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.
#27470
Margaret Richardson explores South African magazine i-jusi.
Richardson, Margaret. Font Magazine (2005). Design>Document Design>Typography
#20997
I'd like to point out something that you may not have noticed yet. And though I'm quite sure many of you have seen it by now, its subtlety is worth mentioning here again. Go take another look at the FedEx logo — specifically, take another look at the white space surrounding the logo. There may have been years when you didn't notice this arrow in its negative space. Now you can't stop noticing how the figure and its ground produce an entirely new object. The brand may have even taken on new meaning. Josef Albers describes the arrow's visual effect as 1+1=3 or more, or the creation of an incidental new element from two intentionally placed elements. What has happened here is that you're stopped recognizing the logo, and started to perceive it as having another quality.
Danzico, Liz. Bobulate (2001). Design>Typography>Graphic Design>Usability
#14440
Use Typography and Layout For Skimming
People know to look in border areas for navigation. They know that short, bold paragraphs on the side may be of interest, perhaps as summaries. Their eyes stop on bold words intermixed with normal. Decide which things the reader must find, and use these techniques to help them find those things.
Bricklin, Dan. Good Documents (1998). Design>Typography
#22321
Using the Photoshop 5 Type Tool
This tutorial explores the features and uses of Photoshop 5.5's type tool. Photoshop 6 uses a different type tool which we shall cover in a future tutorial, though a lot of the techniques mentioned here will work in Photoshop 6.
Elated (2001). Design>Typography>Software>Adobe Photoshop
#13146
Using Type as a Design Element 
Designing with type follows the same visual guidelines that are used when designing with images. The computer has made more options available to the average user, but good design techniques are not always inherent within the variety of options present on the toolbar. The user needs to have some knowledge of what works and what doesn’t work. Emphasis and readability can be enhanced by adhering to the guidelines that a consistent with good visual design. Format options that include spacing, margins, size, and contrast can provide the user with the opportunity to create publications that are both interesting and readable.
Sadowski, Mary A. STC Proceedings (2001). Presentations>Typography
#20415
Designers are used to being detail-oriented and mathematically precise, nudging things a point this way and a pixel that way until technical perfection is achieved. However, when it comes to typographic alignment, the mathematical approach to design doesn’t apply: it’s all in the eye of the beholder. Visual alignment (also called optical alignment) means exactly that: using that high-tech tool, the human eye, to line up your text until it looks right.
Strizver, Ilene. Upper and lowercase Magazine (2002). Design>Typography>Graphic Design
#13772
Visual Disciminability of Headings in Text 
Headings in text provide critical symbols that help a reader discern a writer's structural treatment of a topic.
Williams, Thomas R. and Jan H. Spyridakis. IEEE Transactions on Professional Communication (1992). Design>Typography
#20445
The War Between Text and Links
There are tiny typographic battles being fought on the Web, from page to page and site to site, skirmishes in a larger conflict between text and links. Like many wars, this one has a thin ideological gloss that obscures a deeper economic and territorial conflict.
Gunn, Eileen. Upper and lowercase Magazine (1998). Design>Typography>Web Design
#20198
When adding powerful new features from Photoshop 6, you can create amazing effects in very little time. Scott Kelby shows you how to create this great type effect in a few short steps.
Kelby, Scott. Mac Design Magazine (2003). Design>Typography>Software>Adobe Photoshop
#21848
A (detailed) peek into the brave new - and nostalgic old - days of typesetting, through the eyes of an InDesign insider.
Kvern, Olav Martin. Adobe Magazine (1999). Design>Typography>History
#28210
95% of the information on the web is written language. It is only logical to say that a web designer should get good training in the main discipline of shaping written information, in other words: typography.
Information Architects Japan (2006). Design>Web Design>Typography
#18421
One of the most important rules of web design is that your site should be easy to read. This is determined by a number of factors.
#18228
The purpose of my Web Page Design for Designers site is not to teach people how to produce web pages. There is little mention of HTML or any other technical stuff except where necessary. It is assumed that the reader already has a grasp of HTML programming, or has made the decision to use a WYSIWYG Web page editor. It is aimed at people who are already involved with design and typography for conventional print and want to explore the possibilities of this new electronic medium. They are probably already using page layout tools like QuarkXPress, Photoshop, Freehand and Illustrator and have discovered that designing web pages is something quite different.
#18229
Web Page Design for Designers: Typography
Good typography is just as important on a web page as it is in any other medium. The fact that it appears on a computer screen and not on a piece of paper is immaterial, it should still be pleasing to look at and easy to read. In every situation where type is used - in publishing, signage, packaging, television etc. - the designer has to adapt his techniques to suit the medium.
#25898
While you may never consciously notice the typefaces used on a Web page, they subconsciously affect the way you feel about the page.
Will-Harris, Daniel. EFuse (2004). Design>Web Design>Typography
#25760
What stays the same, and what's different when you go from books and magazines to websites? Allow me one digression, and then I'll get to specific implications of the switch to onscreen reading.
Boynton, J.R. Diamond Lane, The. Design>Web Design>Typography
#13347
Though many outside the design community see type as 'just lines on a page,' it has long been considered an art form, as well as a potent form of communication with a stylistic language all its own. From the calligraphy schools of ancient China to the explosive new forms of David Carson, it's clear that type is more than just a vehicle for conveying information to the user. If done right, type can be one of the most powerful tools for shaping the way an audience perceives written information, written information such as these very fiery-hot words you see before you. The pages that follow are your mini-guidebook to the strange and magical land of type. Your guide on this tour is Webmonkey Nadav, the designer with a human-friendly touch.
Savio, Nadav. Webmonkey (2001). Design>Typography>Web Design
#19409
Website Layout: What Works Best--Fluid, Centered, or Left-Justified? 
How should you lay out your website? Michael Bernard and Laurie Larsen from Wichita State University published a study where they compared three layouts: Fluid, Centered (fixed-width) and Left-justified (fixed-width).
Bailey, Robert. Web Usability (2002). Design>Typography>Web Design
#26384
Weingart: A Craftsman to the Core
Experience with Wolfgang Weingart during his last year before retiring from the HGK Basel, Switzerland.
Rotmil, Adam M. AIGA (2004). Design>Typography>Interviewing
#10242
For use in extensive text the font's rigid, uniform strokes will create eye problems right away. Additionally, the perfect circles in the round characters begin to form light spots or 'holes' in the text that disturb the calm texture of columns of type. The character count is so extended that in order to fit copy you have to run it at 8 or 9 point, which is not acceptable for comfortable reading. Bumping it up to 10 or 12 generates ugly text at best.
White, Alex W. Design, Typography and Graphics (2001). Design>Typography>Fonts
#29107
What Technical Writing Students Should Know About Typeface Personality 
Typeface personality impacts the rhetorical effect of students' documents, yet it receives little attention in textbooks. Technical writing students should stand the definition of "appropriate" in relation to typeface selection, the difference between type's functional and semantic properties, the difference between type family and personality, the effect of a typeface's history, and the contribution of a typeface's anatomy to its personality. Understanding these, students can make informed decisions about typeface appropriateness.
Mackiewicz, Jo M. Journal of Technical Writing and Communication (2004). Articles>Education>Typography>Technical Writing
#29316
Questions and answers on word spacing, kerning, tracking, period placement, missing fonts, and font-size confusion.
Strizver, Ilene. Creative Pro (2007). Design>Typography
#27469
What's My Name? Nametags in Theory and Practice
At any planned gathering of a community that’s too large or far-flung for everyone to know everyone else by sight, the time-honored solution to the recognition problem is nametags. At a family gathering, these are probably plain white stick-on labels, with names handlettered by Aunt Frieda; at a conference, they’re usually preprinted and housed in plastic holders made for such an event. Nametags are a very local and specialized branch of information design, and, as such, they form part of the glue that binds together a community.
Berry, John D. Font Magazine (2005). Design>Typography>Information Design
#30529
What's the Right Typeface for Text?
How to choose a typeface for clear, easy reading over long distances.
#20446
Typography traditionally thrived on its technical limits. Letterforms reflected material constraints. Typography was part of an ancient, terrific combat with the world’s physical limits.
Sterling, Bruce. Upper and lowercase Magazine (1998). Design>Typography
