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.
#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
#20200
The new Layer Styles features in Photoshop 6.0, you can easily create a cool, realistic-looking plastic effect for your text.
Kelby, Scott. Mac Design Magazine (2003). Design>Typography>Software>Adobe Photoshop
#20422
Rags, widows and orphans – sounds more like a Dickens novel than type! In spite of their odd names, these concepts are important to understand if good typography is your goal.
Strizver, Ilene. Upper and lowercase Magazine (2002). Design>Typography
#28394
Everyone benefits from clear, readable text content. People with visual impairments benefit particularly.
Hunt, Ben. Web Design From Scratch (2006). Design>Web Design>Usability>Typography
#13368
Designers who work in the day-to-day grind of deadline and presentation rarely find opportunity to bring a concentration of skills to one project. I’m going to suggest, however, that designers will benefit from following Warren Chappell’s example, and approach their work now and again as being written rather than assembled.
Allen, Dean. List Apart, A (2002). Design>Typography
#24099
Reading Minds: The Book as a Communicational Space (Practice + Pedagogy) 
Book designers research, compile and interpret information that helps them to determine the various formal attributes of the book. What size should it be? What format should it have? What should be the approach to the cover design, the typography, and the structure of the layout? The selected attributes may make certain impressions, on the potential reader, about the nature of the content. These impressions are interpretations of meaning which may create expectations about the character of the book, its content and style of writing. In other words, the formal attributes give the book a certain 'visual identity' which is intended to represent to the reading public, in a carefully selected visual language, the 'essence' of the author’s work.
Colberg, Susan. University of Alberta (2003). Design>Typography>Visual Rhetoric
#27539
Reading Online Text with a Poor Layout: Is Performance Worse? 
This study examined the effects of enhanced layout (headers, indentation, and figure placement) on reading performance, comprehension, and satisfaction. Participants read text passages with and without enhanced layout. Results showed that reading speed and comprehension were not affected by layout, however, participants were more satisfied with the enhanced layout and reported it to be less fatiguing to read.
Chaparro, Barbara S., A. Dawn Shaikh and J. Ryan Baker. Usability News (2005). Design>Web Design>Typography>Usability
#27547
Reading Online Text: A Comparison of Four White Space Layouts
In this study, reading performance with four white space layouts was compared. Margins surrounding the text and leading (space between lines) were manipulated to generate the four white space conditions. Results show that the use of margins affected both reading speed and comprehension in that participants read the Margin text slower, but comprehended more than the No Margin text. Participants were also generally more satisfied with the text with margins. Leading was not shown to impact reading performance but did influence overall user preference.
Chaparro, Barbara S., J. Ryan Baker, A. Dawn Shaikh, Spring S. Hull and Laurie Brady. Usability News (2004). Design>Web Design>Typography>Visual Rhetoric
#20950
In a culture where nothing changes, even a small change is momentous, and that’s what just happened at the Wall Street Journal. Renovation may better describe the subtle changes in the Wall Street Journal’s first makeover since the Second World War.
Shinn, Nick. ShinnType (2002). Design>Typography>Journalism
#27472
Margaret Richardson on British designer Jonathan Barnbrook’s latest work.
Richardson, Margaret. Font Magazine (2003). Design>Typography>Regional>United Kingdom
#20421
Register, Trademark and Copyright Symbols
Register, trademark and copyright symbols are important communicators. They help establish brand identities and protect creative work from theft or plagiarism. Despite their legal and symbolic power, these symbols need to speak softly, typographically speaking. Their tasteful and appropriate use is a small but significant part of good typography.
Strizver, Ilene. Upper and lowercase Magazine (2002). Articles>Intellectual Property>Trademark>Typography
#27468
In a land where Enschedé is king and Dutch Type rules, half the population seems to be busy developing their own typefaces. The bar is set high for fresh faces looking to make an impact in a typographer’s paradise. Great work is not good enough; it has to be different. Margaret Richardson gets inside Underware and uncovers a trio of witty young designers that do different in a very big way.
Richardson, Margaret. Font Magazine (2005). Design>Typography
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The Rhetoric of Typography: Effects on Reading Time, Reading Comprehension, and Perceptions of Ethos 
Asserts that typography has not occupied a significant role in discussions of visual rhetoric. Extends those discussions by investigating whether typeface persona shapes readers' interactions with a document.
Brumberger, Eva R. Technical Communication Online (2004). Design>Typography>Rhetoric>Visual Rhetoric
#19512
The Rhetoric of Typography: The Awareness and Impact of Typeface Appropriateness
Extends previous research on the rhetorical role of typography that has examined typeface persona and typeface suitability. Investigates whether clashes in typeface and text persona affect readers' perceptions of the text.
Brumberger, Eva R. Technical Communication Online (2003). Design>Typography>Rhetoric>Visual Rhetoric
#19511
The Rhetoric of Typography: The Persona of Typeface and Text
Provides strong empirical support for the notion that readers ascribe personality attributes both to typefaces and to text passages. Establishes a foundation for investigation of the interactions between typeface and text personas.
Brumberger, Eva R. Technical Communication Online (2003). Design>Typography>Rhetoric>Visual Rhetoric
#31910
Right-Justified Navigation Menus Impede Scannability
Users scan lists by moving their eyes rapidly down the left edge. Menu items that are right-aligned make scanning more difficult.
Nielsen, Jakob. Alertbox (2008). Articles>Web Design>Usability>Typography
#20956
A digital camera and a cell phone. Small, hefty boxes crammed with circuitry. For both, the typeface is a light sans serif. But beyond this similarity the creative directors—Sam Sitt for Sony; and Jane Hope for Clearnet—pursue different paths to extreme typographic conclusions.
Shinn, Nick. ShinnType (2001). Design>Typography
#18895
Selecting and Combining Typefaces
One of the most often asked question about type is: Which typefaces work well together? Finding the right combination of typefaces can make the difference between a good design and a great one. But with so many faces to choose from, how do you decide which ones will look best together? Although typeface selection is a very personal subjective decision, this paper will address several strategies that will help narrow down the search and ultimately help make the most effective type combinations.
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Serifs, the Feet that Guide Our Eyes
Bush's column sheds light on the history of serifs, the beginnings of sans serif fonts, and tests for legibility that aid in determining the effectiveness of serif versus sans serif type.
Bush, Donald W. Intercom (2006). Design>Typography
#20449
My pith helmet never left my head. The journey took weeks, crossed two major deserts, led through steaming jungles, and ended in a rather dull corporate campus, but it was worth it. I believe I’ve discovered a group of readers who are entirely oblivious to the appearance of a text, who read only content and are frankly blind to the form of the characters they read. In a series of carefully monitored tests, they were able to distinguish serif from sans serif faces less than 40% of the time. They are capable of reading six point all caps Helvetica set on a 50 pica measure without the least hint of complaint or eyestrain.
Kvern, Olav Martin. Upper and lowercase Magazine (1998). Design>Typography
#28702
Setting Type on the Web to a Baseline Grid
It's easier these days to embed a video on the web than it is to set type consistently or align elements to a universal grid.
Miner, Wilson. List Apart, A (2007). Design>Web Design>Typography
#20419
One of the most irritating typographic faux pas is the use of straight quotation marks (also called ‘dumb’ quotes) instead of true typographic quotation marks (‘smart’ or ‘curly’ quotes). How did this dumb-versus-smart muddle begin? Blame the engineers: the standard keyboard layout (which was not created by typographers!) has straight quotes in place of real quotes. As designers, it’s our job to use our ‘smarts’ to work around this all-too-common problem.
Strizver, Ilene. Upper and lowercase Magazine (2002). Design>Typography>Document Design
#26385
What makes a typeface look the way it does? The design of the letter shapes is a primary factor, but it’s by no means the only one...
Strizver, Ilene. AIGA (2004). Design>Typography
#20428
What makes a typeface look the way it does? The design of the letter shapes is a primary factor, but it’s by no means the only one. The spacing of a font has a large impact on how it looks when set, and should be a consideration when choosing and using a typeface.
Strizver, Ilene. Upper and lowercase Magazine (2001). Design>Typography
#20427
If the letter spacing and kerning of a font you love is less than perfect, there’s hope: today’s design programs have advanced type manipulation features that allow you to improve the way any font looks 'out of the box.'
Strizver, Ilene. Upper and lowercase Magazine (2001). Design>Typography
