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 require-
phenated.
Legibility research was published from the late nine-
teenth century on, but the overall finding has been that
magazine covers, headlines are often set in larger display
of seriffed vs. sans serif type, or justified vs. unjustified
masthead.
icant differences are hard to find. So comparative studies type, have failed to settle the argument over which is best.[citation needed]
Legibility is usually measured through speed of read-
ing, with comprehension scores used to check for effec-
tiveness (that is, not a rushed or careless read). For
according to a scheme of historical genre acquired by a
from the 1930s to the 1960s, used a speed of reading test
long process of accretion, with considerable overlap between historical periods.
Contemporary books are more likely to be set with
example, Miles Tinker, who published numerous studies that required participants to spot incongruous words as an effectiveness filter.
These days, legibility research tends to be limited to
state-of-the-art seriffed "text romans" or "book romans"
critical issues, or the testing of specific design solutions
which are closely based on traditional models such as
amples of critical issues include typefaces (also called
with design values echoing present-day design arts,
those of Nicolas Jenson, Francesco Griffo (a punchcutter
who created the model for Aldine typefaces), and Claude
(for example, when new typefaces are developed). Ex-
fonts) for people with visual impairment, and typefaces
for highway signs, or for other conditions where legibil-
Garamond. With their more specialized requirements,
ity may make a key difference. Much of the legibility
ted text romans specially designed for the task, which
factors were tested individually or in combination (in-
of page space. Sans serif text fonts are often used for
but many tests were carried out in the absence of a
newspapers and magazines rely on compact, tightly-fit-
offer maximum flexibility, readability and efficient use
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 in-
terplay of text with white space of the page and other
research literature is somewhat atheoretical — various
evitably so, as the different factors are interdependent), 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
graphic elements combine to impart a "feel" or "reso-
parallel letterwise recognition with regard to how people
phers are also concerned with binding margins, paper
parallel letterwise recognition, which is widely accepted
nance" to the subject matter. With printed media typograselection and printing methods.
Typography is modulated by orthography and linguis-
actually recognize words when they read, have favored
by cognitive psychologists.[citation needed]
Legibility can also be compromised by letterspacing,
tics, word structures, word frequencies, morphology,
word spacing, or leading that is too tight or too loose. It
also is subject to specific cultural conventions. For ex-
lines of text, making it easier for the eye to distinguish
phonetic constructs and linguistic syntax. Typography
ample, 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. “Legibil-
ity 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 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 unread-
able through poor setting and placement, just as a less legible
typeface can be made more readable through good de-
can be improved when generous vertical space separates
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. Peri-
odical publications, especially newspapers and magazines, use typographical elements to achieve an
attractive, distinctive appearance, to aid readers in navi-
gating 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 publica-
sign."[2]
tions, including their typography, to achieve a particular
factors including type size and type design. For example,
ful, and comparatively modern style through their use of
Studies of legibility have examined a wide range of
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 hy-
Especially on the front page of newspapers and on
the reading process is remarkably robust, and that signif-
ments. For historic
material, established text typefaces are frequently chosen
proach, with fewer colors, less typeface variation, and
more columns.
tone or style. For example, USAToday uses a bold, colora 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 ap-
typefaces to attract attention, and are placed near the 7.5/12
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,
Studies of legibility have examined a wide range of
publication, and makes consistent use of type sizes,
ample, comparing serif vs. sans serif type, italic type
and other typographic features. Some publications,
factors including type size and type design. For ex-
vs. roman type, line length, line spacing, color con-
trast, 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
italic, boldface, large and small capital letters, colors, 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 publi-
cations, including their typography, to achieve a par-
educational, religious, scientific, spiritual and com-
nineteenth century on, but the overall finding has
ticular tone or style. For example, USAToday uses a
requirements. For historic
and that significant differences are hard to find. So
through their use of a variety of
mercial writing all have differing characteristics and material, established text typefaces are frequently
chosen according to a scheme of historical genre ac-
quired by a long process of accretion, with considerable overlap between historical periods.
been that the reading process is remarkably robust, 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
Contemporary books are more likely to be set with
reading, with comprehension scores used to check for
mans" with design values echoing present-day design
For example, Miles Tinker, who published numerous
state-of-the-art seriffed "text romans" or "book ro-
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 spe-
effectiveness (that is, not a rushed or careless read).
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
cialized requirements, newspapers and magazines
to critical issues, or the testing of specific design so-
designed for the task, which offer maximum flexibil-
oped). Examples of critical issues include typefaces
rely on compact, tightly-fitted text romans specially
ity, readability and efficient use of page space. Sans
serif text fonts are often used for
introductory paragraphs, incidental text and whole
lutions (for example, when new typefaces are devel-
(also called fonts) for people with visual impairment, and typefaces for highway signs, or for other condi-
tions where legibility may make a key difference.
short articles. A current fashion is to pair sans serif
Much of the legibility research literature is somewhat
font of matching style for the text of an article.
ally or in combination (inevitably so, as the different
interplay of text with white space of the page and
ried out in the absence of a model of reading or vi-
"resonance" to the subject matter. With printed media
overall word shape (Bouma) is very important in
type for headings with a high-performance seriffed The text layout, tone or color of set matter, and the
other graphic elements combine to impart a "feel" or typographers are also concerned with binding margins, paper selection and printing methods.
Typography is modulated by orthography and lin-
guistics, word structures, word frequencies, morphol-
ogy, phonetic constructs and linguistic syntax.
Typography also is subject to specific cultural con-
ventions. For example, in French it is customary to
insert a non-breaking space before a colon (:) or
atheoretical — various factors were tested individu-
factors are interdependent), but many tests were carsual perception. Some typographers believe that the 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
semicolon (;) in a sentence, while in English it is not.
needed]
ibility is the quality of the typeface design and read-
ing, word spacing, or leading that is too tight or too
Readability and legibility are often confused. “Leg-
ability with the design of the printed page. Designers
aim to achieve excellence in both.
Legibility can also be compromised by letterspac-
loose. It can be improved when generous vertical
space separates lines of text, making it easier for the
"The typeface chosen should be legible, that is, it
eye to distinguish one line from the next, or previous
simply a matter of type size; more often, however, it
tightly or loosely fitted can also result in poor legibil-
should be read without effort. Sometimes legibility is 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 un-
line. Poorly designed fonts and those that are too ity.
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
readable through poor setting and placement, just as
navigating the publication, and in some cases for dra-
typeface can be made more readable through good
cal standardizes on a relatively small collection of
a less legible design."[2]
matic effect. By formulating a style guide, a periodi-
typefaces, each used for specific elements within the
bold, colorful, and comparatively modern style
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 tradi-
tional 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 dis-
play typefaces to attract attention, and are placed near the masthead. 8/13
In traditional typography, text is composed to cre-
abstracted.
whole that works invisibly, without the awareness
unreadable through poor setting and placement,
of distractions and anomalies are aimed at produc-
typeface can be made more readable through good
ate a readable, coherent, and visually satisfying
of the reader. Even distribution with a minimum ing clarity and transparency.
Choice of font(s) is perhaps the primary aspect
"However, even a legible typeface can become
Typography is an element of all printed mate-
rial. Periodical publications, especially newspa-
design."[2]
to achieve an attractive, distinctive appearance, to
Studies of legibility have examined a wide
range of factors including type size and type de-
and commercial writing all have differing charac-
type, italic type vs. roman type, line length, line
teristics and requirements. For historic
also result in poor legibility.
just as a less legible
of text typography—prose fiction, non-fiction, ed-
itorial, educational, religious, scientific, spiritual
and those that are too tightly or loosely fitted can
sign. For example, comparing serif vs. sans serif
spacing, color contrast, the design of right-hand
pers and magazines, use typographical elements aid readers in navigating the publication, and in
some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a rela-
tively small collection of typefaces, each used for specific elements within the publication, and
material, established text typefaces are frequently
edge (for example, justification, straight right
makes consistent use of type sizes, italic, bold-
acquired by a long process of accretion, with con-
phenated.
other typographic features. Some publications,
nineteenth century on, but the overall finding has
far as to commission a type designer to create be-
chosen according to a scheme of historical genre siderable overlap between historical periods.
Contemporary books are more likely to be set
hand edge) vs. ranged left, and whether text is hyLegibility research was published from the late
with state-of-the-art seriffed "text romans" or
been that the reading process is remarkably ro-
ent-day design arts, which are closely based on
find. So comparative studies of seriffed vs. sans
face, large and small capital letters, colors, and
such as The Guardian and The Economist, go so
spoke (custom tailored) typefaces for their exclu-
bust, and that significant differences are hard to
sive use.
serif type, or justified vs. unjustified type, have
publications, including their typography, to
the model for Aldine typefaces), and Claude Gara-
best.[citation needed]
USAToday uses a bold, colorful, and compara-
newspapers and magazines rely on compact,
reading, with comprehension scores used to check
of
the task, which offer maximum flexibility, read-
read). For example, Miles Tinker, who published
"book romans" with design values echoing prestraditional models such as those of Nicolas Jen-
son, Francesco Griffo (a punchcutter who created
mond. With their more specialized requirements,
tightly-fitted text romans specially designed for
ability 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
failed to settle the argument over which is
Legibility is usually measured through speed of
for effectiveness (that is, not a rushed or careless
numerous studies from the 1930s to the 1960s,
used a speed of reading test that required partici-
pants to spot incongruous words as an effectiveness filter.
These days, legibility research tends to be lim-
ited to critical issues, or the testing of specific design solutions (for example, when new typefaces
are developed). Examples of critical issues in-
clude typefaces (also called fonts) for people with
visual impairment, and typefaces for highway
"feel" or "resonance" to the subject matter. With
signs, or for other conditions where legibility may
with binding margins, paper selection and printing
search literature is somewhat atheoretical — vari-
Typography is modulated by orthography and
combination (inevitably so, as the different factors
printed media typographers are also concerned methods.
linguistics, word structures, word frequencies,
morphology, phonetic constructs and linguistic
syntax. Typography also is subject to specific cul-
make a key difference. Much of the legibility re-
ous factors were tested individually or in
are interdependent), but many tests were carried
out in the absence of a model of reading or visual
perception. Some typographers believe that the
tural conventions. For example, in French it is
overall word shape (Bouma) is very important in
colon (:) or semicolon (;) in a sentence, while in
wise recognition is either wrong, less important,
customary to insert a non-breaking space before a English it is not.
Readability and legibility are often confused.
“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 without effort. Sometimes legi-
readability, and that the theory of parallel letteror not the entire picture.
Studies distinguishing between Bouma recogni-
tion and parallel letterwise recognition with re-
gard to how people actually recognize words
when they read, have favored parallel letterwise
recognition, which is widely accepted by cogni-
tive psychologists.[citation needed]
Legibility can also be compromised by let-
bility is simply a matter of type size; more often,
terspacing, word spacing, or leading that is too
ally speaking, typefaces that are true to the basic
ous vertical space separates lines of text, making
have been condensed, expanded, embellished, or
the next, or previous line. Poorly designed fonts
however, it is a matter of typeface design. Gener-
letterforms are more legible than typefaces that
tight or too loose. It can be improved when gener-
it easier for the eye to distinguish one line from
Different periodical publications design their
achieve a particular tone or style. For example,
tively modern style through their use of a variety typefaces and colors; type sizes vary widely, and
the newspaper's name is placed on a colored back-
ground. 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. 8.5/13
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 are often confused. “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 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 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. 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] 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 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, 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, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead. 9/13.5
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 distrac-
tion, straight right hand edge) vs. ranged left, and
typefaces and colors; type sizes vary widely, and the
nineteenth century on, but the overall finding has
In contrast, the New York Times use a more tradi-
Legibility research was published from the late
tions and anomalies are aimed at producing clarity
been that the reading process is remarkably robust,
Choice of font(s) is perhaps the primary aspect of
comparative studies of seriffed vs. sans serif type, or
and transparency.
text typography—prose fiction, non-fiction, editorial,
justified vs. unjustified type, have failed to settle the
magazine covers, headlines are often set in larger dis-
requirements. For historic
reading, with comprehension scores used to check for
chosen according to a scheme of historical genre ac-
For example, Miles Tinker, who published numerous
quired by a long process of accretion, with consider-
able overlap between historical periods.
Contemporary books are more likely to be set with
state-of-the-art seriffed "text romans" or "book ro-
mans" with design values echoing present-day design arts, which are closely based on traditional models
such as those of Nicolas Jenson, Francesco Griffo (a
Legibility is usually measured through speed of
effectiveness (that is, not a rushed or careless read). 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 devel-
oped). Examples of critical issues include typefaces
punchcutter who created the model for Aldine type-
(also called fonts) for people with visual impairment,
cialized requirements, newspapers and magazines
tions where legibility may make a key difference.
faces), and Claude Garamond. With their more spe-
rely on compact, tightly-fitted text romans specially
designed for the task, which offer maximum flexibil-
and typefaces for highway signs, or for other condi-
Much of the legibility research literature is somewhat atheoretical — various factors were tested individu-
ity, readability and efficient use of page space. Sans
ally or in combination (inevitably so, as the different
introductory paragraphs, incidental text and whole
ried out in the absence of a model of reading or visual
serif text fonts are often used for
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
factors are interdependent), but many tests were car-
perception. Some typographers believe that the over-
all word shape (Bouma) is very important in readability, and that the theory of parallel letterwise
recognition is either wrong, less important, or not the
interplay of text with white space of the page and
entire picture.
"resonance" to the subject matter. With printed
and parallel letterwise recognition with regard to
other graphic elements combine to impart a "feel" or
media typographers are also concerned with binding
Studies distinguishing between Bouma recognition
how people actually recognize words when they read,
margins, paper selection and printing methods.
have favored parallel letterwise recognition, which is
guistics, word structures, word frequencies, morphol-
needed]
Typography is modulated by orthography and lin-
ogy, phonetic constructs and linguistic syntax.
widely accepted by cognitive psychologists.[citation
Legibility can also be compromised by letterspac-
Typography also is subject to specific cultural con-
ing, word spacing, or leading that is too tight or too
insert a non-breaking space before a colon (:) or
space separates lines of text, making it easier for the
ventions. For example, in French it is customary to semicolon (;) in a sentence, while in English it is not.
Readability and legibility are often confused. “Legi-
bility is the quality of the typeface design and read-
ability 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 without effort. Sometimes legibility is
loose. It can be improved when generous vertical
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
simply a matter of type size; more often, however, it is
attractive, distinctive appearance, to aid readers in
faces that are true to the basic letterforms are more
matic effect. By formulating a style guide, a periodi-
a matter of typeface design. Generally speaking, typelegible than typefaces that have been condensed, ex-
panded, embellished, or abstracted.
"However, even a legible typeface can become un-
navigating the publication, and in some cases for dracal standardizes on a relatively small collection of
typefaces, each used for specific elements within the publication, and makes consistent use of type sizes,
readable through poor setting and placement, just as
italic, boldface, large and small capital letters, colors,
typeface can be made more readable through good
such as The Guardian and The Economist, go so far
a less legible
design."[2]
Studies of legibility have examined a wide range of
factors including type size and type design. For exam-
ple, 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, justifica-
tional approach, with fewer colors, less typeface vari-
ation, and more columns.
argument over which is best.[citation needed]
material, established text typefaces are frequently
newspaper's name is placed on a colored background.
and that significant differences are hard to find. So
educational, religious, scientific, spiritual and com-
mercial writing all have differing characteristics and
through their use of a variety of
whether text is hyphenated.
and other typographic features. Some publications,
as to commission a type designer to create bespoke (custom tailored) typefaces for their exclusive use.
Different periodical publications design their publi-
cations, including their typography, to achieve a par-
ticular tone or style. For example, USAToday uses a bold, colorful, and comparatively modern style
Especially on the front page of newspapers and on
play typefaces to attract attention, and are placed
near the masthead. 7.5/12
In traditional typography, text is composed to cre-
ate 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, edi-
"However, even a legible typeface can become
Typography is an element of all printed mate-
unreadable through poor setting and placement,
rial. Periodical publications, especially newspa-
typeface can be made more readable through
to achieve an attractive, distinctive appearance, to
just as a less legible
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
pers and magazines, use typographical elements
aid readers in navigating the publication, and in
some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a rela-
tively small collection of typefaces, each used for
torial, educational, religious, scientific, spiritual
type vs. roman type, line length, line spacing,
specific elements within the publication, and
teristics and requirements. For historic
example, justification, straight right hand edge)
large and small capital letters, colors, and other
and commercial writing all have differing characmaterial, established text typefaces are frequently
chosen according to a scheme of historical genre
acquired by a long process of accretion, with con-
siderable overlap between historical periods.
Contemporary books are more likely to be set
with state-of-the-art seriffed "text romans" or
color contrast, the design of right-hand edge (for
vs. ranged left, and whether text is hyphenated.
Legibility research was published from the late
nineteenth century on, but the overall finding has
find. So comparative studies of seriffed vs. sans
publications, including their typography, to
failed to settle the argument over which is best.[ci-
USAToday uses a bold, colorful, and compara-
bust, and that significant differences are hard to
traditional models such as those of Nicolas Jen-
tation needed]
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, read-
ability and efficient use of page space. Sans serif
Legibility is usually measured through speed of
reading, with comprehension scores used to check
used a speed of reading test that required partici-
pants to spot incongruous words as an effectiveThese days, legibility research tends to be lim-
sign solutions (for example, when new typefaces
are developed). Examples of critical issues include
of an article.
typefaces (also called fonts) for people with visual
the interplay of text with white space of the page
for other conditions where legibility may make a
and other graphic elements combine to impart a
impairment, and typefaces for highway signs, or
key difference. Much of the legibility research lit-
"feel" or "resonance" to the subject matter. With
erature is somewhat atheoretical — various fac-
with binding margins, paper selection and print-
(inevitably so, as the different factors are interde-
printed media typographers are also concerned ing methods.
Typography is modulated by orthography and
linguistics, word structures, word frequencies,
morphology, phonetic constructs and linguistic
tors were tested individually or in combination
pendent), but many tests were carried out in the
absence of a model of reading or visual percep-
tion. Some typographers believe that the overall
word shape (Bouma) is very important in read-
syntax. Typography also is subject to specific cul-
ability, and that the theory of parallel letterwise
customary to insert a non-breaking space before a
the entire picture.
English it is not.
tion and parallel letterwise recognition with re-
“Legibility is the quality of the typeface design
they read, have favored parallel letterwise recog-
page. Designers aim to achieve excellence in both.
chologists.[citation needed]
it should be read without effort. Sometimes legi-
terspacing, word spacing, or leading that is too
tural conventions. For example, in French it is
colon (:) or semicolon (;) in a sentence, while in Readability and legibility are often confused.
and readability with the design of the printed
"The typeface chosen should be legible, that is,
bility 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.
of
typefaces and colors; type sizes vary widely, and
more traditional approach, with fewer colors, less
read). For example, Miles Tinker, who published
ited to critical issues, or the testing of specific de-
The text layout, tone or color of set matter, and
tively modern style through their use of a variety
numerous studies from the 1930s to the 1960s,
whole short articles. A current fashion is to pair mance seriffed font of matching style for the text
achieve a particular tone or style. For example,
the newspaper's name is placed on a colored back-
ness filter.
sans serif type for headings with a high-perfor-
Different periodical publications design their
for effectiveness (that is, not a rushed or careless
text fonts are often used for
introductory paragraphs, incidental text and
The Guardian and The Economist, go so far as to
commission a type designer to create bespoke
(custom tailored) typefaces for their exclusive use.
serif type, or justified vs. unjustified type, have
son, Francesco Griffo (a punchcutter who created
typographic features. Some publications, such as
been that the reading process is remarkably ro-
"book romans" with design values echoing present-day design arts, which are closely based on
makes consistent use of type sizes, italic, boldface,
recognition is either wrong, less important, or not Studies distinguishing between Bouma recogni-
gard to how people actually recognize words when
nition, which is widely accepted by cognitive psyLegibility can also be compromised by let-
tight or too loose. It can be improved when gener-
ous 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.
ground. In contrast, the New York Times use a 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. 8/13
In traditional typography, text is composed to
legibility is simply a matter of type size; more
fying whole that works invisibly, without the
Generally speaking, typefaces that are true to
create a readable, coherent, and visually satisawareness 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 as-
pect of text typography—prose fiction, non-fic-
cognitive psychologists.[citation needed]
the basic letterforms are more legible than
terspacing, word spacing, or leading that is too
typefaces that have been condensed, expanded, embellished, or abstracted.
"However, even a legible typeface can be-
come unreadable through poor setting and
tion, editorial, educational, religious, scientific,
placement, just as a less legible
fering characteristics and requirements. For
good design."[2]
spiritual and commercial writing all have difhistoric
material, established text typefaces are fre-
quently chosen according to a scheme of histor-
ical genre acquired by a long process of
accretion, with considerable overlap between
historical periods.
Contemporary books are more likely to be
typeface can be made more readable through Studies of legibility have examined a wide
range of factors including type size and type
design. For example, comparing serif vs. sans
straight right hand edge) vs. ranged left, and
Nicolas Jenson, Francesco Griffo (a punchcut-
markably robust, and that significant
faces), and Claude Garamond. With their more
studies of seriffed vs. sans serif type, or justi-
magazines rely on compact, tightly-fitted text
argument over which is best.[citation needed]
romans specially designed for the task, which
offer maximum flexibility, readability and effi-
cient use of page space. Sans serif text fonts are
often used for
introductory paragraphs, incidental text and
Legibility research was published from the
ing has been that the reading process is re-
Legibility is usually measured through speed
These days, legibility research tends to be
cific design solutions (for example, when new
people with visual impairment, and typefaces where legibility may make a key difference. Much of the legibility research literature is
and linguistics, word structures, word frequen-
somewhat atheoretical — various factors were
guistic syntax. Typography also is subject to
evitably so, as the different factors are interde-
“Legibility is the quality of the typeface design and readability with the design of the printed page. Designers aim to achieve excellence in
tested individually or in combination (in-
pendent), but many tests were carried out in
the absence of a model of reading or visual per-
ception. 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 recog-
both.
nition and parallel letterwise recognition with
is, it should be read without effort. Sometimes
when they read, have favored parallel letter-
"The typeface chosen should be legible, that
to commission a type designer to create beclusive use.
Different periodical publications design their
achieve a particular tone or style. For example,
typefaces and colors; type sizes vary widely,
for highway signs, or for other conditions
Readability and legibility are often confused.
graphic features. Some publications, such as
quired participants to spot incongruous words
are also concerned with binding margins,
sentence, while in English it is not.
use of type sizes, italic, boldface, large and
small capital letters, colors, and other typo-
tively modern style through their use of a vari-
issues include typefaces (also called fonts) for
space before a colon (:) or semicolon (;) in a
within the publication, and makes consistent
published numerous studies from the 1930s to
to impart a "feel" or "resonance" to the sub-
specific cultural conventions. For example, in
typefaces, each used for specific elements
USAToday uses a bold, colorful, and compara-
typefaces are developed). Examples of critical
French it is customary to insert a non-breaking
standardizes on a relatively small collection of
careless read). For example, Miles Tinker, who
the page and other graphic elements combine
cies, morphology, phonetic constructs and lin-
publication, and in some cases for dramatic ef-
publications, including their typography, to
limited to critical issues, or the testing of spe-
Typography is modulated by orthography
papers and magazines, use typographical
elements to achieve an attractive, distinctive
of reading, with comprehension scores used to
check for effectiveness (that is, not a rushed or
The text layout, tone or color of set matter,
paper selection and printing methods.
Typography is an element of all printed ma-
terial. Periodical publications, especially news-
spoke (custom tailored) typefaces for their ex-
as an effectiveness filter.
ject matter. With printed media typographers
loosely fitted can also result in poor legibility.
fied vs. unjustified type, have failed to settle the
performance seriffed font of matching style for
and the interplay of text with white space of
signed fonts and those that are too tightly or
The Guardian and The Economist, go so far as
the 1960s, used a speed of reading test that re-
the text of an article.
line from the next, or previous line. Poorly de-
differences are hard to find. So comparative
whole short articles. A current fashion is to
pair sans serif type for headings with a high-
making it easier for the eye to distinguish one
fect. By formulating a style guide, a periodical
length, line spacing, color contrast, the design
late nineteenth century on, but the overall find-
specialized requirements, newspapers and
generous vertical space separates lines of text,
of right-hand edge (for example, justification,
present-day design arts, which are closely
ter who created the model for Aldine type-
tight or too loose. It can be improved when
appearance, to aid readers in navigating the
whether text is hyphenated.
based on traditional models such as those of
Legibility can also be compromised by let-
serif type, italic type vs. roman type, line
set with state-of-the-art seriffed "text romans"
or "book romans" with design values echoing
wise recognition, which is widely accepted by
often, however, it is a matter of typeface design.
regard to how people actually recognize words
ety of
and the newspaper's name is placed on a col-
ored 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. 8.5/13.5
In traditional typography, text is composed
face design and readability with the design
were carried out in the absence of a model of
satisfying whole that works invisibly, with-
achieve excellence in both.
phers believe that the overall word shape
bution with a minimum of distractions and
that is, it should be read without effort.
and transparency.
type size; more often, however, it is a matter
or not the entire picture.
aspect of text typography—prose fiction,
faces that are true to the basic letterforms
recognition and parallel letterwise recogni-
scientific, spiritual and commercial writing
been condensed, expanded, embellished, or
ognize words when they read, have favored
to create a readable, coherent, and visually
out the awareness of the reader. Even distrianomalies are aimed at producing clarity
Choice of font(s) is perhaps the primary
non-fiction, editorial, educational, religious, all have differing characteristics and re-
quirements. For historic
material, established text typefaces are fre-
quently chosen according to a scheme of historical genre acquired by a long process of accretion, with considerable overlap be-
tween 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
of the printed page. Designers aim to
"The typeface chosen should be legible,
Sometimes legibility is simply a matter of
of typeface design. Generally speaking, type-
are more legible than typefaces that have
abstracted.
"However, even a legible typeface can be-
come 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
ranged left, and whether text is hyphenated.
widely accepted by cognitive psychologists.[citation needed]
Legibility can also be compromised by let-
terspacing, word spacing, or leading that is too tight or too loose. It can be improved
when generous vertical space separates lines
Legibility research was published from the
guish one line from the next, or previous
are too tightly or loosely fitted can also reTypography is an element of all printed
material. Periodical publications, especially
newspapers and magazines, use typographi-
late nineteenth century on, but the overall
cal elements to achieve an attractive, distinc-
remarkably robust, and that significant dif-
the publication, and in some cases for dra-
studies of seriffed vs. sans serif type, or justi-
periodical standardizes on a relatively small
for the task, which offer maximum flexibil-
ferences are hard to find. So comparative
space. Sans serif text fonts are often used for
fied vs. unjustified type, have failed to settle
introductory paragraphs, incidental text and
parallel letterwise recognition, which is
sult in poor legibility.
finding has been that the reading process is
ity, readability and efficient use of page
tion with regard to how people actually rec-
design of right-hand edge (for example, jus-
newspapers and magazines rely on compact, tightly-fitted text romans specially designed
Studies distinguishing between Bouma
line. Poorly designed fonts and those that
design. For example, comparing serif vs.
tification, straight right hand edge) vs.
With their more specialized requirements,
recognition is either wrong, less important,
sans serif type, italic type vs. roman type,
those of Nicolas Jenson, Francesco Griffo (a
dine typefaces), and Claude Garamond.
and that the theory of parallel letterwise
of text, making it easier for the eye to distin-
line length, line spacing, color contrast, the
punchcutter who created the model for Al-
(Bouma) is very important in readability,
range of factors including type size and type
echoing present-day design arts, which are
closely based on traditional models such as
reading or visual perception. Some typogra-
the argument over which is best.[citation
tive appearance, to aid readers in navigating
matic effect. By formulating a style guide, a
collection of typefaces, each used for specific elements within the publication, and makes
whole short articles. A current fashion is to
needed]
consistent use of type sizes, italic, boldface,
performance seriffed font of matching style
speed of reading, with comprehension scores
other typographic features. Some publica-
pair sans serif type for headings with a highfor 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 ty-
pographers are also concerned with binding
margins, paper selection and printing meth-
Legibility is usually measured through
used to check for effectiveness (that is, not a
large and small capital letters, colors, and
tions, such as The Guardian and The Econo-
rushed or careless read). For example, Miles
mist, go so far as to commission a type
from the 1930s to the 1960s, used a speed of
typefaces for their exclusive use.
Tinker, who published numerous studies
reading test that required participants to
spot incongruous words as an effectiveness filter.
These days, legibility research tends to be
designer to create bespoke (custom tailored) Different periodical publications design
their publications, including their typogra-
phy, to achieve a particular tone or style.
For example, USAToday uses a bold, color-
ods.
limited to critical issues, or the testing of
ful, and comparatively modern style through
and linguistics, word structures, word fre-
new typefaces are developed). Examples of
typefaces and colors; type sizes vary widely,
fonts) for people with visual impairment,
colored background. In contrast, the New
Typography is modulated by orthography
specific design solutions (for example, when
quencies, morphology, phonetic constructs
critical issues include typefaces (also called
subject to specific cultural conventions. For
and typefaces for highway signs, or for other
and linguistic syntax. Typography also is
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 con-
fused. “Legibility is the quality of the type-
their use of a variety of
and the newspaper's name is placed on a York Times use a more traditional ap-
conditions where legibility may make a key
proach, with fewer colors, less typeface vari-
literature is somewhat atheoretical — vari-
Especially on the front page of newspapers
difference. Much of the legibility research
ation, and more columns.
ous factors were tested individually or in
and on magazine covers, headlines are often
factors are interdependent), but many tests
tention, and are placed near the masthead.
combination (inevitably so, as the different
set in larger display typefaces to attract at9/14
In traditional typography, text is composed to create
of factors including type size and type design. For
that works invisibly, without the awareness of the
type vs. roman type, line length, line spacing, color
a readable, coherent, and visually satisfying whole
reader. Even distribution with a minimum of distrac-
tions 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 com-
example, comparing serif vs. sans serif type, italic 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
chosen according to a scheme of historical genre
the argument over which is best.[citation needed]
siderable overlap between historical periods.
reading, with comprehension scores used to check
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 Gara-
mond. With their more specialized requirements,
Legibility is usually measured through speed of
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
used a speed of reading test that required partici-
pants 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
veloped). Examples of critical issues include type-
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
the interplay of text with white space of the page
model of reading or visual perception. Some typog-
"feel" or "resonance" to the subject matter. With
(Bouma) is very important in readability, and that
with binding margins, paper selection and printing
wrong, less important, or not the entire picture.
and other graphic elements combine to impart a
printed media typographers are also concerned
methods.
Typography is modulated by orthography and lin-
guistics, word structures, word frequencies, mor-
raphers believe that the overall word shape
the theory of parallel letterwise recognition is either Studies distinguishing between Bouma recogni-
tion and parallel letterwise recognition with regard
to how people actually recognize words when they
phology, phonetic constructs and linguistic syntax.
read, have favored parallel letterwise recognition,
ventions. For example, in French it is customary to
gists.[citation needed]
Typography also is subject to specific cultural coninsert a non-breaking space before a colon (:) or
semicolon (;) in a sentence, while in English it is
not.
Readability and legibility are often confused.
“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 letter-
forms are more legible than typefaces that have
which is widely accepted by cognitive psycholo-
Legibility can also be compromised by letterspac-
ing, 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
been condensed, expanded, embellished, or ab-
dramatic effect. By formulating a style guide, a peri-
"However, even a legible typeface can become
of typefaces, each used for specific elements within
stracted.
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
Especially on the front page of newspapers and
on magazine covers, headlines are often set in
larger display typefaces to attract attention, and are
7.5/12
read). For example, Miles Tinker, who published
faces (also called fonts) for people with visual
introductory paragraphs, incidental text and whole
typeface variation, and more columns.
numerous studies from the 1930s to the 1960s,
task, which offer maximum flexibility, readability and efficient use of page space. Sans serif text fonts
ground. In contrast, the New York Times use a
placed near the masthead.
solutions (for example, when new typefaces are de-
are often used for
typefaces and colors; type sizes vary widely, and
for effectiveness (that is, not a rushed or careless
newspapers and magazines rely on compact,
tightly-fitted text romans specially designed for the
uses a bold, colorful, and comparatively modern
style through their use of a variety of
more traditional approach, with fewer colors, less
or justified vs. unjustified type, have failed to settle
with state-of-the-art seriffed "text romans" or "book
particular tone or style. For example, USAToday
comparative studies of seriffed vs. sans serif type,
material, established text typefaces are frequently
Contemporary books are more likely to be set
Different periodical publications design their publi-
cations, including their typography, to achieve a
the newspaper's name is placed on a colored back-
and that significant differences are hard to find. So
acquired by a long process of accretion, with con-
their exclusive use.
been that the reading process is remarkably robust,
mercial writing all have differing characteristics and requirements. For historic
to create bespoke (custom tailored) typefaces for
odical standardizes on a relatively small collection the publication, and makes consistent use of type
sizes, italic, boldface, large and small capital let-
ters, colors, and other typographic features. Some
publications, such as The Guardian and The Economist, go so far as to commission a type designer
In traditional typography, text is composed to
faces that have been condensed, expanded,
making it easier for the eye to distinguish one
line from the next, or previous line. Poorly de-
create a readable, coherent, and visually satisfy-
embellished, or abstracted.
ness of the reader. Even distribution with a
come unreadable through poor setting and
loosely fitted can also result in poor legibility.
aimed at producing clarity and transparency.
typeface can be made more readable through
rial. Periodical publications, especially newspa-
ing whole that works invisibly, without the aware-
minimum of distractions and anomalies are
Choice of font(s) is perhaps the primary as-
pect of text typography—prose fiction, non-fic-
tion, editorial, educational, religious, scientific,
"However, even a legible typeface can be-
placement, just as a less legible
good design."[2]
Studies of legibility have examined a wide
range of factors including type size and type de-
spiritual and commercial writing all have differing
sign. For example, comparing serif vs. sans serif
material, established text typefaces are fre-
spacing, color contrast, the design of right-hand
cal genre acquired by a long process of
hand edge) vs. ranged left, and whether text is
characteristics and requirements. For historic
quently chosen according to a scheme of histori-
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 pres-
type, italic type vs. roman type, line length, line
edge (for example, justification, straight right
By formulating a style guide, a periodical stan-
dardizes on a relatively small collection of type-
faces, each used for specific elements within the
publication, and makes consistent use of type
robust, and that significant differences are hard
type designer to create bespoke (custom tai-
has been that the reading process is remarkably sans serif type, or justified vs. unjustified type, best.[citation needed]
Legibility is usually measured through speed
of reading, with comprehension scores used to
on compact, tightly-fitted text romans specially
check for effectiveness (that is, not a rushed or
ibility, readability and efficient use of page
published numerous studies from the 1930s to
designed for the task, which offer maximum flex-
cation, and in some cases for dramatic effect.
Some publications, such as The Guardian and
have failed to settle the argument over which is
requirements, newspapers and magazines rely
pearance, to aid readers in navigating the publi-
nineteenth century on, but the overall finding
son, Francesco Griffo (a punchcutter who created the model for Aldine typefaces), and
pers and magazines, use typographical
elements to achieve an attractive, distinctive ap-
sizes, italic, boldface, large and small capital let-
Legibility research was published from the late
to find. So comparative studies of seriffed vs.
Claude Garamond. With their more specialized
Typography is an element of all printed mate-
hyphenated.
ent-day design arts, which are closely based on
traditional models such as those of Nicolas Jen-
signed fonts and those that are too tightly or
careless read). For example, Miles Tinker, who
ters, colors, and other typographic features.
The Economist, go so far as to commission a
lored) 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 compara-
tively 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 col-
space. Sans serif text fonts are often used for
the 1960s, used a speed of reading test that re-
ored background. In contrast, the New York
whole short articles. A current fashion is to pair
an effectiveness filter.
fewer colors, less typeface variation, and more
mance seriffed font of matching style for the text
ited to critical issues, or the testing of specific
The text layout, tone or color of set matter, and
faces are developed). Examples of critical is-
introductory paragraphs, incidental text and
sans serif type for headings with a high-perfor-
of an article.
the interplay of text with white space of the page and other graphic elements combine to impart a
quired participants to spot incongruous words as These days, legibility research tends to be lim-
design solutions (for example, when new typesues include typefaces (also called fonts) for
people with visual impairment, and typefaces for
"feel" or "resonance" to the subject matter. With
highway signs, or for other conditions where leg-
with binding margins, paper selection and print-
legibility research literature is somewhat atheo-
Typography is modulated by orthography and
or in combination (inevitably so, as the different
printed media typographers are also concerned
ing methods.
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.
“Legibility is the quality of the typeface design
ibility may make a key difference. Much of the
retical — various factors were tested individually 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 ei-
ther wrong, less important, or not the entire pic-
ture.
Studies distinguishing between Bouma recog-
and readability with the design of the printed
nition and parallel letterwise recognition with re-
both.
when they read, have favored parallel letterwise
is, it should be read without effort. Sometimes
tive psychologists.[citation needed]
page. Designers aim to achieve excellence in "The typeface chosen should be legible, that
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-
gard to how people actually recognize words
recognition, which is widely accepted by cogniLegibility can also be compromised by let-
terspacing, word spacing, or leading that is too
tight or too loose. It can be improved when gen-
erous vertical space separates lines of text,
Times use a more traditional approach, with 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. 8/13
In traditional typography, text is composed to
printed page. Designers aim to achieve ex-
very important in readability, and that the the-
create a readable, coherent, and visually sat-
cellence in both.
ory of parallel letterwise recognition is either
awareness of the reader. Even distribution
that is, it should be read without effort. Some-
ture.
are aimed at producing clarity and trans-
more often, however, it is a matter of type-
isfying whole that works invisibly, without the
with a minimum of distractions and anomalies
parency.
Choice of font(s) is perhaps the primary as-
"The typeface chosen should be legible,
times legibility is simply a matter of type size; face design. Generally speaking, typefaces
that are true to the basic letterforms are more
pect of text typography—prose fiction, non-
legible than typefaces that have been con-
scientific, spiritual and commercial writing all
stracted.
fiction, editorial, educational, religious,
have differing characteristics and require-
densed, expanded, embellished, or ab-
"However, even a legible typeface can be-
wrong, less important, or not the entire picStudies 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 ac-
cepted by cognitive psychologists.[citation needed]
Legibility can also be compromised by let-
ments. For historic
come unreadable through poor setting and
terspacing, word spacing, or leading that is
quently chosen according to a scheme of his-
typeface can be made more readable
when generous vertical space separates
material, established text typefaces are fretorical genre acquired by a long process of
accretion, with considerable overlap between
placement, just as a less legible through good design."[2]
Studies of legibility have examined a wide
historical periods.
range of factors including type size and type
set with state-of-the-art seriffed "text romans"
sans serif type, italic type vs. roman type, line
Contemporary books are more likely to be
or "book romans" with design values echoing
design. For example, comparing serif vs.
length, line spacing, color contrast, the de-
present-day design arts, which are closely
sign of right-hand edge (for example, justifi-
Nicolas Jenson, Francesco Griffo (a punch-
left, and whether text is hyphenated.
based on traditional models such as those of cutter who created the model for Aldine typefaces), and Claude Garamond. With their
more specialized requirements, newspapers
and magazines rely on compact, tightly-fitted
cation, straight right hand edge) vs. ranged
Legibility research was published from the
Typography is an element of all printed ma-
terial. Periodical publications, especially
newspapers and magazines, use typographical elements to achieve an attractive, distinc-
tive appearance, to aid readers in navigating
periodical standardizes on a relatively small
vs. unjustified type, have failed to settle the
whole short articles. A current fashion is to
poor legibility.
remarkably robust, and that significant differ-
and efficient use of page space. Sans serif
introductory paragraphs, incidental text and
line. Poorly designed fonts and those that are
too tightly or loosely fitted can also result in
the publication, and in some cases for dra-
finding has been that the reading process is
ences are hard to find. So comparative stud-
text fonts are often used for
lines of text, making it easier for the eye to
distinguish one line from the next, or previous
late nineteenth century on, but the overall
text romans specially designed for the task, which offer maximum flexibility, readability
too tight or too loose. It can be improved
ies of seriffed vs. sans serif type, or justified
argument over which is best.[citation needed] Legibility is usually measured through
speed of reading, with comprehension scores
matic effect. By formulating a style guide, a
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 publica-
tions, such as The Guardian and The Econo-
pair sans serif type for headings with a high-
used to check for effectiveness (that is, not a
for the text of an article.
Tinker, who published numerous studies from
typefaces for their exclusive use.
reading test that required participants to spot
publications, including their typography, to
performance seriffed font of matching style
The text layout, tone or color of set matter,
and the interplay of text with white space of
rushed or careless read). For example, Miles the 1930s to the 1960s, used a speed of
mist, go so far as to commission a type
designer to create bespoke (custom tailored) Different periodical publications design their
the page and other graphic elements com-
incongruous words as an effectiveness filter.
achieve a particular tone or style. For exam-
subject matter. With printed media typogra-
limited to critical issues, or the testing of spe-
comparatively modern style through their use
typefaces are developed). Examples of criti-
typefaces and colors; type sizes vary widely,
bine to impart a "feel" or "resonance" to the phers are also concerned with binding mar-
gins, paper selection and printing methods. Typography is modulated by orthography
and linguistics, word structures, word fre-
quencies, morphology, phonetic constructs
These days, legibility research tends to be
cific design solutions (for example, when new cal issues include typefaces (also called
fonts) for people with visual impairment, and
typefaces for highway signs, or for other con-
and linguistic syntax. Typography also is sub-
ditions where legibility may make a key differ-
ample, in French it is customary to insert a
literature is somewhat atheoretical — various
ject to specific cultural conventions. For exnon-breaking space before a colon (:) or
semicolon (;) in a sentence, while in English it
is not.
Readability and legibility are often con-
fused. “Legibility is the quality of the typeface
design and readability with the design of the
ple, USAToday uses a bold, colorful, and
of a variety of
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
ence. Much of the legibility research
more columns.
factors were tested individually or in combina-
and on magazine covers, headlines are often
tion (inevitably so, as the different factors are
Especially on the front page of newspapers
set in larger display typefaces to attract atten-
interdependent), but many tests were carried
tion, and are placed near the masthead.
visual perception. Some typographers be-
8.5/14
out in the absence of a model of reading or
lieve that the overall word shape (Bouma) is
In traditional typography, text is composed
of the printed page. Designers aim to
visual perception. Some typographers be-
to create a readable, coherent, and visu-
achieve excellence in both.
lieve that the overall word shape (Bouma)
without the awareness of the reader. Even
that is, it should be read without effort.
theory of parallel letterwise recognition is
ally satisfying whole that works invisibly,
distribution with a minimum of distractions and anomalies are aimed at producing
"The typeface chosen should be legible,
Sometimes legibility is simply a matter of
type size; more often, however, it is a mat-
clarity and transparency.
ter of typeface design. Generally speaking,
aspect of text typography—prose fiction,
forms are more legible than typefaces that
Choice of font(s) is perhaps the primary
non-fiction, editorial, educational, religious,
typefaces that are true to the basic letter-
have been condensed, expanded, embel-
is very important in readability, and that the either wrong, less important, or not the entire picture.
Studies distinguishing between Bouma
recognition and parallel letterwise recogni-
tion with regard to how people actually recognize words when they read, have
scientific, spiritual and commercial writing
lished, or abstracted.
favored parallel letterwise recognition,
quirements. For historic
become unreadable through poor setting
chologists.[citation needed]
frequently chosen according to a scheme
typeface can be made more readable
all have differing characteristics and rematerial, established text typefaces are 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 ro-
"However, even a legible typeface can
and placement, just as a less legible 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.
mans" or "book romans" with design val-
roman type, line length, line spacing, color
which are closely based on traditional
example, justification, straight right hand
ues echoing present-day design arts,
models such as those of Nicolas Jenson,
Francesco Griffo (a punchcutter who cre-
ated the model for Aldine typefaces), and
Claude Garamond. With their more spe-
cialized requirements, newspapers and
magazines rely on compact, tightly-fitted
text romans specially designed for the
task, which offer maximum flexibility, read-
ability 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
contrast, the design of right-hand edge (for edge) vs. ranged left, and whether text is hyphenated.
Legibility research was published from
the late nineteenth century on, but the
serif type, or justified vs. unjustified type,
have failed to settle the argument over which is best.[citation needed]
Legibility is usually measured through
ter, and the interplay of text with white
merous studies from the 1930s to the
scores used to check for effectiveness
example, Miles Tinker, who published nu1960s, used a speed of reading test that
result in poor legibility.
Typography is an element of all printed
material. Periodical publications, especially newspapers and magazines, use typo-
graphical elements to achieve an attrac-
tive, distinctive appearance, to aid readers
cases for dramatic effect. By formulating 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 Economist, go
so far as to commission a type designer to create bespoke (custom tailored) typefaces for their exclusive use.
Different periodical publications design
These days, legibility research tends to
For example, USAToday uses a bold, col-
with binding margins, paper selection and
be limited to critical issues, or the testing of
Typography is modulated by orthography
ous line. Poorly designed fonts and those
that are too tightly or loosely fitted can also
their publications, including their typogra-
words as an effectiveness filter.
printing methods.
distinguish one line from the next, or previ-
required participants to spot incongruous
nance" to the subject matter. With printed media typographers are also concerned
when generous vertical space separates
lines of text, making it easier for the eye to
style guide, a periodical standardizes on a
comparative studies of seriffed vs. sans
(that is, not a rushed or careless read). For
ments combine to impart a "feel" or "reso-
is too tight or too loose. It can be improved
nificant differences are hard to find. So
process is remarkably robust, and that sig-
ing style for the text of an article.
space of the page and other graphic ele-
letterspacing, word spacing, or leading that
in navigating the publication, and in some
speed of reading, with comprehension
The text layout, tone or color of set mat-
Legibility can also be compromised by
overall finding has been that the reading
is to pair sans serif type for headings with
a high-performance seriffed font of match-
which is widely accepted by cognitive psy-
specific design solutions (for example,
when new typefaces are developed). Ex-
phy, to achieve a particular tone or style.
orful, and comparatively modern style through their use of a variety of
typefaces and colors; type sizes vary widely, and the newspaper's name is
and linguistics, word structures, word fre-
amples of critical issues include typefaces
and linguistic syntax. Typography also is
impairment, and typefaces for highway
trast, the New York Times use a more tra-
example, in French it is customary to insert
ity may make a key difference. Much of
typeface variation, and more columns.
semicolon (;) in a sentence, while in Eng-
what atheoretical — various factors were
quencies, morphology, phonetic constructs
subject to specific cultural conventions. For a non-breaking space before a colon (:) or
(also called fonts) for people with visual
signs, or for other conditions where legibil-
the legibility research literature is some-
placed on a colored background. In con-
ditional approach, with fewer colors, less
Especially on the front page of newspa-
pers and on magazine covers, headlines
lish it is not.
tested individually or in combination (in-
are often set in larger display typefaces to
fused. “Legibility is the quality of the type-
terdependent), but many tests were carried
masthead.
Readability and legibility are often con-
face design and readability with the design
evitably so, as the different factors are in-
out in the absence of a model of reading or
attract attention, and are placed near the 9/13.6
In traditional typography, text is composed to
unreadable through poor setting and place-
appearance, to aid readers in navigating the
fying whole that works invisibly, without the
typeface can be made more readable through
fect. By formulating a style guide, a periodical
a minimum of distractions and anomalies are
Studies of legibility have examined a wide
create a readable, coherent, and visually satisawareness of the reader. Even distribution with
aimed at producing clarity and transparency.
Choice of font(s) is perhaps the primary as-
pect of text typography—prose fiction, non-fic-
ment, just as a less legible good design."[2]
range of factors including type size and type
design. For example, comparing serif vs. sans
serif type, italic type vs. roman type, line length,
tion, editorial, educational, religious, scientific,
line spacing, color contrast, the design of right-
ing characteristics and requirements. For his-
right hand edge) vs. ranged left, and whether
spiritual and commercial writing all have differ-
hand edge (for example, justification, straight
publication, and in some cases for dramatic efstandardizes 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 Economist, go so far as
to commission a type designer to create be-
toric
text is hyphenated.
quently chosen according to a scheme of his-
late nineteenth century on, but the overall find-
accretion, with considerable overlap between
markably robust, and that significant
achieve a particular tone or style. For example,
studies of seriffed vs. sans serif type, or justi-
tively modern style through their use of a vari-
"book romans" with design values echoing
argument over which is best.[citation needed]
typefaces and colors; type sizes vary widely,
based on traditional models such as those of
of reading, with comprehension scores used to
material, established text typefaces are fretorical genre acquired by a long process of historical periods.
Contemporary books are more likely to be set
with state-of-the-art seriffed "text romans" or present-day design arts, which are closely
Legibility research was published from the
ing has been that the reading process is re-
differences are hard to find. So comparative
fied vs. unjustified type, have failed to settle the Legibility is usually measured through speed
spoke (custom tailored) typefaces for their ex-
clusive use.
Different periodical publications design their
publications, including their typography, to
USAToday uses a bold, colorful, and compara-
ety of
and the newspaper's name is placed on a col-
ored background. In contrast, the New York
Nicolas Jenson, Francesco Griffo (a punchcut-
check for effectiveness (that is, not a rushed or
and Claude Garamond. With their more special-
published numerous studies from the 1930s to
columns.
quired participants to spot incongruous words
and on magazine covers, headlines are often
ter who created the model for Aldine typefaces), ized requirements, newspapers and magazines
rely on compact, tightly-fitted text romans spe-
cially designed for the task, which offer maxi-
mum flexibility, readability and efficient use of
page space. Sans serif text fonts are often used
for
careless read). For example, Miles Tinker, who
the 1960s, used a speed of reading test that re-
as an effectiveness filter.
These days, legibility research tends to be
limited to critical issues, or the testing of spe-
cific design solutions (for example, when new
introductory paragraphs, incidental text and
typefaces are developed). Examples of critical
sans serif type for headings with a high-perfor-
people with visual impairment, and typefaces
whole short articles. A current fashion is to pair mance seriffed font of matching style for the
issues include typefaces (also called fonts) for
for highway signs, or for other conditions
text of an article.
where legibility may make a key difference.
and the interplay of text with white space of the
somewhat atheoretical — various factors were
The text layout, tone or color of set matter,
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 se-
lection and printing methods.
Typography is modulated by orthography and
linguistics, word structures, word frequencies,
morphology, phonetic constructs and linguistic
Much of the legibility research literature is
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 read-
ability, and that the theory of parallel letterwise recognition is either wrong, less important, or
syntax. Typography also is subject to specific
not the entire picture.
is customary to insert a non-breaking space be-
nition and parallel letterwise recognition with
cultural conventions. For example, in French it fore a colon (:) or semicolon (;) in a sentence, while in English it is not.
Readability and legibility are often confused.
Studies distinguishing between Bouma recog-
regard to how people actually recognize words
when they read, have favored parallel letterwise
recognition, which is widely accepted by cogni-
“Legibility is the quality of the typeface design
tive psychologists.[citation needed]
page. Designers aim to achieve excellence in
terspacing, word spacing, or leading that is too
and readability with the design of the printed
Legibility can also be compromised by let-
both.
tight or too loose. It can be improved when gen-
is, it should be read without effort. Sometimes
making it easier for the eye to distinguish one
"The typeface chosen should be legible, that
legibility is simply a matter of type size; more
often, however, it is a matter of typeface design.
erous vertical space separates lines of text,
line from the next, or previous line. Poorly designed fonts and those that are too tightly or
Generally speaking, typefaces that are true to
loosely fitted can also result in poor legibility.
faces that have been condensed, expanded,
rial. Periodical publications, especially newspa-
the basic letterforms are more legible than typeembellished, or abstracted.
"However, even a legible typeface can become
Typography is an element of all printed mate-
pers and magazines, use typographical
elements to achieve an attractive, distinctive
Times use a more traditional approach, with
fewer colors, less typeface variation, and more Especially on the front page of newspapers
set in larger display typefaces to attract atten-
tion, and are placed near the masthead. 7.5/12
In traditional typography, text is composed
"The typeface chosen should be legible,
tion is either wrong, less important, or not
to create a readable, coherent, and visually
that is, it should be read without effort.
the awareness of the reader. Even distribu-
type size; more often, however, it is a matter
recognition and parallel letterwise recogni-
faces that are true to the basic letterforms
ognize words when they read, have favored
satisfying whole that works invisibly, without tion 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,
Sometimes legibility is simply a matter of
of typeface design. Generally speaking, typeare more legible than typefaces that have
been condensed, expanded, embellished, or abstracted.
"However, even a legible typeface can be-
the entire picture.
Studies distinguishing between Bouma
tion with regard to how people actually recparallel letterwise recognition, which is
widely accepted by cognitive psychologists.[citation needed]
Legibility can also be compromised by let-
scientific, spiritual and commercial writing
come unreadable through poor setting and
terspacing, word spacing, or leading that is
ments. For historic
typeface can be made more readable
when generous vertical space separates
all have differing characteristics and requirematerial, established text typefaces are frequently chosen according to a scheme of
placement, just as a less legible through good design."[2]
Studies of legibility have examined a wide
historical genre acquired by a long process
range of factors including type size and type
tween historical periods.
sans serif type, italic type vs. roman type,
of accretion, with considerable overlap be-
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
closely based on traditional models such as
design. For example, comparing serif vs.
line length, line spacing, color contrast, the
for the task, which offer maximum flexibility, readability and efficient use of page space. Sans serif text fonts are often used for
finding has been that the reading process is ferences 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
introductory paragraphs, incidental text and
speed of reading, with comprehension
pair sans serif type for headings with a high-
is, not a rushed or careless read). For exam-
whole short articles. A current fashion is to
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 com-
bine to impart a "feel" or "resonance" to the
scores used to check for effectiveness (that ple, Miles Tinker, who published numerous
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 con-
fused. “Legibility is the quality of the type-
face design and readability with the design of the printed page. Designers aim to achieve excellence in both.
tive appearance, to aid readers in navigating the publication, and in some cases for dra-
matic 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
example, USAToday uses a bold, colorful,
fectiveness filter.
These days, legibility research tends to be
new typefaces are developed). Examples of
quencies, morphology, phonetic constructs
newspapers and magazines, use typographi-
pants to spot incongruous words as an ef-
gins, paper selection and printing methods. Typography is modulated by orthography
Typography is an element of all printed ma-
their publications, including their typogra-
speed of reading test that required partici-
limited to critical issues, or the testing of
and linguistics, word structures, word fre-
result in poor legibility.
studies from the 1930s to the 1960s, used a
subject matter. With printed media typogra-
phers are also concerned with binding mar-
that are too tightly or loosely fitted can also
cal elements to achieve an attractive, distinc-
Legibility research was published from the
remarkably robust, and that significant dif-
tightly-fitted text romans specially designed
ous line. Poorly designed fonts and those
left, and whether text is hyphenated.
fication, straight right hand edge) vs. ranged
dine typefaces), and Claude Garamond. With papers and magazines rely on compact,
distinguish one line from the next, or previ-
terial. Periodical publications, especially
late nineteenth century on, but the overall
their more specialized requirements, news-
lines of text, making it easier for the eye to
design of right-hand edge (for example, justi-
those of Nicolas Jenson, Francesco Griffo (a punchcutter who created the model for Al-
too tight or too loose. It can be improved
specific design solutions (for example, when 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
phy, to achieve a particular tone or style. For 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
difference. Much of the legibility research
and on magazine covers, headlines are often
ous factors were tested individually or in
tention, and are placed near the masthead.
literature is somewhat atheoretical — vari-
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 recogni-
set in larger display typefaces to attract at8/13.5
In traditional typography, text is com-
design of the printed page. Designers aim
posed to create a readable, coherent, and
to achieve excellence in both.
bly, without the awareness of the reader.
that is, it should be read without effort.
tractions and anomalies are aimed at pro-
type size; more often, however, it is a mat-
visually satisfying whole that works invisiEven distribution with a minimum of dis-
"The typeface chosen should be legible,
Sometimes legibility is simply a matter of
raphers 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
ter of typeface design. Generally speak-
recognition and parallel letterwise recog-
aspect of text typography—prose fiction,
letterforms are more legible than type-
recognize words when they read, have fa-
gious, scientific, spiritual and commercial
panded, embellished, or abstracted.
ducing clarity and transparency.
Choice of font(s) is perhaps the primary
non-fiction, editorial, educational, reli-
writing all have differing characteristics
ing, typefaces that are true to the basic
faces that have been condensed, ex-
"However, even a legible typeface can
and requirements. For historic
become unreadable through poor setting
frequently chosen according to a scheme
typeface can be made more readable
material, established text typefaces are
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
nition with regard to how people actually vored parallel letterwise recognition,
which is widely accepted by cognitive
psychologists.[citation needed]
Legibility can also be compromised by
and placement, just as a less legible
letterspacing, word spacing, or leading
through good design."[2]
proved when generous vertical space sep-
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,
that is too tight or too loose. It can be imarates 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 legi-
values echoing present-day design arts,
color contrast, the design of right-hand
bility.
models such as those of Nicolas Jenson,
right hand edge) vs. ranged left, and
material. Periodical publications, espe-
which are closely based on traditional
edge (for example, justification, straight
Typography is an element of all printed
Francesco Griffo (a punchcutter who cre-
whether text is hyphenated.
cially newspapers and magazines, use ty-
Claude Garamond. With their more spe-
the late nineteenth century on, but the
attractive, distinctive appearance, to aid
magazines rely on compact, tightly-fitted
process is remarkably robust, and that
ated the model for Aldine typefaces), and
cialized requirements, newspapers and
text romans specially designed for the
Legibility research was published from
overall finding has been that the reading
serif type, or justified vs. unjustified type,
typefaces, each used for specific ele-
space. Sans serif text fonts are often used
have failed to settle the argument over
introductory paragraphs, incidental text
which is best.[citation needed]
Legibility is usually measured through
and whole short articles. A current fashion
speed of reading, with comprehension
a high-performance seriffed font of match-
(that is, not a rushed or careless read).
is to pair sans serif type for headings with ing style for the text of an article.
The text layout, tone or color of set mat-
in some cases for dramatic effect. By for-
mulating a style guide, a periodical stan-
comparative studies of seriffed vs. sans
for
readers in navigating the publication, and
significant differences are hard to find. So
task, which offer maximum flexibility,
readability and efficient use of page
pographical elements to achieve an
scores used to check for effectiveness
For example, Miles Tinker, who published
numerous studies from the 1930s to the
dardizes on a relatively small collection of ments within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, col-
ors, 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 exclu-
ter, and the interplay of text with white
1960s, used a speed of reading test that
ments combine to impart a "feel" or "reso-
words as an effectiveness filter.
their publications, including their typogra-
media typographers are also concerned
be limited to critical issues, or the testing
For example, USAToday uses a bold, col-
printing methods.
when new typefaces are developed). Ex-
space of the page and other graphic ele-
nance" to the subject matter. With printed
with binding margins, paper selection and Typography is modulated by orthogra-
phy and linguistics, word structures, word
required participants to spot incongruous These days, legibility research tends to
of specific design solutions (for example, amples of critical issues include typefaces (also called fonts) for people with visual
frequencies, morphology, phonetic con-
impairment, and typefaces for highway
also is subject to specific cultural conven-
bility may make a key difference. Much of
ary to insert a non-breaking space before
what atheoretical — various factors were
structs and linguistic syntax. Typography
tions. For example, in French it is custom-
a colon (:) or semicolon (;) in a sentence, while in English it is not.
Readability and legibility are often con-
fused. “Legibility is the quality of the typeface design and readability with the
signs, or for other conditions where legi-
sive use.
Different periodical publications design
phy, to achieve a particular tone or style. orful, 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 con-
trast, the New York Times use a more traditional approach, with fewer colors, less
the legibility research literature is some-
typeface variation, and more columns.
tested individually or in combination (in-
pers and on magazine covers, headlines
terdependent), but many tests were
attract attention, and are placed near the
evitably so, as the different factors are in-
carried out in the absence of a model of
reading or visual perception. Some typog-
Especially on the front page of newspa-
are often set in larger display typefaces to masthead. 8.5/13.4
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 nonbreaking space before a colon (:) or semicolon (;) in a sentence, while in English it is not. Readability and legibility are often confused. “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 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 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. 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] 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 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, 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, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead. 9/12.1