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.
#26387
State Department Bans Courier New 12, Except for Treaties
Just when it seemed typography had no discernable impact on government policy the US State Department outlawed its standard typeface.
Shaw, Paul. AIGA (2004). Design>Typography>Legal>Government
#20405
Swash and Alternate Characters
Are you looking for a way to add flair to a typographic treatment? Try using swash characters. These extremely decorative letters have a flourish or extended stroke at the beginning or the end of the character. They are almost always capitals, and you’ll frequently find one used as an eye-catching initial letter at the beginning of a paragraph, chapter or article.
Strizver, Ilene. Upper and lowercase Magazine (2003). Design>Typography
#21949
What makes type readable? A survey of the conventional wisdom, what research tells us, and some common-sense principles.
Tinkel, Kathleen. Adobe Magazine (1996). Design>Typography
#28338
Even though it is important to ensure visual consistency, steps should be taken to emphasize important text. Commonly used headings should be formatted consistently, and attention-attracting features, such as animation, should only be used when appropriate.
Usability.gov (2006). Design>Web Design>Typography
#21757
Being unhappy with the current wisdom and distrustful of our browsers, I wanted to have the font sizing options laid out so I could see where they did and didn't work. So I made 264 screenshots. This collection is posted for anyone else who is unhappy and distrustful.
Noodle Incident, The (2002). Design>Web Design>Typography>CSS
#20937
Text Talk: Online Forums Emerge as Beacons of Typography 
How does one stay up-to-date on typography? It would be nice if there were a regular trade magazine covering type business and technology, reviewing new typefaces, type books, font management tools, and software applications, with features on type issues, typographers and design projects (for instance, publication redesigns). But there isn’t, and it ain’t gonna happen—the marketing dollars that could support such a venture are too few and far between.
Shinn, Nick. ShinnType (2003). Design>Typography>Journalism
#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
#13997
Typefaces are designs like Baskerville, Gill Sans or Papyrus. Type designers create typefaces. Today they use software programs like Fontographer or Font Lab to create the individual letters. A few still draw the letters by hand and then scan them into a type design application. Fonts are the things that enable the printing of typefaces. Type foundries produce fonts. Sometimes designers and foundries are one and the same, but creating a typeface and producing a font are two separate functions.
Haley, Allan. AIGA (2002). Design>Typography
#21958
If you want professional-looking type, avoid these 13 telltale signs.
Williams, Robin. Adobe Magazine (1995). Design>Typography
#21178
Toward a Standard Font Size Interval System
This document discusses the strengths and weaknesses of various deployed and recommended methods of specifying font sizes in Web documents and application interfaces, and proposes a harmonization. This scheme will enhance the legibility, clarity, and aesthetics of documents presented on screen, and help retire less elegant alternatives that are hurtful to the Web as a dynamic information resource - one that is accessible to users with widely varying needs and purposes. It is intended for Web browser and stylesheet implementors of all religions, but may be of interest to Web authors and digital typography and/or CSS enthusiasts at large.
Fahrner, Todd. Cleverchimp (1999). Design>Web Design>Typography>CSS
#24550
Toward Identifying the Font Used in the Bush Memos
The following evidence from a forensic examination of the Bush memos indicates that they were typed on a typewriter: 1. The specific font used is from a typewriter family in common use since 1905 and a typewriter capable of producing the spacing has been available since 1944. 2. The characters “e,” “t,” “s,” and “a” show indications of physical damage and/or wear consistent with a well used typewriter. 3. The characters that are seldom used show no signs of damage or wear. 4. The quality of individual characters is inconsistent throughout the memos beyond expectations from photocopying and/or digitizing but quality is consistent with worn platen and variations in paper quality. 5. Overlapping characters occasionally indicate paper deformation consistent with hammered impressions. 6. Critical indicators of digital production or cut and paste production are missing. Implications are that there is nothing in this evidence that would indicate the memos are inauthentic. Furthermore, from the point of view of the physical evidence in the documents (excluding any rhetorical evidence or external evidence, which is not examined in this study) no amount of additional research on the part of CBS would have lead them to exclude the documents from their 60 Minutes report.
Hailey, David E. Utah State University (2004). Design>Typography>Journalism
#20230
More than you ever wanted to know about dashes, spaces, curly quotes, and other vagaries of online typography. HTML specs, grammatical rules, browser bugs and character encoding—it’s all here.
Sheering, Peter K. List Apart, A (2001). Design>Web Design>CSS>Typography
#30211
A catalogue of examples of typographic designs with particular typefaces/fonts, indexed by category and alphabetically.
Wakeman, Robert. Type Director's Wall, The (2007). 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
#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
#20412
What’s the point of a point system in which 24 points doesn’t always equal 24 points? It’s not pointless, but it does require some explanation!
Strizver, Ilene. Upper and lowercase Magazine (2003). Design>Typography>Standards
#30337
Type is to a publication as a speaker is to an audience -- they both have to work coherently to capture and keep your attention. Type defines a publication's personality; since it's a common element on every page, it should work to achieve a visual unity throughout. Crisp, consistent, readable typography will help propel the reader through your pages.
#22680
Disparages the loss of real typesetters. If you weren't around to know what they did, or how they did it, Gary tells you what you missed.
Priester, Gary. Typofile (2003). Design>Typography
#18586
Typography is the balance and interplay of letterforms on the page, a verbal and visual equation that helps the reader understand the form and absorb the substance of the page content. Typography plays a dual role as both verbal and visual communication. As readers scan a page they are subconsciously aware of both functions: first they survey the overall graphic patterns of the page, then they parse the language, or read. Good typography establishes a visual hierarchy for rendering prose on the page by providing visual punctuation and graphic accents that help readers understand relations between prose and pictures, headlines and subordinate blocks of text.
Lynch, Patrick J. and Sarah Horton. Yale University (1999). Design>Typography>Web Design
#29308
TypeTalk: Information, Activation, Matching Feet, and Style Sheets
One of the best ways to stay current is to sign up for the free e-mail newsletters offered by many type foundries and resellers. Not only do the newsletters show and tell you about new releases, but they also offer free fonts, special discounts, interviews with designers, and other informative and entertaining articles.
Strizver, Ilene. Creative Pro (2007). 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
#22108
Review: Typographic Design: Form and Communication 
This book is a great resource for designers who want a better understanding of typography. Writers can also benefit from this book, especially from the chapter on legibility, but may be overwhelmed by the level of detail. Although I am not a graphic artist, I feel inspired to consider the use of typography more carefully in the projects I design, and having read this book, I have a better understanding of the design process that creates the typefaces I use.
Hall, Rebecca C. Technical Communication Online (2002). Articles>Reviews>Typography
