Difference between revisions of "Typography" - New World Encyclopedia

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[[Category:Politics and social sciences]]
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[[Image:Caslonsample.jpg|thumb|right|250px|A specimen of roman typefaces by William Caslon.]]
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'''Typography''' is the art and technique of [[Typesetting|setting written subject matter in type]] using a combination of [[typeface]]s, [[Point (typography)|point size]], [[line length]], [[leading]] (line spacing) and [[Tracking (typography)|letter spacing]].
 +
 +
Typography is performed by typesetters, [[compositor]]s, [[typographer]]s, [[graphic artist]]s, [[art director]]s, and clerical workers. Until the [[Digital Age]] typography was a specialized occupation. Digitization opened up typography to new generations of visual designers and lay users.
 +
 +
==History==
 +
:''For the origins and evolution of typography, see the main articles [[History of western typography]] and [[Movable type]]''
 +
{{Wiktionarypar|typography}}
 +
'''[[Etymology]]''': '''Typography''' (from the [[Greek language|Greek]] words {{Polytonic|τύπος}} ''type'' = "to strike" "That by which something is symbolized or figured..." and {{Polytonic|γραφία}} ''graphia'' = to write).
 +
 +
Typography traces its origins to the first [[Punch (numismatics)|punch]]es and [[Die (manufacturing)|die]]s used to make [[Seal (device)|seal]]s and [[currency]] in [[ancient history|ancient times]]. Typography with [[Moveable type|modular moveable metal type]] began in 13th-century [[Korea]], and was developed again in mid-15th century Europe with the development of specialized techniques for casting and combining cheap copies of [[Punchcutting|letterpunches]] in the vast quantities required to print multiple copies of texts. <!-- please do not add any more historical content to this section. We already have a big article on the history of typography and another one on [[Movable type]] that covers everything. Thanks![[User:James_Arboghast|Arbo]] [[User_talk:James_Arboghast|talk]] ~~~~~ —>
 +
 +
''See: [[Movable type]]
 +
<!-- Typography traces its origins to the first [[Punch (numismatics)|punch]]es and [[Die (manufacturing)|die]]s used to make [[Seal (device)|seal]]s and [[currency]] in [[ancient history|ancient times]]. Typography with Moveable type invented by Pì Shēng (Traditional Chinese: 畢昇; Simplified Chinese: 毕升, pinyin: Bì Shēng; died 1052) was the inventor of movable type printing in between 1041 to 1048 in China. modular movable metal type began in 13th-century [[Korea]], and was developed again in mid-15th century Europe with the development of specialized techniques for casting and combining cheap copies of [[Punchcutting|letterpunches]] in the vast quantities required to print multiple copies of texts. —> <!-- Why mention Pi Sheng but not Gutenberg, whose achievement was of much greater significance? Movable type is written about in detail in [[Movable type]] —>
 +
 +
==Scope==
 +
In contemporary use, the practice and study of typography is very broad, covering all aspects of letter design and application, including [[typesetting]] & typeface design; [[Penmanship|handwriting]] & [[calligraphy]]; [[graffiti]]; inscriptional & [[architecture|architectural]] lettering; poster design and other large scale lettering such as [[Information sign|signage]] and [[billboard (advertising)|billboards]]; business communications & promotional collateral; [[advertising]]; [[logo|wordmarks & typographic logos (logotypes)]]; [[apparel|apparel (clothing)]]; [[Dashboard|vehicle instrument panels]]; kinetic typography in [[film|motion picture films]] and [[television]]; and as a component of [[industrial design]]&mdash;type resides on household appliances, [[pen]]s and wrist[[watch]]es.
 +
 +
Since digitization typography's range of applications has become more eclectic, appearing on [[web page]]s, [[Liquid crystal display|LCD]] [[mobile phone]] screens, and hand-held [[Computer and video games|video games]]. The [[Omnipresence|ubiquity]] of type has led typographers to coin the phrase "Type is everywhere".
 +
 +
Typography generally follows four principles, using [[repetition]], [[contrast (vision)|contrast]], [[proximity]], and [[Typographic alignment|alignment]].
 +
 +
==Text typography==
 +
[[Image:Oscar wilde english renaissance of art 2.png|thumb|right|200px|'''Text typeset''' in Iowan Old Style roman, italics and small caps, optimised at approximately 10 words per line, typeface sized at 14 [[point (typography)|points]] on 1.4 x [[leading]], with 0.2 points extra [[tracking (typography)|tracking]]. Extract of an essay by [[Oscar Wilde]] ''The Renaissance of English Art'' ''ca''. 1882. ]]
 +
[[Image:Latex example type.png|thumb|right|200px|Text typeset using [[LaTeX]] digital typesetting software.]]
 +
 +
In traditional typography, text is ''composed'' to create a readable, coherent, and visually satisfying whole that works invisibly, without the awareness of the reader. Even distribution with a minimum of distractions and anomalies are aimed at producing clarity and transparency.
 +
 +
Choice of font(s) is perhaps the primary aspect of text typography&mdash;[[prose]] [[fiction]], [[non-fiction]], editorial, educational, religious, scientific, spiritual and commercial writing all have differing characteristics and requirements. For historic material, established text typefaces are frequently chosen according to a scheme of historical ''genre'' acquired by a long process of accretion, with considerable overlap between historical periods.
 +
 +
Contemporary books are more likely to be set with state-of-the-art [[serif|seriffed]] "text romans" or "book romans" with design values echoing present-day design arts, which are closely based on traditional models such as those of Nicolas Jenson, Francesco Griffo (a punchcutter who created the model for Aldine typefaces), and Claude Garamond. With their more  specialized requirements, newspapers and magazines rely on compact, tightly-fitted text romans specially designed for the task, which offer maximum flexibility, readability and efficient use of page space. Sans serif text fonts are often used for introductory paragraphs, incidental text and whole short articles. A current fashion is to pair [[sans serif]] type for headings with a high-performance seriffed font of matching style for the text of an article.
 +
 +
The text layout, tone or ''color'' of set matter, and the interplay of text with [[white space]] of the page and other graphic elements combine to impart a "feel" or "resonance" to the subject matter. With [[print|printed]] media typographers are also concerned with binding margins, paper selection and printing methods.
 +
 +
Typography is modulated by [[Orthography]] and [[linguistics]], word structures, word frequencies, [[Morphology (linguistics)|morphology]], [[Phonetics|phonetic]] constructs and linguistic [[syntax]]. Typography also is subject to specific cultural conventions. For example, in French it is customary to insert a [[non-breaking space]] before a colon (:) or semicolon (;) in a sentence, while in English it is not.
 +
 +
==Readability and legibility==
 +
'''Readability''' concerns how easily or comfortably a typeset text reads. Studies of readability suggest that our ability to read is based on [[recognition]] of individual glyph forms ("parallel letterwise recognition"), performed by the human brain's highly-developed shape [[cognition]] facility. Text set in lower case is found to be more readable, presumably because lower case letter structures and word shapes are more distinctive, having greater saliency with the presence of extenders (ascenders, descenders and other projecting parts). Readers cognize the upper portions of letters more than the lower portions in the recognition process. Capital letters by comparison are of uniform height and less varied in structure; this the generally accepted reason that all-capitals text is found to be less readable in tests of extended reading, causing slower reading speed and less comprehension.
 +
 +
Readability is compromised by [[letterspacing]], word spacing and [[leading]] that are too tight or too loose. Generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor readability.
 +
 +
Some typographers believe that another factor, the [[Bouma]] or overall word shape, is also very important in readability, and that parallel letterwise recognition is either wrong, less important, or not the entire picture. Studies that distinguish between the two models have favored parallel letterwise recognition, and the latter is widely accepted by cognitive psychologists.
 +
 +
'''Legibility''' is the ease and speed with which the reader can decipher each letterform and word. This is determined by the design of individual characters and how clearly they are rendered. Legibility can be affected by choice of ink and paper [[colors]].
 +
 +
<br><br>
 +
{{Expandsection}}
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 +
==Newspapers, magazines, and periodicals==
 +
Typography is used in all [[newspaper]]s, [[magazine]]s and periodicals. [[Headline]]s are often set in larger type to attract attention and are placed near the [[Masthead (publishing)|masthead]]. For example, [[USAToday]] uses a bold, colourful and comparatively modern style through their use of different fonts and colors; type sizes vary widely, and the newspaper name is placed on a coloured background. In contrast, [[New York Times]] use a more traditional approach with less colors, less font variation and more [[column]]s. Generally, every magazine, newspaper and periodical standardizes on a small collection of typefaces (fonts) to aid in the navigation of its content, to create a sense of familiarity, or create dramatic effects. Some publications such as  [[The Guardian]] and [[The Economist]], commission bespoke typefaces from a [[type designer]], a specialist [[typographer]] who designs [[typefaces]].
 +
 +
{{Expandsection}}
 +
 +
==Display typography==
 +
[[Image:Wanted For Lincoln Assassin.jpg||thumb|190px|right|19th century poster printed with wood and metal types.]]
 +
 +
Typography is a potent element in [[graphic design]], where there is less concern for readability and more potential for using type in an artistic manner. Type is combined with negative space, graphic elements and pictures, forming relationships and dialog between words and images.
 +
 +
Color and size of type elements are much more prevalent than in text typography. Most display typography exploits 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.
 +
 +
Display typography encompasses [[poster]]s; [[book cover]]s; typographic [[logos]] and wordmarks; billboards; [[packaging]]; on-product typography; calligraphy; [[graffitti]]; inscriptional & architectural lettering; poster design and other large scale lettering [[sign|signage]]; business communications & promotional collateral; advertising; [[logo|wordmarks & typographic logos (logotypes)]], and kinetic typography in motion pictures and television; [[vending machine]] displays; online & [[computer screen]] displays.
 +
 +
The wanted poster for the assassins of [[Abraham Lincoln]] was printed with lead and woodcut type, and incorporates photography.
 +
 +
===Advertising===
 +
[[Image:EncycBrit1913.png||thumb|right|A print advertisement from a 1913 issue of [[National Geographic]]]]
 +
Typography has long been a vital part of [[promotion]]al material and [[advertising]]. Designers often use typography to set a theme and mood in an advertisement; for example using bold, large text to convey a particular message to the reader. Type 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 [[brand]]. Fonts used in advertisements convey different messages to the reader, classical fonts are for a strong personality, while more modern fonts are for a cleaner, neutral look. Bold fonts are used for making statements and attracting attention.
 +
 +
===Inscriptional & architectural lettering===
 +
:''see also [[Epigraphy]]''
 +
 +
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 [[sandblasting]] techniques today has made the hand carved monument a rarity, and the number of [[lettercarver]]s left in the States continues to dwindle.
 +
 +
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 letterer gains understanding of these nuances through much practice and observation of their 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 can also take up to an hour to carve, so it is no wonder that the automated sandblasting process has become the industry standard.
 +
 +
To create a sandblasted letter, a rubber mat is laser cut from a computer file and glued to the stone. The sand then bites a coarse groove or channel into the exposed surface. Unfortunately, many of the computer applications which create these files and interface with the laser cutter do not have many typefaces available, and often have inferior versions of typefaces that are available. What can now be done in minutes, however, lacks the striking architecture and geometry of the chisel-cut letter which allows light to play across its distinct interior planes.
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Recently, there has been some rumbling in typographic circles over the proposed 9/11 memorial in New Jersey. [[Frederic Schwartz]], the project architect, has chosen to render the names of the victims in "a familiar and easy-to-read typeface": [[Times New Roman]]. This democratic choice (the families of victims were closely involved with the design plan) could perhaps be echoing the controversial [[Emigre]] adage "People read best what they read most" in that Times is the default for many applications, but it seems to many that the choice is really a non-choice, or poor choice at best. These letterforms, originally designed for small print in newspaper setting, will be blown up to nearly four inches high.
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==See also==
 +
:''For a more comprehensive list of topics, see [[:Category:Typography]]''
 +
<p></p>
 +
{| style="background-color: transparent; width: {{{width|100%}}}"
 +
<p></p>
 +
| width="50%" align="{{{align|left}}}" valign="{{{valign|top}}}" |
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* [[A|Aa]]
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** [[Alphabet]]
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** [[Typographic Alignment|Alignment]], [[Justification (typesetting)|Justification]]
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* [[B|Bb]]
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** [[Block printing]]
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** [[Book design]]
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* [[C|Cc]]
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** [[Calligraphy]]
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** [[Computers and Typesetting]]
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* [[D|Dd]]
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** [[Desktop publishing]]
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* [[E|Ee]]
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** [[Em (typography)|Em]]
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** [[En (typography)|En]]
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* [[F|Ff]]
 +
** [[Flexography]]
 +
** [[Font]]
 +
* [[G|Gg]]
 +
** [[Glyph]]
 +
** [[Graphic design]]
 +
* [[H|Hh]]
 +
** [[History of the alphabet]]
 +
* [[I|Ii]]
 +
** [[Initial]]
 +
* [[J|Jj]]
 +
* [[K|Kk]]
 +
** [[Kerning]]
 +
* [[L|Ll]]
 +
** [[Latin alphabet]]
 +
**
 +
** [[Leading]]
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** [[Letterpress printing]]
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** [[Ligature (typography)|Ligature]]
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** [[Logo]]
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* [[M|Mm]]
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** [[Majuscule]]
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** [[Minuscule]]
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** [[Mixed case]]
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<p></p>
 +
| width="50%" align="{{{align|left}}}" valign="{{{valign|top}}}" |
 +
* [[N|Nn]]
 +
* [[O|Oo]]
 +
** [[List of typographic features|OpenType typographic features]]
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** [[Orthography]]
 +
* [[P|Pp]]
 +
** [[Paragraph]]
 +
** [[Print|Print (disambiguation)]]
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** [[Punchcutting]]
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* [[Q|Qq]]
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* [[R|Rr]]
 +
** [[Rotogravure]]
 +
* [[S]]s
 +
** [[Sans-serif]]
 +
** [[Serif]]
 +
* [[T|Tt]]
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** [[Text figures]]
 +
** [[Tracking (typography)|Tracking]]
 +
** [[:Category:Type designers|Type designers]]
 +
** [[Type foundry]]
 +
** [[typeface|Typefaces]]
 +
** [[List of type designers|list of Type designers]]
 +
** [[:Category:Typographers|Typographers]]
 +
** [[Typesetting]]
 +
** [[Typography of Apple Inc.]]
 +
** [[typographic unit|Typographic units]]
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* [[U|Uu]]
 +
* [[V|Vv]]
 +
* [[W|Ww]]
 +
** [[Widow (typesetting)|Widows]] and [[Orphan (typesetting)|Orphans]]
 +
** [[Woodcut]]
 +
** [[Writing system]]
 +
* [[X|Xx]]
 +
* [[Y|Yy]]
 +
* [[Z|Zz]]
 +
<p></p>
 +
|}
 +
 +
==References==
 +
* [[Robert Bringhurst|Bringhurst, Robert]] (2002). ''[[The Elements of Typographic Style]]'' (version 2.5). Vancouver: Hartley & Marks. ISBN 0-88179-133-4.  Often referred to simply as "Bringhurst", ''Elements'' is widely respected as the current authority on typographic style for Latin typography. ([http://www.aaronsw.com/2002/typographicStyle excerpts]).
 +
 +
* [[Heller, Steven (graphic design)|Steven Heller]] and Meggs, Phillip B. ''Texts on Type: Critical Writings on Typography'' (c) 2001, Allworth Press, Allworth Communications, New York. ISBN 1-58115-082-2. A compilation of over fifty texts on the history, practice, and aesthetics of type design and typography.
 +
 +
*''{{lang|fr|Lexique des règles typographiques en usage à l'Imprimerie nationale}}'', {{lang|fr|[[Imprimerie nationale (France)|Imprimerie nationale]]}}, 2002, ISBN 2-7433-0482-0, for French typography.
 +
 +
* Swanson, Gunnar ''Graphic Design and Reading: explorations of an uneasy relationship'' (c) 2000, Allworth Press, Allworth Communications, New York. ISBN 1-58115-063-6. ''The Crystal Goblet, or Printing Should Be Invisible'' Beatrice Warde; ''Improving the Tool'' Hrant H. Papazian.
 +
 +
* White, Alex W. (1999). ''Type in Use - Effective typography for electronic publishing'' (version 2.0). W.W. Norton & Company, Inc. New York. ISBN 0-393-73034-4 (pbk).
 +
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==Supporting organizations==
 +
* [[The Typophiles]]
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* [[ATypI|International Typographic Association]], (Association Typographique Internationale, ATypI)
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* [[Society of Typographic Aficionados]] (SoTA)
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* [[Type Directors Club]]
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* [[International Center for the Typographic Arts]] (ICTA)
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 +
==External links==
 +
<!-- Please help keep this section short and simple. Do not add links to free font sites, commercial font vendors, websites of commercial graphic designers or typographers. For details read wikipedia's policy on spam & external links. Only add site that add significantly to the article. Only the most significant sites with the most relevant editorial content of highest quality with minimum non-commercial content will be retained. Sites like Miscosoft Typography, Typophile.com, Planet typography, and the articles at Logorange are excepted by the signifigance of their content on typography. Thanks! !-->
 +
* [http://www.typophile.com Typophile forums]
 +
* [http://www.faqs.org/faqs/fonts-faq/part4/ Comp.fonts FAQ:] General Info Section four of six of the newsgroup FAQ
 +
* [http://diacritics.typo.cz Diacritics Project:] Designing a font with correct accents
 +
* [http://www.planet-typography.com/ Planet Typography:] Online magazine on contemporary typography, directory, manual and other topics
 +
* [http://www.lostcrafts.com/Printed-Book/Book-Main.html History on printed books]
 +
* [http://www.caligraft.com/ Caligraft :: Computational calligraphy]
 +
* [http://abc.planet-typography.com/ ABC typography:] A virtual type museum
 +
* [http://www.typecastfilm.com Typecastfilm.com] A film about Swiss design and typography
 +
* [http://www.alistapart.com/articles/typography A List Apart:]  Typography Matters for web developers
 +
* [http://www.tipometar.org/ Tipometar:] Typography in Serbia
 +
*[http://www.logoorange.com/letterforms-design.php Typography & The Design of Letterforms]
 +
*[http://www.logoorange.com/legibility-graphic-design.php Legible? by Gerard Unger]
 +
* [http://papress.com/thinkingwithtype/ Thinking With Type] Introductory typography guide
 +
* [http://www.typeculture.com/academic_resource/ TypeCulture Academic Resource] educational resources, including documentary videos about typography
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{{Credit1|Typography|101061331|}}

Revision as of 19:26, 16 January 2007


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File:Caslonsample.jpg
A specimen of roman typefaces by William Caslon.

Typography is the art and technique of setting written subject matter in type using a combination of typefaces, point size, line length, leading (line spacing) and letter spacing.

Typography is performed by typesetters, compositors, typographers, graphic artists, art directors, and clerical workers. Until the Digital Age typography was a specialized occupation. Digitization opened up typography to new generations of visual designers and lay users.

History

For the origins and evolution of typography, see the main articles History of western typography and Movable type

Etymology: Typography (from the Greek words τύπος type = "to strike" "That by which something is symbolized or figured..." and γραφία graphia = to write).

Typography traces its origins to the first punches and dies used to make seals and currency in ancient times. Typography with modular moveable metal type began in 13th-century Korea, and was developed again in mid-15th century Europe with the development of specialized techniques for casting and combining cheap copies of letterpunches in the vast quantities required to print multiple copies of texts.

See: Movable type

Scope

In contemporary use, the practice and study of typography is very broad, covering all aspects of letter design and application, including typesetting & typeface design; handwriting & calligraphy; graffiti; inscriptional & architectural lettering; poster design and other large scale lettering such as signage and billboards; business communications & promotional collateral; advertising; wordmarks & typographic logos (logotypes); apparel (clothing); vehicle instrument panels; kinetic typography in motion picture films and television; and as a component of industrial design—type resides on household appliances, pens and wristwatches.

Since digitization typography's range of applications has become more eclectic, appearing on web pages, LCD mobile phone screens, and hand-held video games. The ubiquity of type has led typographers to coin the phrase "Type is everywhere".

Typography generally follows four principles, using repetition, contrast, proximity, and alignment.

Text typography

Text typeset in Iowan Old Style roman, italics and small caps, optimised at approximately 10 words per line, typeface sized at 14 points on 1.4 x leading, with 0.2 points extra tracking. Extract of an essay by Oscar Wilde The Renaissance of English Art ca. 1882.
File:Latex example type.png
Text typeset using LaTeX digital typesetting software.

In traditional typography, text is composed to create a readable, coherent, and visually satisfying whole that works invisibly, without the awareness of the reader. Even distribution with a minimum of distractions and anomalies are aimed at producing clarity and transparency.

Choice of font(s) is perhaps the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual and commercial writing all have differing characteristics and requirements. For historic material, established text typefaces are frequently chosen according to a scheme of historical genre acquired by a long process of accretion, with considerable overlap between historical periods.

Contemporary books are more likely to be set with state-of-the-art seriffed "text romans" or "book romans" with design values echoing present-day design arts, which are closely based on traditional models such as those of Nicolas Jenson, Francesco Griffo (a punchcutter who created the model for Aldine typefaces), and Claude Garamond. With their more specialized requirements, newspapers and magazines rely on compact, tightly-fitted text romans specially designed for the task, which offer maximum flexibility, readability and efficient use of page space. Sans serif text fonts are often used for introductory paragraphs, incidental text and whole short articles. A current fashion is to pair sans serif type for headings with a high-performance seriffed font of matching style for the text of an article.

The text layout, tone or color of set matter, and the interplay of text with white space of the page and other graphic elements combine to impart a "feel" or "resonance" to the subject matter. With printed media typographers are also concerned with binding margins, paper selection and printing methods.

Typography is modulated by Orthography and linguistics, word structures, word frequencies, morphology, phonetic constructs and linguistic syntax. Typography also is subject to specific cultural conventions. For example, in French it is customary to insert a non-breaking space before a colon (:) or semicolon (;) in a sentence, while in English it is not.

Readability and legibility

Readability concerns how easily or comfortably a typeset text reads. Studies of readability suggest that our ability to read is based on recognition of individual glyph forms ("parallel letterwise recognition"), performed by the human brain's highly-developed shape cognition facility. Text set in lower case is found to be more readable, presumably because lower case letter structures and word shapes are more distinctive, having greater saliency with the presence of extenders (ascenders, descenders and other projecting parts). Readers cognize the upper portions of letters more than the lower portions in the recognition process. Capital letters by comparison are of uniform height and less varied in structure; this the generally accepted reason that all-capitals text is found to be less readable in tests of extended reading, causing slower reading speed and less comprehension.

Readability is compromised by letterspacing, word spacing and leading that are too tight or too loose. Generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor readability.

Some typographers believe that another factor, the Bouma or overall word shape, is also very important in readability, and that parallel letterwise recognition is either wrong, less important, or not the entire picture. Studies that distinguish between the two models have favored parallel letterwise recognition, and the latter is widely accepted by cognitive psychologists.

Legibility is the ease and speed with which the reader can decipher each letterform and word. This is determined by the design of individual characters and how clearly they are rendered. Legibility can be affected by choice of ink and paper colors.



{{#invoke:Message box|ambox}}

Newspapers, magazines, and periodicals

Typography is used in all newspapers, magazines and periodicals. Headlines are often set in larger type to attract attention and are placed near the masthead. For example, USAToday uses a bold, colourful and comparatively modern style through their use of different fonts and colors; type sizes vary widely, and the newspaper name is placed on a coloured background. In contrast, New York Times use a more traditional approach with less colors, less font variation and more columns. Generally, every magazine, newspaper and periodical standardizes on a small collection of typefaces (fonts) to aid in the navigation of its content, to create a sense of familiarity, or create dramatic effects. Some publications such as The Guardian and The Economist, commission bespoke typefaces from a type designer, a specialist typographer who designs typefaces.

{{#invoke:Message box|ambox}}

Display typography

File:Wanted For Lincoln Assassin.jpg
19th century poster printed with wood and metal types.

Typography is a potent element in graphic design, where there is less concern for readability and more potential for using type in an artistic manner. Type is combined with negative space, graphic elements and pictures, forming relationships and dialog between words and images.

Color and size of type elements are much more prevalent than in text typography. Most display typography exploits 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.

Display typography encompasses posters; book covers; typographic logos and wordmarks; billboards; packaging; on-product typography; calligraphy; graffitti; inscriptional & architectural lettering; poster design and other large scale lettering signage; business communications & promotional collateral; advertising; wordmarks & typographic logos (logotypes), and kinetic typography in motion pictures and television; vending machine displays; online & computer screen displays.

The wanted poster for the assassins of Abraham Lincoln was printed with lead and woodcut type, and incorporates photography.

Advertising

A print advertisement from a 1913 issue of National Geographic

Typography has long been a vital part of promotional material and advertising. Designers often use typography to set a theme and mood in an advertisement; for example using bold, large text to convey a particular message to the reader. Type 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 brand. Fonts used in advertisements convey different messages to the reader, classical fonts are for a strong personality, while more modern fonts are for a cleaner, neutral look. Bold fonts are used for making statements and attracting attention.

Inscriptional & architectural lettering

see also Epigraphy

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 sandblasting techniques today has made the hand carved monument a rarity, and the number of lettercarvers left in the States continues to dwindle.

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 letterer gains understanding of these nuances through much practice and observation of their 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 can also take up to an hour to carve, so it is no wonder that the automated sandblasting process has become the industry standard.

To create a sandblasted letter, a rubber mat is laser cut from a computer file and glued to the stone. The sand then bites a coarse groove or channel into the exposed surface. Unfortunately, many of the computer applications which create these files and interface with the laser cutter do not have many typefaces available, and often have inferior versions of typefaces that are available. What can now be done in minutes, however, lacks the striking architecture and geometry of the chisel-cut letter which allows light to play across its distinct interior planes.

Recently, there has been some rumbling in typographic circles over the proposed 9/11 memorial in New Jersey. Frederic Schwartz, the project architect, has chosen to render the names of the victims in "a familiar and easy-to-read typeface": Times New Roman. This democratic choice (the families of victims were closely involved with the design plan) could perhaps be echoing the controversial Emigre adage "People read best what they read most" in that Times is the default for many applications, but it seems to many that the choice is really a non-choice, or poor choice at best. These letterforms, originally designed for small print in newspaper setting, will be blown up to nearly four inches high.

See also

For a more comprehensive list of topics, see Category:Typography

  • Aa
  • Bb
    • Block printing
    • Book design
  • Cc
  • Dd
    • Desktop publishing
  • Ee
    • Em
    • En
  • Ff
    • Flexography
    • Font
  • Gg
  • Hh
    • History of the alphabet
  • Ii
    • Initial
  • Jj
  • Kk
    • Kerning
  • Ll
    • Latin alphabet
    • Leading
    • Letterpress printing
    • Ligature
    • Logo
  • Mm
    • Majuscule
    • Minuscule
    • Mixed case
  • Nn
  • Oo
    • OpenType typographic features
    • Orthography
  • Pp
    • Paragraph
    • Print (disambiguation)
    • Punchcutting
  • Qq
  • Rr
    • Rotogravure
  • Ss
    • Sans-serif
    • Serif
  • Tt
    • Text figures
    • Tracking
    • Type designers
    • Type foundry
    • Typefaces
    • list of Type designers
    • Typographers
    • Typesetting
    • Typography of Apple Inc.
    • Typographic units
  • Uu
  • Vv
  • Ww
  • Xx
  • Yy
  • Zz

References
ISBN links support NWE through referral fees

  • Bringhurst, Robert (2002). The Elements of Typographic Style (version 2.5). Vancouver: Hartley & Marks. ISBN 0-88179-133-4. Often referred to simply as "Bringhurst", Elements is widely respected as the current authority on typographic style for Latin typography. (excerpts).
  • Steven Heller and Meggs, Phillip B. Texts on Type: Critical Writings on Typography (c) 2001, Allworth Press, Allworth Communications, New York. ISBN 1-58115-082-2. A compilation of over fifty texts on the history, practice, and aesthetics of type design and typography.
  • Lexique des règles typographiques en usage à l'Imprimerie nationale, Imprimerie nationale, 2002, ISBN 2-7433-0482-0, for French typography.
  • Swanson, Gunnar Graphic Design and Reading: explorations of an uneasy relationship (c) 2000, Allworth Press, Allworth Communications, New York. ISBN 1-58115-063-6. The Crystal Goblet, or Printing Should Be Invisible Beatrice Warde; Improving the Tool Hrant H. Papazian.
  • White, Alex W. (1999). Type in Use - Effective typography for electronic publishing (version 2.0). W.W. Norton & Company, Inc. New York. ISBN 0-393-73034-4 (pbk).

Supporting organizations

  • The Typophiles
  • International Typographic Association, (Association Typographique Internationale, ATypI)
  • Society of Typographic Aficionados (SoTA)
  • Type Directors Club
  • International Center for the Typographic Arts (ICTA)

External links


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