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