Typography

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Typography is the art and techniques of type design, modifying type glyphs, and arranging type. Type glyphs (characters) are created and modified using a variety of illustration techniques. The arrangement of type is the selection 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.ScopeIn 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
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.

Newspapers, magazines, and periodicals
typography heavily. 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 fewer 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.

Digital Printing

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