A directory of resources inthe field of technical communication.

Typography

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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.

 

1.
#31492

The 10/20/30 Rule of PowerPoint

I am trying to evangelize the 10/20/30 Rule of PowerPoint. It’s quite simple: a PowerPoint presentation should have ten slides, last no more than twenty minutes, and contain no font smaller than thirty points. While I’m in the venture capital business, this rule is applicable for any presentation to reach agreement: for example, raising capital, making a sale, forming a partnership, etc.

Kawasaki, Guy. How to Change the World (2005). Articles>Presentations>Information Design>Typography

2.
#34307

101 Examples of Text Treatments on the Web

Typography is often a deciding factor in the success of a design. Its importance cannot be overstated. Effective typography can be achieved in so many different ways, as demonstrated in the 17 different categories below. Some of the most common ways to treat type is with size, color variation, creative illustrations, and use of textures. The examples below are just the tip of the iceberg as far as the possibilities for type.

Webdesigner Depot (2009). Design>Web Design>Typography

3.
#20199

3D Type Effect  (link broken)

Using Photoshop's built-in features, you can easily create a simple looking 3D type effect in a few easy steps.

Kelby, Scott. Mac Design Magazine (2003). Design>Typography>Software>Adobe Photoshop

4.
#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

5.
#20409

Accents and Accented Characters

Have you ever needed to set an accented character in copy but couldn’t find it on your keyboard? If these characters leave you feeling naïve, you’re not alone. Diacritic characters, as these accented letters are called, are essential to the proper pronunciation and meaning of many foreign words. When you come across an accented letter, don’t assume it can be eliminated without consequence, or you might end up misspelling a person’s name! Accent marks also turn up frequently in foreign-born words and phrases that have become part of common English usage, such as résumé, passé and tête-à-tête. Happily, diacritic characters can be accessed or created with most professional-quality fonts.

Strizver, Ilene. Upper and lowercase Magazine (2003). Design>Typography

6.
#21746

Accessible Web Typography: An Introduction for Web Designers

Text is your flexible friend; it can be transformed into audio or braille; used to describe non-text elements; and be presented visually in an infinite number of sizes.

Byrne, Jim. Scotconnect.com (2003). Design>Typography>Web Design

7.
#22388

Acrobat - TrueType-Schriften in PDF Sauber Darstellen

TrueType-Schriften erscheinen in der Standardeinstellung der Adobe-Software Acrobat 3 am Bildschirm immer nur stark gepixelt, während PostScript-Schriften sauber lesbar sind (das Problem konnte in Acrobat 4 bislang nicht beobachtet werden). Das muss nicht sein!

Transcom (2000). (German) Design>Typography>Software>Adobe Acrobat

8.
#22391

Acrobat und Verwendung von PostScript-Schriften

Wir haben Probleme mit unseren PDFs, und zwar erscheint der Text bei einem Zoom von 100% auf dem Bildschirm verschwommen. Zoom von 150% ist ok, Ausdruck ebenfalls.

Transcom. (German) Design>Typography>Software>Adobe Acrobat

9.
#35267

Adobe FrameMaker: Refining the Type Size List

The sizes listed in the picture above are the default type sizes listed in FrameMaker's Paragraph and Character Designers. If your favorite choices are listed, great! If not, you have to type the size you want into the Size field. If you'd like to modify the Size list so that it includes your favorite Sizes, read on.

Binder, Barbara. Blogs.com (2009). Articles>Document Design>Typography>Adobe FrameMaker

10.
#35420

Adobe FrameMaker: Troubleshooting Unavailable Fonts

I never like opening up a FrameMaker document and getting the dreaded unavailable fonts dialog box. Sadly, with multiple authors who contribute documents to me from around the world, it's just a fact of life that I see the dialog box frequently.

Binder, Barbara. I Came, I Saw, I Learned (2009). Articles>Typography>Software>Adobe FrameMaker

11.
#13996

AIGA Typography Forum

This forum is for the passionate. It’s for those who are crazy in love with type, absolutely hate the problems fonts can cause, have an uncontrollable need to learn more about typography, or an irresistible desire to share typographic opinions and stories. This is not a place for the typographically indifferent. This is the place to rant about dumb quotes (hey, I still see them in supposedly good design), find out why font foundries don’t want you to embed fonts in the files you send to service bureaus, discuss the merits of Emigre’s new font family, or ponder the value of hanging punctuation. It’s a place for criticism, observations and lively discourse. Come on in!

AIGA. Design>Typography

12.
#21755

Alien Typography

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

13.
#25168

Alternate Fonts

Kenn Munk designs wonderfully different fonts and dingbats that allow the user to 'build' words, or in the case of dingbats - images. This obsesion is probably due to the hours and hours spent playing with LEGO bricks in his childhood. Shhhhh... be quiet!

Munk, Kenn. Design, Typography and Graphics (2004). Design>Typography

14.
#35483

Ampersands With Attitude

Ampersands have long been the character in a typeface with which typographers can indulge themselves. Sweeping curves, flirtatious finishes and bold statements – these are the things that make ampersands an exciting character to use and, better still, to design. There are, however, two problems.

Smashing (2008). Articles>Typography>Graphic Design>Fonts

15.
#37162

Anatomy 101

You may have noticed that an uppercase A is drastically different than its lowercase counterpart (a), and indeed, very different than the letter Z. Before we can understand the differences between letters, we must understand the parts that make up letters.

Opsteegh, Michael. Putting Your Best Font Forward (2009). Articles>Typography

16.
#37161

Anatomy 201: Type Measurements

When discussing or working with type, it’s not only important to understand the anatomy of the parts of letterforms, but it’s also important to understand how type is measured. We’re accustomed to measuring things in inches, yards, or miles, or, heaven forbid, the metric system. Type, on the other hand, has its own system of measurement of which most of us have a vague understanding. For example, most of us understand that normal body text is set between 10 and 12 points, and 72 points is much too large for everyday use. Few of us, however, really know what a point really is.

Opsteegh, Michael. Putting Your Best Font Forward (2009). Articles>Typography>Assessment

17.
#20430

Anatomy of a Character

How do you tell one typeface from another? If you’re trying to distinguish Helvetica from Times Roman, the difference is obvious. In other cases, however–especially between text designs having similar characteristics–the differences can be subtle and difficult for the less–experienced eye to see. One important step in training your eye to notice the details that set one design apart from another is to examine the anatomy of the characters that make up our alphabet.

Strizver, Ilene. Upper and lowercase Magazine (2001). Design>Typography

18.
#21912

Anti-Aliasing Evolves   (PDF)

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

19.
#20674

Antialiasing Examples from Real Applications  (link broken)

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

20.
#20675

Antialiasing Explained

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

21.
#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

22.
#19841

Avoiding Typeface Terrors  (link broken)   (PDF)

Appropriately using typefaces is critical to your document’s success. The opposite is conversely true. A poorly selected or implemented typeface can equal a document disaster. When selecting a typeface, technical communicators must consider a typeface’s legibility (how distinct, clear, and recognizable its letters are), readability (how easy it is to read in a text line), and personality (what feeling it conveys). Once selected, typefaces must be carefully used to enhance the document’s message. Typefaces must enhance—not distract from—your document.

Yoshida, Kathleen Burke. STC Proceedings (2000). Design>Typography

23.
#27899

Ban Comic Sans

We call on the common man to rise up in revolt against this evil of typographical ignorance.

Ban Comic Sans. Organizations>Graphic Design>Typography

24.
#38101

The Basics of Typography

Typography is a central component of design. It gives us an understanding of the heritage behind our craft. It’s one of the primary ways we, as a society, pass on information to others. Imagine a website, a magazine or even TV without text. Typography is a subject that raises passions and it can become a consuming obsession. If this subject is relatively new to you, or perhaps something you want to know more about, then this guide can start you on that journey.

Bailey, Christian. Design Instruct (2011). Design>Graphic Design>Typography

25.
#34984

Beautiful Fonts with @font-face

While Firefox 3.0 improved typographic rendering by introducing support for kerning, ligatures, and multiple weights along with support for rendering complex scripts, authors are still limited to using commonly available fonts in their designs. Firefox 3.5 removes this restriction by introducing support for the CSS @font-face rule, a way of linking to TrueType and OpenType fonts just as code and images are linked to today. Using @font-face for font linking is relatively straightforward. Within a stylesheet, each @font-face rule defines a family name to be used, the font resource to be loaded, and the style characteristics of a given face such as whether it’s bold or italic. Firefox 3.5 only downloads the fonts as needed, so a stylesheet can list a whole set of fonts of which only a select few will actually be used.

Daggett, John. Mozilla.org (2009). Articles>Web Design>Typography>CSS

 
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