Typography is the art and technique of arranging type Typesetting is the composition of text material by means of types, type design Type design is the art of designing typefaces. Although the technology of printing text using movable type was invented in China, and despite the esteem which calligraphy held in that civilization, the vast number of Chinese characters meant that few distinctive, complete fonts could be afforded by Chinese printers. For many centuries, creating, and modifying type glyphs A glyph is an element of writing. It is a slightly vague term, but a more precise definition might be an individual mark on paper or another written medium that contributes to the meaning of what is written there. A grapheme is made up of one or more glyphs. Type glyphs are created and modified using a variety of illustration An illustration is a displayed visualization form presented as a drawing, painting, photograph or other work of art that is created to elucidate or dictate sensual information by providing a visual representation graphically techniques. The arrangement of type involves the selection of typefaces In typography, a typeface is a set of one or more fonts, in one or more sizes, designed with stylistic unity, each comprising a coordinated set of glyphs. A typeface usually comprises an alphabet of letters, numerals, and punctuation marks; it may also include ideograms and symbols, or consist entirely of them, for example, mathematical or map-, point size In typography, a point is the smallest unit of measure, being a subdivision of the larger pica. It is commonly abbreviated as pt. The traditional printer's point, from the era of hot metal typesetting and presswork, varied between 0.18 and 0.4 mm depending on various definitions of the foot, line length In Typography Line length is the width occupied by a block of typeset text, measured in inches, picas and points. A block of text or paragraph has a maximum line length that fits a determined design, leading In typography, leading refers to the amount of added vertical spacing between lines of type. In consumer-oriented word processing software, this concept is usually referred to as "line spacing" and the inclusion of a full line of space between each line is known as "double spacing", but in page layout software such as (line spacing), adjusting the spaces between groups of letters (tracking In typography, letter-spacing, also called tracking, refers to the amount of space between a group of letters to affect density in a line or block of text) and adjusting the space between pairs of letters (kerning The word kerning is a cognate of corner. In the days when all type was cast metal, a corner was notched to a consistent height on one or both sides of a letter-piece. Such notched pieces were only set against one another, not against unnotched ones, which had straight sides. The corner allowed for a character's features to reach into the area).[1]

Typography is performed by typesetters Typesetting is the composition of text material by means of types, compositors, typographers, graphic designers A graphic designer is a professional within the graphic design and graphic arts industry who assembles together images, typography or motion graphics to create a piece of design. A graphic designer creates the graphics primarily for published, printed or electronic media, such as brochures and advertising. They are also sometimes responsible for, art directors The term art director is a blanket title for a variety of similar job functions in advertising, publishing, film and television, the Internet, and video games, comic book artists, graffiti artists, and clerical workers. Until the Digital Age The Information Age, also commonly known as the Computer Age or Information Era, is an idea that the current age will be characterized by the ability of individuals to transfer information freely, and to have instant access to knowledge that would have been difficult or impossible to find previously. The idea is linked to the concept of a Digital, typography was a specialized occupation. Digitization opened up typography to new generations of visual designers and lay users.

Contents

Etymology

Typography comes from the Greek Greek , an independent branch of the Indo-European family of languages, is the language of the Greeks. Native to the southern Balkans, it has the longest documented history of any Indo-European language, spanning 34 centuries of written records. In its ancient form, it is the language of classical ancient Greek literature and the New Testament of words τύπος typos "mark, figure" and γράφω grapho "I write".

History

Main articles: History of Western typography Contemporary typographers view typography as craft with a very long history tracing its origins back to the first punches and dies used to make seals and currency in ancient times. The basic elements of typography are at least as old as civilization and the earliest writing systems—a series of key developments that were eventually drawn together, History of typography in East Asia The Chinese invention of paper and the advent of woodblock printing produced the world's first print culture. As the print scholar A. Hyatt Mayor noted, "it was the Chinese who really discovered the means of communication that was to dominate until our age.", and Movable type Movable type is the system of printing and typography that uses movable components to reproduce the elements of a document . The first known movable type system for printing was created in China around 1040 AD by Bi Sheng (990–1051), but the metal movable type system for printing was developed in Korea during the Goryeo Dynasty (around 1230)

Typography traces its origins to the first punches A punch has its design in cameo, much like on the coins themselves. Prior to the use of punches, each die was individually engraved and when a die wore out, another one had to be engraved to replace it, and the exact design of the worn die was lost. The punch step greatly reduced the amount of effort needed, as a single punch could be used to and dies A die is a specialized tool used in manufacturing industries to cut or shape material using a press. Like molds and stencils, dies are generally customized to the item they are used to create. Products made with dies range from simple paper clips to complex pieces used in advanced technology used to make seals A seal can be a wax seal bearing an impressed figure, or an embossed figure in paper, with the purpose of authenticating a document, but the term can also mean any device for making such impressions or embossments, essentially being a mould that has the mirror image of the figure in counter-relief, such as mounted on rings known as signet rings and currency In economics, the term currency can refer to a particular currency, for example Pound Sterling, or to the coins and banknotes of a particular currency, which comprise the physical aspects of a nation's money supply. The other part of a nation's money supply consists of money deposited in banks , ownership of which can be transferred by means of in ancient times Ancient history is the study of the written past from the beginning of recorded human history in the Old World to the Early Middle Ages in Europe. The typographical principle, that is the creation of a complete text by reusing identical characters, was first realized in the Phaistos Disc The Phaistos Disc is a disk of fired clay from the Minoan palace of Phaistos, possibly dating to the middle or late Minoan Bronze Age (2nd millennium BC). It is about 15 cm (5.9 in) in diameter and covered on both sides with a spiral of stamped symbols. Its purpose and meaning, and even its original geographical place of manufacture, remain, an enigmatic Minoan The Minoan civilization, a Bronze Age civilization, arose on the island of Crete and flourished from approximately 2700 to 1450 BC. It was rediscovered at the beginning of the 20th century through the work of the British archaeologist Sir Arthur Evans. Will Durant referred to it as "the first link in the European chain." print item from Crete Crete is the largest and most populous of the Greek islands and the fifth largest island in the Mediterranean Sea at 8,336 km2 (3,219 sq mi). Crete is one of the 13 peripheries of Greece and covers the same area as the Greek region of Crete from before the 1987 administrative reform. It forms a significant part of the economy and cultural heritage, Greece, which dates between 1850 and 1600 BC.[2][3][4] It has been put forward that Roman lead pipe inscriptions were created by movable type printing,[5] but this view has been recently dismissed by the German typographer Herbert Brekle.[6]

The essential criterion of type identity was met by medieval The Middle Ages is a period of European history from the 5th century to the 15th century. The period followed the fall of the Western Roman Empire in 476, and preceded the Early Modern Era. It is the middle period in a three-period division of history: Classical, Medieval, and Modern. The term "Middle Ages" (medium aevum) was coined in print artifacts such as the Latin Latin or sometimes Roman is an Italic language originally spoken in Latium and Ancient Rome. Although often considered a dead language, in view of the fact that it has no native, fluent speakers, Latin continues to be taught in schools and has been, and currently is, used in the process of new word production in modern languages from many Pruefening Abbey inscription of 1119 which was created by the same technique as the Phaistos disc.[7] In the northern Italian town of Cividale, there is a Venetian The Most Serene Republic of Venice (Venetian: Repùblica Vèneta or Repùblica de Venesia, Italian: Serenissima Repubblica di Venezia) or Venetian Republic was a state originating from the city of Venice in Northeastern Italy. It existed for over a millennium, from the late 7th century AD until the year 1797. It is often referred to as La silver retable from ca. 1200 which had been printed by the means of individual letter punches.[8] The same printing technique can apparently be found in 10th to 12th century Byzantine The Byzantine Empire was the Roman Empire as it existed during the Middle Ages, centered on the capital of Constantinople, and ruled by the Byzantine emperors, direct successors to the ancient Roman emperors. It was called the Roman Empire and also Romania (Greek: Ῥωμανία, Rhōmanía) by its inhabitants and neighbours. As the distinction staurotheca and lipsanotheca.[9] Individual letter tiles where the words are formed by assembling single letter tiles in the desired order were reasonably widespread in medieval Northern Europe.[10]

Modern movable type, along with the mechanical printing press A printing press is a mechanical device for applying pressure to an inked surface resting upon a print medium , thereby transferring the ink. Typically used for texts, the invention and spread of the printing press are widely regarded as the most influential event in the second millennium AD, revolutionizing the way people conceive and describe, was invented in mid-15th century Europe by the German goldsmith Johannes Gutenberg Johannes Gensfleisch zur Laden zum Gutenberg was a German goldsmith and printer who introduced modern book printing. His invention of mechanical movable type printing started the Printing Revolution and is widely regarded the most important event of the modern period. It played a key role in the development of the Renaissance, Reformation and the.[11] His type pieces from a lead Lead is a main-group element with symbol Pb and atomic number 82. Lead is a soft, malleable poor metal. It is also counted as one of the heavy metals. Metallic lead has a bluish-white color after being freshly cut, but it soon tarnishes to a dull grayish color when exposed to air. Lead has a shiny chrome-silver luster when it is melted into a-based alloy An alloy is a partial or complete solid solution of one or more elements in a metallic matrix. Complete solid solution alloys give single solid phase microstructure, while partial solutions give two or more phases that may be homogeneous in distribution depending on thermal history. Alloys usually have different properties from those of the suited printing purposes so well that the alloy is still used today.[12] Gutenberg developed specialised techniques for casting and combining cheap copies of letterpunches In traditional typography, punchcutting is the craft of cutting letter punches in steel from which matrices were made in copper for type founding in the letterpress era. Cutting punches and casting type was the first step of traditional typesetting. The cutting of letter punches was a highly skilled craft requiring much patience and practice in the vast quantities required to print multiple copies of texts; this technical breakthrough became instrumental for the success of the almost instantly starting Printing Revolution.

Typography with movable type Movable type is the system of printing and typography that uses movable components to reproduce the elements of a document . The first known movable type system for printing was created in China around 1040 AD by Bi Sheng (990–1051), but the metal movable type system for printing was developed in Korea during the Goryeo Dynasty (around 1230) was separately invented in 11th-century China. Metal type was first invented in Korea during the Goryeo Dynasty The Goryeo Dynasty or Koryŏ (918-1392) was a Korean sovereign state established in 918 by Emperor Taejo. Korea gets its name from this kingdom which became to be pronounced Korea. It united the Later Three Kingdoms in 936 and ruled most of the Korean peninsula until it was removed by the Joseon dynasty in 1392. Goryeo expanded its borders to around 1230. Both hand printing systems, however, were only sporadically used and discontinued after the introduction of Western lead type and the printing press The global spread of book printing began with the invention of the printing press with movable type by Johannes Gutenberg in Mainz, Germany , and ended with the adoption of Western printing technology in all world regions by the end of the 19th century.[13]

Scope

In contemporary use, the practice and study of typography is very broad, covering all aspects of letter design and application. These include:

Since digitization, typography has spread to a wider ranger of applications, 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".

Traditional typography follows four principles: repetition, contrast, proximity, and alignment.

Text typography

A specimen of roman typefaces by William Caslon

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 of typeset material, with a minimum of distractions and anomalies, is aimed at producing clarity and transparency.

Choice of font(s) is the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual and commercial writing all have differing characteristics and requirements of appropriate typefaces and fonts. 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 seriffed text fonts 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.

Typography is modulated by orthography and linguistics, word structures, word frequencies, morphology, phonetic constructs and linguistic syntax. Typography is also 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.

Color

In typography color is the overall density of the ink on the page, determined mainly by the type face and size, the leading, but also by the word spacing and depth of the margins.[14] 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.

Readability and legibility

Not to be confused with Readability.

Legibility is primarily the concern of the typeface designer, to ensure that each individual character or glyph is unambiguous and distinguishable from all other characters in the font. Legibility is also in part the concern of the typographer to select a typeface with appropriate clarity of design for the intended use at the intended size. An example of a well-known design, Brush Script, contains a number of illegible letters since many of the characters can be easily misread especially if seen out of textual context.

Readability is primarily the concern of the typographer or information designer. It is the intended result of the complete process of presentation of textual material in order to communicate meaning as unambiguously as possible. A reader should be assisted in navigating around the information with ease, by optimal inter-letter, inter-word and particularly inter-line spacing, coupled with appropriate line length and position on the page, careful editorial “chunking” and choice of the text architecture of titles, folios, and reference links.

Text typeset in Iowan Old Style roman, italics and small caps, optimized 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 English Renaissance of Art ca. 1882.

One of the clearest distinctions between the two concepts was presented by Walter Tracy in his Letters of Credit. These … ‘two aspects of a type’ … are … ‘fundamental to its effectiveness. Because the common meaning of “legible” is “readable” there are those – even some professionally involved in typography – who think that the term “legibility” is all that is needed in any discussion on the effectiveness of types. But legibility and readability are separate, though connected aspects of type. Properly understood … the two terms can help to describe the character and function of type more precisely than legibility alone. … In typography we need to draw the definition … of legibility …to mean the quality of being decipherable and recognisable – so that we can say, for example, that the lowercase h in a particular old style italic is not legible in small sizes because its in-turned leg makes it look like the letter b; or a figure 3 in a classified advertisement is too similar to the 8. … In display sizes legibility ceases to be a serious matter; a character which causes uncertainty at 8 point size will be plain enough at 24 point.’[15]

Note that the above applies to people with 20/20 vision at appropriate reading distance and under optimal lighting. The analogy of an opticians chart, testing for visual acuity and independent of meaning, is useful to indicate the scope of the concept of legibility.

‘In typography … if the columns of a newspaper or magazine or the pages of a book can be read for many minutes at a time without strain or difficulty, then we can say the type has good readability. The term describes the quality of visual comfort – an important requirement in the comprehension of long stretches of text but, paradoxically, not so important in such things as telephone directories or air-line time-tables, where the reader is not reading continuously but searching for a single item of information. The difference in the two aspects of visual effectiveness is illustrated by the familiar argument on the suitability of sans-serif types for text setting. The characters in a particular sans-serif face may be perfectly legible in themselves, but no one would think of setting a popular novel in it because its readability is low.’[16]’

Legibility ‘refers to perception’ and readability ‘refers to comprehension’[16]. Typographers aim to achieve excellence in both.

"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. In general typefaces that are true to the basic letterforms are more legible than typefaces that have been condensed, expanded, embellished, or abstracted.

"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."[17]

Studies of both legibility and readability have examined a wide range of factors including type size and type design. For example, comparing serif vs. sans-serif type, italic type vs. roman type, line length, line spacing, color contrast, the design of right-hand edge (for example, justification, straight right hand edge) vs. ranged left, and whether text is hyphenated.

Legibility research has been published since the late nineteenth century. Although there are often commonalities and agreement on many topics, others often create poignant areas of conflict and variation of opinion. For example, no one has provided a conclusive answer to which font, serifed or sans serif, provides the most legibility according to Alex Poole.[18]

Other topics such as justified vs unjustified type, use of hyphens, and proper fonts for people with reading difficulties such as Dyslexia, have continued to be subjects of debate. Websites such as hgredbes.com, ban comic sans, UK National Literacy Trust, and Mark Simsonson Studio have raised debating opinions on the above subjects and many more each presenting a thorough and well-organized position.

Legibility is usually measured through speed of reading, with comprehension scores used to check for effectiveness (that is, not a rushed or careless read). For example, Miles Tinker, who published numerous studies from the 1930s to the 1960s, used a speed of reading test that required participants to spot incongruous words as an effectiveness filter.

The Readability of Print Unit at the Royal College of Art under Professor Herbert Spencer with Brian Coe and Linda Reynolds[19] did important work in this area and was one of the centres which revealed the importance of the saccadic rhythm of eye movement for readability - in particular the ability to take in (i.e. recognise the meaning of groups of) around three words at once and the physiognomy of the eye which meant that the eye tired, if the line required more than 3 or 4 of these saccadic jumps. More than this is found to introduce strain and errors in reading (e.g. Doubling).

These days, 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 (also called fonts) for people with visual impairment, and typefaces for highway signs, or for other conditions where legibility may make a key difference.

Much of the legibility research literature is somewhat atheoretical — various factors were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests were carried out in the absence of a model of reading or visual perception. Some typographers believe that the overall word shape (Bouma) is very important in readability, and that the theory of parallel letterwise recognition is either wrong, less important, or not the entire picture.

Studies distinguishing between Bouma recognition and parallel letterwise recognition with regard to how people actually recognize words when they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed]

Some commonly agreed findings of legibility research include:[citation needed]

Text typeset using LaTeX digital typesetting software

Readability can also be compromised by letter-spacing, word spacing, or leading that is too tight or too loose. It can be improved when 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 legibility.

Typography is an element of all printed material. 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 style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colors, and other typographic features. Some publications, such as The Guardian and The Economist, go so far as to commission a type designer to create bespoke (custom tailored) typefaces for their exclusive use.

Different periodical publications design their publications, including their typography, to achieve a particular tone or style. For example, USA Today 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, The New York Times uses a more traditional approach, with fewer colors, less typeface variation, and more columns.

Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead.

Display typography

19th century John Wilkes Booth wanted poster printed with wood and metal types

Display 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:

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

Advertising

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 and architectural lettering

See also: Epigraphy A print advertisement for the Encyclopædia Britannica from a 1913 issue of National Geographic

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 letter-carvers left in the USA 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,[citation needed] 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 that 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.

See also

Supporting organizations

Notes

  1. ^ Pipes, Alan. Production For Graphic Designers 2nd Edition, Page 40: Prentice Hall Inc 1997
  2. ^ Brekle 1997, pp. 60f.
  3. ^ Schwartz, Benjamin (1959). "The Phaistos disk". Journal of Near Eastern Studies 18 (2): 105–112 (107).
  4. ^ Diamond, Jared. "13: Necessity's Mother: The evolution of technology". Guns, Germs and Steel: The Fates of Human Society. ISBN 0-393-03891-2.
  5. ^ Lanciani 1881, p. 416, Pace 1986, p. 78; Hodge 1992, pp. 310f.
  6. ^ Brekle 2010, p. 19
  7. ^ Brekle 2005, pp. 22–25; Brekle 1997, pp. 62f.; Lehmann-Haupt 1940, pp. 96f.; Hupp 1906, pp. 185f. (+ fig.)
  8. ^ Lipinsky 1986, pp. 78–80; Koch 1994, p. 213
  9. ^ Lipinsky 1986, p. 78; Koch 1994, p. 213
  10. ^ Brekle 1997, pp. 61f.; Lehmann-Haupt 1940, p. 97
  11. ^ McLuhan 1962; Eisenstein 1980; Febvre & Martin 1997; Man 2002
  12. ^ Encyclopædia Britannica 2006: "Printing", retrieved November 27, 2006
  13. ^ Ch'on Hye-bong 1993, p. 19
  14. ^ Eckersley, Richard (1994). "Color". Glossary of Typesetting Terms. Chicago guides to writing, editing and publishing. University of Chicago Press. p. 22. ISBN 9780226183718. OCLC 316234150. "A page is said to have good color if forms an even mass of gray. Squint at the page, and you will see this."
  15. ^ TRACY 1986.30-31
  16. ^ a b Tracy 1986.31
  17. ^ Craig, J. and Scala, IK. Designing with Type, the Essential Guide to Typography. 5th ed. p63. Watson Guptil. 2006.
  18. ^ Alexpoole.info
  19. ^ Legibility of Type, Linda Reynolds 1988 Baseline 10

References

External links

Wikimedia Commons has media related to: Typography
Look up typography in Wiktionary, the free dictionary.
Typography terminology
Page Pagination · Recto and verso · Margin · Column · Canons of page construction · Pull quote
Paragraph Widows and orphans · Leading · River · Alignment · Justification
Character Ligature · Letter-spacing · Kerning · Majuscule · Minuscule · Small caps · CamelCase · Initial · x-height · Overshoot · Baseline · Median · Cap height · Ascender · Descender · Diacritics · Counter · Text figures · Subscript and superscript · Dingbat · Glyph
Font Serif · Sans-serif · Italic · Oblique · Emphasis (bold)
Classifications
Roman type Old style · Transitional · Modern · Slab serif · Sans-serif · Script
Blackletter type Textualis · Rotunda · Schwabacher · Fraktur
Gaelic type Angular · Uncial
Punctuation Hanging punctuation · Hyphenation · Quotation mark · Prime mark · Dashes
Typesetting Type design · Type foundry · Movable type · Calligraphy · Phototypesetting · Letterpress · Typeface · Font · Computer font · ETAOIN SHRDLU · Lorem ipsum · Punchcutting · Pangram
Typographic units Point · Pica · Cicero · Em · En · Agate · Measure
Digital typography Font formats · Typesetting software · Character encoding · Rasterization · Hinting

Categories: Typography | Design | Communication design | Graphic design | Greek loanwords

 

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