#20674
Antialiasing Examples from Real Applications 
Different graphical software applications have different abilities at antialiasing: some software is very good at it, while other software is not. Here are some examples for comparison.
IsoCalc. Design>Graphic Design>Typography>Technical Illustration
#20675
Antialiasing is a method of representing perfect, continuous vectors on imperfect, discontinuous display devices so that they look as perfect as possible.
IsoCalc. Design>Graphic Design>Typography>Technical Illustration
#27899
We call on the common man to rise up in revolt against this evil of typographical ignorance.
#27437
Brushed metal is always a cool effect to pull off in Photoshop. And after you’ve created your steel texture, what better place to use it than to produce beveled steel type?
Harris, Rich. Planet Photoshop (2006). Design>Graphic Design>Typography>Adobe Photoshop
#20953
It's not been easy for art directors and graphic designers to maintain a career amidst rapidly changing technology and design trends.
Shinn, Nick. ShinnType (2001). Careers>TC>Typography>Graphic Design
#20395
An interactive website dedicated to typography and its history.
Collins, Brett Yancy and Ed Stull. Motivo.com (1998). Design>Typography>Graphic Design
#30527
An article about the graphic design of logotypes using typographic widely successful techniques.
#10203
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
#25152
Always use elements contained in the font you're manipulating!
Design, Typography and Graphics (2004). Design>Graphic Design>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
#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
#19174
This site is designed to give you an impression of the contents and dynamics of IDJ by providing abstracts, a selection of illustrations, and occasional additional sound and video clips. The site is updated with every issue (three times per year). Information Design Journal is an international refereed journal which provides a forum for theoretical and practice-oriented discussions concerning the effective, efficient and attractive presentation of information. Topics include the design of infographics, public information signs, forms, product labeling, typography, instructions for use, user interfaces, websites, and instructional textbooks. The editors invite contributions. Please consult the Guidelines for Contributors.
Information Design Journal. Journals>Information Design>Graphic Design>Typography
#20407
If you’ve ever gone looking 'behind the scenes' in your fonts, you might have stumbled upon a wonderful surprise: a logotype. Logotypes are usually small, commonly used words – such as the, for, and, of and to – that are designed as a unit. Like ligatures, logotypes are treated as a single character by your application (and are usually accessed with one keystroke or keystroke combination). Unlike ligatures, the letters within a logotype are not necessarily connected. In fact, the sky’s the limit when it comes to the design of these useful little words.
Strizver, Ilene. Upper and lowercase Magazine (2003). Design>Typography>Graphic Design
#10243
Looking for Art in All the Right Places
Although this doesn't seem to be a Design and Publishing topic, it really is. Your visual experience should always be digesting new and different input. You need visual stimulation to maintain your creative edge. Looking at art is one way of doing this -- and the web offers an unlimited wealth of visual wonders. Pull out your daytimer, or your palm, and make an appointment with yourself. Take one or two hours each month and discover new visual landscapes. It will serve you well, and you'll come to look forward to those little jaunts into the visual web.
Showker, Fred. Design, Typography and Graphics (2000). Design>Graphic Design>Typography
#20429
Magazine Typography: Designing for Browsers and Readers
Magazine typography is all about communicating, but magazines communicate in many different ways. One of those ways is through the text, the traditional meat of any publication. Other ways include photography, artwork, suggestive and allusive headlines, cartoons, and even the advertising. All of these require integrating words and images in imaginative ways.
Berry, John D. Upper and lowercase Magazine (2001). Design>Typography>Graphic Design
#14857
An interactive overview of design, color theory, composition and layout, perspective and typography.
Mundi, Andrew. Mundi Graphic Design (2001). Design>Graphic Design>Typography>Color
#28438
Logos in the form of words or letters have natural properties that make them visually effective: (see also logos article): good recognition; good descriptiveness; and good presence.
Hunt, Ben. Web Design From Scratch (2005). Design>Graphic Design>Web Design>Typography
#25169
Al Ward, author of 'Photoshop for Right Brainers' walks you through an extensive tutorial using layers and layer masks for a rather striking image. More than 30 illustrations and Al's competent guidance will show you how to put type in your face!
Ward, Al. Design, Typography and Graphics (2004). Design>Graphic Design>Typography
#22636
Almost everything we know in the world can be described in just 26 letters--isn't that amazing? Yet this most visible art--which we all see all around us each day--has long been invisible in most people's minds. Part of this was intentional-- because the content, not the type, is the message. With type, the media is not the message. But type also adds to everything we read in subliminal and powerful ways, and Typofile is about people who love type, and why.
Will-Harris, Daniel. Typofile. Design>Typography>Graphic Design>Blogs
#21005
An interactive experience informed by type and typography, which aims to illustrate the depth and import of type, and to raise relevant questions about how typography is treated in the digital media, specifically online.
typographic. Design>Typography>Graphic Design>Visual Rhetoric
#20424
The more components a brand identity contains, the more onerous it can be. Logo, pictogram, texture, color scheme, wordmark: each must be laboriously created, launched, and cared for, and each of these stages has its own substantial costs. For many companies today, these costs are becoming prohibitive. An increasingly popular alternative is a hard-working, purely typographic wordmark that speaks clearly for the brand, all by itself.
Fishel, Catherine. Upper and lowercase Magazine (2002). Design>Typography>Graphic Design
#10007
The Typographic Circle was formed about thirty years ago by a group of advertising typographers as the Type Directors Club, to bring together anyone with an interest in type.
Typographic Circle, The. Organizations>Graphic Design>Typography>United Kingdom
#30158
Typographical Design, Modernist Aesthetics, and Professional Communication 
The technology of in-house publishing is radically shifting the responsibility for document design from the graphic specialist to the individual writer. To apply the new technology, professional communicators need to understand the principles underpinning typographical design and their origin in the functionalist aesthetics of modernism, particularly as articulated by the Bauhaus. While some of the key concepts of modernism--strict economy, universal objectivity, intuitive perception, and the unity of form and purpose--are well-suited to business and technical documents, these concepts are bound to an historical and intellectual milieu. By understanding the influence of modernism on typographical design, professional communicators equipped with the new technology can adapt design principles to the rhetorical context of specific documents.
Kostelnick, Charles. Journal of Business and Technical Communication (1990). Design>Typography>Graphic Design>Visual Rhetoric
#27943
Weblog van Gerard Voshaar over typografie.
Voshaar, Gerard. Typolog. (Dutch) Resources>Graphic Design>Typography>Blogs
