#21755
Many of the principles that the print typographer has learned and holds sacred, are no longer true when the medium is a neon sign, a television title sequence or a Web page. Text that is not printed on paper takes them into alien territory.
Gillespie, Joe. Digital Web Magazine (2001). Design>Typography>Online
#21912
A variety of technologies are evolving to help make type readable on the computer screen. Here's a report on anti-aliasing.
Tinkel, Kathleen. Adobe Magazine (1997). Design>Typography>Online
#22682
I like bit-mapped screen fonts. In fact, I prefer old-fashioned bit-mapped screen fonts to anything that ATM, TrueType, or Speedo can throw up on the screen. If we're expected to read documents on screen, we need better type than they can offer.
Will-Harris, Daniel. Typofile (1996). Design>Typography>Fonts>Online
#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
#13321
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
#23307
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
#20951
From boutiques to department stores, where to shop for type on the Internet.
Shinn, Nick. ShinnType (2002). Design>Typography>Online
#31195
The Effect of Typeface on the Perception of Email
This study investigated the effect that a font has on the reader's perception of an email. Based on a previous study by Shaikh, Chaparro, and Fox (2006), a sample email message was presented in three fonts (Calibri, Comic Sans, and Gigi). The three chosen fonts represented a high, medium, and low level of congruency for email messages. The least congruent typeface (Gigi) resulted in different perceptions of the email document and its author. However, no significant differences were found between the moderately and highly congruent fonts.
Shaikh, A. Dawn, Doug Fox and Barbara S. Chaparro. Usability News (2007). Design>Typography>Online>Email
#29139
This study investigated the effects of two different computer texts on readers' recall with three different content types (Blocked Constructs, Ordered Constructs, and Detail Layered Constructs) based on individuals' different working memory capacities. The findings indicated that the format and content types influenced how well information was remembered among readers. Participants with low working memory who read traditional scrolling text produced better recall scores than those who read the paged hypertext in two of the three content types. However, for those with high working memory capacity, all results came out differently depending on the content types.
Lee, Moon J., Matthew C. Tedder and Gangxin Xie. Journal of Technical Writing and Communication (2006). Design>Typography>Online
#31192
Examining Legibility of the Letter "e" and Number "0" Using Classification Tree Analysis
This study investigated the legibility of onscreen typefaces and the influence of individual character features on correct identification. Specific attributes of alphanumeric characters and symbols shown to be the least legible were measured and analyzed using a statistical method called classification tree analysis. Results from this analysis for the letter "e" and the number zero are discussed.
Fox, Doug, Barbara S. Chaparro and Ed Merkle. Usability News (2007). Design>Typography>Online>Usability
#27533
Examining the Legibility of Two New ClearType Fonts
This article introduces six new ClearType fonts developed by Microsoft. Legibility of two of the serif fonts, Cambria and Constantia, is compared to the traditional serif font Times New Roman. Results show that the legibility, as measured by the number of correct identifications of briefly presented characters, was highest for the new font Cambria, followed by Constantia, and then Times New Roman. Old style digits, such as 0,1, and 2, used in Constantia resulted in confusion with the letters o, l, and z. Times New Roman symbols were confused with both letters and other symbols.
Chaparro, Barbara S., A. Dawn Shaikh and Alex Chaparro. Usability News (2006). Design>Typography>Fonts>Online
#22788
Mark van Bronkhorst's recent type family MVB Verdigris is easier on the eyes than many of the existing typefaces that are used for text at small sizes.
Berry, John D. Creative Pro (2004). Design>Typography>Fonts>Online
#20400
At the 1989 Developers’ Conference, Apple revealed an entirely new typographic universe to 1500 eager supporters. The combination of a new font technology, a greatly enhanced line layout manager, and an entirely new printer driver architecture promises to make the Macintosh the premier machine for print-oriented graphics, and open new opportunities for Macintosh developers. The three features are closely related and need to be discussed together to understand the full impact.
Alviani, Frank. MacTech (1990). Design>Typography>Online>Macintosh
#20401
A Silicon Valley revolution in type design has spawned typefaces mimicking everything from the Renaissance to celebrity handwriting. Behind every particle that fills a page, an unseen artist has worked countless hours to make it letter perfect.
Sine, Richard. Metroactive (1996). Design>Typography>Online
#20447
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
