, 1/2, 3/4), but they’re so well-hidden most users can’t find them anyway. Yet fractions appear fairly often in copy, so what’s a person to do? It’s too frustrating by half!
Strizver, Ilene. Upper and lowercase Magazine (2003). Design>Typography>Document Design
#20934
GetSmart: Interface Design and Production Meet Editorial on a New CD-ROM Magazine
The technology of magazine production is well established. Editors have access to high-resolution print screens, and can use a wide variety of fonts, layout designs and graphics to create attractive and readable pages. Readers are used to seeing a lot of information on a single page - some in body text, some in sidebars or callouts. On screen, by contrast, the resolution is relatively low - 72 dpi as opposed to 2400 dpi. Readers are not yet accustomed to reading directly from the screen, and an overly cluttered screen or one with fonts which are too small can quickly become unreadable.
Quesenbery, Whitney. WQusability (1996). Design>Multimedia>CD ROM>Typography
#13581
Going Green with your Marketing Materials
Every product that human beings create has an impact on the environment. The questions is, to what degree? How long will it last, what damage is done in creating it, and what will happen when it is no longer needed?
Proia, Jennifer. Design, Typography and Graphics (2002). Design>Publishing>Typography>Graphic Design
#25172
The Good, The Bad and The Ugly
Here's a revival article from an early DTG that talks answers the age-old questions: 'What should I look for in a font?'...or 'Why does this font look so strange?'
Showker, Fred. Design, Typography and Graphics (2004). Design>Typography
#18213
The Graphic Design of Text: A Review of Research 
Technical communicators can make reading easier by using type-design principles proven to enhance reading performance. This paper, based on the author’s master’s thesis of the same name, revealed research related to the graphic design of text and concluded that further research is needed to measure the impact of typography on readers (expert, intermediate, and novice) and the ways in which they read (to do, to read to learn, to read to assess, and to read to learn to do).
Matis, David W. STC Proceedings (1996). Presentations>Typography>Graphic Design
#20938
Graphic Propaganda: Cultural Expressions in Time of War
The media is a battlefield where moral systems collide. Ownership tilts it. TV channels and newspapers in the U.S. promote their business interests by supporting a probig business government and its war. Even The New York Times, which opposed invading Iraq without UN consent, did so in a way unlikely to rock the boat—and clearly in direct contrast to the intention of Britain’s Daily Mirror. The Mirror's front page, designed to generate newsbox sales by aggressively engaging the man in the street, is as pointed and artistically crafted as an editorial cartoon.
Shinn, Nick. ShinnType (2003). Design>Graphic Design>Typography
#20423
If you love the convenience of creating and printing documents from your computer, but miss the informal, personal touch of handwriting, here’s a handy idea: try a handwriting font.
Strizver, Ilene. Upper and lowercase Magazine (2002). Design>Typography
#26377
Understanding the dynamic qualities of typography through analogies with sound and music.
Armstrong, Frank. AIGA (2005). Design>Typography>Visual Rhetoric>Audio
#20417
Help, I’m Lost in a Sea of Typefaces! (Part 1)
Decisions, decisions, decisions! One of the most challenging aspects of any design project is choosing the typefaces. There are now more than forty thousand fonts on the market and that number is growing daily, which makes the search for the “perfect” typeface only slightly more daunting than looking for that proverbial needle in a haystack. With a little planning, however, you’ll find that selecting appropriate typefaces is far more manageable than it appears.
Strizver, Ilene. Upper and lowercase Magazine (2002). Design>Typography>Fonts
#20418
Help, I’m Lost in a Sea of Typefaces! (Part 2)
Decisions, decisions, decisions! One of the most challenging aspects of any design project is choosing the typefaces. There are now more than forty thousand fonts on the market and that number is growing daily, which makes the search for the “perfect” typeface only slightly more daunting than looking for that proverbial needle in a haystack. With a little planning, however, you’ll find that selecting appropriate typefaces is far more manageable than it appears.
Strizver, Ilene. Upper and lowercase Magazine (2002). Design>Typography
#20958
If the fonts you’re using aren’t Post-humanist, they’re out of date.
Shinn, Nick. ShinnType (2000). Design>Typography
#20499
The 80s in graphic design were dominated by questions about the layout, by life style magazines, with Neville Brody’s Face seen as the big event. The 90s were dominated by questions about typography, readability, layering, with David Carson emerging as the dominant figure. With prominent figures like Peter Saville recently talking about the crisis of the unnecessary and lamenting about the fact that our contemporary culture is monthly, there might now finally be room for content, for questions about what we do and for whom we are doing it.
Sagmeister, Stefan. Typoteque.com (2002). Design>Typography>History
#22698
How To Create Broken Text Effects With Adobe Photoshop
This Adobe web tutorial will show you how to create a broken effect to your text.
#22696
How To Create Ghosted Text Effects With Adobe Photoshop
This Adobe web tutorial will show you how to create cool ghosted style text effects to jazz up your text.
#22695
How To Create Indented Text Effects With Adobe Photoshop
This Adobe web tutorial will show you how to create indented style text effects to jazz up your text.
#22697
How To Create Plastic Text Effects With Adobe Photoshop
This Adobe web tutorial will show you how to create plastic style text effects to add some cool effects to your text.
#29128
How to Use Five Letterforms to Gauge a Typeface's Personality: A Research-Driven Method 
Technical communicators need to select typefaces that match the tone that they intend for a document. Rather than relying on intuition or personal preference, technical communicators can use a research-driven approach to analyze objectively the extent to which a typeface's personality meshes with the intended tone of a document. This study describes how technical communicators can analyze a typeface's uppercase J and its lowercase a, g, e, and n letterforms--letterforms that are dense with anatomical information-- to gauge the extent to which a typeface will contribute a friendly or a professional personality to a document. Technical communicators--both professionals and students--who are armed with this knowledge can move beyond "safe" typefaces like Times New Roman and Helvetica, selecting instead typefaces whose anatomical features generate different kinds of personalities.
Mackiewicz, Jo M. Journal of Technical Writing and Communication (2005). Design>Typography>Assessment
#22536
The state of typography, in the United States and around the world, is reflected in the annual of the New York Type Directors Club.
Berry, John D. Creative Pro (2004). Design>Typography
