Typography - Knowledge

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when a person focuses on typography and setting type, they must pay very close attention to the typeface they choose. Choosing the correct typeface for a body of text can only be done after thoroughly reading the text, understanding its context, and understanding what the text is wishing to convey. Once the typographer has an understanding of the text, then they have the responsibility of using the appropriate typeface to honor the writing done by the author of the text. Knowledge required to choose the correct typeface comes with understanding the historical background of typefaces and understanding the reason that typeface was created. For example, if the text is titled "Commercial Real Estate Transactions" and elaborates on the real estate market throughout the body, then the appropriate typeface is a serif typeface, because the author intends to inform his audience on a serious topic and not entertain his audience with an anecdote; a serif typeface would convey a sense of seriousness to the audience instantaneously. The typographer would also employ larger type for the title to convey its importance, which directly informs the reader of the structure in which the text is intended to be read, and increases readability from varying distances.

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text, the craft of typography is not limited to the aesthetic appeal of the text. On the contrary, the object of typography is to make the reading experience practical and useful. Bold colors, multiple typefaces, and colorful backgrounds in a typographic design may be eye-catching; however, it may not be appropriate for all bodies of text and could potentially make text illegible. Overuse of design elements such as colors and typefaces can be unsettling, preventing the text from conveying its message to readers. A study from 2020 found that the participating subjects felt music sounded "more pleasant" when the CD cover featured round typeface.

1286: 901: 1123: 770:. With their more specialized requirements, newspapers and magazines rely on compact, tightly fitted styles of text typefaces with serifs specially designed for the task, which offer maximum flexibility, readability, legibility, and efficient use of page space. Sans serif text typefaces (without serifs) often are used for introductory paragraphs, incidental text, and whole short articles. A current fashion is to pair a sans-serif typeface for headings with a high-performance serif typeface of matching style for the text of an article. 720: 273: 641:

techniques that are necessary to be taken into consideration when thinking about the appropriateness of specific typefaces or creating them. When placing two or more differing and/or contrasting fonts together, these techniques come into play for organizational strategies and demanding attractive qualities. For example, if the bulk of a title has a more unfamiliar or unusual font, simpler sans-serif fonts will help complement the title while attracting more attention to the piece as a whole.

91: 523:. Digital technology also enabled designers to create more experimental typefaces as well as the practical typefaces of traditional typography. Designs for typefaces could be created faster with the new technology, and for more specific functions. The cost for developing typefaces was drastically lowered, becoming widely available to the masses. The change has been called the "democratization of type" and has given new designers more opportunities to enter the field. 456: 558:. Initially, this typeface was difficult to read, because each letter was set in place individually and made to fit tightly into the allocated space. The art of manuscript writing, the origin of which was during Hellenistic and Roman bookmaking, reached its zenith in the illuminated manuscripts of the Middle Ages. Metal typefaces notably altered the style, making it "crisp and uncompromising", and also brought about "new standards of composition". During the 4330: 1030: 117: 1045:, word spacing, or leading that is too tight or too loose. It may be improved when generous vertical space separates text lines, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed typefaces and those that are too tightly or loosely fitted also may be less legible. Underlining also may reduce readability by eliminating the recognition effect contributed by the descending elements of letters. 934:"The typeface chosen should be legible. That is, it should be read without effort. Sometimes legibility is simply a matter of type size; more often, however, it is a matter of typeface design. Case selection always influences legibility. In general, typefaces that are true to the basic letterforms are more legible than typefaces that have been condensed, expanded, embellished, or abstracted. 1146:. Some sign designers exhibit less concern for readability, sacrificing it for an artistic manner. Color and size of type elements may be much more prevalent than in solely text designs. Most display items exploit type at larger sizes, where the details of letter design are magnified. Color is used for its emotional effect in conveying the tone and nature of subject matter. 1259:. Designers often use typefaces to set a theme and mood in an advertisement (for example, using bold, large text to convey a particular message to the reader). Choice of typeface is often used to draw attention to a particular advertisement, combined with efficient use of color, shapes, and images. Today, typography in advertising often reflects a company's 1053:, a publication or periodical standardizes with a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of typefaces, case, type sizes, italic, boldface, colors, and other typographic features such as combining large and small capital letters together. Some publications, such as 1023:) is essential in readability and that the theory of parallel letter recognition is wrong, less important, or not the entire picture. Word shape differs by outline, influenced by ascending and descending elements of lowercase letters and enables reading the entire word without having to parse out each letter. 1270:

Typefaces used in advertisements convey different messages to the reader: classical ones are for a strong personality, while more modern ones may convey clean, neutral look. Bold typefaces are used for making statements and attracting attention. In any design, a balance has to be achieved between the

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rhythm of eye movement for readability—in particular, the ability to take in (i.e., recognise the meaning of groups of) about three words at once and the physiognomy of the eye, which means the eye tires if the line required more than three or four of these saccadic jumps. More than this is found to

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Legibility research has been published since the late nineteenth century. Although there often are commonalities and agreement on many topics, others often create poignant areas of conflict and variation of opinion. For example, Alex Poole asserts that no one has conclusively answered which typeface

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Typography is intended to reveal the character of the text. Through the use of typography, a body of text can instantaneously reveal the mood the author intends to convey to its readers. The message that a body of text conveys has a direct relationship with the typeface that is chosen. Therefore,

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refers to how easy it is to read the text as a whole, as opposed to the individual character recognition described by legibility. Use of margins, word and line spacing, and clear document structure all impact readability. Some fonts or font styles, for instance sans-serif fonts, are considered to

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magazine in the 1990s. His work caused an uproar in the design community due to his abandonment of standard practices in typeface selection, layout, and design. Experimental typography is said to place emphasis on expressing emotion, rather than having a concern for legibility while communicating

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means that the presentation of text is independent of the meaning of that text; thus the same text can be used readily in different contexts but using different typefaces as appropriate to each context. Typographers have moved beyond the static pages of print books, newspapers, posters and other

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Typography not only must honor the tone of the text but also share the responsibility of making the audience commence reading and sustaining the audience's attention throughout the text. Although typography can potentially attract the reader's attention and create a beautiful/attractive piece of

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Much of the legibility research literature is atheoretical—various factors were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests lacked a model of reading or visual perception. Some typographers believe that the overall word shape

750:, editorial, educational, religious, scientific, spiritual, and commercial writing all have differing characteristics and requirements of appropriate typefaces (and their fonts or styles). For historic material, established text typefaces frequently are chosen according to a scheme of historical 1319:

For monumental lettering to be effective, it must be considered carefully in its context. Proportions of letters need to be altered as their size and distance from the viewer increases. An expert monument designer gains understanding of these nuances through much practice and observation of the

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There are many facets to the expressive use of typography, and with those come many different techniques to help with visual aid and the graphic design. Spacing and kerning, size-specific spacing, x-height and vertical proportions, character variation, width, weight, and contrast, are several

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is a closely related craft, sometimes considered part of typography; most typographers do not design typefaces, and some type designers do not consider themselves typographers. Typography also may be used as an ornamental and decorative device, unrelated to the communication of information.

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craft. Letters drawn by hand and for a specific project have the possibility of being richly specific and profoundly beautiful in the hand of a master. Each also may take up to an hour to carve, so it is no wonder that the automated sandblasting process has become the industry standard.

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opened up typography to new generations of previously unrelated designers and lay users. As the capability to create typography has become ubiquitous, the application of principles and best practices developed over generations of skilled workers and professionals has diminished.

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A brand may use typography to express its theme, personality, and message. Just by looking at the typeface, viewers can get an idea about the message and personality of the brand, which the brands are fully aware of and are tapping into the power of good typography.

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to create a readable, coherent, and visually satisfying block of type that works invisibly, without the awareness of the reader. Even distribution of typeset material, with a minimum of distractions and anomalies, aims to produce clarity and transparency.

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typefaces. There are two styles of Roman typefaces: the old style, and the modern. The former is characterized by its similarly weighted lines, while the latter is distinguished by its contrast of light and heavy lines. Often, these styles are combined.

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It is the earliest mechanization of a handicraft: the handlettering of books. Typographic design has been closely bound to the evolution of technology, for the capabilities and limitations of typesetting systems have posed constraints upon the design

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Legibility "refers to perception" (being able to see as determined by physical limitations of the eye), and readability "refers to comprehension" (understanding the meaning). Good typographers and graphic designers aim to achieve excellence in both.

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Although typically applied to printed, published, broadcast, and reproduced materials in contemporary times, all words, letters, symbols, and numbers written alongside the earliest naturalistic drawings by humans may be called typography. The word,

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Lanciani, R (1975) , "Topografia di Roma antica. I commentarii di Frontino intorno le acque e gli acquedotti. Silloge epigrafica aquaria" [Topography of ancient Rome. The commentaries of Frontini around the waters and the aqueducts],

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Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a

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Contemporary books are more likely to be set with state-of-the-art "text romans" or "book romans" typefaces with serifs and design values echoing present-day design arts, which are closely based on traditional models such as those of

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Rapidly advancing technology revolutionized typography in the latter twentieth century. During the 1960s some camera-ready typesetting could be produced in any office or workshop with stand-alone machines such as those introduced by

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By the twentieth century, computers turned typeface design into a rather simplified process. This has allowed the number of typefaces and styles to proliferate exponentially, as there now are thousands available. Confusion between

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introduce strain and errors in reading (e.g., doubling). The use of all-caps renders words indistinguishable as groups, all letters presenting a uniform line to the eye, requiring special effort for separation and understanding.

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Currently, legibility research tends to be limited to critical issues or the testing of specific design solutions (for example, when new typefaces are developed). Examples of critical issues include typefaces for people with

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is an example of a font containing many characters that might be difficult to distinguish. The selection of cases influences the legibility of typography because using only uppercase letters (all-caps) reduces legibility.

863:. Although in a non-technical sense "legible" and "readable" are often used synonymously, typographically they are separate but related concepts. Legibility and readability tend to support aesthetic aspects of a product. 976:

style, serif or sans serif, is more legibile, although strong opinions exist. Other topics, such as justified vs. unjustified type, use of hyphens, and proper typefaces for people with reading difficulties such as

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visual impact and communication aspects. Digital technology in the twentieth and twenty-first centuries has enabled the creation of typefaces for advertising that are more experimental than traditional typefaces.

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uses a bold, colorful, and comparatively modern style through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's name is placed on a colored background. In contrast,

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The history of inscriptional lettering is intimately tied to the history of writing, the evolution of letterforms and the craft of the hand. The widespread use of the computer and various etching and

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In relation to the international graphics of the 1920s - 1930s, the term "International Typographic Style" is used. In the 1950s - 1960s, such a phenomenon as "Swiss style" was formed in typography.

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by hand and related art forms, especially formal styles, which thrived for centuries preceding typography, and so the evolution of typography must be discussed with reference to this relationship.

441:. Although the wooden type was more durable under the mechanical rigors of handling, repeated printing wore the character faces down and the types could be replaced only by carving new pieces. 869:

describes how easily individual characters can be distinguished from one another. It is described by Walter Tracy as "the quality of being decipherable and recognisable". For instance, if a

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was partially responsible for the adoption of Roman typeface that eventually supplanted the more commonly used Gothic (blackletter). Roman typeface also was based on hand-lettering styles.

885:, are difficult to distinguish at small sizes, this is a problem of legibility. Typographers are concerned with legibility insofar as it is their job to select the correct font to use. 1991: 452:

introduced bronze type printing to China in 1490 AD. The diffusion of both movable-type systems was limited and the technology did not spread beyond East and Central Asia, however.

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Legibility is usually measured through the speed of reading, with comprehension scores used to check for effectiveness (that is, not a rushed or careless read). For example,

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The development of Roman typeface can be traced back to Greek lapidary letters. Greek lapidary letters were carved into stone and "one of the first formal uses of Western

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mislabeled typefaces as fonts for Apple computers and his error has been perpetuated throughout the computer industry, leading to common misuse by the public of the term

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However, even a legible typeface can become unreadable through poor setting and placement, just as a less legible typeface can be made more readable through good design.

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systems. Although typography has evolved significantly from its origins, it is a largely conservative art that tends to cleave closely to tradition. This is because

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is paramount, and so the typefaces that are the most readable usually are retained. In addition, the evolution of typography is inextricably intertwined with

479:, suited printing purposes so well that the alloy is still used today. Gutenberg developed specialized techniques for casting and combining cheap copies of 3915: 649:

In contemporary use, the practice and study of typography include a broad range, covering all aspects of letter design and application, both mechanical (

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media, typographers also are concerned with binding margins, paper selection, and printing methods when determining the correct color of the page.

427:(990–1051). His movable type system was manufactured from ceramic materials, and clay type printing continued to be practiced in China until the 412:

where the words are formed by assembling single letter tiles in the desired order, which were reasonably widespread in medieval Northern Europe.

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Lipinsky, Angelo (1986), "La pala argentea del Patriarca Pellegrino nella Collegiata di Cividale e le sue iscrizioni con caratteri mobili",

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and images, forming relationships and dialog between the words and images for special effects. Display designs are a potent element in

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Hollis R. Swiss Graphic Design: The Origins and Growth of an International Style, 1920-1965. New Haven: Yale University Press: 2001.

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Vasileva E. (2021) The Swiss Style: It’s Prototypes, Origins and the Regulation Problem // Terra Artis. Arts and Design, 3, 84-101.

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Different periodicals design their publications, including their typography, to achieve a particular tone or style. For example,

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with Brian Coe and Linda Reynolds did important work in this area. It was one of the centers that revealed the importance of the

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Studies of both legibility and readability have examined a wide range of factors including type size and type design, comparing

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in the vast quantities required to print multiple copies of texts. This technical breakthrough was instrumental in starting the

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example in Iowan old style roman, italics, and small caps, optimized at approximately ten words per line, typeface sized at 14

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A sixteenth century workshop in Germany showing a printing press and many of the activities involved in the process of printing

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was printed with individual letter punches. Apparently, the same printing technique may be found in tenth to twelfth century

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technology that allowed designers to transfer types instantly. The famous Lorem Ipsum gained popularity due to its usage in

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Whilst the principles of good typography remain into the digital age, new tools are available to the typographer. Digital

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were used to create an impression on a surface by rolling the seal on wet clay. Typography was also implemented in the

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is also applied to the style, arrangement, and appearance of the letters, numbers, and symbols created by the process.

351:, may be evidence of type, wherein the reuse of identical characters was applied to create cuneiform text. Babylonian 5842: 2831: 2265: 1577: 209:, and, now, anyone who arranges words, letters, numbers, and symbols for publication, display, or distribution, from 2632: 6073: 5692: 4366: 2917:. A compilation of more than fifty texts on the history, practice, and aesthetics of typeface design and typography 1862: 1677: 835:

of the page in combination with other graphic elements impart a "feel" or "resonance" to the subject matter. With

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is the overall density of the ink on the page, determined mainly by the typeface, but also by the word spacing,

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Staples, Loretta (2000). "Typography and the Screen: A Technical Chronology of Digital Typography, 1984–1997".

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Since digitization, typographical uses have spread to a wider range of applications, appearing on web pages,

613:"Experimental typography" is defined as the unconventional and more artistic approach to typeface selection. 259: 17: 2739: 831:, and depth of the margins. Text layout, tone, or color of the set text, and the interplay of text with the 42: 5714: 5697: 5419: 5259: 4694: 4610: 4583: 4169: 4131: 1417: 390: 1382:, different representations of the same grapheme or character in different typefaces have the same meaning 5011: 4573: 4315: 3384: 3099:

Warde, Beatrice (2000), "The Crystal Goblet, or Printing Should Be Invisible", in Swanson, Gunnar (ed.),

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Die typographische Herstellungstechnik der Inschriften auf dem silbernen Altaraufsatz im Dom von Cividale

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allowed type designers to create typefaces digitally using commercial graphic design software such as

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acquired by a long process of accretion, with considerable overlap among historical periods.

684: 105: 3082:. A comprehensive collection of essays on the typographic art. A more classic companion to 6160: 6015: 5975: 5729: 5682: 5503: 5451: 5374: 5364: 5264: 5227: 5207: 5138: 5128: 4536: 4526: 4483: 4461: 4416: 4359: 4011: 3652: 3506: 3281: 2594: 1393: 1252: 995: 900: 434: 281: 3218: 8: 6250: 5955: 5878: 5787: 5672: 5520: 5498: 5404: 5384: 5249: 5108: 5093: 5006: 4773: 4726: 4507: 4333: 4294: 4207: 4101: 3956: 3934: 3924: 3792: 3399: 3389: 3345: 2617: 1867:(brief summary) (in German), Regensburg: Scriptorium Verlag für Kultur und Wissenschaft, 1467: 1341: 1086: 802: 484: 320: 316: 3285: 3094:. Richard Hendel, Robin Kinross, Ruari McLean. Berkeley: University of California Press. 1902:

Lehmann-Haupt, Hellmut (1940), "Englische Holzstempelalphabete des XIII. Jahrhunderts",

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often are set in larger display typefaces to attract attention, and are placed near the

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The Gutenberg Revolution: The Story of a Genius and an Invention that Changed the World

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Die Prüfeninger Weihinschrift von 1119. Eine paläographisch-typographische Untersuchung

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uses a more traditional approach, with fewer colors, less typeface variation, and more

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Aramaic and Figural Stamp Impressions on Bricks of the Sixth Century B.C. from Babylon

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Orthotypography. Manual of the authors, the self-editor and the graphic designer

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Bi Sheng... who first devised, about 1045, the art of printing with movable type

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Koch, Beth E (2012). "Emotion in Typographic Design: An Empirical Examination".

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of 1119 that was created by the same technique as the Phaistos Disc. The silver

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Meggs P. A History of Graphic Design. N. Y.: John Wiley & Sons, Inc., 1998.

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Literaturbericht zur mittelalterlichen und neuzeitlichen Epigraphik (1985–1991)

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techniques today has made the hand carved monument a rarity, and the number of

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display materials, into design of dynamic materials such as web pages (see

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Papazian, Hrant H (2000), "Improving the Tool", in Swanson, Gunnar (ed.),

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Ortotipografia. Manual de l'author, l'autoeditor i el dissenyador gràfic

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Language and Logos. Studies in Theoretical and Computational Linguistics

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have low readability and so are unsuited for large quantities of prose.

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and newsletter writers to anyone self-publishing materials. Until the

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Studien aus Kunst und Geschichte, Festschrift für Friedrich Schneider

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A Typographic Workbook: A Primer to History, Techniques, and Artistry

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Typography and language in everyday life: Prescriptions and practices

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is often associated with this movement, particularly for his work in

540: 438: 402: 277: 128: 116: 2056:. Vol. 5 part 1. Cambridge University Press. pp. 201–217. 5344: 4391: 4212: 4071: 3890: 3763: 3749: 3574: 3526: 3138:

Lexique des règles typographiques en usage à l'Imprimerie nationale

2996:

Mestres, Josep M; Costa, Joan; Oliva, Mireia; Fité, Ricard (2009),

2633:"Typography: Often invisible, always essential | Insights | Larsen" 1720: 1599:. Vol. XI (T–U). Oxford University Press. 1933. p. T 560. 1209: 1180: 1134:) printed with lead and woodcut type, and incorporating photography 1093: 1092:

Especially on the front page of newspapers and on magazine covers,

1003: 977: 786: 669: 586: 547: 531:

The design of typefaces has developed alongside the development of

512: 504: 424: 398: 383: 328: 158: 82: 3197: 3102:

Graphic Design and Reading: explorations of an uneasy relationship

3046:

Graphic Design and Reading: explorations of an uneasy relationship

3013:

Graphic Design and Reading: explorations of an uneasy relationship

2663:"What Is Typography? | The Importance of Typography in Web Design" 2299: 968:, straight right hand edge) vs. ragged right, and whether text is 696:—type on household appliances, pens, and wristwatches, for example 5965: 5893: 5633: 4503: 4036: 3822: 3673: 3584: 3516: 3452: 3217: 2000: 1294: 1037:

typesetting software, often used for academic papers and journals

912: 828: 743: 555: 449: 178: 3142:

Lexicography of the typographic rules used at the National press

766:(a punchcutter who created the model for Aldine typefaces), and 593:(the various styles of a single typeface) occurred in 1984 when 487:

and the first book printed with lead-based movable type was the

371:

were created with movable type printing, but German typographer

5724: 4375: 3939: 3556: 2867:

Finer Points in the Spacing and Arrangement of the Printed Word

1744:(1997), "13: Necessity's Mother: The evolution of technology", 1175: 969: 790: 360: 280:

in China, an illustration shown in a book published in 1313 by

154: 1970:(in German), vol. 14, München: Hilfsmittel, p. 213, 4436: 3782: 3521: 3489: 3337: 3182:

A Typographical Journey through the Inland Printer, 1883-1900

3161:"Collection: Maurice Annenberg papers | Archival Collections" 2768:"Stone Carver Nick Benson Gives Eternity a Run for Its Money" 1796:] (in Italian) (2nd ed.), Rome: Art Studio S. Eligio 1456: 1260: 1034: 1020: 740: 739:

Choice of typefaces is the primary aspect of text typography—

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Type in Use – Effective typography for electronic publishing

2337: 2335: 2333: 1274: 699:

As a component in modern poetry (for example, the poetry of

287: 5476: 4138: 3984: 3929: 3069:

The Form of the Book: Essays on the Morality of Good Design

2488:"Expressive Web Typography: Useful Examples and Techniques" 1678:"Das typographische Prinzip. Versuch einer Begriffsklärung" 1396: – Technique of relief printing using a printing press 1203: 1162: 618: 590: 472: 340: 157:

when displayed. The arrangement of type involves selecting

463:

Modern lead-based movable type, along with the mechanical

444:

Metal movable type was first invented in Korea during the

4344: 3038:] (in Catalan) (2nd rev ed.), Barcelona: Columna 2330: 2239: 621:

pioneer of this practice in the early twentieth century.

496: 3239:

She Ji: The Journal of Design, Economics, and Innovation

2836:(3rd ed.), Point Roberts, WA: Hartley & Marks, 2156:

The Coming of the Book: The Impact of Printing 1450–1800

1069:

to create customized typefaces for their exclusive use.

2070: 2019:

The Shorter Science and Civilisation in China, Volume 4

1485: 1313: 3123:(2.0 ed.), New York: W. W. Norton & Company, 2590:

Which Are More Legible: Serif or Sans Serif Typefaces?

2574:

Designing with Type, the Essential Guide to Typography

842: 62:"Typographer" redirects here. For the typewriter, see 2869:(2nd ed.). Point Roberts, WA: Hartley and Marks. 1897: 1895: 2565: 2094:

The Gutenberg Galaxy: The Making of Typographic Man

1922:(1906), "Die Prüfeninger Weiheinschrift von 1119", 3002:Style manual. The redaction & edition of texts 2981:Orthography and orthotypography of current Spanish 2695:Psychology of Aesthetics, Creativity, and the Arts 2316:Credo Reference/The Crystal Reference Encyclopedia 2182: 2120: 1794:The aqueducts of Rome and the aqueduct of Frontino 1790:Gli acquedotti di Roma e il Aquaeductu di Frontino 1746:Guns, Germs, and Steel: The Fates of Human Society 2259: 2257: 1892: 1640: 1402: – Marks to indicate pacing of written text 1156:in publications, such as newspapers and magazines 711:mobile phone screens, and hand-held video games. 6242: 2998:Manual d'estil. La redacció i l'edició de textos 2240:"Lorem Ipsum - All the facts - Lipsum generator" 2227:An Introduction to the History of Printing Types 1705:Schwartz, Benjamin (1959), "The Phaistos disk", 632:ideas, hence considered bordering on being art. 98:typeface, which is based on the letter forms of 3144:] (in French), Imprimerie nationale, 2002, 2851:Ch'on, Hye-bong (1993), "Typography in Korea", 1935: 1933: 809:(;) in a sentence, while in English it is not. 3176:Type Foundries of America and Their Catalogues 2983:] (in Spanish) (2nd ed.), Gijón: Trea 2977:Ortografía y ortotipografía del español actual 2969:] (in Spanish) (3rd ed.), Gijón: Trea 2904:Texts on Type: Critical Writings on Typography 2615:Reynolds, Linda (1988), "Legibility of Type", 2282: 2254: 1463:International Society of Typographic Designers 1165:and other large-scale-letter designs, such as 1111:Typography utilized to make reading practical: 4360: 4290:Intellectual property protection of typefaces 3353: 2096:(1st ed.), University of Toronto Press, 1901: 1614:. Harrassowitz Verlag. pp. 11, 20, 160. 1530:. Creative Publishing Network and CreativePro 1390: – Page layout using a personal computer 608: 3832: 2923:About Face: Reviving the Rules of Typography 2549: 2547: 2545: 2543: 2541: 2202: 2146: 1930: 1668: 1666: 1664: 1515: 847:Three fundamental aspects of typography are 467:, is most often attributed to the goldsmith 315:'to write', traces its origins to the first 2361: 1957: 1955: 1734: 1641:Clair, Kate; Busic-Snyder, Cynthia (2012). 1609: 1450: 291:Korean movable type from 1377 used for the 217:, typography was a specialized occupation. 99: 23: 4367: 4353: 3360: 3346: 3267: 3083: 2990:The Thames and Hudson Manual of Typography 2826: 2687: 2571: 2417: 2289:Typographic Design: Form and Communication 2263: 2115: 2021:. Cambridge University Press. p. 14. 1647:. John Wiley & Sons. pp. 4, 123. 1603: 1491: 727:shows printed examples of Roman typefaces. 24: 4316:Punctuation and other typographic symbols 3250: 2850: 2538: 2512: 2347:Credo Reference/The Columbia Encyclopedia 2076: 1661: 1610:Sass, Benjamin; Marzahn, Joachim (2010). 1275:Inscriptional and architectural lettering 1251:Typography has long been a vital part of 1104:Typography utilized to characterize text: 773:Typesetting conventions are modulated by 419:was invented during the eleventh-century 5884:Good Design Award (Museum of Modern Art) 3232: 3228:(11th ed.). 1911. pp. 509–548. 2754:When Typography Speaks Louder Than Words 2614: 2394: 2392: 2123:The Printing Press as an Agent of Change 1952: 1939: 1771:Memorie della Reale Accademia dei Lincei 1767: 1704: 1284: 1121: 1028: 899: 718: 454: 286: 271: 115: 112:, from which the typeface takes its name 108:used for the inscription at the base of 89: 32:This is an accepted version of this page 3308: 2881:, Boston: David R Godine, p. 188, 2727:The Technique of Advertising Production 2716:. New York: Prentice-Hall, 1940. p. 40. 2714:The Technique of Advertising Production 2088: 2013: 2007: 1740: 1636: 1634: 1194:Business communications and advertising 1041:Readability also may be compromised by 14: 6243: 3268:Bigelow, Charles; Day, Donald (1983). 2963:Manual de estilo de la lengua española 2229:. London: Oak Knoll Press, 1998. p. 3. 1989: 1857: 1830: 1672: 1567: 471:in 1439. His type pieces, made from a 395:altarpiece of patriarch Pellegrinus II 5929: 5889:Good Design Award (Chicago Athenaeum) 5632: 5077: 4404: 4348: 3341: 3233:McCarthy, Steven (17 December 2020). 2765: 2553: 2398: 2389: 2044: 1806: 1521: 1503: 1323: 1126:Nineteenth century wanted poster for 781:, word structures, word frequencies, 3213:Internationalization (i18n) Activity 2992:. New York: Thames and Hudson, 1992. 2967:Style manual of the Spanish language 2740:"Brand Typography: A Complete Guide" 2513:Eckersley, Richard (1994), "Color", 2403:. Beverly, MA: Rockport Publishers. 2264:Rothenberg, Randall (23 July 1990). 1961: 1926:(in German), Freiburg i. Br.: Herder 1918: 1787: 1631: 1548: 1428: 1159:Magazine and newspaper headline type 946:vs. sans-serif type, roman type vs. 677:Display typography (described below) 127:using pieces that are stored in the 2266:"Computers Change the Face of Type" 2177: 1117: 843:Principles of the typographic craft 311:'form' or "impression" and γράφειν 56: 5930: 5833:American Institute of Graphic Arts 3294:10.1038/scientificamerican0883-106 3202:American Institute of Graphic Arts 3071:, Vancouver: Hartley & Marks, 2819: 2054:Science and Civilization in China: 2038: 1809:Roman Aqueducts & Water Supply 546:In the nascent stages of European 264:History of typography in East Asia 57: 6267: 5843:Design and Industries Association 3191: 2925:, Mies, Switzerland: Rotovision, 2833:The Elements of Typographic Style 2586: 1522:Berry, John D. (16 August 2004). 919:using an extract of a lecture by 714: 4329: 4328: 3235:"Digital Typography at Stanford" 3030:Pujol, JM; i Solà, Joan (2000), 2961:Martínez de Sousa, José (2007), 2729:. New York: Prentice-Hall, 1940. 1506:Production For Graphic Designers 1149:Display typography encompasses: 1130:(the assassin of U.S. President 397:(1195–1204) in the cathedral of 4405: 2785: 2766:Jones, Malcolm (30 June 2018). 2759: 2746: 2732: 2719: 2706: 2681: 2655: 2625: 2608: 2580: 2506: 2480: 2455: 2446: 2437: 2428: 2276: 2232: 2219: 2171: 2140: 2109: 2082: 1983: 1912: 1851: 1824: 1800: 1781: 1761: 1708:Journal of Near Eastern Studies 1698: 1572:. London, New York: Routledge. 1524:"dot-font: Being a Typographer" 1065:, go so far as to commission a 408:. Other early examples include 193:Typography is also the work of 179:spaces between pairs of letters 5838:Chartered Society of Designers 5078: 3367: 2975:——— (2008), 2127:, Cambridge University Press, 1990:——— (2011), 1748:, W. W. Norton & Company, 1586: 1561: 1542: 1497: 1423:Category:Typographical symbols 1293:Sesquicentenary, Rydal Mount, 1246: 924:The English Renaissance of Art 375:recently dismissed this view. 13: 1: 5909:Prince Philip Designers Prize 4552:Architectural lighting design 4285:History of Western typography 2946:, David R. Godine Publisher, 2576:(5th ed.), Watson Guptil 2515:Glossary of Typesetting Terms 2369:"The Evolution of Typography" 1968:Monumenta Germaniae Historica 1596:The Oxford English Dictionary 1473: 1445:History of Western typography 1362:also have new tools, such as 657:, and typefaces) and manual ( 635: 260:History of Western typography 5715:Electronic design automation 5698:Virtual home design software 4670:Automotive suspension design 4132:traditional point-size names 3280:(2 (August 1983)): 106–119. 3105:, New York: Allworth Press, 3049:, New York: Allworth Press, 3016:, New York: Allworth Press, 2906:, New York: Allworth Press, 2572:Craig, J; Scala, IK (2006), 1478: 1418:List of typographic features 1206:, trademarks, and word marks 797:it is customary to insert a 526: 391:Pruefening Abbey inscription 386:print artifacts such as the 369:Roman lead pipe inscriptions 225: 138:is the art and technique of 7: 4574:Environmental impact design 3385:Canons of page construction 3317:(3 (Autumn, 2000)): 19–34. 3252:10.1016/j.sheji.2020.08.006 3245:(4, Winter 2020): 546–560. 2189:, London: Headline Review, 1788:Pace, Pietrantonio (1986), 1373: 437:was one of the pioneers of 378:The essential criterion of 10: 6272: 5853:International Forum Design 5223:Engineering design process 4374: 2940:Lawson, Alexander (1990), 2865:Dowding, Geoffrey (1999). 1327: 1278: 1138:Type may be combined with 980:, continue to be debated. 816: 789:constructs and linguistic 609:Experimental typeface uses 503:). During the same period 276:A revolving type case for 257: 253: 246: 240: 234:in English comes from the 68: 61: 6188: 5936: 5925: 5866: 5825: 5768: 5658: 5654: 5628: 5084: 5073: 4975:Integrated circuit design 4910: 4897:Stage/set lighting design 4829: 4786:Hardware interface design 4745: 4702:Hardware interface design 4653: 4535: 4415: 4411: 4400: 4382: 4324: 4308: 4240: 4193: 4147: 4087: 3970: 3910: 3868: 3845: 3813: 3773: 3762: 3707: 3661: 3613: 3565: 3542:Subscript and superscript 3497: 3488: 3438: 3375: 3323:10.1162/07479360052053306 3211:World Wide Web Consortium 3090:Tschichold, Jan (2006) . 2797:History of Graphic Design 1807:Hodge, A. Trevor (1992), 992:Readability of Print Unit 689:Vehicle instrument panels 5810:Industrial design rights 5798:Fashion design copyright 5710:Design quality indicator 5159:Creative problem-solving 4950:Electrical system design 4806:Sonic interaction design 4717:Photographic lens design 4591:Healthy community design 4300:Vox-ATypI classification 3430:Intentionally blank page 3043:Swanson, Gunnar (2000), 2725:Stanley, Thomas Blaine. 2712:Stanley, Thomas Blaine. 1451:Supporting organizations 1328:Not to be confused with 915:, with 0.2 points extra 812: 644: 501:IBM Selectric typewriter 94:A specimen sheet of the 69:Not to be confused with 64:Typographer (typewriter) 39:latest accepted revision 6006:New product development 5971:Enterprise architecture 5899:IF Product Design Award 5858:Design Research Society 5410:Reliability engineering 3225:Encyclopædia Britannica 2467:learn.scannerlicker.net 2283:Carter, Rob; Day, Ben; 2212:Encyclopædia Britannica 2117:Eisenstein, Elizabeth L 1690:: 58–63, archived from 731:Traditionally, text is 515:. During the mid-1980s 410:individual letter tiles 6256:Philatelic terminology 5462:Top-down and bottom-up 4811:User experience design 4712:Packaging and labeling 4685:Electric guitar design 4623:Landscape architecture 3833: 3165:University of Maryland 3119:White, Alex W (1999), 2879:An Essay on Typography 2752:Glaser, C. Knight, J. 2688:Venkatesan, T (2020). 2401:Typography, Referenced 1316:continues to dwindle. 1301: 1238:displays, online, and 1190:Packaging and labeling 1135: 1038: 940: 927: 728: 460: 448:, approximately 1230. 349:second millennium B.C. 303:, is derived from the 295: 284: 132: 113: 101:capitalis monumentalis 100: 5991:Innovation management 5874:European Design Award 5640:Intellectual property 5457:Theory of constraints 5420:Responsibility-driven 5260:For manufacturability 5164:Creativity techniques 5002:Nuclear weapon design 4816:User interface design 4680:Corrugated box design 4601:Interior architecture 3178:(ISBN 9781884718069) 2943:Anatomy of a Typeface 2399:Haley, Allan (2012). 1962:Koch, Walter (1994), 1811:, London: Duckworth, 1568:Walker, Sue (2014) . 1440:East Asian typography 1412:Typographic alignment 1288: 1125: 1032: 936: 903: 722: 458: 290: 275: 123:being assembled on a 119: 106:Roman square capitals 93: 59:Art of arranging type 6036:Unintelligent design 6016:Philosophy of design 5730:Design specification 5683:Comprehensive layout 5255:For behaviour change 5228:Probabilistic design 4990:Power network design 4527:Visual merchandising 4484:Instructional design 4462:Postage stamp design 4170:Typographic features 3270:"Digital Typography" 3184:(ISBN 9780916526047) 3159:Annenberg, Maurice. 2921:Jury, David (2004), 1773:, III (in Italian), 1504:Pipes, Alan (1997), 1394:Letterpress printing 1253:promotional material 996:Royal College of Art 723:A specimen sheet by 605:is the proper term. 5956:Creative industries 5879:German Design Award 5788:Design infringement 5673:Architectural model 5012:Organization design 5007:Nucleic acid design 4955:Experimental design 4508:Traffic sign design 4295:Technical lettering 4194:Typography in other 3935:Hanging punctuation 3286:1983SciAm.249b.106B 3274:Scientific American 3207:Language enablement 2494:. 13 September 2010 2225:Dowding, Geoffrey. 1468:Type Directors Club 1342:Digital typesetting 1033:Text typeset using 485:Printing Revolution 439:wooden movable type 29:Page version status 6021:Process simulation 5996:Intelligent design 5320:Intelligence-based 5315:Integrated topside 5245:Framework-oriented 4930:Behavioural design 4801:Information design 4479:Information design 4258:Handwriting script 4185:Desktop publishing 4155:Character encoding 4148:Digital typography 3662:Horizontal aspects 3615:Visual distinction 3473:Widows and orphans 3219:"Typography" 3198:AIGA on typography 3092:The New Typography 2828:Bringhurst, Robert 2803:on 6 November 2017 2643:on 4 February 2016 2152:Martin, Henri-Jean 2052:. Needham, Joseph 2050:Paper and Printing 2046:Tsien, Tsuen-Hsuin 1908:(in German): 93–97 1905:Gutenberg-Jahrbuch 1683:Gutenberg-Jahrbuch 1388:Desktop publishing 1368:font rasterization 1360:Typeface designers 1349:character encoding 1330:Desktop publishing 1324:Digital typography 1302: 1291:William Wordsworth 1224:Kinetic typography 1136: 1082:The New York Times 1039: 928: 799:non-breaking space 729: 692:As a component of 562:period in France, 517:personal computers 469:Johannes Gutenberg 461: 363:printed item from 347:, dating from the 296: 285: 219:Personal computers 207:comic book artists 133: 114: 35: 6238: 6237: 6184: 6183: 5951:Conceptual design 5921: 5920: 5917: 5916: 5904:James Dyson Award 5760:Website wireframe 5750:Technical drawing 5624: 5623: 5472:Transgenerational 5213:Ecological design 5089:Activity-centered 5069: 5068: 5065: 5064: 5047:Spacecraft design 4841:Public art design 4779:Video game design 4757:Experience design 4727:Production design 4707:Motorcycle design 4665:Automotive design 4569:Ecological design 4447:Film title design 4342: 4341: 4089:Typographic units 4007:For position only 3906: 3905: 3758: 3757: 3151:978-2-7433-0482-9 3130:978-0-393-73034-0 3112:978-1-58115-063-6 3078:978-0-88179-034-4 3056:978-1-58115-063-6 3023:978-1-58115-063-6 2953:978-0-87923-333-4 2932:978-2-88046-798-2 2913:978-1-58115-082-7 2888:978-0-87923-950-3 2843:978-0-88179-133-4 2559:Letters of Credit 2524:978-0-226-18371-8 2492:Smashing Magazine 2410:978-1-59253-702-0 2349:. Credo Reference 2318:. Credo Reference 2196:978-0-7472-4504-9 2165:978-1-85984-108-2 2158:, London: Verso, 2134:978-0-521-29955-8 2103:978-0-8020-6041-9 2090:McLuhan, Marshall 2063:978-0-521-08690-5 2028:978-0-521-32995-8 1977:978-3-88612-114-4 1881:on 1 October 2011 1874:978-3-937527-06-2 1859:Brekle, Herbert E 1845:978-3-05-004931-1 1832:Brekle, Herbert E 1818:978-0-7156-2194-3 1777:, Quasar: 215–616 1755:978-0-393-03891-0 1674:Brekle, Herbert E 1654:978-1-118-39988-0 1621:978-3-447-06184-1 1435:Arabic typography 1429:By writing system 1167:information signs 1128:John Wilkes Booth 1013:visual impairment 694:industrial design 195:graphic designers 47:13 September 2024 26: 16:(Redirected from 6263: 6230: 6223: 6216: 6209: 6202: 6195: 5927: 5926: 5804:Geschmacksmuster 5778:Community design 5656: 5655: 5630: 5629: 5390:Process-centered 5186:Design–bid–build 5154:Cradle-to-cradle 5134:Concept-oriented 5075: 5074: 5052:Strategic design 5022:Processor design 4997:Mechanism design 4965:Geometric design 4925:Algorithm design 4865:Jewellery design 4796:Immersive design 4690:Furniture design 4635:Landscape design 4413: 4412: 4402: 4401: 4369: 4362: 4355: 4346: 4345: 4332: 4331: 4309:Related template 4241:Related articles 4042:Phototypesetting 3896:reverse-contrast 3881:Display typeface 3838: 3815:Blackletter type 3771: 3770: 3708:Vertical aspects 3689:Sentence spacing 3499:Typeface anatomy 3495: 3494: 3362: 3355: 3348: 3339: 3338: 3334: 3305: 3264: 3254: 3229: 3221: 3186: 3173: 3171: 3154: 3133: 3115: 3095: 3081: 3059: 3039: 3026: 3005: 2984: 2970: 2956: 2935: 2916: 2891: 2870: 2860: 2846: 2813: 2812: 2810: 2808: 2799:. 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Archived from 2629: 2623: 2622: 2612: 2606: 2605: 2604: 2602: 2593:, archived from 2584: 2578: 2577: 2569: 2563: 2562: 2551: 2536: 2535: 2510: 2504: 2503: 2501: 2499: 2484: 2478: 2477: 2475: 2473: 2459: 2453: 2450: 2444: 2441: 2435: 2432: 2426: 2421: 2415: 2414: 2396: 2387: 2386: 2384: 2382: 2373: 2365: 2359: 2358: 2356: 2354: 2339: 2328: 2327: 2325: 2323: 2308: 2297: 2296: 2285:Meggs, Philip B. 2280: 2274: 2273: 2261: 2252: 2251: 2249: 2247: 2236: 2230: 2223: 2217: 2216: 2206: 2200: 2199: 2188: 2175: 2169: 2168: 2144: 2138: 2137: 2126: 2113: 2107: 2106: 2086: 2080: 2074: 2068: 2067: 2042: 2036: 2035: 2011: 2005: 2004: 1998: 1987: 1981: 1980: 1959: 1950: 1949: 1937: 1928: 1927: 1916: 1910: 1909: 1899: 1890: 1889: 1888: 1886: 1877:, archived from 1855: 1849: 1848: 1828: 1822: 1821: 1804: 1798: 1797: 1785: 1779: 1778: 1765: 1759: 1758: 1738: 1732: 1731: 1702: 1696: 1695: 1670: 1659: 1658: 1638: 1629: 1628: 1607: 1601: 1600: 1590: 1584: 1583: 1565: 1559: 1558: 1551:Visible Language 1546: 1540: 1539: 1537: 1535: 1519: 1513: 1512: 1508:(2nd ed.), 1501: 1495: 1489: 1118:Display graphics 998:under Professor 959: 945: 823:In typesetting, 764:Francesco Griffo 550:, the typeface ( 415:Typography with 249: 248: 243: 242: 211:clerical workers 144:written language 103: 21: 6271: 6270: 6266: 6265: 6264: 6262: 6261: 6260: 6241: 6240: 6239: 6234: 6228: 6221: 6214: 6207: 6200: 6193: 6180: 5981:Futures studies 5932: 5913: 5862: 5821: 5770: 5764: 5650: 5649: 5620: 5526:Value sensitive 5516:User innovation 5395:Public interest 5360:Object-oriented 5080: 5061: 5042:Software design 5032:Research design 4985:Physical design 4940:Database design 4914: 4912: 4906: 4882:Property design 4877:Game art design 4831: 4825: 4748: 4741: 4656: 4649: 4606:Interior design 4557:Building design 4538: 4531: 4418: 4407: 4396: 4378: 4373: 4343: 4338: 4320: 4304: 4236: 4196:writing systems 4195: 4189: 4143: 4083: 4027:Microtypography 3966: 3902: 3864: 3841: 3809: 3766:classifications 3765: 3754: 3703: 3657: 3623:Blackboard bold 3609: 3561: 3484: 3434: 3425:Recto and verso 3371: 3366: 3216: 3194: 3189: 3169: 3167: 3158: 3152: 3136: 3131: 3118: 3113: 3098: 3089: 3084:Bringhurst 2004 3079: 3065:Tschichold, Jan 3063: 3057: 3042: 3029: 3024: 3009: 2995: 2988:McLean, Ruari. 2974: 2960: 2954: 2939: 2933: 2920: 2914: 2900:Meggs, Philip B 2894: 2889: 2873: 2864: 2844: 2822: 2820:General sources 2817: 2816: 2806: 2804: 2791: 2790: 2786: 2776: 2774: 2772:The Daily Beast 2764: 2760: 2751: 2747: 2742:. 16 June 2020. 2738: 2737: 2733: 2724: 2720: 2711: 2707: 2686: 2682: 2672: 2670: 2661: 2660: 2656: 2646: 2644: 2631: 2630: 2626: 2613: 2609: 2600: 2598: 2597:on 6 March 2010 2585: 2581: 2570: 2566: 2561:, Gordon Fraser 2552: 2539: 2525: 2511: 2507: 2497: 2495: 2486: 2485: 2481: 2471: 2469: 2461: 2460: 2456: 2451: 2447: 2442: 2438: 2433: 2429: 2422: 2418: 2411: 2397: 2390: 2380: 2378: 2371: 2367: 2366: 2362: 2352: 2350: 2341: 2340: 2331: 2321: 2319: 2310: 2309: 2300: 2291:. p. 125. 2281: 2277: 2262: 2255: 2245: 2243: 2238: 2237: 2233: 2224: 2220: 2208: 2207: 2203: 2197: 2176: 2172: 2166: 2145: 2141: 2135: 2114: 2110: 2104: 2087: 2083: 2075: 2071: 2064: 2043: 2039: 2029: 2015:Needham, Joseph 2012: 2008: 1996: 1988: 1984: 1978: 1960: 1953: 1938: 1931: 1917: 1913: 1900: 1893: 1884: 1882: 1875: 1856: 1852: 1846: 1829: 1825: 1819: 1805: 1801: 1786: 1782: 1766: 1762: 1756: 1739: 1735: 1703: 1699: 1694:on 16 July 2011 1671: 1662: 1655: 1639: 1632: 1622: 1608: 1604: 1592: 1591: 1587: 1580: 1566: 1562: 1547: 1543: 1533: 1531: 1520: 1516: 1502: 1498: 1492:Bringhurst 2004 1490: 1486: 1481: 1476: 1453: 1431: 1376: 1345: 1326: 1289:Plaque for the 1283: 1277: 1249: 1240:computer screen 1236:vending machine 1228:motion pictures 1132:Abraham Lincoln 1120: 1026: 1000:Herbert Spencer 953: 943: 845: 821: 815: 768:Claude Garamond 717: 647: 638: 615:Francis Picabia 611: 564:Claude Garamond 529: 489:Gutenberg Bible 359:, an enigmatic 270: 258:Main articles: 256: 228: 125:composing stick 110:Trajan's Column 86: 67: 60: 55: 54: 53: 52: 51: 50: 34: 22: 15: 12: 11: 5: 6269: 6259: 6258: 6253: 6236: 6235: 6233: 6232: 6225: 6218: 6211: 6204: 6197: 6189: 6186: 6185: 6182: 6181: 6179: 6178: 6173: 6168: 6163: 6158: 6153: 6148: 6143: 6138: 6133: 6128: 6123: 6118: 6113: 6108: 6103: 6098: 6093: 6088: 6083: 6082: 6081: 6076: 6066: 6061: 6056: 6049: 6048: 6046:Wicked problem 6043: 6038: 6033: 6028: 6023: 6018: 6013: 6008: 6003: 5998: 5993: 5988: 5983: 5978: 5973: 5968: 5963: 5958: 5953: 5948: 5943: 5937: 5934: 5933: 5931:Related topics 5923: 5922: 5919: 5918: 5915: 5914: 5912: 5911: 5906: 5901: 5896: 5891: 5886: 5881: 5876: 5870: 5868: 5864: 5863: 5861: 5860: 5855: 5850: 5848:Design Council 5845: 5840: 5835: 5829: 5827: 5823: 5822: 5820: 5819: 5818: 5817: 5815:European Union 5807: 5800: 5795: 5790: 5785: 5780: 5774: 5772: 5766: 5765: 5763: 5762: 5757: 5752: 5747: 5742: 5737: 5732: 5727: 5722: 5717: 5712: 5707: 5702: 5701: 5700: 5695: 5685: 5680: 5675: 5670: 5664: 5662: 5652: 5651: 5648: 5647: 5644: 5641: 5638: 5634: 5626: 5625: 5622: 5621: 5619: 5618: 5613: 5608: 5603: 5598: 5593: 5588: 5583: 5578: 5573: 5568: 5563: 5558: 5553: 5548: 5543: 5536: 5535: 5534: 5533: 5523: 5518: 5513: 5512: 5511: 5501: 5496: 5494:Usage-centered 5491: 5490: 5489: 5487:Design for All 5479: 5474: 5469: 5467:Transformation 5464: 5459: 5454: 5449: 5448: 5447: 5437: 5432: 5427: 5422: 5417: 5415:Research-based 5412: 5407: 5402: 5397: 5392: 5387: 5382: 5380:Platform-based 5377: 5372: 5367: 5362: 5357: 5352: 5347: 5342: 5337: 5332: 5330:KISS principle 5327: 5322: 5317: 5312: 5307: 5302: 5297: 5292: 5287: 5282: 5277: 5272: 5267: 5262: 5257: 5252: 5247: 5242: 5240:Fault-tolerant 5237: 5235:Error-tolerant 5232: 5231: 5230: 5220: 5218:Energy neutral 5215: 5210: 5205: 5200: 5199: 5198: 5188: 5183: 5178: 5177: 5176: 5174:Design fiction 5166: 5161: 5156: 5151: 5146: 5141: 5136: 5131: 5126: 5121: 5116: 5111: 5106: 5101: 5096: 5091: 5085: 5082: 5081: 5071: 5070: 5067: 5066: 5063: 5062: 5060: 5059: 5057:Systems design 5054: 5049: 5044: 5039: 5034: 5029: 5027:Protein design 5024: 5019: 5017:Process design 5014: 5009: 5004: 4999: 4994: 4993: 4992: 4987: 4982: 4980:Circuit design 4972: 4967: 4962: 4957: 4952: 4947: 4942: 4937: 4932: 4927: 4921: 4919: 4908: 4907: 4905: 4904: 4902:Textile design 4899: 4894: 4889: 4884: 4879: 4874: 4869: 4868: 4867: 4862: 4860:Costume design 4855:Fashion design 4852: 4843: 4837: 4835: 4827: 4826: 4824: 4823: 4818: 4813: 4808: 4803: 4798: 4793: 4788: 4783: 4782: 4781: 4776: 4766: 4765: 4764: 4753: 4751: 4743: 4742: 4740: 4739: 4737:Service design 4734: 4732:Sensory design 4729: 4724: 4722:Product design 4719: 4714: 4709: 4704: 4699: 4698: 4697: 4687: 4682: 4677: 4672: 4667: 4661: 4659: 4651: 4650: 4648: 4647: 4642: 4640:Spatial design 4637: 4632: 4631: 4630: 4620: 4618:Keyline design 4615: 4614: 4613: 4603: 4598: 4593: 4588: 4587: 4586: 4584:Computer-aided 4576: 4571: 4566: 4565: 4564: 4554: 4549: 4543: 4541: 4533: 4532: 4530: 4529: 4524: 4519: 4510: 4501: 4496: 4491: 4486: 4481: 4476: 4471: 4470: 4469: 4464: 4459: 4452:Graphic design 4449: 4444: 4442:Exhibit design 4439: 4434: 4429: 4423: 4421: 4409: 4408: 4398: 4397: 4395: 4394: 4389: 4383: 4380: 4379: 4372: 4371: 4364: 4357: 4349: 4340: 4339: 4337: 4336: 4325: 4322: 4321: 4319: 4318: 4312: 4310: 4306: 4305: 4303: 4302: 4297: 4292: 4287: 4282: 4277: 4272: 4267: 4266: 4265: 4260: 4255: 4244: 4242: 4238: 4237: 4235: 4234: 4233: 4232: 4230:National Fonts 4222: 4217: 4216: 4215: 4205: 4199: 4197: 4191: 4190: 4188: 4187: 4182: 4177: 4175:Web typography 4172: 4167: 4162: 4157: 4151: 4149: 4145: 4144: 4142: 4141: 4136: 4135: 4134: 4124: 4119: 4114: 4109: 4104: 4099: 4093: 4091: 4085: 4084: 4082: 4081: 4080: 4079: 4069: 4064: 4059: 4054: 4052:Reversing type 4049: 4044: 4039: 4034: 4029: 4024: 4019: 4014: 4009: 4004: 3999: 3998: 3997: 3992: 3982: 3976: 3974: 3968: 3967: 3965: 3964: 3959: 3954: 3949: 3948: 3947: 3937: 3932: 3927: 3921: 3919: 3908: 3907: 3904: 3903: 3901: 3900: 3899: 3898: 3893: 3888: 3878: 3872: 3870: 3866: 3865: 3863: 3862: 3857: 3851: 3849: 3843: 3842: 3840: 3839: 3830: 3825: 3819: 3817: 3811: 3810: 3808: 3807: 3802: 3801: 3800: 3795: 3790: 3779: 3777: 3768: 3760: 3759: 3756: 3755: 3753: 3752: 3747: 3742: 3737: 3732: 3727: 3722: 3717: 3711: 3709: 3705: 3704: 3702: 3701: 3696: 3691: 3686: 3681: 3679:Letter-spacing 3676: 3671: 3665: 3663: 3659: 3658: 3656: 3655: 3650: 3645: 3640: 3635: 3633:Color printing 3630: 3625: 3619: 3617: 3611: 3610: 3608: 3607: 3602: 3597: 3592: 3587: 3582: 3577: 3571: 3569: 3567:Capitalization 3563: 3562: 3560: 3559: 3554: 3549: 3544: 3539: 3534: 3529: 3524: 3519: 3514: 3509: 3503: 3501: 3492: 3486: 3485: 3483: 3482: 3481: 3480: 3470: 3465: 3460: 3455: 3450: 3444: 3442: 3436: 3435: 3433: 3432: 3427: 3422: 3417: 3412: 3407: 3405:Page numbering 3402: 3397: 3392: 3387: 3381: 3379: 3373: 3372: 3365: 3364: 3357: 3350: 3342: 3336: 3335: 3306: 3265: 3230: 3214: 3204: 3193: 3192:External links 3190: 3188: 3187: 3156: 3150: 3134: 3129: 3116: 3111: 3096: 3087: 3077: 3061: 3055: 3040: 3027: 3022: 3007: 2993: 2986: 2972: 2958: 2952: 2937: 2931: 2918: 2912: 2896:Heller, Steven 2892: 2887: 2871: 2862: 2848: 2842: 2823: 2821: 2818: 2815: 2814: 2784: 2758: 2745: 2731: 2718: 2705: 2680: 2654: 2624: 2621:, vol. 10 2607: 2579: 2564: 2537: 2523: 2505: 2479: 2454: 2445: 2436: 2427: 2416: 2409: 2388: 2360: 2329: 2298: 2275: 2270:New York Times 2253: 2231: 2218: 2201: 2195: 2170: 2164: 2148:Febvre, Lucien 2139: 2133: 2108: 2102: 2081: 2069: 2062: 2037: 2027: 2006: 1982: 1976: 1951: 1944:(in Italian), 1929: 1911: 1891: 1873: 1850: 1844: 1823: 1817: 1799: 1780: 1760: 1754: 1742:Diamond, Jared 1733: 1721:10.1086/371517 1697: 1660: 1653: 1630: 1620: 1602: 1593:"Typography". 1585: 1578: 1560: 1541: 1514: 1496: 1483: 1482: 1480: 1477: 1475: 1472: 1471: 1470: 1465: 1460: 1452: 1449: 1448: 1447: 1442: 1437: 1430: 1427: 1426: 1425: 1420: 1415: 1409: 1403: 1397: 1391: 1384: 1383: 1375: 1372: 1354:Web typography 1325: 1322: 1310:letter-carvers 1276: 1273: 1248: 1245: 1244: 1243: 1221: 1215: 1212: 1207: 1200: 1195: 1192: 1187: 1178: 1173: 1160: 1157: 1154:Advertisements 1144:graphic design 1140:negative space 1119: 1116: 1043:letter-spacing 844: 841: 817:Main article: 814: 811: 760:Nicolas Jenson 725:William Caslon 716: 715:Text typefaces 713: 705: 704: 701:e. e. cummings 697: 690: 687: 681: 678: 675: 672: 646: 643: 637: 634: 610: 607: 528: 525: 481:letter punches 465:printing press 446:Goryeo Dynasty 373:Herbert Brekle 353:cylinder seals 255: 252: 227: 224: 175:letter spacing 140:arranging type 131:shown below it 58: 36: 30: 27: 25: 9: 6: 4: 3: 2: 6268: 6257: 6254: 6252: 6249: 6248: 6246: 6231: 6226: 6224: 6219: 6217: 6212: 6210: 6205: 6203: 6198: 6196: 6191: 6190: 6187: 6177: 6174: 6172: 6169: 6167: 6164: 6162: 6161:specification 6159: 6157: 6154: 6152: 6149: 6147: 6144: 6142: 6139: 6137: 6134: 6132: 6129: 6127: 6124: 6122: 6119: 6117: 6114: 6112: 6109: 6107: 6104: 6102: 6099: 6097: 6094: 6092: 6089: 6087: 6084: 6080: 6077: 6075: 6074:architectural 6072: 6071: 6070: 6067: 6065: 6062: 6060: 6057: 6055: 6051: 6050: 6047: 6044: 6042: 6041:Visualization 6039: 6037: 6034: 6032: 6029: 6027: 6024: 6022: 6019: 6017: 6014: 6012: 6009: 6007: 6004: 6002: 5999: 5997: 5994: 5992: 5989: 5987: 5984: 5982: 5979: 5977: 5974: 5972: 5969: 5967: 5964: 5962: 5961:Cultural icon 5959: 5957: 5954: 5952: 5949: 5947: 5944: 5942: 5939: 5938: 5935: 5928: 5924: 5910: 5907: 5905: 5902: 5900: 5897: 5895: 5892: 5890: 5887: 5885: 5882: 5880: 5877: 5875: 5872: 5871: 5869: 5865: 5859: 5856: 5854: 5851: 5849: 5846: 5844: 5841: 5839: 5836: 5834: 5831: 5830: 5828: 5826:Organizations 5824: 5816: 5813: 5812: 5811: 5808: 5806: 5805: 5801: 5799: 5796: 5794: 5793:Design patent 5791: 5789: 5786: 5784: 5783:Design around 5781: 5779: 5776: 5775: 5773: 5767: 5761: 5758: 5756: 5753: 5751: 5748: 5746: 5743: 5741: 5738: 5736: 5733: 5731: 5728: 5726: 5723: 5721: 5718: 5716: 5713: 5711: 5708: 5706: 5703: 5699: 5696: 5694: 5691: 5690: 5689: 5686: 5684: 5681: 5679: 5676: 5674: 5671: 5669: 5666: 5665: 5663: 5661: 5657: 5653: 5645: 5643:Organizations 5642: 5639: 5636: 5635: 5631: 5627: 5617: 5614: 5612: 5609: 5607: 5604: 5602: 5599: 5597: 5594: 5592: 5589: 5587: 5584: 5582: 5579: 5577: 5574: 5572: 5569: 5567: 5564: 5562: 5559: 5557: 5554: 5552: 5549: 5547: 5544: 5542: 5538: 5537: 5532: 5529: 5528: 5527: 5524: 5522: 5519: 5517: 5514: 5510: 5507: 5506: 5505: 5504:User-centered 5502: 5500: 5497: 5495: 5492: 5488: 5485: 5484: 5483: 5480: 5478: 5475: 5473: 5470: 5468: 5465: 5463: 5460: 5458: 5455: 5453: 5452:Tableless web 5450: 5446: 5443: 5442: 5441: 5438: 5436: 5433: 5431: 5428: 5426: 5423: 5421: 5418: 5416: 5413: 5411: 5408: 5406: 5403: 5401: 5398: 5396: 5393: 5391: 5388: 5386: 5383: 5381: 5378: 5376: 5375:Participatory 5373: 5371: 5368: 5366: 5363: 5361: 5358: 5356: 5353: 5351: 5348: 5346: 5343: 5341: 5338: 5336: 5333: 5331: 5328: 5326: 5323: 5321: 5318: 5316: 5313: 5311: 5308: 5306: 5303: 5301: 5298: 5296: 5293: 5291: 5288: 5286: 5283: 5281: 5278: 5276: 5273: 5271: 5268: 5266: 5265:For Six Sigma 5263: 5261: 5258: 5256: 5253: 5251: 5248: 5246: 5243: 5241: 5238: 5236: 5233: 5229: 5226: 5225: 5224: 5221: 5219: 5216: 5214: 5211: 5209: 5208:Domain-driven 5206: 5204: 5201: 5197: 5196:architect-led 5194: 5193: 5192: 5189: 5187: 5184: 5182: 5179: 5175: 5172: 5171: 5170: 5167: 5165: 5162: 5160: 5157: 5155: 5152: 5150: 5147: 5145: 5142: 5140: 5139:Configuration 5137: 5135: 5132: 5130: 5127: 5125: 5122: 5120: 5117: 5115: 5112: 5110: 5107: 5105: 5104:Brainstorming 5102: 5100: 5097: 5095: 5092: 5090: 5087: 5086: 5083: 5076: 5072: 5058: 5055: 5053: 5050: 5048: 5045: 5043: 5040: 5038: 5037:Social design 5035: 5033: 5030: 5028: 5025: 5023: 5020: 5018: 5015: 5013: 5010: 5008: 5005: 5003: 5000: 4998: 4995: 4991: 4988: 4986: 4983: 4981: 4978: 4977: 4976: 4973: 4971: 4968: 4966: 4963: 4961: 4960:Filter design 4958: 4956: 4953: 4951: 4948: 4946: 4943: 4941: 4938: 4936: 4935:Boiler design 4933: 4931: 4928: 4926: 4923: 4922: 4920: 4918: 4909: 4903: 4900: 4898: 4895: 4893: 4890: 4888: 4887:Scenic design 4885: 4883: 4880: 4878: 4875: 4873: 4872:Floral design 4870: 4866: 4863: 4861: 4858: 4857: 4856: 4853: 4851: 4847: 4844: 4842: 4839: 4838: 4836: 4834: 4828: 4822: 4819: 4817: 4814: 4812: 4809: 4807: 4804: 4802: 4799: 4797: 4794: 4792: 4789: 4787: 4784: 4780: 4777: 4775: 4772: 4771: 4770: 4767: 4763: 4760: 4759: 4758: 4755: 4754: 4752: 4750: 4744: 4738: 4735: 4733: 4730: 4728: 4725: 4723: 4720: 4718: 4715: 4713: 4710: 4708: 4705: 4703: 4700: 4696: 4693: 4692: 4691: 4688: 4686: 4683: 4681: 4678: 4676: 4673: 4671: 4668: 4666: 4663: 4662: 4660: 4658: 4652: 4646: 4643: 4641: 4638: 4636: 4633: 4629: 4626: 4625: 4624: 4621: 4619: 4616: 4612: 4609: 4608: 4607: 4604: 4602: 4599: 4597: 4594: 4592: 4589: 4585: 4582: 4581: 4580: 4579:Garden design 4577: 4575: 4572: 4570: 4567: 4563: 4562:Passive solar 4560: 4559: 4558: 4555: 4553: 4550: 4548: 4545: 4544: 4542: 4540: 4537:Environmental 4534: 4528: 4525: 4523: 4520: 4518: 4514: 4511: 4509: 4505: 4502: 4500: 4499:Retail design 4497: 4495: 4492: 4490: 4487: 4485: 4482: 4480: 4477: 4475: 4472: 4468: 4465: 4463: 4460: 4458: 4455: 4454: 4453: 4450: 4448: 4445: 4443: 4440: 4438: 4435: 4433: 4430: 4428: 4425: 4424: 4422: 4420: 4417:Communication 4414: 4410: 4403: 4399: 4393: 4390: 4388: 4385: 4384: 4381: 4377: 4370: 4365: 4363: 4358: 4356: 4351: 4350: 4347: 4335: 4327: 4326: 4323: 4317: 4314: 4313: 4311: 4307: 4301: 4298: 4296: 4293: 4291: 4288: 4286: 4283: 4281: 4278: 4276: 4273: 4271: 4268: 4264: 4261: 4259: 4256: 4254: 4251: 4250: 4249: 4246: 4245: 4243: 4239: 4231: 4228: 4227: 4226: 4223: 4221: 4218: 4214: 4211: 4210: 4209: 4206: 4204: 4201: 4200: 4198: 4192: 4186: 4183: 4181: 4180:Bézier curves 4178: 4176: 4173: 4171: 4168: 4166: 4165:Rasterization 4163: 4161: 4158: 4156: 4153: 4152: 4150: 4146: 4140: 4137: 4133: 4130: 4129: 4128: 4125: 4123: 4120: 4118: 4115: 4113: 4110: 4108: 4105: 4103: 4100: 4098: 4095: 4094: 4092: 4090: 4086: 4078: 4075: 4074: 4073: 4070: 4068: 4065: 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527:Evolution 435:Wang Zhen 403:Byzantine 282:Wang Zhen 230:The word 226:Etymology 159:typefaces 155:appealing 129:type case 6208:Wikinews 6141:paradigm 6121:language 6101:engineer 6096:elements 6086:director 5771:property 5616:thinking 5606:strategy 5591:research 5551:controls 5509:Empathic 5440:Systemic 5400:Rational 5355:New Wave 5169:Critical 4392:Designer 4334:Category 4213:PT Fonts 4208:Cyrillic 4072:Typeface 3990:computer 3891:fat face 3764:Typeface 3750:x-height 3720:Baseline 3715:Ascender 3575:All caps 3537:Rotation 3532:Ligature 3527:Ink trap 3331:57565647 3302:24968970 3067:(1991), 2902:(2001), 2830:(2004), 2618:Baseline 2557:(1986), 2294:process. 2287:(2012). 2181:(2002), 2154:(1997), 2119:(1980), 2092:(1962), 2048:(1985). 2017:(1994). 1885:22 April 1861:(2005), 1676:(1997), 1374:See also 1242:displays 1210:Graffiti 1098:masthead 1004:saccadic 978:dyslexia 917:tracking 787:phonetic 733:composed 680:Clothing 603:typeface 587:typeface 548:printing 513:Letraset 505:Letraset 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