Type session by Lindsey Marshall

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 distri-

bution 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 typographyâ&#x20AC;&#x201D;prose fiction,

non-fiction, editorial, educational, religious, scientific, spiritual and commercial writing

ical â&#x20AC;&#x201D; 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

all have differing characteristics and requirements. For historic

with regard to how people actually recognize words when they read, have favored par-

torical genre acquired by a long process of accretion, with considerable overlap be-

tion needed]

material, established text typefaces are frequently chosen according to a scheme of histween historical periods.

Contemporary books are more likely to be set with state-of-the-art seriffed "text ro-

mans" or "book romans" with design values echoing present-day design arts, which are

allel letterwise recognition, which is widely accepted by cognitive psychologists.[cita-

Legibility can also be compromised by letterspacing, 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

closely based on traditional models such as those of Nicolas Jenson, Francesco Griffo

line. Poorly designed fonts and those that are too tightly or loosely fitted can also result

With their more specialized requirements, newspapers and magazines rely on compact,

Typography is an element of all printed material. Periodical publications, especially

(a punchcutter who created the model for Aldine typefaces), and Claude Garamond.

tightly-fitted text romans specially designed for the task, which offer maximum flexi-

in poor legibility.

newspapers and magazines, use typographical elements to achieve an attractive, dis-

bility, readability and efficient use of page space. Sans serif text fonts are often used for

tinctive appearance, to aid readers in navigating the publication, and in some cases for

pair sans serif type for headings with a high-performance seriffed font of matching

small collection of typefaces, each used for specific elements within the publication,

introductory paragraphs, incidental text and whole short articles. A current fashion is to

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 mar-

gins, paper selection and printing methods.

dramatic effect. By formulating a style guide, a periodical standardizes on a relatively 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 typogra-

Typography is modulated by orthography and linguistics, word structures, word fre-

phy, to achieve a particular tone or style. For example, USAToday uses a bold, colorful,

subject to specific cultural conventions. For example, in French it is customary to insert

type sizes vary widely, and the newspaper's name is placed on a colored background. In

quencies, morphology, phonetic constructs and linguistic syntax. Typography also is

a non-breaking space before a colon (:) or semicolon (;) in a sentence, while in English it is not.

Readability and legibility are often confused. â&#x20AC;&#x153;Legibility is the quality of the typeface

design and readability with the design of the printed page. Designers aim to achieve ex-

cellence 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. Generally speaking, 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 de-

sign."[2]

Studies of legibility 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 hyphen-

ated.

Legibility research was published from the late nineteenth century on, but the overall

finding has been that the reading process is remarkably robust, and that significant dif-

ferences are hard to find. So comparative studies of seriffed vs. sans serif type, or justi-

fied vs. unjustified type, have failed to settle the argument over which is best.[citation

needed]

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.

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 impair-

ment, and typefaces for highway signs, or for other conditions where legibility may

make a key difference. Much of the legibility research literature is somewhat atheoret-

and comparatively modern style through their use of a variety of typefaces and colors; contrast, the New York Times use 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.

7.5/13

In traditional typography, text is composed to create a readable, coherent, and vi-

These days, legibility research tends to be limited to critical issues, or the test-

sually satisfying whole that works invisibly, without the awareness of the reader.

ing of specific design solutions (for example, when new typefaces are developed).

ducing clarity and transparency.

visual impairment, and typefaces for highway signs, or for other conditions where

Even distribution with a minimum of distractions and anomalies are aimed at proChoice of font(s) is perhaps the primary aspect of text typographyâ&#x20AC;&#x201D;prose fic-

tion, 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,

Examples of critical issues include typefaces (also called fonts) for people with

legibility may make a key difference. Much of the legibility research literature is somewhat atheoretical â&#x20AC;&#x201D; 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

which are closely based on traditional models such as those of Nicolas Jenson,

recognition with regard to how people actually recognize words when they read,

Claude Garamond. With their more specialized requirements, newspapers and

tive psychologists.[citation needed]

Francesco Griffo (a punchcutter who created the model for Aldine typefaces), 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.

have favored parallel letterwise recognition, which is widely accepted by cogni-

Legibility can also be compromised by letterspacing, word spacing, or leading

that is too tight or too loose. It can be improved when generous vertical space sep-

Sans serif text fonts are often used for

arates lines of text, making it easier for the eye to distinguish one line from the

is to pair sans serif type for headings with a high-performance seriffed font of

loosely fitted can also result in poor legibility.

introductory paragraphs, incidental text and whole short articles. A current fashion 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 "reso-

nance" 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

next, or previous line. Poorly designed fonts and those that are too tightly or

Typography is an element of all printed material. Periodical publications, espe-

cially newspapers and magazines, use typographical elements to achieve an at-

tractive, distinctive appearance, to aid readers in navigating the publication, and

in some cases for dramatic effect. By formulating a style guide, a periodical stan-

dardizes 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.

also is subject to specific cultural conventions. For example, in French it is cus-

Some publications, such as The Guardian and The Economist, go so far as to

tence, while in English it is not.

their exclusive use.

typeface design and readability with the design of the printed page. Designers aim

pography, to achieve a particular tone or style. For example, USAToday uses a

tomary to insert a non-breaking space before a colon (:) or semicolon (;) in a senReadability and legibility are often confused. â&#x20AC;&#x153;Legibility is the quality of the

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

commission a type designer to create bespoke (custom tailored) typefaces for Different periodical publications design their publications, including their ty-

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 use a more traditional

matter of typeface design. Generally speaking, typefaces that are true to the basic

approach, with fewer colors, less typeface variation, and more columns.

embellished, or abstracted.

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

letterforms are more legible than typefaces that have been condensed, expanded,

"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."[2]

Studies of legibility 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 was published from the late nineteenth century on, but the

overall finding has been that the reading process is remarkably robust, and that

significant differences are hard to find. So comparative studies of seriffed vs. sans serif type, or justified vs. unjustified type, have failed to settle the argument over which is best.[citation needed]

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.

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

masthead. 8/14

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 typographyâ&#x20AC;&#x201D;prose

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.

These days, legibility research tends to be limited to critical issues, or the

testing of specific design solutions (for example, when new typefaces are de-

fiction, non-fiction, editorial, educational, religious, scientific, spiritual and

veloped). Examples of critical issues include typefaces (also called fonts) for

historic material, established text typefaces are frequently chosen according

conditions where legibility may make a key difference. Much of the legibil-

commercial writing all have differing characteristics and requirements. For

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

people with visual impairment, and typefaces for highway signs, or for other

ity research literature is somewhat atheoretical â&#x20AC;&#x201D; 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 en-

Aldine typefaces), and Claude Garamond. With their more specialized re-

tire picture.

romans specially designed for the task, which offer maximum flexibility,

recognition with regard to how people actually recognize words when they

used for introductory paragraphs, incidental text and whole short articles. A

by cognitive psychologists.[citation needed]

quirements, newspapers and magazines rely on compact, tightly-fitted text

readability and efficient use of page space. Sans serif text fonts are often current fashion is to pair sans serif type for headings with a high-perfor-

Studies distinguishing between Bouma recognition and parallel letterwise

read, have favored parallel letterwise recognition, which is widely accepted Legibility can also be compromised by letterspacing, word spacing, or

mance seriffed font of matching style for the text of an article.

leading that is too tight or too loose. It can be improved when generous verti-

white space of the page and other graphic elements combine to impart a

one line from the next, or previous line. Poorly designed fonts and those that

The text layout, tone or color of set matter, and the interplay of text with

"feel" or "resonance" to the subject matter. With printed media typographers

are also concerned with binding margins, paper selection and printing meth-

cal space separates lines of text, making it easier for the eye to distinguish are too tightly or loosely fitted can also result in poor legibility.

Typography is an element of all printed material. Periodical publications,

ods.

especially newspapers and magazines, use typographical elements to achieve

word frequencies, morphology, phonetic constructs and linguistic syntax. Ty-

tion, and in some cases for dramatic effect. By formulating a style guide, a

Typography is modulated by orthography and linguistics, word structures,

pography 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 are often confused. â&#x20AC;&#x153;Legibility is the quality of

the typeface design and readability with the design of the printed page. De-

signers 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, how-

ever, it is a matter of typeface design. Generally speaking, 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."[2]

Studies of legibility 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 was published from the late nineteenth century on, but

the overall finding has been that the reading process is remarkably robust,

and that significant differences are hard to find. So comparative studies of

seriffed vs. sans serif type, or justified vs. unjustified type, have failed to set-

tle the argument over which is best.[citation needed]

Legibility is usually measured through speed of reading, with comprehen-

sion scores used to check for effectiveness (that is, not a rushed or careless

an attractive, distinctive appearance, to aid readers in navigating the publica-

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, USAToday

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

use a more traditional approach, with fewer colors, less typeface variation, and more columns.

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

lines are often set in larger display typefaces to attract attention, and are placed near the masthead. 8.5/14.5

In traditional typography, text is composed to create a readable, coher-

ent, and visually satisfying whole that works invisibly, without the

awareness of the reader. Even distribution with a minimum of distrac-

studies of seriffed vs. sans serif type, or justified vs. unjustified type,

have failed to settle the argument over which is best.[citation needed]

Legibility is usually measured through speed of reading, with compre-

tions and anomalies are aimed at producing clarity and transparency.

hension scores used to check for effectiveness (that is, not a rushed or

prose fiction, non-fiction, editorial, educational, religious, scientific,

studies from the 1930s to the 1960s, used a speed of reading test that re-

Choice of font(s) is perhaps the primary aspect of text typographyâ&#x20AC;&#x201D;

spiritual and commercial writing all have differing characteristics and re-

quirements. 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 ser-

iffed "text romans" or "book romans" with design values echoing pres-

ent-day design arts, which are closely based on traditional models such

careless read). For example, Miles Tinker, who published numerous

quired participants to spot incongruous words as an effectiveness filter.

These days, legibility research tends to be limited to critical issues, or

the testing of specific design solutions (for example, when new type-

faces are developed). Examples of critical issues include typefaces (also

called fonts) for people with visual impairment, and typefaces for high-

way signs, or for other conditions where legibility may make a key difference. Much of the legibility research literature is somewhat

atheoretical â&#x20AC;&#x201D; various factors were tested individually or in combina-

as those of Nicolas Jenson, Francesco Griffo (a punchcutter who created

tion (inevitably so, as the different factors are interdependent), but many

specialized requirements, newspapers and magazines rely on compact,

ception. Some typographers believe that the overall word shape (Bouma)

the model for Aldine typefaces), and Claude Garamond. With their more 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

tests were carried out in the absence of a model of reading or visual peris 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 letter-

and whole short articles. A current fashion is to pair sans serif type for

wise recognition with regard to how people actually recognize words

text of an article.

widely accepted by cognitive psychologists.[citation needed]

headings with a high-performance seriffed font of matching style for the 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 im-

part a "feel" or "resonance" to the subject matter. With printed media ty-

pographers are also concerned with binding margins, paper selection and

printing methods.

Typography is modulated by orthography and linguistics, word struc-

tures, 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 are often confused. â&#x20AC;&#x153;Legibility is the quality

of the typeface design and readability with the design of the printed

page. Designers aim to achieve excellence in both.

"The typeface chosen should be legible, that is, it should be read with-

out effort. Sometimes legibility is simply a matter of type size; more

often, however, it is a matter of typeface design. Generally speaking,

typefaces that are true to the basic letterforms are more legible than type-

faces 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."[2]

Studies of legibility have examined a wide range of factors including

when they read, have favored parallel letterwise recognition, which is Legibility can also be compromised by letterspacing, 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 dis-

tinguish 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 publica-

tions, especially newspapers and magazines, use typographical elements

to achieve an attractive, distinctive appearance, to aid readers in navigat-

ing the publication, and in some cases for dramatic effect. By formulat-

ing a style guide, a periodical standardizes on a relatively small

collection of typefaces, each used for specific elements within the publi-

cation, 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 com-

mission 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, USAToday 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

type size and type design. For example, comparing serif vs. sans serif

New York Times use a more traditional approach, with fewer colors, less

the design of right-hand edge (for example, justification, straight right

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

type, italic type vs. roman type, line length, line spacing, color contrast,

hand edge) vs. ranged left, and whether text is hyphenated.

Legibility research was published from the late nineteenth century on,

but the overall finding has been that the reading process is remarkably

robust, and that significant differences are hard to find. So comparative

typeface variation, and more columns.

headlines are often set in larger display typefaces to attract attention, and are placed near the masthead. 9/15

In traditional typography, text is composed to create a readable, coherent, and vi-

These days, legibility research tends to be limited to critical issues, or the testing

sually satisfying whole that works invisibly, without the awareness of the reader.

of specific design solutions (for example, when new typefaces are developed). Ex-

ducing clarity and transparency.

impairment, and typefaces for highway signs, or for other conditions where legi-

Even distribution with a minimum of distractions and anomalies are aimed at proChoice of font(s) is perhaps the primary aspect of text typographyâ&#x20AC;&#x201D;prose fic-

tion, 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,

amples of critical issues include typefaces (also called fonts) for people with visual

bility may make a key difference. Much of the legibility research literature is

somewhat atheoretical â&#x20AC;&#x201D; various factors were tested individually or in combina-

tion (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 recog-

which are closely based on traditional models such as those of Nicolas Jenson,

nition with regard to how people actually recognize words when they read, have

Claude Garamond. With their more specialized requirements, newspapers and

chologists.[citation needed]

Francesco Griffo (a punchcutter who created the model for Aldine typefaces), and

magazines rely on compact, tightly-fitted text romans specially designed for the

favored parallel letterwise recognition, which is widely accepted by cognitive psyLegibility can also be compromised by letterspacing, word spacing, or leading

task, which offer maximum flexibility, readability and efficient use of page space.

that is too tight or too loose. It can be improved when generous vertical space sep-

introductory paragraphs, incidental text and whole short articles. A current fash-

next, or previous line. Poorly designed fonts and those that are too tightly or

Sans serif text fonts are often used for

ion 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

arates lines of text, making it easier for the eye to distinguish one line from the loosely fitted can also result in poor legibility.

Typography is an element of all printed material. Periodical publications, espe-

cially newspapers and magazines, use typographical elements to achieve an attrac-

space of the page and other graphic elements combine to impart a "feel" or "reso-

tive, distinctive appearance, to aid readers in navigating the publication, and in

with binding margins, paper selection and printing methods.

dardizes on a relatively small collection of typefaces, each used for specific ele-

frequencies, morphology, phonetic constructs and linguistic syntax. Typography

boldface, large and small capital letters, colors, and other typographic features.

nance" to the subject matter. With printed media typographers are also concerned Typography is modulated by orthography and linguistics, word structures, word

also is subject to specific cultural conventions. For example, in French it is cus-

tomary to insert a non-breaking space before a colon (:) or semicolon (;) in a sen-

some cases for dramatic effect. By formulating a style guide, a periodical stanments within the publication, and makes consistent use of type sizes, italic,

Some publications, such as The Guardian and The Economist, go so far as to com-

mission a type designer to create bespoke (custom tailored) typefaces for their ex-

tence, while in English it is not.

clusive use.

typeface design and readability with the design of the printed page. Designers aim

raphy, to achieve a particular tone or style. For example, USAToday uses a bold,

"The typeface chosen should be legible, that is, it should be read without effort.

typefaces and colors; type sizes vary widely, and the newspaper's name is placed

Readability and legibility are often confused. â&#x20AC;&#x153;Legibility is the quality of the

to achieve excellence in both.

Sometimes legibility is simply a matter of type size; more often, however, it is a

matter of typeface design. Generally speaking, 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."[2]

Studies of legibility 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 was published from the late nineteenth century on, but the

overall finding has been that the reading process is remarkably robust, and that

significant differences are hard to find. So comparative studies of seriffed vs. sans

serif type, or justified vs. unjustified type, have failed to settle the argument over which is best.[citation needed]

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.

Different periodical publications design their publications, including their typog-

colorful, and comparatively modern style through their use of a variety of

on a colored background. In contrast, the New York Times use 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. 7.5/14

In traditional typography, text is composed to create a readable, coherent,

read). For example, Miles Tinker, who published numerous studies from the

the reader. Even distribution with a minimum of distractions and anomalies

spot incongruous words as an effectiveness filter.

and visually satisfying whole that works invisibly, without the awareness of

are aimed at producing clarity and transparency.

Choice of font(s) is perhaps the primary aspect of text typographyâ&#x20AC;&#x201D;prose

fiction, non-fiction, editorial, educational, religious, scientific, spiritual and

1930s to the 1960s, used a speed of reading test that required participants to These days, legibility research tends to be limited to critical issues, or the

testing of specific design solutions (for example, when new typefaces are de-

veloped). Examples of critical issues include typefaces (also called fonts) for

commercial writing all have differing characteristics and requirements. For

people with visual impairment, and typefaces for highway signs, or for other

material, established text typefaces are frequently chosen according to a

ity research literature is somewhat atheoretical â&#x20AC;&#x201D; various factors were tested

siderable overlap between historical periods.

terdependent), but many tests were carried out in the absence of a model of

historic

scheme of historical genre acquired by a long process of accretion, with conContemporary books are more likely to be set with state-of-the-art seriffed

"text romans" or "book romans" with design values echoing present-day de-

sign 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 re-

quirements, 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 ser-

iffed 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

conditions where legibility may make a key difference. Much of the legibil-

individually or in combination (inevitably so, as the different factors are in-

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]

Legibility can also be compromised by letterspacing, word spacing, or lead-

ing 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,

"feel" or "resonance" to the subject matter. With printed media typogra-

especially newspapers and magazines, use typographical elements to achieve

methods.

cation, and in some cases for dramatic effect. By formulating a style guide, a

phers are also concerned with binding margins, paper selection and printing 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 are often confused. â&#x20AC;&#x153;Legibility is the quality of

the typeface design and readability with the design of the printed page. De-

signers aim to achieve excellence in both.

"The typeface chosen should be legible, that is, it should be read without ef-

fort. Sometimes legibility is simply a matter of type size; more often, how-

ever, it is a matter of typeface design. Generally speaking, 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."[2]

Studies of legibility 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 was published from the late nineteenth century on, but

the overall finding has been that the reading process is remarkably robust, and that significant differences are hard to find. So comparative studies of

seriffed vs. sans serif type, or justified vs. unjustified type, have failed to set-

tle the argument over which is best.[citation needed]

Legibility is usually measured through speed of reading, with comprehen-

sion scores used to check for effectiveness (that is, not a rushed or careless

an attractive, distinctive appearance, to aid readers in navigating the publi-

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 typo-

graphic features. Some publications, such as The Guardian and The Econo-

mist, 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, USAToday

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 use a more traditional approach, with fewer colors, less typeface variation, and more columns.

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

lines are often set in larger display typefaces to attract attention, and are

placed near the masthead. 8/14

In traditional typography, text is composed to create a readable, coherent, and visually satisfying whole that works invisibly, without the