In traditional typography, text is composed to create a
Some typographers believe that the overall word shape
readable, coherent, and visually satisfying whole that
"The typeface chosen should be legible, that is, it should
(Bouma) is very important in readability, and that the
Even distribution with a minimum of distractions and
matter of type size; more often, however, it is a matter of
less important, or not the entire picture.
transparency.
true to the basic letterforms are more legible than
parallel letter wise recognition with regard to how
typography—prose fiction, non-fiction, editorial,
embellished, or abstracted.
favored parallel letter wise recognition, which is widely
commercial writing all have differing characteristics and
unreadable through poor setting and placement, just as a
works invisibly, without the awareness of the reader.
anomalies are aimed at producing clarity and
Choice of font(s) is perhaps the primary aspect of text educational, religious, scientific, spiritual and
requirements. For historic material, established text
be read without effort. Sometimes legibility is simply a
typeface design. Generally speaking, typefaces that are
typefaces that have been condensed, expanded,
less legible typeface can be made more readable through
word spacing, or leading that is too tight or too loose. It
with considerable overlap between historical periods.
Studies of legibility have examined a wide range of
of-the-art seriffed "text Romans" or "book Romans" with
people actually recognize words when they read, have
accepted by cognitive psychologists.[citation needed]
good design."[2]
Contemporary books are more likely to be set with state-
Studies distinguishing between Bouma recognition and
"However, even a legible typeface can become
typefaces are frequently chosen according to a scheme of
historical genre acquired by a long process of accretion,
theory of parallel letter wise recognition is either wrong,
factors including type size and type design. For example,
comparing serif vs. sans serif type, italic type vs. roman
type, line length, line spacing, colour contrast, the design
Legibility can also be compromised by letter spacing,
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.
design values echoing present-day design arts, which are
of right-hand edge (for example, justification, straight
Typography is an element of all printed material.
Nicolas Jenson, Francesco Griffo (a punchcutter who
hyphenated.
magazines, use typographical elements to achieve an
closely based on traditional models such as those of
created the model for Aldine typefaces), and Claude
right hand edge) vs. ranged left, and whether text is Legibility research was published from the late
attractive, distinctive appearance, to aid readers in
that the reading process is remarkably robust, and that
dramatic effect. By formulating a style guide, a
Garamond. With their more specialized requirements,
nineteenth century on, but the overall finding has been
fitted text Romans specially designed for the task, which
significant differences are hard to find. So comparative
of page space. Sans serif text fonts are often used for
unjustified type, have failed to settle the argument over
newspapers and magazines rely on compact, tightly-
offer maximum flexibility, readability and efficient use
Periodical publications, especially newspapers and
studies of seriffed vs. sans serif type, or justified vs.
navigating the publication, and in some cases for
periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the
publication, and makes consistent use of type sizes,
introductory paragraphs, incidental text and whole short
which is best.[citation needed]
headings with a high-performance seriffed font of
Legibility is usually measured through speed of reading,
as The Guardian and The Economist, go so far as to
effectiveness (that is, not a rushed or careless read). For
tailored) typefaces for their exclusive use.
articles. A current fashion is to pair sans serif type for
matching style for the text of an article.
The text layout, tone or colour of set matter, and the
with comprehension scores used to check for
example, Miles Tinker, who published numerous studies
italic, boldface, large and small capital letters, colours,
and other typographic features. Some publications, such
commission a type designer to create bespoke (custom
interplay of text with white space of the page and other
from the 1930s to the 1960s, used a speed of reading test
Different periodical publications design their
"resonance" to the subject matter. With printed media
an effectiveness filter.
particular tone or style. For example, USAToday uses a
graphic elements combine to impart a "feel" or
typographers are also concerned with binding margins, paper selection and printing methods.
that required participants to spot incongruous words as These days, legibility research tends to be limited to
their use of a variety of typefaces and colours; type sizes
Examples of critical issues include typefaces (also called
colour background. In contrast, the New York Times use
for highway signs, or for other conditions where
typeface variation, and more columns.
(for example, when new typefaces are developed).
constructs and linguistic syntax. Typography also is
fonts) for people with visual impairment, and typefaces
subject to specific cultural conventions. For example, in French it is customary to insert a non-breaking space
legibility may make a key difference.
English it is not.
Much of the legibility research literature is somewhat a
before a colon (:) or semicolon (;) in a sentence, while in
.Readability and legibility are often confused.
theoretical — various factors were tested individually or
readability with the design of the printed page. Designers
interdependent), but many tests were carried out in the
“Legibility is the quality of the typeface design and
aim to achieve excellence in both.
bold, colourful, and comparatively modern style through
critical issues, or the testing of specific design solutions
Typography is modulated by orthography and linguistics, word structures, word frequencies, morphology, phonetic
publications, including their typography, to achieve a
in combination (inevitably so, as the different factors are
absence of a model of reading or visual perception.
vary widely, and the newspaper's name is placed on a
a more traditional approach, with fewer colours, less
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.
In traditional typography, text is composed to create a readable, coherent, and visually satisfying whole
"The typeface chosen should be legible, that is, it
the overall word shape (Bouma) is very important in readability, and that the theory of parallel letter wise
that works invisibly, without the awareness of the
should be read without effort. Sometimes legibility is
recognition is either wrong, less important, or not the
distractions and anomalies are aimed at producing
is a matter of typeface design. Generally speaking,
Studies distinguishing between Bouma recognition
reader. Even distribution with a minimum of
simply a matter of type size; more often, however, it
entire picture.
clarity and transparency.
typefaces that are true to the basic letterforms are
text typography—prose fiction, non-fiction, editorial,
condensed, expanded, embellished, or abstracted.
have favored parallel letter wise recognition, which is
unreadable through poor setting and placement, just
needed]
Choice of font(s) is perhaps the primary aspect of educational, religious, scientific, spiritual and
commercial writing all have differing characteristics and requirements. For historic material, established
more legible than typefaces that have been
"However, even a legible typeface can become
as a less legible typeface can be made more readable
and parallel letter wise recognition with regard to
how people actually recognize words when they read,
widely accepted by cognitive psychologists.[citation
Legibility can also be compromised by letter spacing,
text typefaces are frequently chosen according to a
through good design."[2]
word spacing, or leading that is too tight or too loose.
of accretion, with considerable overlap between
Studies of legibility have examined a wide range of
separates lines of text, making it easier for the eye to
scheme of historical genre acquired by a long process 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
factors including type size and type design. For
example, comparing serif vs. sans serif type, italic
It can be improved when generous vertical space
distinguish one line from the next, or previous line.
Poorly designed fonts and those that are too tightly or
type vs. roman type, line length, line spacing, colour
loosely fitted can also result in poor legibility.
justification, straight right hand edge) vs. ranged left,
Typography is an element of all printed material.
contrast, the design of right-hand edge (for example,
design arts, which are closely based on traditional
and whether text is hyphenated.
Periodical publications, especially newspapers and
Griffo (a punchcutter who created the model for
nineteenth century on, but the overall finding has
attractive, distinctive appearance, to aid readers in
models such as those of Nicolas Jenson, Francesco
Aldine typefaces), and Claude Garamond. With their
Legibility research was published from the late
been that the reading process is remarkably robust,
navigating the publication, and in some cases for
comparative studies of seriffed vs. sans serif type, or
periodical standardizes on a relatively small
more specialized requirements, newspapers and
and that significant differences are hard to find. So
Romans specially designed for the task, which offer
justified vs. unjustified type, have failed to settle the
magazines rely on compact, tightly-fitted text
maximum flexibility, readability and efficient use of
page space. Sans serif text fonts are often used for
argument over which is best.[citation needed]
introductory paragraphs, incidental text and whole
Legibility is usually measured through speed of
type for headings with a high-performance seriffed
effectiveness (that is, not a rushed or careless read).
short articles. A current fashion is to pair sans serif font of matching style for the text of an article.
Typography is modulated by orthography and
linguistics, word structures, word frequencies,
morphology, phonetic constructs and linguistic
syntax. Typography also is subject to specific cultural
conventions. For example, in French it is customary
to insert a non-breaking space before a colon (:) or
consistent use of type sizes, italic, boldface, large and small capital letters, colours, and other typographic
type designer to create bespoke (custom tailored)
studies from the 1930s to the 1960s, used a speed of
These days, legibility research tends to be limited to
margins, paper selection and printing methods.
elements within the publication, and makes
For example, Miles Tinker, who published numerous
other graphic elements combine to impart a "feel" or
typographers are also concerned with binding
collection of typefaces, each used for specific
features. Some publications, such as The Guardian
reading test that required participants to spot
"resonance" to the subject matter. With printed media
dramatic effect. By formulating a style guide, a
reading, with comprehension scores used to check for
The text layout, tone or colour of set matter, and the interplay of text with white space of the page and
magazines, use typographical elements to achieve an
and The Economist, go so far as to commission a typefaces for their exclusive use.
incongruous words as an effectiveness filter.
Different periodical publications design their
critical issues, or the testing of specific design
particular tone or style. For example, USAToday uses
solutions (for example, when new typefaces are
publications, including their typography, to achieve a a bold, colourful, and comparatively modern style
developed). Examples of critical issues include
through their use of a variety of typefaces and
impairment, and typefaces for highway signs, or for
name is placed on a colour background. In contrast,
typefaces (also called fonts) for people with visual
other conditions where legibility may make a key difference.
Much of the legibility research literature is somewhat
colours; type sizes vary widely, and the newspaper's the New York Times use a more traditional approach, with fewer colours, less typeface variation, and more
columns.
semicolon (;) in a sentence, while in English it is not.
a theoretical — various factors were tested
Especially on the front page of newspapers and on
“Legibility is the quality of the typeface design and
different factors are interdependent), but many tests
display typefaces to attract attention, and are placed
.Readability and legibility are often confused.
readability with the design of the printed page.
Designers aim to achieve excellence in both.
individually or in combination (inevitably so, as the
were carried out in the absence of a model of reading or visual perception. Some typographers believe that
magazine covers, headlines are often set in larger near the masthead.
typographers believe that the overall word shape
In traditional typography, text is composed to
both.
whole that works invisibly, without the awareness
"The typeface chosen should be legible, that is, it
of distractions and anomalies are aimed at
legibility is simply a matter of type size; more
picture.
Generally speaking, typefaces that are true to the
recognition and parallel letter wise recognition
that have been condensed, expanded, embellished,
words when they read, have favored parallel letter
create a readable, coherent, and visually satisfying of the reader. Even distribution with a minimum 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
should be read without effort. Sometimes
often, however, it is a matter of typeface design.
basic letterforms are more legible than typefaces or abstracted.
"However, even a legible typeface can become
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,
Claude Garamond. With their more specialized
nineteenth century on, but the overall finding has
designed for the task, which offer maximum
with regard to how people actually recognize
wise recognition, which is widely accepted by
cognitive psychologists.[citation needed]
or too loose. It can be improved when generous
vs. ranged left, and whether text is hyphenated.
requirements, newspapers and magazines rely on
Studies distinguishing between Bouma
readable through good design."[2]
just as a less legible typeface can be made more
Jenson, Francesco Griffo (a punchcutter who
compact, tightly-fitted text Romans specially
either wrong, less important, or not the entire
Legibility can also be compromised by letter
colour contrast, the design of right-hand edge (for
created the model for Aldine typefaces), and
the theory of parallel letter wise recognition is
unreadable through poor setting and placement,
present-day design arts, which are closely based
on traditional models such as those of Nicolas
(Bouma) is very important in readability, and that
spacing, word spacing, or leading that is too tight 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.
example, justification, straight right hand edge)
Typography is an element of all printed material.
Legibility research was published from the late
and magazines, use typographical elements to
been that the reading process is remarkably
aid readers in navigating the publication, and in
robust, and that significant differences are hard to find. So comparative studies of seriffed vs. sans
Periodical publications, especially newspapers
achieve an attractive, distinctive appearance, to
some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a
flexibility, readability and efficient use of page
serif type, or justified vs. unjustified type, have
relatively small collection of typefaces, each used
introductory paragraphs, incidental text and whole
best.[citation needed]
makes consistent use of type sizes, italic,
serif type for headings with a high-performance
Legibility is usually measured through speed of
and other typographic features. Some
for effectiveness (that is, not a rushed or careless
Economist, go so far as to commission a type
numerous studies from the 1930s to the 1960s,
typefaces for their exclusive use.
space. Sans serif text fonts are often used for
short articles. A current fashion is to pair sans
seriffed font of matching style for the text of an
article.
The text layout, tone or colour of set matter, and
the interplay of text with white space of the page
failed to settle the argument over which is
reading, with comprehension scores used to check
read). For example, Miles Tinker, who published
used a speed of reading test that required
for specific elements within the publication, and
boldface, large and small capital letters, colours, publications, such as The Guardian and The
designer to create bespoke (custom tailored)
and other graphic elements combine to impart a
participants to spot incongruous words as an
Different periodical publications design their
printed media typographers are also concerned
These days, legibility research tends to be limited
achieve a particular tone or style. For example,
"feel" or "resonance" to the subject matter. With 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
effectiveness filter.
publications, including their typography, to
to critical issues, or the testing of specific design
USAToday uses a bold, colourful, and
developed). Examples of critical issues include
variety of typefaces and colours; type sizes vary
solutions (for example, when new typefaces are
typefaces (also called fonts) for people with visual
comparatively modern style through their use of a widely, and the newspaper's name is placed on a
impairment, and typefaces for highway signs, or
colour background. In contrast, the New York
key difference.
colours, less typeface variation, and more
for other conditions where legibility may make a Much of the legibility research literature is
Times use a more traditional approach, with fewer columns.
English it is not.
somewhat a theoretical — various factors were
Especially on the front page of newspapers and on
“Legibility is the quality of the typeface design
so, as the different factors are interdependent), but
display typefaces to attract attention, and are
.Readability and legibility are often confused.
and readability with the design of the printed
page. Designers aim to achieve excellence in
tested individually or in combination (inevitably
many tests were carried out in the absence of a model of reading or visual perception. Some
magazine covers, headlines are often set in larger placed near the masthead.
In traditional typography, text is composed to
both.
satisfying whole that works invisibly, without
"The typeface chosen should be legible, that is,
create a readable, coherent, and visually
the awareness of the reader. Even distribution
parallel letter wise recognition is either wrong,
often, however, it is a matter of typeface
Studies distinguishing between Bouma
true to the basic letterforms are more legible
with regard to how people actually recognize
legibility is simply a matter of type size; more
transparency.
design. Generally speaking, typefaces that are
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
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
frequently chosen according to a scheme of
more readable through good design."[2]
accretion, with considerable overlap between
Studies of legibility have examined a wide
historical 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 "book Romans" with design values echoing
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 right-hand edge (for example, justification,
matter. With printed media typographers are 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
robust, and that significant differences are hard to find. So comparative studies of seriffed vs.
newspapers and magazines, use typographical appearance, to aid readers in navigating the
publication, and in some cases for dramatic
effect. By formulating a style guide, a
elements within the publication, and makes
Legibility is usually measured through speed of
reading, with comprehension scores used to
collection of typefaces, each used for specific consistent use of type sizes, italic, boldface, large and small capital letters, colours, and
other typographic features. Some publications,
check for effectiveness (that is, not a rushed or
such as The Guardian and The Economist, go
published numerous studies from the 1930s to
create bespoke (custom tailored) typefaces for
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
so far as to commission a type designer to
their exclusive use.
Different periodical publications design their publications, including their typography, to
achieve a particular tone or style. For example,
specific design solutions (for example, when
USAToday uses a bold, colourful, and
critical issues include typefaces (also called
of a variety of typefaces and colours; type sizes
new typefaces are developed). Examples of
fonts) for people with visual impairment, and
typefaces for highway signs, or for other
conditions where legibility may make a key difference.
tested individually or in combination
page. Designers aim to achieve excellence in
Typography is an element of all printed
best.[citation needed]
.Readability and legibility are often confused. and readability with the design of the printed
loosely fitted can also result in poor legibility.
periodical standardizes on a relatively small
Much of the legibility research literature is
“Legibility is the quality of the typeface design
line from the next, or previous line. Poorly
sans serif type, or justified vs. unjustified type,
have failed to settle the argument over which is
before a colon (:) or semicolon (;) in a
sentence, while in English it is not.
generous vertical space separates lines of text,
elements to achieve an attractive, distinctive
the 1960s, used a speed of reading test that
also concerned with binding margins, paper
spacing, word spacing, or leading that is too
tight or too loose. It can be improved when
nineteenth century on, but the overall finding
has been that the reading process is remarkably
The text layout, tone or colour of set matter, impart a "feel" or "resonance" to the subject
needed]
Legibility can also be compromised by letter
material. Periodical publications, especially
careless read). For example, Miles Tinker, who
page and other graphic elements combine to
accepted by cognitive psychologists.[citation
whether text is hyphenated.
of matching style for the text of an article.
and the interplay of text with white space of the
letter wise recognition, which is widely
designed fonts and those that are too tightly or
length, line spacing, colour contrast, the design
Legibility research was published from the late
more specialized requirements, newspapers and
words when they read, have favored parallel
serif type, italic type vs. roman type, line
Nicolas Jenson, Francesco Griffo (a
typefaces), and Claude Garamond. With their
recognition and parallel letter wise recognition
making it easier for the eye to distinguish one
design. For example, comparing serif vs. sans
straight right hand edge) vs. ranged left, and
punchcutter who created the model for Aldine
less important, or not the entire picture.
range of factors including type size and type
present-day design arts, which are closely
based on traditional models such as those of
that the overall word shape (Bouma) is very
important in readability, and that the theory of
it should be read without effort. Sometimes
with a minimum of distractions and anomalies
are aimed at producing clarity and
visual perception. Some typographers believe
comparatively modern style through their use vary widely, and the newspaper's name is
placed on a colour background. In contrast, the
New York Times use a more traditional
approach, with fewer colours, less typeface variation, and more columns.
somewhat a theoretical — various factors were
Especially on the front page of newspapers and
(inevitably so, as the different factors are
larger display typefaces to attract attention, and
interdependent), but many tests were carried out in the absence of a model of reading or
on magazine covers, headlines are often set in are placed near the masthead.
In traditional typography, text is composed to create a readable, coherent, and visually satisfying whole
"The typeface chosen should be legible, that is, it
reader. Even distribution with a minimum of
simply a matter of type size; more often, however, it is
that works invisibly, without the awareness of the
distractions and anomalies are aimed at producing
recognition is either wrong, less important, or not the
a matter of typeface design. Generally speaking,
Studies distinguishing between Bouma recognition
more legible than typefaces that have been
how people actually recognize words when they read,
typefaces that are true to the basic letterforms are
typography—prose fiction, non-fiction, editorial,
condensed, expanded, embellished, or abstracted.
educational, religious, scientific, spiritual and
commercial writing all have differing characteristics
readability, and that the theory of parallel letter wise
should be read without effort. Sometimes legibility is
clarity and transparency.
Choice of font(s) is perhaps the primary aspect of text
the overall word shape (Bouma) is very important in
"However, even a legible typeface can become
entire picture.
and parallel letter wise recognition with regard to
have favored parallel letter wise recognition, which is widely accepted by cognitive psychologists.[citation
unreadable through poor setting and placement, just
needed]
text typefaces are frequently chosen according to a
through good design."[2]
word spacing, or leading that is too tight or too loose.
of accretion, with considerable overlap between
Studies of legibility have examined a wide range of
and requirements. For historic material, established
scheme of historical genre acquired by a long process
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
as a less legible typeface can be made more readable
separates lines of text, making it easier for the eye to
distinguish one line from the next, or previous line.
type vs. roman type, line length, line spacing, colour
loosely fitted can also result in poor legibility.
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,
Poorly designed fonts and those that are too tightly or
Typography is an element of all printed material.
and whether text is hyphenated.
Periodical publications, especially newspapers and
nineteenth century on, but the overall finding has
attractive, distinctive appearance, to aid readers in
and that significant differences are hard to find. So
dramatic effect. By formulating a style guide, a
Legibility research was published from the late
Aldine typefaces), and Claude Garamond. With their
been that the reading process is remarkably robust,
more specialized requirements, newspapers and
It can be improved when generous vertical space
factors including type size and type design. For
models such as those of Nicolas Jenson, Francesco Griffo (a punchcutter who created the model for
Legibility can also be compromised by letter spacing,
magazines, use typographical elements to achieve an
navigating the publication, and in some cases for
magazines rely on compact, tightly-fitted text
comparative studies of seriffed vs. sans serif type, or
maximum flexibility, readability and efficient use of
argument over which is best.[citation needed]
within the publication, and makes consistent use of
introductory paragraphs, incidental text and whole
Legibility is usually measured through speed of
letters, colours, and other typographic features. Some
type for headings with a high-performance seriffed
effectiveness (that is, not a rushed or careless read).
Economist, go so far as to commission a type designer
studies from the 1930s to the 1960s, used a speed of
exclusive use.
incongruous words as an effectiveness filter.
Different periodical publications design their
Romans specially designed for the task, which offer page space. Sans serif text fonts are often used for
short articles. A current fashion is to pair sans serif
font of matching style for the text of an article.
The text layout, tone or colour 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
justified vs. unjustified type, have failed to settle the
reading, with comprehension scores used to check for For example, Miles Tinker, who published numerous
reading test that required participants to spot
These days, legibility research tends to be limited to
impairment, and typefaces for highway signs, or for other conditions where legibility may make a key
syntax. Typography also is subject to specific cultural
difference.
to insert a non-breaking space before a colon (:) or
Much of the legibility research literature is somewhat
.Readability and legibility are often confused.
individually or in combination (inevitably so, as the
semicolon (;) in a sentence, while in English it is not.
“Legibility is the quality of the typeface design and
readability with the design of the printed page. Designers aim to achieve excellence in both.
to create bespoke (custom tailored) typefaces for their
publications, including their typography, to achieve a
through their use of a variety of typefaces and
typefaces (also called fonts) for people with visual
conventions. For example, in French it is customary
publications, such as The Guardian and The
developed). Examples of critical issues include
Typography is modulated by orthography and
morphology, phonetic constructs and linguistic
type sizes, italic, boldface, large and small capital
particular tone or style. For example, USAToday uses
solutions (for example, when new typefaces are
linguistics, word structures, word frequencies,
collection of typefaces, each used for specific elements
critical issues, or the testing of specific design
media typographers are also concerned with binding margins, paper selection and printing methods.
periodical standardizes on a relatively small
a bold, colourful, and comparatively modern style
colours; type sizes vary widely, and the newspaper's
name is placed on a colour background. In contrast,
the New York Times use a more traditional approach,
with fewer colours, less typeface variation, and more columns.
a theoretical — various factors were tested
Especially on the front page of newspapers and on
different factors are interdependent), but many tests
display typefaces to attract attention, and are placed
were carried out in the absence of a model of reading
or visual perception. Some typographers believe that
magazine covers, headlines are often set in larger near the masthead.
In traditional typography, text is composed to
page. Designers aim to achieve excellence in both.
whole that works invisibly, without the awareness
"The typeface chosen should be legible, that is, it
the theory of parallel letter wise recognition is
legibility is simply a matter of type size; more
picture.
create a readable, coherent, and visually satisfying of the reader. Even distribution with a minimum of distractions and anomalies are aimed at
should be read without effort. Sometimes
producing clarity and transparency.
often, however, it is a matter of typeface design.
text typography—prose fiction, non-fiction,
basic letterforms are more legible than typefaces
spiritual and commercial writing all have
or abstracted.
historic material, established text typefaces are
unreadable through poor setting and placement,
Choice of font(s) is perhaps the primary aspect of
editorial, educational, religious, scientific,
differing characteristics and requirements. For
frequently chosen according to a scheme of
historical genre acquired by a long process of accretion, with considerable overlap between
Generally speaking, typefaces that are true to the
that have been condensed, expanded, embellished,
"However, even a legible typeface can become
just as a less legible typeface can be made more readable through good design."[2]
typographers believe that the overall word shape
(Bouma) is very important in readability, and that
either wrong, less important, or not the entire
Studies distinguishing between Bouma recognition and parallel letter wise recognition with regard to how people actually recognize words when they
read, have favored parallel letter wise recognition, which is widely accepted by cognitive psychologists.[citation needed]
Legibility can also be compromised by letter
spacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it
historical periods.
Studies of legibility have examined a wide range
easier for the eye to distinguish one line from the
Contemporary books are more likely to be set
example, comparing serif vs. sans serif type, italic
those that are too tightly or loosely fitted can also
of factors including type size and type design. For
with state-of-the-art seriffed "text Romans" or
type vs. roman type, line length, line spacing,
present-day design arts, which are closely based
example, justification, straight right hand edge)
Jenson, Francesco Griffo (a punchcutter who
Legibility research was published from the late
"book Romans" with design values echoing
colour contrast, the design of right-hand edge (for
next, or previous line. Poorly designed fonts and result in poor legibility.
Typography is an element of all printed material.
vs. ranged left, and whether text is hyphenated.
Periodical publications, especially newspapers
nineteenth century on, but the overall finding has
achieve an attractive, distinctive appearance, to
robust, and that significant differences are hard to
some cases for dramatic effect. By formulating a
designed for the task, which offer maximum
serif type, or justified vs. unjustified type, have
relatively small collection of typefaces, each used
space. Sans serif text fonts are often used for
best.[citation needed]
on traditional models such as those of Nicolas
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
flexibility, readability and efficient use of page
introductory paragraphs, incidental text and
whole short articles. A current fashion is to pair
been that the reading process is remarkably
find. So comparative studies of seriffed vs. sans
failed to settle the argument over which is
Legibility is usually measured through speed of
and magazines, use typographical elements to
aid readers in navigating the publication, and in
style guide, a periodical standardizes on a
for specific elements within the publication, and
makes consistent use of type sizes, italic, boldface,
large and small capital letters, colours, and other typographic features. Some publications, such as
sans serif type for headings with a high-
reading, with comprehension scores used to check
the text of an article.
read). For example, Miles Tinker, who published
(custom tailored) typefaces for their exclusive use.
used a speed of reading test that required
Different periodical publications design their
performance seriffed font of matching style for
The text layout, tone or colour of set matter, and
the interplay of text with white space of the page
for effectiveness (that is, not a rushed or careless numerous studies from the 1930s to the 1960s,
participants to spot incongruous words as an
The Guardian and The Economist, go so far as to
commission a type designer to create bespoke
publications, including their typography, to
and other graphic elements combine to impart a
effectiveness filter.
printed media typographers are also concerned
to critical issues, or the testing of specific design
comparatively modern style through their use of a
developed). Examples of critical issues include
widely, and the newspaper's name is placed on a
"feel" or "resonance" to the subject matter. With with binding margins, paper selection and
printing methods.
Typography is modulated by orthography and
These days, legibility research tends to be limited
solutions (for example, when new typefaces are
typefaces (also called fonts) for people with visual
achieve a particular tone or style. For example,
USAToday uses a bold, colourful, and
variety of typefaces and colours; type sizes vary colour background. In contrast, the New York
Times use a more traditional approach, with
linguistics, word structures, word frequencies,
impairment, and typefaces for highway signs, or
syntax. Typography also is subject to specific
key difference.
columns.
customary to insert a non-breaking space before a
Much of the legibility research literature is
Especially on the front page of newspapers and on
morphology, phonetic constructs and linguistic cultural conventions. For example, in French it is
for other conditions where legibility may make a
colon (:) or semicolon (;) in a sentence, while in
somewhat a theoretical — various factors were
.Readability and legibility are often confused.
so, as the different factors are interdependent),
English it is not.
“Legibility is the quality of the typeface design and readability with the design of the printed
tested individually or in combination (inevitably but many tests were carried out in the absence of a model of reading or visual perception. Some
fewer colours, less typeface variation, and more
magazine covers, headlines are often set in larger
display typefaces to attract attention, and are
placed near the masthead.
In traditional typography, text is composed to
both.
satisfying whole that works invisibly, without
"The typeface chosen should be legible, that is,
with a minimum of distractions and anomalies
legibility is simply a matter of type size; more
create a readable, coherent, and visually
the awareness of the reader. Even distribution
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
it should be read without effort. Sometimes
often, however, it is a matter of typeface design. Generally speaking, typefaces that are true to
unreadable through poor setting and
needed]
"However, even a legible typeface can become placement, just as a less legible typeface can be made more readable through good design."[2] range of factors including type size and type
design. For example, comparing serif vs. sans
accepted by cognitive psychologists.[citation Legibility can also be compromised by letter spacing, word spacing, or leading that is too
tight or too loose. It can be improved when
generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly
designed fonts and those that are too tightly or
loosely fitted can also result in poor legibility.
straight right hand edge) vs. ranged left, and
Typography is an element of all printed
whether text is hyphenated.
punchcutter who created the model for Aldine
nineteenth century on, but the overall finding
typefaces), and Claude Garamond. With their
words when they read, have favored parallel
length, line spacing, colour contrast, the design
of right-hand edge (for example, justification,
based on traditional models such as those of Nicolas Jenson, Francesco Griffo (a
recognition and parallel letter wise recognition
letter wise recognition, which is widely
serif type, italic type vs. roman type, line
present-day design arts, which are closely
less important, or not the entire picture.
Studies distinguishing between Bouma
embellished, or abstracted.
typefaces that have been condensed, expanded,
Contemporary books are more likely to be set
with state-of-the-art seriffed "text Romans" or
important in readability, and that the theory of
parallel letter wise recognition is either wrong,
with regard to how people actually recognize
Studies of legibility have examined a wide
"book Romans" with design values echoing
that the overall word shape (Bouma) is very
the basic letterforms are more legible than
accretion, with considerable overlap between
historical periods.
visual perception. Some typographers believe
Legibility research was published from the late has been that the reading process is
material. Periodical publications, especially
newspapers and magazines, use typographical
elements to achieve an attractive, distinctive
appearance, to aid readers in navigating the
more specialized requirements, newspapers
remarkably robust, and that significant
publication, and in some cases for dramatic
text Romans specially designed for the task,
studies of seriffed vs. sans serif type, or
periodical standardizes on a relatively small
and efficient use of page space. Sans serif text
settle the argument over which is best.[citation
and magazines rely on compact, tightly-fitted
which offer maximum flexibility, readability fonts are often used for introductory
paragraphs, incidental text and whole short
articles. A current fashion is to pair sans serif
differences are hard to find. So comparative
justified vs. unjustified type, have failed to
Legibility is usually measured through speed of
other typographic features. Some publications,
article.
careless read). For example, Miles Tinker, who
check for effectiveness (that is, not a rushed or
published numerous studies from the 1930s to
the 1960s, used a speed of reading test that
and the interplay of text with white space of
required participants to spot incongruous
to impart a "feel" or "resonance" to the
These days, legibility research tends to be
the page and other graphic elements combine
subject matter. With printed media
elements within the publication, and makes
consistent use of type sizes, italic, boldface,
reading, with comprehension scores used to
The text layout, tone or colour of set matter,
collection of typefaces, each used for specific
needed]
type for headings with a high-performance
seriffed font of matching style for the text of an
effect. By formulating a style guide, a
large and small capital letters, colours, and
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
words as an effectiveness filter.
publications, including their typography, to
limited to critical issues, or the testing of
USAToday uses a bold, colourful, and
achieve a particular tone or style. For example, comparatively modern style through their use
typographers are also concerned with binding
specific design solutions (for example, when
Typography is modulated by orthography and
critical issues include typefaces (also called
vary widely, and the newspaper's name is
morphology, phonetic constructs and linguistic
typefaces for highway signs, or for other
New York Times use a more traditional
cultural conventions. For example, in French it
difference.
variation, and more columns.
before a colon (:) or semicolon (;) in a sentence,
Much of the legibility research literature is
margins, paper selection and printing methods. linguistics, word structures, word frequencies, syntax. Typography also is subject to specific
is customary to insert a non-breaking space
new typefaces are developed). Examples of
fonts) for people with visual impairment, and
conditions where legibility may make a key
of a variety of typefaces and colours; type sizes
placed on a colour background. In contrast, the
approach, with fewer colours, less typeface
Especially on the front page of newspapers and
somewhat a theoretical — various factors were
on magazine covers, headlines are often set in
“Legibility is the quality of the typeface design
(inevitably so, as the different factors are
and are placed near the masthead.
page. Designers aim to achieve excellence in
out in the absence of a model of reading or
while in English it is not.
.Readability and legibility are often confused.
and readability with the design of the printed
tested individually or in combination
interdependent), but many tests were carried
larger display typefaces to attract attention,
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 highperformance seriffed font of matching style for the text of an article. The text layout, tone or colour 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, colour 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 a theoretical — 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 letter wise recognition is either wrong, less important, or not the entire picture. Studies distinguishing between Bouma recognition and parallel letter wise recognition with regard to how people actually recognize words when they read, have favored parallel letter wise recognition, which is widely accepted by cognitive psychologists.[citation needed] Legibility can also be compromised by letter spacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility. Typography is an element of all printed material. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colours, 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, colourful, and comparatively modern style through their use of a variety of typefaces and colours; type sizes vary widely, and the newspaper's name is placed on a colour background. In contrast, the New York Times use a more traditional approach, with fewer colours, 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.
In traditional typography, text is composed to create
Designers aim to achieve excellence in both.
that works invisibly, without the awareness of the
"The typeface chosen should be legible, that is, it
distractions and anomalies are aimed at producing
is simply a matter of type size; more often,
a readable, coherent, and visually satisfying whole
reader. Even distribution with a minimum of
model of reading or visual perception. Some
typographers believe that the overall word shape (Bouma) is very important in readability, and that
should be read without effort. Sometimes legibility
the theory of parallel letter wise recognition is either
clarity and transparency.
however, it is a matter of typeface design.
Studies distinguishing between Bouma recognition
text typography—prose fiction, non-fiction, editorial,
basic letterforms are more legible than typefaces
how people actually recognize words when they
or abstracted.
which is widely accepted by cognitive
Choice of font(s) is perhaps the primary aspect of
educational, religious, scientific, spiritual and
commercial writing all have differing characteristics
and requirements. For historic material, established
Generally speaking, typefaces that are true to the that have been condensed, expanded, embellished,
"However, even a legible typeface can become
wrong, less important, or not the entire picture.
and parallel letter wise recognition with regard to
read, have favored parallel letter wise recognition,
psychologists.[citation needed]
text typefaces are frequently chosen according to a
unreadable through poor setting and placement,
process of accretion, with considerable overlap
readable through good design."[2]
too loose. It can be improved when generous
Studies of legibility have examined a wide range of
easier for the eye to distinguish one line from the
state-of-the-art seriffed "text Romans" or "book
example, comparing serif vs. sans serif type, italic
those that are too tightly or loosely fitted can also
design arts, which are closely based on traditional
colour contrast, the design of right-hand edge (for
scheme of historical genre acquired by a long
between historical periods.
Contemporary books are more likely to be set with Romans" with design values echoing present-day 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
just as a less legible typeface can be made more
factors including type size and type design. For
type vs. roman type, line length, line spacing,
Legibility can also be compromised by letter
spacing, word spacing, or leading that is too tight or vertical space separates lines of text, making it
next, or previous line. Poorly designed fonts and
result in poor legibility.
example, justification, straight right hand edge) vs.
Typography is an element of all printed material.
Legibility research was published from the late
magazines, use typographical elements to achieve
been that the reading process is remarkably robust,
in navigating the publication, and in some cases for
ranged left, and whether text is hyphenated.
nineteenth century on, but the overall finding has
and that significant differences are hard to find. So
Periodical publications, especially newspapers and
an attractive, distinctive appearance, to aid readers
dramatic effect. By formulating a style guide, a
designed for the task, which offer maximum
comparative studies of seriffed vs. sans serif type,
periodical standardizes on a relatively small
space. Sans serif text fonts are often used for
the argument over which is best.[citation needed]
elements within the publication, and makes
short articles. A current fashion is to pair sans serif
Legibility is usually measured through speed of
flexibility, readability and efficient use of page
introductory paragraphs, incidental text and whole
type for headings with a high-performance seriffed
font of matching style for the text of an article.
The text layout, tone or colour of set matter, and the interplay of text with white space of the page and
other graphic elements combine to impart a "feel"
or justified vs. unjustified type, have failed to settle
read). For example, Miles Tinker, who published
commission a type designer to create bespoke
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
participants to spot incongruous words as an
binding margins, paper selection and printing
to critical issues, or the testing of specific design
These days, legibility research tends to be limited
more traditional approach, with fewer colours, less
difference.
.Readability and legibility are often confused.
“Legibility is the quality of the typeface design and
readability with the design of the printed page.
uses a bold, colourful, and comparatively modern
other conditions where legibility may make a key
cultural conventions. For example, in French it is
colon (:) or semicolon (;) in a sentence, while in
publications, including their typography, to achieve
a particular tone or style. For example, USAToday
newspaper's name is placed on a colour
impairment, and typefaces for highway signs, or for
English it is not.
Different periodical publications design their
typefaces (also called fonts) for people with visual
morphology, phonetic constructs and linguistic
customary to insert a non-breaking space before a
(custom tailored) typefaces for their exclusive use.
style through their use of a variety of typefaces and
developed). Examples of critical issues include
syntax. Typography also is subject to specific
The Guardian and The Economist, go so far as to
solutions (for example, when new typefaces are
Typography is modulated by orthography and
linguistics, word structures, word frequencies,
and small capital letters, colours, and other
typographic features. Some publications, such as
effectiveness filter.
methods.
consistent use of type sizes, italic, boldface, large
reading, with comprehension scores used to check
or "resonance" to the subject matter. With printed media typographers are also concerned with
collection of typefaces, each used for specific
Much of the legibility research literature is
somewhat a theoretical — 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
colours; type sizes vary widely, and the
background. 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.
In traditional typography, text is composed to
both.
satisfying whole that works invisibly, without the
"The typeface chosen should be legible, that is,
create a readable, coherent, and visually
awareness of the reader. Even distribution with a minimum of distractions and anomalies are
it should be read without effort. Sometimes
legibility is simply a matter of type size; more
Some typographers believe that the overall word
shape (Bouma) is very important in readability, and that the theory of parallel letter wise
recognition is either wrong, less important, or
not the entire picture.
aimed at producing clarity and transparency.
often, however, it is a matter of typeface design.
of text typography—prose fiction, non-fiction,
the basic letterforms are more legible than
with regard to how people actually recognize
spiritual and commercial writing all have differing
expanded, embellished, or abstracted.
letter wise recognition, which is widely accepted
material, established text typefaces are
unreadable through poor setting and placement,
historical genre acquired by a long process of
more readable through good design."[2]
tight or too loose. It can be improved when
historical periods.
Studies of legibility have examined a wide range
making it easier for the eye to distinguish one
Choice of font(s) is perhaps the primary aspect editorial, educational, religious, scientific,
characteristics and requirements. For historic
frequently chosen according to a scheme of
accretion, with considerable overlap between
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
Generally speaking, typefaces that are true to
typefaces that have been condensed,
"However, even a legible typeface can become
just as a less legible typeface can be made
of factors including type size and type design. For example, comparing serif vs. sans serif
text is hyphenated.
nineteenth century on, but the overall finding
specialized requirements, newspapers and
has been that the reading process is remarkably
Romans specially designed for the task, which
to find. So comparative studies of seriffed vs.
use of page space. Sans serif text fonts are
have failed to settle the argument over which is
often used for introductory paragraphs,
incidental text and whole short articles. A current
robust, and that significant differences are hard
generous vertical space separates lines of text, line from the next, or previous line. Poorly
designed fonts and those that are too tightly or
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
sans serif type, or justified vs. unjustified type,
used for specific elements within the publication,
best.[citation needed]
boldface, large and small capital letters, colours,
fashion is to pair sans serif type for headings
Legibility is usually measured through speed of
matching style for the text of an article.
check for effectiveness (that is, not a rushed or
with a high-performance seriffed font of
Legibility can also be compromised by letter
spacing, word spacing, or leading that is too
Typography is an element of all printed material.
Legibility research was published from the late
offer maximum flexibility, readability and efficient
by cognitive psychologists.[citation needed]
hand edge (for example, justification, straight
who created the model for Aldine typefaces),
magazines rely on compact, tightly-fitted text
words when they read, have favored parallel
loosely fitted can also result in poor legibility.
right hand edge) vs. ranged left, and whether
and Claude Garamond. With their more
recognition and parallel letter wise recognition
type, italic type vs. roman type, line length, line
spacing, colour contrast, the design of right-
based on traditional models such as those of
Nicolas Jenson, Francesco Griffo (a punchcutter
Studies distinguishing between Bouma
reading, with comprehension scores used to
and makes consistent use of type sizes, italic, 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)
careless read). For example, Miles Tinker, who
typefaces for their exclusive use.
the interplay of text with white space of the page
the 1960s, used a speed of reading test that
Different periodical publications design their
"feel" or "resonance" to the subject matter. With
as an effectiveness filter.
achieve a particular tone or style. For example,
The text layout, tone or colour of set matter, and and other graphic elements combine to impart a
printed media typographers are also concerned with binding margins, paper selection and
printing methods.
Typography is modulated by orthography and
published numerous studies from the 1930s to
required participants to spot incongruous words These days, legibility research tends to be
limited to critical issues, or the testing of specific
design solutions (for example, when new
publications, including their typography, to
USAToday uses a bold, colourful, and
comparatively modern style through their use of
a variety of typefaces and colours; type sizes
typefaces are developed). Examples of critical
vary widely, and the newspaper's name is
people with visual impairment, and typefaces for
New York Times use a more traditional
cultural conventions. For example, in French it is
legibility may make a key difference.
variation, and more columns.
a colon (:) or semicolon (;) in a sentence, while
Much of the legibility research literature is
Especially on the front page of newspapers and
.Readability and legibility are often confused.
tested individually or in combination (inevitably
linguistics, word structures, word frequencies,
morphology, phonetic constructs and linguistic syntax. Typography also is subject to specific
customary to insert a non-breaking space before in English it is not.
“Legibility is the quality of the typeface design and readability with the design of the printed
page. Designers aim to achieve excellence in
issues include typefaces (also called fonts) for highway signs, or for other conditions where
somewhat a theoretical — various factors were so, as the different factors are interdependent),
but many tests were carried out in the absence of a model of reading or visual perception.
placed on a colour background. In contrast, the
approach, with fewer colours, less typeface
on magazine covers, headlines are often set in
larger display typefaces to attract attention, and are placed near the masthead.
In traditional typography, text is composed to
page. Designers aim to achieve excellence in
create a readable, coherent, and visually
both.
the awareness of the reader. Even
"The typeface chosen should be legible, that
satisfying whole that works invisibly, without
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
is, it should be read without effort. Sometimes
theory of parallel letter wise recognition is
and transparency.
often, however, it is a matter of typeface
picture.
aspect of text typography—prose fiction, non-
are true to the basic letterforms are more
recognition and parallel letter wise
scientific, spiritual and commercial writing all
condensed, expanded, embellished, or
actually recognize words when they read,
requirements. For historic material,
"However, even a legible typeface can
distribution with a minimum of distractions
and anomalies are aimed at producing clarity
Choice of font(s) is perhaps the primary
fiction, editorial, educational, religious, have differing characteristics and
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
legibility is simply a matter of type size; more design. Generally speaking, typefaces that legible than typefaces that have been abstracted.
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
with state-of-the-art seriffed "text Romans" or
design. For example, comparing serif vs.
present-day design arts, which are closely
length, line spacing, colour contrast, the
"book Romans" with design values echoing
sans serif type, italic type vs. roman type, line
based on traditional models such as those of
design of right-hand edge (for example,
punchcutter who created the model for Aldine
ranged left, and whether text is hyphenated.
Nicolas Jenson, Francesco Griffo (a
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
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
of reading, with comprehension scores used
to check for effectiveness (that is, not a
The text layout, tone or colour of set matter,
rushed or careless read). For example, Miles
the page and other graphic elements
the 1930s to the 1960s, used a speed of
the subject matter. With printed media
incongruous words as an effectiveness filter.
typographers are also concerned with binding margins, paper selection and printing methods.
Tinker, who published numerous studies from reading test that required participants to spot
breaking space before a colon (:) or
critical issues include typefaces (also called typefaces for highway signs, or for other
conditions where legibility may make a key difference.
semicolon (;) in a sentence, while in English it
Much of the legibility research literature is
.Readability and legibility are often confused.
were tested individually or in combination
and readability with the design of the printed
interdependent), but many tests were carried
is not.
“Legibility is the quality of the typeface design
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.
material. Periodical publications, especially 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, colours, 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
example, USAToday uses a bold, colourful,
limited to critical issues, or the testing of
fonts) for people with visual impairment, and
in French it is customary to insert a non-
tight or too loose. It can be improved when
specific design solutions (for example, when
morphology, phonetic constructs and
to specific cultural conventions. For example,
Legibility can also be compromised by letter
spacing, word spacing, or leading that is too
publications, including their typography, to
new typefaces are developed). Examples of
linguistic syntax. Typography also is subject
psychologists.[citation needed]
These days, legibility research tends to be
Typography is modulated by orthography and
linguistics, word structures, word frequencies,
which is widely accepted by cognitive
newspapers and magazines, use
Legibility is usually measured through speed
combine to impart a "feel" or "resonance" to
have favored parallel letter wise recognition,
Legibility research was published from the
late nineteenth century on, but the overall
seriffed font of matching style for the text of
and the interplay of text with white space of
recognition with regard to how people
Typography is an element of all printed
best.[citation needed]
an article.
Studies distinguishing between Bouma
justification, straight right hand edge) vs.
articles. A current fashion is to pair sans serif
type for headings with a high-performance
either wrong, less important, or not the entire
somewhat a theoretical — various factors (inevitably so, as the different factors are
achieve a particular tone or style. For
and comparatively modern style through their
use of a variety of typefaces and colours;
type sizes vary widely, and the newspaper's name is placed on a colour background. In
contrast, the New York Times use a more
traditional approach, with fewer colours, 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.
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 colour 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, colour 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 a theoretical — 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 letter wise recognition is either wrong, less important, or not the entire picture. Studies distinguishing between Bouma recognition and parallel letter wise recognition with regard to how people actually recognize words when they read, have favored parallel letter wise recognition, which is widely accepted by cognitive psychologists.[citation needed] Legibility can also be compromised by letter spacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility. Typography is an element of all printed material. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colours, 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, colourful, and comparatively modern style through their use of a variety of typefaces and colours; type sizes vary widely, and the newspaper's name is placed on a colour background. In contrast, the New York Times use a more traditional approach, with fewer colours, 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.
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
"The typeface chosen should be legible, that is,
readability, and that the theory of parallel letter
often, however, it is a matter of typeface design.
important, or not the entire picture.
legibility is simply a matter of type size; more
Generally speaking, typefaces that are true to
Choice of font(s) is perhaps the primary aspect
typefaces that have been condensed,
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
the basic letterforms are more legible than
wise recognition is either wrong, less
Studies distinguishing between Bouma
recognition and parallel letter wise recognition
with regard to how people actually recognize
expanded, embellished, or abstracted.
words when they read, have favored parallel
unreadable through poor setting and
accepted by cognitive psychologists.[citation
"However, even a legible typeface can become placement, just as a less legible typeface can
be made more readable through good design."[2]
accretion, with considerable overlap between
Studies of legibility have examined a wide
Contemporary books are more likely to be set
serif type, italic type vs. roman type, line length,
historical periods.
word shape (Bouma) is very important in
it should be read without effort. Sometimes
are aimed at producing clarity and transparency.
Some typographers believe that the overall
range of factors including type size and type
letter wise recognition, which is widely needed]
Legibility can also be compromised by letter
spacing, word spacing, or leading that is too
tight or too loose. It can be improved when
generous vertical space separates lines of text,
making it easier for the eye to distinguish one
design. For example, comparing serif vs. sans
line from the next, or previous line. Poorly
with state-of-the-art seriffed "text Romans" or
line spacing, colour contrast, the design of
loosely fitted can also result in poor legibility.
present-day design arts, which are closely
straight right hand edge) vs. ranged left, and
"book Romans" with design values echoing
based on traditional models such as those of
right-hand edge (for example, justification,
whether text is hyphenated.
designed fonts and those that are too tightly or
Typography is an element of all printed
material. Periodical publications, especially
Nicolas Jenson, Francesco Griffo (a
Legibility research was published from the late
newspapers and magazines, use typographical
typefaces), and Claude Garamond. With their
has been that the reading process is
appearance, to aid readers in navigating the
punchcutter who created the model for Aldine
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 colour of set matter, and
the interplay of text with white space of the
nineteenth century on, but the overall finding
remarkably robust, and that significant
differences are hard to find. So comparative
settle the argument over which is best.[citation
within the publication, and makes consistent
needed]
Legibility is usually measured through speed of
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.
use of type sizes, italic, boldface, large and small capital letters, colours, and other
typographic features. Some publications, such
as The Guardian and The Economist, go so far
careless read). For example, Miles Tinker, who
bespoke (custom tailored) typefaces for their
check for effectiveness (that is, not a rushed or published numerous studies from the 1930s to the 1960s, used a speed of reading test that
These days, legibility research tends to be
Typography is modulated by orthography and
typefaces, each used for specific elements
reading, with comprehension scores used to
matter. With printed media typographers are selection and printing methods.
effect. By formulating a style guide, a periodical
standardizes on a relatively small collection of
required participants to spot incongruous
also concerned with binding margins, paper
publication, and in some cases for dramatic
studies of seriffed vs. sans serif type, or
justified vs. unjustified type, have failed to
page and other graphic elements combine to
impart a "feel" or "resonance" to the subject
elements to achieve an attractive, distinctive
words as an effectiveness filter.
limited to critical issues, or the testing of
as to commission a type designer to create
exclusive use.
Different periodical publications design their
publications, including their typography, to
achieve a particular tone or style. For example,
USAToday uses a bold, colourful, and
specific design solutions (for example, when
comparatively modern style through their use
critical issues include typefaces (also called
vary widely, and the newspaper's name is
new typefaces are developed). Examples of
fonts) for people with visual impairment, and
typefaces for highway signs, or for other
conditions where legibility may make a key
of a variety of typefaces and colours; type sizes
placed on a colour background. In contrast, the New York Times use a more traditional
approach, with fewer colours, less typeface
difference.
variation, and more columns.
Much of the legibility research literature is
Especially on the front page of newspapers and
tested individually or in combination (inevitably
larger display typefaces to attract attention, and
somewhat a theoretical — various factors were
so, as the different factors are interdependent),
but many tests were carried out in the absence
of a model of reading or visual perception.
on magazine covers, headlines are often set in
are placed near the masthead.
In traditional typography, text is composed
design of the printed page. Designers aim to
out in the absence of a model of reading or
to create a readable, coherent, and visually
achieve excellence in both.
visual perception. Some typographers
the awareness of the reader. Even
"The typeface chosen should be legible, that
is very important in readability, and that the
and anomalies are aimed at producing clarity
Sometimes legibility is simply a matter of
satisfying whole that works invisibly, without
distribution with a minimum of distractions
is, it should be read without effort.
believe that the overall word shape (Bouma) theory of parallel letter wise recognition is
either wrong, less important, or not the
and transparency.
type size; more often, however, it is a matter
entire picture.
aspect of text typography—prose fiction,
typefaces that are true to the basic
recognition and parallel letter wise
that have been condensed, expanded,
actually recognize words when they read,
Choice of font(s) is perhaps the primary
non-fiction, editorial, educational, religious, scientific, spiritual and commercial writing
all have differing characteristics and
requirements. For historic material,
of typeface design. Generally speaking,
letterforms are more legible than typefaces embellished, or abstracted.
"However, even a legible typeface can
established text typefaces are frequently
become unreadable through poor setting
genre acquired by a long process of
typeface can be made more readable
chosen according to a scheme of historical 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,
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
rely on compact, tightly-fitted text Romans
psychologists.[citation needed]
Legibility can also be compromised by letter
spacing, word spacing, or leading that is too
tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to
distinguish one line from the next, or also result in poor legibility.
ranged left, and whether text is hyphenated.
requirements, newspapers and magazines
which is widely accepted by cognitive
line length, line spacing, colour contrast, the
Francesco Griffo (a punchcutter who created
the model for Aldine typefaces), and Claude
have favored parallel letter wise recognition,
previous line. Poorly designed fonts and
sans serif type, italic type vs. roman type,
design of right-hand edge (for example,
Garamond. With their more specialized
recognition with regard to how people
design. For example, comparing serif vs.
which are closely based on traditional
models such as those of Nicolas Jenson,
Studies distinguishing between Bouma
justification, straight right hand edge) vs.
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
those that are too tightly or loosely fitted can 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
specially designed for the task, which offer
differences are hard to find. So comparative
some cases for dramatic effect. By
use of page space. Sans serif text fonts are
justified vs. unjustified type, have failed to
standardizes on a relatively small collection
incidental text and whole short articles. A
best.[citation needed]
elements within the publication, and makes
Legibility is usually measured through speed
large and small capital letters, colours, and
maximum flexibility, readability and efficient often used for introductory paragraphs,
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 colour of set matter,
and the interplay of text with white space of the page and other graphic elements
studies of seriffed vs. sans serif type, or settle the argument over which is
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
formulating a style guide, a periodical
of typefaces, each used for specific
consistent use of type sizes, italic, boldface, 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.
combine to impart a "feel" or "resonance" to
spot incongruous words as an effectiveness
Different periodical publications design their
typographers are also concerned with
These days, legibility research tends to be
achieve a particular tone or style. For
the subject matter. With printed media binding margins, paper selection and
filter.
limited to critical issues, or the testing of
publications, including their typography, to example, USAToday uses a bold, colourful,
and comparatively modern style through
printing methods.
specific design solutions (for example, when
and linguistics, word structures, word
critical issues include typefaces (also called
colours; type sizes vary widely, and the
typefaces for highway signs, or for other
background. In contrast, the New York Times
difference.
colours, less typeface variation, and more
Typography is modulated by orthography 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
new typefaces are developed). Examples of
fonts) for people with visual impairment, and
conditions where legibility may make a key Much of the legibility research literature is
their use of a variety of typefaces and
newspaper's name is placed on a colour
use a more traditional approach, with fewer
columns.
somewhat a theoretical — various factors
Especially on the front page of newspapers
(inevitably so, as the different factors are
set in larger display typefaces to attract
were tested individually or in combination interdependent), but many tests were carried
and on magazine covers, headlines are often attention, and are placed near the masthead.
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, tightlyfitted 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 colour 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, colour 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 a theoretical — 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 letter wise recognition is either wrong, less important, or not the entire picture. Studies distinguishing between Bouma recognition and parallel letter wise recognition with regard to how people actually recognize words when they read, have favored parallel letter wise recognition, which is widely accepted by cognitive psychologists.[citation needed] Legibility can also be compromised by letter spacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility. Typography is an element of all printed material. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colours, 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, colourful, and comparatively modern style through their use of a variety of typefaces and colours; type sizes vary widely, and the newspaper's name is placed on a colour background. In contrast, the New York Times use a more traditional approach, with fewer colours, 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.
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, tightlyfitted 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 highperformance seriffed font of matching style for the text of an article.
The text layout, tone or colour 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, colour 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 a theoretical — 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 letter wise recognition is either wrong, less important, or not the entire picture. Studies distinguishing between Bouma recognition and parallel letter wise recognition with regard to how people actually recognize words when they read, have favored parallel letter wise recognition, which is widely accepted by cognitive psychologists.[citation needed] Legibility can also be compromised by letter spacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility. Typography is an element of all printed material. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colours, 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, colourful, and comparatively modern style through their use of a variety of typefaces and colours; type sizes vary widely, and the newspaper's name is placed on a colour background. In contrast, the New York Times use a more traditional approach, with fewer colours, 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.