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.

1278: 893: 1115: 762:. 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. 712: 265: 633:

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.

83: 515:. 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. 448: 550:. 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 4322: 1022: 109: 1037:, 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. 926:"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. 1138:. 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. 1251:. 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 1045:, 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 1015:) 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. 1262:

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

742:, 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 1311:

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.

855:. 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. 968:

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.

433:. 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. 861:

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.

877:, 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. 1983: 444:

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

964:. Justified copy must be adjusted tightly during typesetting to prevent loss of readability, something beyond the capabilities of typical personal computers. 531:

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

471:, suited printing purposes so well that the alloy is still used today. Gutenberg developed specialized techniques for casting and combining cheap copies of 3907: 641:

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.

419:(990–1051). His movable type system was manufactured from ceramic materials, and clay type printing continued to be practiced in China until the 404:

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

2479: 5806: 1454: 1826:(2010), "Herstellungstechniken von Inschriften auf römischen Wasserleitungsrohren aus Blei", in Hanneforth, Thomas; Fanselow, Gisbert (eds.), 4281: 1932:

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,

1007:, typefaces and case selection for highway and street signs, or for other conditions where legibility may make a key difference. 994:

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.

343:, may be evidence of type, wherein the reuse of identical characters was applied to create cuneiform text. Babylonian 5834: 2823: 2257: 1569: 201:, and, now, anyone who arranges words, letters, numbers, and symbols for publication, display, or distribution, from 2624: 6065: 5684: 4358: 2909:. A compilation of more than fifty texts on the history, practice, and aesthetics of typeface design and typography 1854: 1669: 827:

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,

605:"Experimental typography" is defined as the unconventional and more artistic approach to typeface selection. 251: 2731: 823:, and depth of the margins. Text layout, tone, or color of the set text, and the interplay of text with the 5706: 5689: 5411: 5251: 4686: 4602: 4575: 4161: 4123: 1409: 382: 1374:, different representations of the same grapheme or character in different typefaces have the same meaning 5003: 4565: 4307: 3376: 3091:

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

957: 386: 360: 327:, which ties the concept to printing. The uneven spacing of the impressions on brick stamps found in the 34: 6198: 6070: 5932: 5844: 5214: 4753: 3887: 371: 2202: 511:

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.

676: 97: 3074:. A comprehensive collection of essays on the typographic art. A more classic companion to 6152: 6007: 5967: 5721: 5674: 5495: 5443: 5366: 5356: 5256: 5219: 5199: 5130: 5120: 4528: 4518: 4475: 4453: 4408: 4351: 4003: 3644: 3498: 3273: 2586: 1385: 1244: 987: 892: 426: 273: 3210: 8: 6242: 5947: 5870: 5779: 5664: 5512: 5490: 5396: 5376: 5241: 5100: 5085: 4998: 4765: 4718: 4499: 4325: 4286: 4199: 4093: 3948: 3926: 3916: 3784: 3391: 3381: 3337: 2609: 1859:(brief summary) (in German), Regensburg: Scriptorium Verlag für Kultur und Wissenschaft, 1459: 1333: 1078: 794: 476: 312: 308: 3277: 3086:. Richard Hendel, Robin Kinross, Ruari McLean. Berkeley: University of California Press. 1894:

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

532: 430: 394: 269: 120: 108: 2048:. Vol. 5 part 1. Cambridge University Press. pp. 201–217. 5336: 4383: 4204: 4063: 3882: 3755: 3741: 3566: 3518: 3130:

Lexique des règles typographiques en usage à l'Imprimerie nationale

2988:

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

2625:"Typography: Often invisible, always essential | Insights | Larsen" 1712: 1591:. Vol. XI (T–U). Oxford University Press. 1933. p. T 560. 1201: 1172: 1126:) printed with lead and woodcut type, and incorporating photography 1085: 1084:

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

995: 969: 778: 661: 578: 539: 523:

The design of typefaces has developed alongside the development of

504: 496: 416: 390: 375: 320: 150: 74: 3189: 3094:

Graphic Design and Reading: explorations of an uneasy relationship

3038:

Graphic Design and Reading: explorations of an uneasy relationship

3005:

Graphic Design and Reading: explorations of an uneasy relationship

2655:"What Is Typography? | The Importance of Typography in Web Design" 2291: 960:, straight right hand edge) vs. ragged right, and whether text is 688:—type on household appliances, pens, and wristwatches, for example 5957: 5885: 5625: 4495: 4028: 3814: 3665: 3576: 3508: 3444: 3209: 1992: 1286: 1029:

typesetting software, often used for academic papers and journals

904: 820: 735: 547: 441: 170: 3134:

Lexicography of the typographic rules used at the National press

758:(a punchcutter who created the model for Aldine typefaces), and 585:(the various styles of a single typeface) occurred in 1984 when 479:

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

363:

were created with movable type printing, but German typographer

5716: 4367: 3931: 3548: 2859:

Finer Points in the Spacing and Arrangement of the Printed Word

1736:(1997), "13: Necessity's Mother: The evolution of technology", 1167: 961: 782: 352: 272:

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

146: 1962:(in German), vol. 14, München: Hilfsmittel, p. 213, 4428: 3774: 3513: 3481: 3329: 3174:

A Typographical Journey through the Inland Printer, 1883-1900

3153:"Collection: Maurice Annenberg papers | Archival Collections" 2760:"Stone Carver Nick Benson Gives Eternity a Run for Its Money" 1788:] (in Italian) (2nd ed.), Rome: Art Studio S. Eligio 1448: 1252: 1026: 1012: 732: 731:

Choice of typefaces is the primary aspect of text typography—

566: 468: 379: 356: 336: 284: 237: 231: 3113:

Type in Use – Effective typography for electronic publishing

2329: 2327: 2325: 1266: 691:

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

279: 5468: 4130: 3976: 3921: 3061:

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

2480:"Expressive Web Typography: Useful Examples and Techniques" 1670:"Das typographische Prinzip. Versuch einer Begriffsklärung" 1388: – Technique of relief printing using a printing press 1195: 1154: 610: 582: 464: 332: 149:

when displayed. The arrangement of type involves selecting

455:

Modern lead-based movable type, along with the mechanical

436:

Metal movable type was first invented in Korea during the

4336: 3030:] (in Catalan) (2nd rev ed.), Barcelona: Columna 2322: 2231: 613:

pioneer of this practice in the early twentieth century.

488: 3231:

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

2828:(3rd ed.), Point Roberts, WA: Hartley & Marks, 2148:

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

1061:

to create customized typefaces for their exclusive use.

2062: 2011:

The Shorter Science and Civilisation in China, Volume 4

1477: 1305: 3115:(2.0 ed.), New York: W. W. Norton & Company, 2582:

Which Are More Legible: Serif or Sans Serif Typefaces?

2566:

Designing with Type, the Essential Guide to Typography

834: 54:"Typographer" redirects here. For the typewriter, see 2861:(2nd ed.). Point Roberts, WA: Hartley and Marks. 1889: 1887: 2557: 2086:

The Gutenberg Galaxy: The Making of Typographic Man

1914:(1906), "Die Prüfeninger Weiheinschrift von 1119", 2994:Style manual. The redaction & edition of texts 2973:Orthography and orthotypography of current Spanish 2687:Psychology of Aesthetics, Creativity, and the Arts 2308:Credo Reference/The Crystal Reference Encyclopedia 2174: 2112: 1786:The aqueducts of Rome and the aqueduct of Frontino 1782:Gli acquedotti di Roma e il Aquaeductu di Frontino 1738:Guns, Germs, and Steel: The Fates of Human Society 2251: 2249: 1884: 1632: 1394: – Marks to indicate pacing of written text 1148:in publications, such as newspapers and magazines 703:mobile phone screens, and hand-held video games. 6234: 2990:Manual d'estil. La redacció i l'edició de textos 2232:"Lorem Ipsum - All the facts - Lipsum generator" 2219:An Introduction to the History of Printing Types 1697:Schwartz, Benjamin (1959), "The Phaistos disk", 624:ideas, hence considered bordering on being art. 90:typeface, which is based on the letter forms of 3136:] (in French), Imprimerie nationale, 2002, 2843:Ch'on, Hye-bong (1993), "Typography in Korea", 1927: 1925: 801:(;) in a sentence, while in English it is not. 3168:Type Foundries of America and Their Catalogues 2975:] (in Spanish) (2nd ed.), Gijón: Trea 2969:Ortografía y ortotipografía del español actual 2961:] (in Spanish) (3rd ed.), Gijón: Trea 2896:Texts on Type: Critical Writings on Typography 2607:Reynolds, Linda (1988), "Legibility of Type", 2274: 2246: 1455:International Society of Typographic Designers 1157:and other large-scale-letter designs, such as 1103:Typography utilized to make reading practical: 4352: 4282:Intellectual property protection of typefaces 3345: 2088:(1st ed.), University of Toronto Press, 1893: 1606:. Harrassowitz Verlag. pp. 11, 20, 160. 1522:. Creative Publishing Network and CreativePro 1382: – Page layout using a personal computer 600: 3824: 2915:About Face: Reviving the Rules of Typography 2541: 2539: 2537: 2535: 2533: 2194: 2138: 1922: 1660: 1658: 1656: 1507: 839:Three fundamental aspects of typography are 459:, is most often attributed to the goldsmith 307:'to write', traces its origins to the first 2353: 1949: 1947: 1726: 1633:Clair, Kate; Busic-Snyder, Cynthia (2012). 1601: 1442: 283:Korean movable type from 1377 used for the 209:, typography was a specialized occupation. 91: 15: 4359: 4345: 3352: 3338: 3259: 3075: 2982:The Thames and Hudson Manual of Typography 2818: 2679: 2563: 2409: 2281:Typographic Design: Form and Communication 2255: 2107: 2013:. Cambridge University Press. p. 14. 1639:. John Wiley & Sons. pp. 4, 123. 1595: 1483: 719:shows printed examples of Roman typefaces. 16: 4308:Punctuation and other typographic symbols 3242: 2842: 2530: 2504: 2339:Credo Reference/The Columbia Encyclopedia 2068: 1653: 1602:Sass, Benjamin; Marzahn, Joachim (2010). 1267:Inscriptional and architectural lettering 1243:Typography has long been a vital part of 1096:Typography utilized to characterize text: 765:Typesetting conventions are modulated by 411:was invented during the eleventh-century 5876:Good Design Award (Museum of Modern Art) 3224: 3220:(11th ed.). 1911. pp. 509–548. 2746:When Typography Speaks Louder Than Words 2606: 2386: 2384: 2115:The Printing Press as an Agent of Change 1944: 1931: 1763:Memorie della Reale Accademia dei Lincei 1759: 1696: 1276: 1113: 1020: 891: 710: 446: 278: 263: 107: 104:, from which the typeface takes its name 100:used for the inscription at the base of 81: 24:This is an accepted version of this page 3300: 2873:, Boston: David R Godine, p. 188, 2719:The Technique of Advertising Production 2708:. New York: Prentice-Hall, 1940. p. 40. 2706:The Technique of Advertising Production 2080: 2005: 1999: 1732: 1628: 1626: 1186:Business communications and advertising 1033:Readability also may be compromised by 14: 6235: 3260:Bigelow, Charles; Day, Donald (1983). 2955:Manual de estilo de la lengua española 2221:. London: Oak Knoll Press, 1998. p. 3. 1981: 1849: 1822: 1664: 1559: 463:in 1439. His type pieces, made from a 387:altarpiece of patriarch Pellegrinus II 5921: 5881:Good Design Award (Chicago Athenaeum) 5624: 5069: 4396: 4340: 3333: 3225:McCarthy, Steven (17 December 2020). 2757: 2545: 2390: 2381: 2036: 1798: 1513: 1495: 1315: 1118:Nineteenth century wanted poster for 773:, word structures, word frequencies, 3205:Internationalization (i18n) Activity 2984:. New York: Thames and Hudson, 1992. 2959:Style manual of the Spanish language 2732:"Brand Typography: A Complete Guide" 2505:Eckersley, Richard (1994), "Color", 2395:. Beverly, MA: Rockport Publishers. 2256:Rothenberg, Randall (23 July 1990). 1953: 1918:(in German), Freiburg i. Br.: Herder 1910: 1779: 1623: 1540: 1420: 1151:Magazine and newspaper headline type 938:vs. sans-serif type, roman type vs. 669:Display typography (described below) 119:using pieces that are stored in the 2258:"Computers Change the Face of Type" 2169: 1109: 835:Principles of the typographic craft 303:'form' or "impression" and γράφειν 48: 5922: 5825:American Institute of Graphic Arts 3286:10.1038/scientificamerican0883-106 3194:American Institute of Graphic Arts 3063:, Vancouver: Hartley & Marks, 2811: 2046:Science and Civilization in China: 2030: 1801:Roman Aqueducts & Water Supply 538:In the nascent stages of European 256:History of typography in East Asia 49: 6259: 5835:Design and Industries Association 3183: 2917:, Mies, Switzerland: Rotovision, 2825:The Elements of Typographic Style 2578: 1514:Berry, John D. (16 August 2004). 911:using an extract of a lecture by 706: 4321: 4320: 3227:"Digital Typography at Stanford" 3022:Pujol, JM; i Solà, Joan (2000), 2953:Martínez de Sousa, José (2007), 2721:. New York: Prentice-Hall, 1940. 1498:Production For Graphic Designers 1141:Display typography encompasses: 1122:(the assassin of U.S. President 389:(1195–1204) in the cathedral of 4397: 2777: 2758:Jones, Malcolm (30 June 2018). 2751: 2738: 2724: 2711: 2698: 2673: 2647: 2617: 2600: 2572: 2498: 2472: 2447: 2438: 2429: 2420: 2268: 2224: 2211: 2163: 2132: 2101: 2074: 1975: 1904: 1843: 1816: 1792: 1773: 1753: 1700:Journal of Near Eastern Studies 1690: 1564:. London, New York: Routledge. 1516:"dot-font: Being a Typographer" 1057:, go so far as to commission a 400:. Other early examples include 185:Typography is also the work of 171:spaces between pairs of letters 5830:Chartered Society of Designers 5070: 3359: 2967:——— (2008), 2119:, Cambridge University Press, 1982:——— (2011), 1740:, W. W. Norton & Company, 1578: 1553: 1534: 1489: 1415:Category:Typographical symbols 1285:Sesquicentenary, Rydal Mount, 1238: 916:The English Renaissance of Art 367:recently dismissed this view. 13: 1: 5901:Prince Philip Designers Prize 4544:Architectural lighting design 4277:History of Western typography 2938:, David R. Godine Publisher, 2568:(5th ed.), Watson Guptil 2507:Glossary of Typesetting Terms 2361:"The Evolution of Typography" 1960:Monumenta Germaniae Historica 1588:The Oxford English Dictionary 1465: 1437:History of Western typography 1354:also have new tools, such as 649:, and typefaces) and manual ( 627: 252:History of Western typography 5707:Electronic design automation 5690:Virtual home design software 4662:Automotive suspension design 4124:traditional point-size names 3272:(2 (August 1983)): 106–119. 3097:, New York: Allworth Press, 3041:, New York: Allworth Press, 3008:, New York: Allworth Press, 2898:, New York: Allworth Press, 2564:Craig, J; Scala, IK (2006), 1470: 1410:List of typographic features 1198:, trademarks, and word marks 789:it is customary to insert a 518: 383:Pruefening Abbey inscription 378:print artifacts such as the 361:Roman lead pipe inscriptions 217: 130:is the art and technique of 7: 4566:Environmental impact design 3377:Canons of page construction 3309:(3 (Autumn, 2000)): 19–34. 3244:10.1016/j.sheji.2020.08.006 3237:(4, Winter 2020): 546–560. 2181:, London: Headline Review, 1780:Pace, Pietrantonio (1986), 1365: 429:was one of the pioneers of 370:The essential criterion of 10: 6264: 5845:International Forum Design 5215:Engineering design process 4366: 2932:Lawson, Alexander (1990), 2857:Dowding, Geoffrey (1999). 1319: 1270: 1130:Type may be combined with 972:, continue to be debated. 808: 781:constructs and linguistic 601:Experimental typeface uses 495:). During the same period 268:A revolving type case for 249: 245: 238: 232: 226:in English comes from the 60: 53: 6180: 5928: 5917: 5858: 5817: 5760: 5650: 5646: 5620: 5076: 5065: 4967:Integrated circuit design 4902: 4889:Stage/set lighting design 4821: 4778:Hardware interface design 4737: 4694:Hardware interface design 4645: 4527: 4407: 4403: 4392: 4374: 4316: 4300: 4232: 4185: 4139: 4079: 3962: 3902: 3860: 3837: 3805: 3765: 3754: 3699: 3653: 3605: 3557: 3534:Subscript and superscript 3489: 3480: 3430: 3367: 3315:10.1162/07479360052053306 3203:World Wide Web Consortium 3082:Tschichold, Jan (2006) . 2789:History of Graphic Design 1799:Hodge, A. Trevor (1992), 984:Readability of Print Unit 681:Vehicle instrument panels 5802:Industrial design rights 5790:Fashion design copyright 5702:Design quality indicator 5151:Creative problem-solving 4942:Electrical system design 4798:Sonic interaction design 4709:Photographic lens design 4583:Healthy community design 4292:Vox-ATypI classification 3422:Intentionally blank page 3035:Swanson, Gunnar (2000), 2717:Stanley, Thomas Blaine. 2704:Stanley, Thomas Blaine. 1443:Supporting organizations 1320:Not to be confused with 907:, with 0.2 points extra 804: 636: 493:IBM Selectric typewriter 86:A specimen sheet of the 61:Not to be confused with 56:Typographer (typewriter) 31:latest accepted revision 5998:New product development 5963:Enterprise architecture 5891:IF Product Design Award 5850:Design Research Society 5402:Reliability engineering 3217:Encyclopædia Britannica 2459:learn.scannerlicker.net 2275:Carter, Rob; Day, Ben; 2204:Encyclopædia Britannica 2109:Eisenstein, Elizabeth L 1682:: 58–63, archived from 723:Traditionally, text is 507:. During the mid-1980s 402:individual letter tiles 6248:Philatelic terminology 5454:Top-down and bottom-up 4803:User experience design 4704:Packaging and labeling 4677:Electric guitar design 4615:Landscape architecture 3825: 3157:University of Maryland 3111:White, Alex W (1999), 2871:An Essay on Typography 2744:Glaser, C. Knight, J. 2680:Venkatesan, T (2020). 2393:Typography, Referenced 1308:continues to dwindle. 1293: 1230:displays, online, and 1182:Packaging and labeling 1127: 1030: 932: 919: 720: 452: 440:, approximately 1230. 341:second millennium B.C. 295:, is derived from the 287: 276: 124: 105: 93:capitalis monumentalis 92: 5983:Innovation management 5866:European Design Award 5632:Intellectual property 5449:Theory of constraints 5412:Responsibility-driven 5252:For manufacturability 5156:Creativity techniques 4994:Nuclear weapon design 4808:User interface design 4672:Corrugated box design 4593:Interior architecture 3170:(ISBN 9781884718069) 2935:Anatomy of a Typeface 2391:Haley, Allan (2012). 1954:Koch, Walter (1994), 1803:, London: Duckworth, 1560:Walker, Sue (2014) . 1432:East Asian typography 1404:Typographic alignment 1280: 1117: 1024: 928: 895: 714: 450: 282: 267: 115:being assembled on a 111: 98:Roman square capitals 85: 51:Art of arranging type 6028:Unintelligent design 6008:Philosophy of design 5722:Design specification 5675:Comprehensive layout 5247:For behaviour change 5220:Probabilistic design 4982:Power network design 4519:Visual merchandising 4476:Instructional design 4454:Postage stamp design 4162:Typographic features 3262:"Digital Typography" 3176:(ISBN 9780916526047) 3151:Annenberg, Maurice. 2913:Jury, David (2004), 1765:, III (in Italian), 1496:Pipes, Alan (1997), 1386:Letterpress printing 1245:promotional material 988:Royal College of Art 715:A specimen sheet by 597:is the proper term. 5948:Creative industries 5871:German Design Award 5780:Design infringement 5665:Architectural model 5004:Organization design 4999:Nucleic acid design 4947:Experimental design 4500:Traffic sign design 4287:Technical lettering 4186:Typography in other 3927:Hanging punctuation 3278:1983SciAm.249b.106B 3266:Scientific American 3199:Language enablement 2486:. 13 September 2010 2217:Dowding, Geoffrey. 1460:Type Directors Club 1334:Digital typesetting 1025:Text typeset using 477:Printing Revolution 431:wooden movable type 21:Page version status 6013:Process simulation 5988:Intelligent design 5312:Intelligence-based 5307:Integrated topside 5237:Framework-oriented 4922:Behavioural design 4793:Information design 4471:Information design 4250:Handwriting script 4177:Desktop publishing 4147:Character encoding 4140:Digital typography 3654:Horizontal aspects 3607:Visual distinction 3465:Widows and orphans 3211:"Typography" 3190:AIGA on typography 3084:The New Typography 2820:Bringhurst, Robert 2795:on 6 November 2017 2635:on 4 February 2016 2144:Martin, Henri-Jean 2044:. Needham, Joseph 2042:Paper and Printing 2038:Tsien, Tsuen-Hsuin 1900:(in German): 93–97 1897:Gutenberg-Jahrbuch 1675:Gutenberg-Jahrbuch 1380:Desktop publishing 1360:font rasterization 1352:Typeface designers 1341:character encoding 1322:Desktop publishing 1316:Digital typography 1294: 1283:William Wordsworth 1216:Kinetic typography 1128: 1074:The New York Times 1031: 920: 791:non-breaking space 721: 684:As a component of 554:period in France, 509:personal computers 461:Johannes Gutenberg 453: 355:printed item from 339:, dating from the 288: 277: 211:Personal computers 199:comic book artists 125: 106: 27: 6230: 6229: 6176: 6175: 5943:Conceptual design 5913: 5912: 5909: 5908: 5896:James Dyson Award 5752:Website wireframe 5742:Technical drawing 5616: 5615: 5464:Transgenerational 5205:Ecological design 5081:Activity-centered 5061: 5060: 5057: 5056: 5039:Spacecraft design 4833:Public art design 4771:Video game design 4749:Experience design 4719:Production design 4699:Motorcycle design 4657:Automotive design 4561:Ecological design 4439:Film title design 4334: 4333: 4081:Typographic units 3999:For position only 3898: 3897: 3750: 3749: 3143:978-2-7433-0482-9 3122:978-0-393-73034-0 3104:978-1-58115-063-6 3070:978-0-88179-034-4 3048:978-1-58115-063-6 3015:978-1-58115-063-6 2945:978-0-87923-333-4 2924:978-2-88046-798-2 2905:978-1-58115-082-7 2880:978-0-87923-950-3 2835:978-0-88179-133-4 2551:Letters of Credit 2516:978-0-226-18371-8 2484:Smashing Magazine 2402:978-1-59253-702-0 2341:. Credo Reference 2310:. Credo Reference 2188:978-0-7472-4504-9 2157:978-1-85984-108-2 2150:, London: Verso, 2126:978-0-521-29955-8 2095:978-0-8020-6041-9 2082:McLuhan, Marshall 2055:978-0-521-08690-5 2020:978-0-521-32995-8 1969:978-3-88612-114-4 1873:on 1 October 2011 1866:978-3-937527-06-2 1851:Brekle, Herbert E 1837:978-3-05-004931-1 1824:Brekle, Herbert E 1810:978-0-7156-2194-3 1769:, Quasar: 215–616 1747:978-0-393-03891-0 1666:Brekle, Herbert E 1646:978-1-118-39988-0 1613:978-3-447-06184-1 1427:Arabic typography 1421:By writing system 1159:information signs 1120:John Wilkes Booth 1005:visual impairment 686:industrial design 187:graphic designers 39:13 September 2024 18: 6255: 6222: 6215: 6208: 6201: 6194: 6187: 5919: 5918: 5796:Geschmacksmuster 5770:Community design 5648: 5647: 5622: 5621: 5382:Process-centered 5178:Design–bid–build 5146:Cradle-to-cradle 5126:Concept-oriented 5067: 5066: 5044:Strategic design 5014:Processor design 4989:Mechanism design 4957:Geometric design 4917:Algorithm design 4857:Jewellery design 4788:Immersive design 4682:Furniture design 4627:Landscape design 4405: 4404: 4394: 4393: 4361: 4354: 4347: 4338: 4337: 4324: 4323: 4301:Related template 4233:Related articles 4034:Phototypesetting 3888:reverse-contrast 3873:Display typeface 3830: 3807:Blackletter type 3763: 3762: 3700:Vertical aspects 3681:Sentence spacing 3491:Typeface anatomy 3487: 3486: 3354: 3347: 3340: 3331: 3330: 3326: 3297: 3256: 3246: 3221: 3213: 3178: 3165: 3163: 3146: 3125: 3107: 3087: 3073: 3051: 3031: 3018: 2997: 2976: 2962: 2948: 2927: 2908: 2883: 2862: 2852: 2838: 2805: 2804: 2802: 2800: 2791:. 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Archived from 2621: 2615: 2614: 2604: 2598: 2597: 2596: 2594: 2585:, archived from 2576: 2570: 2569: 2561: 2555: 2554: 2543: 2528: 2527: 2502: 2496: 2495: 2493: 2491: 2476: 2470: 2469: 2467: 2465: 2451: 2445: 2442: 2436: 2433: 2427: 2424: 2418: 2413: 2407: 2406: 2388: 2379: 2378: 2376: 2374: 2365: 2357: 2351: 2350: 2348: 2346: 2331: 2320: 2319: 2317: 2315: 2300: 2289: 2288: 2277:Meggs, Philip B. 2272: 2266: 2265: 2253: 2244: 2243: 2241: 2239: 2228: 2222: 2215: 2209: 2208: 2198: 2192: 2191: 2180: 2167: 2161: 2160: 2136: 2130: 2129: 2118: 2105: 2099: 2098: 2078: 2072: 2066: 2060: 2059: 2034: 2028: 2027: 2003: 1997: 1996: 1990: 1979: 1973: 1972: 1951: 1942: 1941: 1929: 1920: 1919: 1908: 1902: 1901: 1891: 1882: 1881: 1880: 1878: 1869:, archived from 1847: 1841: 1840: 1820: 1814: 1813: 1796: 1790: 1789: 1777: 1771: 1770: 1757: 1751: 1750: 1730: 1724: 1723: 1694: 1688: 1687: 1662: 1651: 1650: 1630: 1621: 1620: 1599: 1593: 1592: 1582: 1576: 1575: 1557: 1551: 1550: 1543:Visible Language 1538: 1532: 1531: 1529: 1527: 1511: 1505: 1504: 1500:(2nd ed.), 1493: 1487: 1481: 1110:Display graphics 990:under Professor 951: 937: 815:In typesetting, 756:Francesco Griffo 542:, the typeface ( 407:Typography with 241: 240: 235: 234: 203:clerical workers 136:written language 95: 6263: 6262: 6258: 6257: 6256: 6254: 6253: 6252: 6233: 6232: 6231: 6226: 6220: 6213: 6206: 6199: 6192: 6185: 6172: 5973:Futures studies 5924: 5905: 5854: 5813: 5762: 5756: 5642: 5641: 5612: 5518:Value sensitive 5508:User innovation 5387:Public interest 5352:Object-oriented 5072: 5053: 5034:Software design 5024:Research design 4977:Physical design 4932:Database design 4906: 4904: 4898: 4874:Property design 4869:Game art design 4823: 4817: 4740: 4733: 4648: 4641: 4598:Interior design 4549:Building design 4530: 4523: 4410: 4399: 4388: 4370: 4365: 4335: 4330: 4312: 4296: 4228: 4188:writing systems 4187: 4181: 4135: 4075: 4019:Microtypography 3958: 3894: 3856: 3833: 3801: 3758:classifications 3757: 3746: 3695: 3649: 3615:Blackboard bold 3601: 3553: 3476: 3426: 3417:Recto and verso 3363: 3358: 3208: 3186: 3181: 3161: 3159: 3150: 3144: 3128: 3123: 3110: 3105: 3090: 3081: 3076:Bringhurst 2004 3071: 3057:Tschichold, Jan 3055: 3049: 3034: 3021: 3016: 3001: 2987: 2980:McLean, Ruari. 2966: 2952: 2946: 2931: 2925: 2912: 2906: 2892:Meggs, Philip B 2886: 2881: 2865: 2856: 2836: 2814: 2812:General sources 2809: 2808: 2798: 2796: 2783: 2782: 2778: 2768: 2766: 2764:The Daily Beast 2756: 2752: 2743: 2739: 2734:. 16 June 2020. 2730: 2729: 2725: 2716: 2712: 2703: 2699: 2678: 2674: 2664: 2662: 2653: 2652: 2648: 2638: 2636: 2623: 2622: 2618: 2605: 2601: 2592: 2590: 2589:on 6 March 2010 2577: 2573: 2562: 2558: 2553:, Gordon Fraser 2544: 2531: 2517: 2503: 2499: 2489: 2487: 2478: 2477: 2473: 2463: 2461: 2453: 2452: 2448: 2443: 2439: 2434: 2430: 2425: 2421: 2414: 2410: 2403: 2389: 2382: 2372: 2370: 2363: 2359: 2358: 2354: 2344: 2342: 2333: 2332: 2323: 2313: 2311: 2302: 2301: 2292: 2283:. p. 125. 2273: 2269: 2254: 2247: 2237: 2235: 2230: 2229: 2225: 2216: 2212: 2200: 2199: 2195: 2189: 2168: 2164: 2158: 2137: 2133: 2127: 2106: 2102: 2096: 2079: 2075: 2067: 2063: 2056: 2035: 2031: 2021: 2007:Needham, Joseph 2004: 2000: 1988: 1980: 1976: 1970: 1952: 1945: 1930: 1923: 1909: 1905: 1892: 1885: 1876: 1874: 1867: 1848: 1844: 1838: 1821: 1817: 1811: 1797: 1793: 1778: 1774: 1758: 1754: 1748: 1731: 1727: 1695: 1691: 1686:on 16 July 2011 1663: 1654: 1647: 1631: 1624: 1614: 1600: 1596: 1584: 1583: 1579: 1572: 1558: 1554: 1539: 1535: 1525: 1523: 1512: 1508: 1494: 1490: 1484:Bringhurst 2004 1482: 1478: 1473: 1468: 1445: 1423: 1368: 1337: 1318: 1281:Plaque for the 1275: 1269: 1241: 1232:computer screen 1228:vending machine 1220:motion pictures 1124:Abraham Lincoln 1112: 1018: 992:Herbert Spencer 945: 935: 837: 813: 807: 760:Claude Garamond 709: 639: 630: 607:Francis Picabia 603: 556:Claude Garamond 521: 481:Gutenberg Bible 351:, an enigmatic 262: 250:Main articles: 248: 220: 117:composing stick 102:Trajan's Column 78: 59: 52: 47: 46: 45: 44: 43: 42: 26: 12: 11: 5: 6261: 6251: 6250: 6245: 6228: 6227: 6225: 6224: 6217: 6210: 6203: 6196: 6189: 6181: 6178: 6177: 6174: 6173: 6171: 6170: 6165: 6160: 6155: 6150: 6145: 6140: 6135: 6130: 6125: 6120: 6115: 6110: 6105: 6100: 6095: 6090: 6085: 6080: 6075: 6074: 6073: 6068: 6058: 6053: 6048: 6041: 6040: 6038:Wicked problem 6035: 6030: 6025: 6020: 6015: 6010: 6005: 6000: 5995: 5990: 5985: 5980: 5975: 5970: 5965: 5960: 5955: 5950: 5945: 5940: 5935: 5929: 5926: 5925: 5923:Related topics 5915: 5914: 5911: 5910: 5907: 5906: 5904: 5903: 5898: 5893: 5888: 5883: 5878: 5873: 5868: 5862: 5860: 5856: 5855: 5853: 5852: 5847: 5842: 5840:Design Council 5837: 5832: 5827: 5821: 5819: 5815: 5814: 5812: 5811: 5810: 5809: 5807:European Union 5799: 5792: 5787: 5782: 5777: 5772: 5766: 5764: 5758: 5757: 5755: 5754: 5749: 5744: 5739: 5734: 5729: 5724: 5719: 5714: 5709: 5704: 5699: 5694: 5693: 5692: 5687: 5677: 5672: 5667: 5662: 5656: 5654: 5644: 5643: 5640: 5639: 5636: 5633: 5630: 5626: 5618: 5617: 5614: 5613: 5611: 5610: 5605: 5600: 5595: 5590: 5585: 5580: 5575: 5570: 5565: 5560: 5555: 5550: 5545: 5540: 5535: 5528: 5527: 5526: 5525: 5515: 5510: 5505: 5504: 5503: 5493: 5488: 5486:Usage-centered 5483: 5482: 5481: 5479:Design for All 5471: 5466: 5461: 5459:Transformation 5456: 5451: 5446: 5441: 5440: 5439: 5429: 5424: 5419: 5414: 5409: 5407:Research-based 5404: 5399: 5394: 5389: 5384: 5379: 5374: 5372:Platform-based 5369: 5364: 5359: 5354: 5349: 5344: 5339: 5334: 5329: 5324: 5322:KISS principle 5319: 5314: 5309: 5304: 5299: 5294: 5289: 5284: 5279: 5274: 5269: 5264: 5259: 5254: 5249: 5244: 5239: 5234: 5232:Fault-tolerant 5229: 5227:Error-tolerant 5224: 5223: 5222: 5212: 5210:Energy neutral 5207: 5202: 5197: 5192: 5191: 5190: 5180: 5175: 5170: 5169: 5168: 5166:Design fiction 5158: 5153: 5148: 5143: 5138: 5133: 5128: 5123: 5118: 5113: 5108: 5103: 5098: 5093: 5088: 5083: 5077: 5074: 5073: 5063: 5062: 5059: 5058: 5055: 5054: 5052: 5051: 5049:Systems design 5046: 5041: 5036: 5031: 5026: 5021: 5019:Protein design 5016: 5011: 5009:Process design 5006: 5001: 4996: 4991: 4986: 4985: 4984: 4979: 4974: 4972:Circuit design 4964: 4959: 4954: 4949: 4944: 4939: 4934: 4929: 4924: 4919: 4913: 4911: 4900: 4899: 4897: 4896: 4894:Textile design 4891: 4886: 4881: 4876: 4871: 4866: 4861: 4860: 4859: 4854: 4852:Costume design 4847:Fashion design 4844: 4835: 4829: 4827: 4819: 4818: 4816: 4815: 4810: 4805: 4800: 4795: 4790: 4785: 4780: 4775: 4774: 4773: 4768: 4758: 4757: 4756: 4745: 4743: 4735: 4734: 4732: 4731: 4729:Service design 4726: 4724:Sensory design 4721: 4716: 4714:Product design 4711: 4706: 4701: 4696: 4691: 4690: 4689: 4679: 4674: 4669: 4664: 4659: 4653: 4651: 4643: 4642: 4640: 4639: 4634: 4632:Spatial design 4629: 4624: 4623: 4622: 4612: 4610:Keyline design 4607: 4606: 4605: 4595: 4590: 4585: 4580: 4579: 4578: 4576:Computer-aided 4568: 4563: 4558: 4557: 4556: 4546: 4541: 4535: 4533: 4525: 4524: 4522: 4521: 4516: 4511: 4502: 4493: 4488: 4483: 4478: 4473: 4468: 4463: 4462: 4461: 4456: 4451: 4444:Graphic design 4441: 4436: 4434:Exhibit design 4431: 4426: 4421: 4415: 4413: 4401: 4400: 4390: 4389: 4387: 4386: 4381: 4375: 4372: 4371: 4364: 4363: 4356: 4349: 4341: 4332: 4331: 4329: 4328: 4317: 4314: 4313: 4311: 4310: 4304: 4302: 4298: 4297: 4295: 4294: 4289: 4284: 4279: 4274: 4269: 4264: 4259: 4258: 4257: 4252: 4247: 4236: 4234: 4230: 4229: 4227: 4226: 4225: 4224: 4222:National Fonts 4214: 4209: 4208: 4207: 4197: 4191: 4189: 4183: 4182: 4180: 4179: 4174: 4169: 4167:Web typography 4164: 4159: 4154: 4149: 4143: 4141: 4137: 4136: 4134: 4133: 4128: 4127: 4126: 4116: 4111: 4106: 4101: 4096: 4091: 4085: 4083: 4077: 4076: 4074: 4073: 4072: 4071: 4061: 4056: 4051: 4046: 4044:Reversing type 4041: 4036: 4031: 4026: 4021: 4016: 4011: 4006: 4001: 3996: 3991: 3990: 3989: 3984: 3974: 3968: 3966: 3960: 3959: 3957: 3956: 3951: 3946: 3941: 3940: 3939: 3929: 3924: 3919: 3913: 3911: 3900: 3899: 3896: 3895: 3893: 3892: 3891: 3890: 3885: 3880: 3870: 3864: 3862: 3858: 3857: 3855: 3854: 3849: 3843: 3841: 3835: 3834: 3832: 3831: 3822: 3817: 3811: 3809: 3803: 3802: 3800: 3799: 3794: 3793: 3792: 3787: 3782: 3771: 3769: 3760: 3752: 3751: 3748: 3747: 3745: 3744: 3739: 3734: 3729: 3724: 3719: 3714: 3709: 3703: 3701: 3697: 3696: 3694: 3693: 3688: 3683: 3678: 3673: 3671:Letter-spacing 3668: 3663: 3657: 3655: 3651: 3650: 3648: 3647: 3642: 3637: 3632: 3627: 3625:Color printing 3622: 3617: 3611: 3609: 3603: 3602: 3600: 3599: 3594: 3589: 3584: 3579: 3574: 3569: 3563: 3561: 3559:Capitalization 3555: 3554: 3552: 3551: 3546: 3541: 3536: 3531: 3526: 3521: 3516: 3511: 3506: 3501: 3495: 3493: 3484: 3478: 3477: 3475: 3474: 3473: 3472: 3462: 3457: 3452: 3447: 3442: 3436: 3434: 3428: 3427: 3425: 3424: 3419: 3414: 3409: 3404: 3399: 3397:Page numbering 3394: 3389: 3384: 3379: 3373: 3371: 3365: 3364: 3357: 3356: 3349: 3342: 3334: 3328: 3327: 3298: 3257: 3222: 3206: 3196: 3185: 3184:External links 3182: 3180: 3179: 3148: 3142: 3126: 3121: 3108: 3103: 3088: 3079: 3069: 3053: 3047: 3032: 3019: 3014: 2999: 2985: 2978: 2964: 2950: 2944: 2929: 2923: 2910: 2904: 2888:Heller, Steven 2884: 2879: 2863: 2854: 2840: 2834: 2815: 2813: 2810: 2807: 2806: 2776: 2750: 2737: 2723: 2710: 2697: 2672: 2646: 2616: 2613:, vol. 10 2599: 2571: 2556: 2529: 2515: 2497: 2471: 2446: 2437: 2428: 2419: 2408: 2401: 2380: 2352: 2321: 2290: 2267: 2262:New York Times 2245: 2223: 2210: 2193: 2187: 2162: 2156: 2140:Febvre, Lucien 2131: 2125: 2100: 2094: 2073: 2061: 2054: 2029: 2019: 1998: 1974: 1968: 1943: 1936:(in Italian), 1921: 1903: 1883: 1865: 1842: 1836: 1815: 1809: 1791: 1772: 1752: 1746: 1734:Diamond, Jared 1725: 1713:10.1086/371517 1689: 1652: 1645: 1622: 1612: 1594: 1585:"Typography". 1577: 1570: 1552: 1533: 1506: 1488: 1475: 1474: 1472: 1469: 1467: 1464: 1463: 1462: 1457: 1452: 1444: 1441: 1440: 1439: 1434: 1429: 1422: 1419: 1418: 1417: 1412: 1407: 1401: 1395: 1389: 1383: 1376: 1375: 1367: 1364: 1346:Web typography 1317: 1314: 1302:letter-carvers 1268: 1265: 1240: 1237: 1236: 1235: 1213: 1207: 1204: 1199: 1192: 1187: 1184: 1179: 1170: 1165: 1152: 1149: 1146:Advertisements 1136:graphic design 1132:negative space 1111: 1108: 1035:letter-spacing 836: 833: 809:Main article: 806: 803: 752:Nicolas Jenson 717:William Caslon 708: 707:Text typefaces 705: 697: 696: 693:e. e. cummings 689: 682: 679: 673: 670: 667: 664: 638: 635: 629: 626: 602: 599: 520: 517: 473:letter punches 457:printing press 438:Goryeo Dynasty 365:Herbert Brekle 345:cylinder seals 247: 244: 219: 216: 167:letter spacing 132:arranging type 123:shown below it 50: 28: 22: 19: 17: 9: 6: 4: 3: 2: 6260: 6249: 6246: 6244: 6241: 6240: 6238: 6223: 6218: 6216: 6211: 6209: 6204: 6202: 6197: 6195: 6190: 6188: 6183: 6182: 6179: 6169: 6166: 6164: 6161: 6159: 6156: 6154: 6153:specification 6151: 6149: 6146: 6144: 6141: 6139: 6136: 6134: 6131: 6129: 6126: 6124: 6121: 6119: 6116: 6114: 6111: 6109: 6106: 6104: 6101: 6099: 6096: 6094: 6091: 6089: 6086: 6084: 6081: 6079: 6076: 6072: 6069: 6067: 6066:architectural 6064: 6063: 6062: 6059: 6057: 6054: 6052: 6049: 6047: 6043: 6042: 6039: 6036: 6034: 6033:Visualization 6031: 6029: 6026: 6024: 6021: 6019: 6016: 6014: 6011: 6009: 6006: 6004: 6001: 5999: 5996: 5994: 5991: 5989: 5986: 5984: 5981: 5979: 5976: 5974: 5971: 5969: 5966: 5964: 5961: 5959: 5956: 5954: 5953:Cultural icon 5951: 5949: 5946: 5944: 5941: 5939: 5936: 5934: 5931: 5930: 5927: 5920: 5916: 5902: 5899: 5897: 5894: 5892: 5889: 5887: 5884: 5882: 5879: 5877: 5874: 5872: 5869: 5867: 5864: 5863: 5861: 5857: 5851: 5848: 5846: 5843: 5841: 5838: 5836: 5833: 5831: 5828: 5826: 5823: 5822: 5820: 5818:Organizations 5816: 5808: 5805: 5804: 5803: 5800: 5798: 5797: 5793: 5791: 5788: 5786: 5785:Design patent 5783: 5781: 5778: 5776: 5775:Design around 5773: 5771: 5768: 5767: 5765: 5759: 5753: 5750: 5748: 5745: 5743: 5740: 5738: 5735: 5733: 5730: 5728: 5725: 5723: 5720: 5718: 5715: 5713: 5710: 5708: 5705: 5703: 5700: 5698: 5695: 5691: 5688: 5686: 5683: 5682: 5681: 5678: 5676: 5673: 5671: 5668: 5666: 5663: 5661: 5658: 5657: 5655: 5653: 5649: 5645: 5637: 5635:Organizations 5634: 5631: 5628: 5627: 5623: 5619: 5609: 5606: 5604: 5601: 5599: 5596: 5594: 5591: 5589: 5586: 5584: 5581: 5579: 5576: 5574: 5571: 5569: 5566: 5564: 5561: 5559: 5556: 5554: 5551: 5549: 5546: 5544: 5541: 5539: 5536: 5534: 5530: 5529: 5524: 5521: 5520: 5519: 5516: 5514: 5511: 5509: 5506: 5502: 5499: 5498: 5497: 5496:User-centered 5494: 5492: 5489: 5487: 5484: 5480: 5477: 5476: 5475: 5472: 5470: 5467: 5465: 5462: 5460: 5457: 5455: 5452: 5450: 5447: 5445: 5444:Tableless web 5442: 5438: 5435: 5434: 5433: 5430: 5428: 5425: 5423: 5420: 5418: 5415: 5413: 5410: 5408: 5405: 5403: 5400: 5398: 5395: 5393: 5390: 5388: 5385: 5383: 5380: 5378: 5375: 5373: 5370: 5368: 5367:Participatory 5365: 5363: 5360: 5358: 5355: 5353: 5350: 5348: 5345: 5343: 5340: 5338: 5335: 5333: 5330: 5328: 5325: 5323: 5320: 5318: 5315: 5313: 5310: 5308: 5305: 5303: 5300: 5298: 5295: 5293: 5290: 5288: 5285: 5283: 5280: 5278: 5275: 5273: 5270: 5268: 5265: 5263: 5260: 5258: 5257:For Six Sigma 5255: 5253: 5250: 5248: 5245: 5243: 5240: 5238: 5235: 5233: 5230: 5228: 5225: 5221: 5218: 5217: 5216: 5213: 5211: 5208: 5206: 5203: 5201: 5200:Domain-driven 5198: 5196: 5193: 5189: 5188:architect-led 5186: 5185: 5184: 5181: 5179: 5176: 5174: 5171: 5167: 5164: 5163: 5162: 5159: 5157: 5154: 5152: 5149: 5147: 5144: 5142: 5139: 5137: 5134: 5132: 5131:Configuration 5129: 5127: 5124: 5122: 5119: 5117: 5114: 5112: 5109: 5107: 5104: 5102: 5099: 5097: 5096:Brainstorming 5094: 5092: 5089: 5087: 5084: 5082: 5079: 5078: 5075: 5068: 5064: 5050: 5047: 5045: 5042: 5040: 5037: 5035: 5032: 5030: 5029:Social design 5027: 5025: 5022: 5020: 5017: 5015: 5012: 5010: 5007: 5005: 5002: 5000: 4997: 4995: 4992: 4990: 4987: 4983: 4980: 4978: 4975: 4973: 4970: 4969: 4968: 4965: 4963: 4960: 4958: 4955: 4953: 4952:Filter design 4950: 4948: 4945: 4943: 4940: 4938: 4935: 4933: 4930: 4928: 4927:Boiler design 4925: 4923: 4920: 4918: 4915: 4914: 4912: 4910: 4901: 4895: 4892: 4890: 4887: 4885: 4882: 4880: 4879:Scenic design 4877: 4875: 4872: 4870: 4867: 4865: 4864:Floral design 4862: 4858: 4855: 4853: 4850: 4849: 4848: 4845: 4843: 4839: 4836: 4834: 4831: 4830: 4828: 4826: 4820: 4814: 4811: 4809: 4806: 4804: 4801: 4799: 4796: 4794: 4791: 4789: 4786: 4784: 4781: 4779: 4776: 4772: 4769: 4767: 4764: 4763: 4762: 4759: 4755: 4752: 4751: 4750: 4747: 4746: 4744: 4742: 4736: 4730: 4727: 4725: 4722: 4720: 4717: 4715: 4712: 4710: 4707: 4705: 4702: 4700: 4697: 4695: 4692: 4688: 4685: 4684: 4683: 4680: 4678: 4675: 4673: 4670: 4668: 4665: 4663: 4660: 4658: 4655: 4654: 4652: 4650: 4644: 4638: 4635: 4633: 4630: 4628: 4625: 4621: 4618: 4617: 4616: 4613: 4611: 4608: 4604: 4601: 4600: 4599: 4596: 4594: 4591: 4589: 4586: 4584: 4581: 4577: 4574: 4573: 4572: 4571:Garden design 4569: 4567: 4564: 4562: 4559: 4555: 4554:Passive solar 4552: 4551: 4550: 4547: 4545: 4542: 4540: 4537: 4536: 4534: 4532: 4529:Environmental 4526: 4520: 4517: 4515: 4512: 4510: 4506: 4503: 4501: 4497: 4494: 4492: 4491:Retail design 4489: 4487: 4484: 4482: 4479: 4477: 4474: 4472: 4469: 4467: 4464: 4460: 4457: 4455: 4452: 4450: 4447: 4446: 4445: 4442: 4440: 4437: 4435: 4432: 4430: 4427: 4425: 4422: 4420: 4417: 4416: 4414: 4412: 4409:Communication 4406: 4402: 4395: 4391: 4385: 4382: 4380: 4377: 4376: 4373: 4369: 4362: 4357: 4355: 4350: 4348: 4343: 4342: 4339: 4327: 4319: 4318: 4315: 4309: 4306: 4305: 4303: 4299: 4293: 4290: 4288: 4285: 4283: 4280: 4278: 4275: 4273: 4270: 4268: 4265: 4263: 4260: 4256: 4253: 4251: 4248: 4246: 4243: 4242: 4241: 4238: 4237: 4235: 4231: 4223: 4220: 4219: 4218: 4215: 4213: 4210: 4206: 4203: 4202: 4201: 4198: 4196: 4193: 4192: 4190: 4184: 4178: 4175: 4173: 4172:Bézier curves 4170: 4168: 4165: 4163: 4160: 4158: 4157:Rasterization 4155: 4153: 4150: 4148: 4145: 4144: 4142: 4138: 4132: 4129: 4125: 4122: 4121: 4120: 4117: 4115: 4112: 4110: 4107: 4105: 4102: 4100: 4097: 4095: 4092: 4090: 4087: 4086: 4084: 4082: 4078: 4070: 4067: 4066: 4065: 4062: 4060: 4057: 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519:Evolution 427:Wang Zhen 395:Byzantine 274:Wang Zhen 222:The word 218:Etymology 151:typefaces 147:appealing 121:type case 6200:Wikinews 6133:paradigm 6113:language 6093:engineer 6088:elements 6078:director 5763:property 5608:thinking 5598:strategy 5583:research 5543:controls 5501:Empathic 5432:Systemic 5392:Rational 5347:New Wave 5161:Critical 4384:Designer 4326:Category 4205:PT Fonts 4200:Cyrillic 4064:Typeface 3982:computer 3883:fat face 3756:Typeface 3742:x-height 3712:Baseline 3707:Ascender 3567:All caps 3529:Rotation 3524:Ligature 3519:Ink trap 3323:57565647 3294:24968970 3059:(1991), 2894:(2001), 2822:(2004), 2610:Baseline 2549:(1986), 2286:process. 2279:(2012). 2173:(2002), 2146:(1997), 2111:(1980), 2084:(1962), 2040:(1985). 2009:(1994). 1877:22 April 1853:(2005), 1668:(1997), 1366:See also 1234:displays 1202:Graffiti 1090:masthead 996:saccadic 970:dyslexia 909:tracking 779:phonetic 725:composed 672:Clothing 595:typeface 579:typeface 540:printing 505:Letraset 497:Letraset 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