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
that significant differences are hard to find. So comparative studies of ser-
iffed 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 in-
historic material, established text typefaces are frequently chosen according
congruous words as an effectiveness filter.
considerable overlap between historical periods.
These days, legibility research tends to be limited to critical issues, or the
Contemporary books are more likely to be set with state-of-the-art seriffed
veloped). Examples of critical issues include typefaces (also called fonts) for
sign arts, which are closely based on traditional models such as those of
conditions where legibility may make a key difference.
Aldine typefaces), and Claude Garamond. With their more specialized re-
Much of the legibility research literature is somewhat atheoretical — various
romans specially designed for the task, which offer maximum flexibility,
ferent factors are interdependent), but many tests were carried out in the ab-
to a scheme of historical genre acquired by a long process of accretion, with
"text romans" or "book romans" with design values echoing present-day de-
Nicolas Jenson, Francesco Griffo (a punchcutter who created the model for quirements, newspapers and magazines rely on compact, tightly-fitted text
testing of specific design solutions (for example, when new typefaces are depeople with visual impairment, and typefaces for highway signs, or for other
factors were tested individually or in combination (inevitably so, as the dif-
readability and efficient use of page space. Sans serif text fonts are often
sence of a model of reading or visual perception. Some typographers believe
current fashion is to pair sans serif type for headings with a high-perfor-
the theory of parallel letterwise recognition is either wrong, less important,
used for introductory paragraphs, incidental text and whole short articles. A
mance 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
that the overall word shape (Bouma) is very important in readability, and that or not the entire picture.
Studies distinguishing between Bouma recognition and parallel letterwise
white space of the page and other graphic elements combine to impart a
recognition with regard to how people actually recognize words when they
are also concerned with binding margins, paper selection and printing meth-
by cognitive psychologists.[citation needed]
"feel" or "resonance" to the subject matter. With printed media typographers ods.
Typography is modulated by orthography and linguistics, word structures,
word frequencies, morphology, phonetic constructs and linguistic syntax. Ty-
pography also is subject to specific cultural conventions. For example, in
French it is customary to insert a non-breaking space before a colon (:) or semicolon (;) in a sentence, while in English it is not.
read, have favored parallel letterwise recognition, which is widely accepted Legibility can also be compromised by letterspacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one
line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility.
Typography is an element of all printed material. Periodical publications, es-
Readability and legibility are often confused. “Legibility is the quality of the
pecially newspapers and magazines, use typographical elements to achieve
ers aim to achieve excellence in both.
tion, and in some cases for dramatic effect. By formulating a style guide, a
"The typeface chosen should be legible, that is, it should be read without ef-
used for specific elements within the publication, and makes consistent use
typeface design and readability with the design of the printed page. Design-
fort. Sometimes legibility is simply a matter of type size; more often, how-
ever, it is a matter of typeface design. Generally speaking, typefaces that are
true to the basic letterforms are more legible than typefaces that have been
condensed, expanded, embellished, or abstracted.
"However, even a legible typeface can become unreadable through poor set-
ting and placement, just as a less legible typeface can be made more readable
through good design."[2]
Studies of legibility have examined a wide range of factors including type
size and type design. For example, comparing serif vs. sans serif type, italic type vs. roman type, line length, line spacing, color contrast, the design of
right-hand edge (for example, justification, straight right hand edge) vs.
ranged left, and whether text is hyphenated.
Legibility research was published from the late nineteenth century on, but the overall finding has been that the reading process is remarkably robust, and
an attractive, distinctive appearance, to aid readers in navigating the publica-
periodical standardizes on a relatively small collection of typefaces, each
of type sizes, italic, boldface, large and small capital letters, colorsand 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 ty-
pography, to achieve a particular tone or style. For example, USAToday uses
a bold, colorful, and comparatively modern style through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's
name is placed on a colored background. In contrast, the New York Times
use a more traditional approach, with fewer colors, less typeface variation, and more columns.
Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead. 8.5 on 13.8
In traditional typography, text is composed to create a readable, coherent, and visually
satisfying whole that works invisibly, without the awareness of the reader. Even distri-
bution with a minimum of distractions and anomalies are aimed at producing clarity
and transparency.
Choice of font(s) is perhaps the primary aspect of text typography—prose fiction, nonfiction, 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.
fied vs. unjustified type, have failed to settle the argument over which is best.[citation
needed]
Legibility is usually measured through speed of reading, with comprehension scores
used to check for effectiveness (that is, not a rushed or careless read). For example, Miles Tinker, who published numerous studies from the 1930s to the 1960s, used a
speed of reading test that required participants to spot incongruous words as an effectiveness filter.
These days, legibility research tends to be limited to critical issues, or the testing of
specific design solutions (for example, when new typefaces are developed). Examples
Contemporary books are more likely to be set with state-of-the-art seriffed "text ro-
of critical issues include typefaces (also called fonts) for people with visual impair-
closely based on traditional models such as those of Nicolas Jenson, Francesco Griffo
make a key difference.
mans" or "book romans" with design values echoing present-day design arts, which are
(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 flexi-
bility, 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
ment, and typefaces for highway signs, or for other conditions where legibility may
Much of the legibility research literature is somewhat atheoretical — various factors
were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests were carried out in the absence of a model of reading or visual perception. Some typographers believe that the overall word shape (Bouma) is
very important in readability, and that the theory of parallel letterwise recognition is ei-
style for the text of an article.
ther wrong, less important, or not the entire picture.
The text layout, tone or colour of set matter, and the interplay of text with white space
Studies distinguishing between Bouma recognition and parallel letterwise recognition
of the page and other graphic elements combine to impart a "feel" or "resonance" to the
with regard to how people actually recognize words when they read, have favored par-
gins, paper selection and printing methods.
tion needed]
Typography is modulated by orthography and linguistics, word structures, word fre-
Legibility can also be compromised by letterspacing, word spacing, or leading that is
subject matter. With printed media typographers are also concerned with binding mar-
quencies, 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
allel letterwise recognition, which is widely accepted by cognitive psychologists.[cita-
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
it is not.
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
design and readability with the design of the printed page. Designers aim to achieve ex-
newspapers and magazines, use typographical elements to achieve an attractive, dis-
cellence in both.
tinctive appearance, to aid readers in navigating the publication, and in some cases for
"The typeface chosen should be legible, that is, it should be read without effort. Some-
small collection of typefaces, each used for specific elements within the publication,
times 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
dramatic effect. By formulating a style guide, a periodical standardizes on a relatively and makes consistent use of type sizes, italic, boldface, large and small capital letters, colorsand 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,
placement, just as a less legible typeface can be made more readable through good de-
to achieve a particular tone or style. For example, USAToday uses a bold, colorful, and
Studies of legibility have examined a wide range of factors including type size and type
sizes vary widely, and the newspaper's name is placed on a colored background. In con-
sign."[2]
design. For example, comparing serif vs. sans serif type, italic type vs. roman type, line length, line spacing, color contrast, the design of right-hand edge (for example, justifi-
cation, 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 dif-
ferences are hard to find. So comparative studies of seriffed vs. sans serif type, or justi-
comparatively modern style through their use of a variety of typefaces and colors; type
trast, the New York Times use a more traditional approach, with fewer colors, less typeface variation, and more columns.
Especially on the front page of newspapers and on magazine covers, headlines are
often set in larger display typefaces to attract attention, and are placed near the masthead.
7.5 on 14.6
In traditional typography, text is composed to create a readable, coherent, and vi-
significant differences are hard to find. So comparative studies of seriffed vs. sans
Even distribution with a minimum of distractions and anomalies are aimed at pro-
which is best.[citation needed]
sually satisfying whole that works invisibly, without the awareness of the reader. ducing 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,
serif type, or justified vs. unjustified type, have failed to settle the argument over
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
established text typefaces are frequently chosen according to a scheme of histori-
words as an effectiveness filter.
tween historical periods.
These days, legibility research tends to be limited to critical issues, or the testing
Contemporary books are more likely to be set with state-of-the-art seriffed "text
Examples of critical issues include typefaces (also called fonts) for people with
cal genre acquired by a long process of accretion, with considerable overlap be-
romans" or "book romans" with design values echoing present-day design arts,
of specific design solutions (for example, when new typefaces are developed).
visual impairment, and typefaces for highway signs, or for other conditions where
which are closely based on traditional models such as those of Nicolas Jenson,
legibility may make a key difference.
Claude Garamond. With their more specialized requirements, newspapers and
Much of the legibility research literature is somewhat atheoretical — various fac-
Francesco Griffo (a punchcutter who created the model for Aldine typefaces), and magazines rely on compact, tightly-fitted text romans specially designed for the
tors were tested individually or in combination (inevitably so, as the different fac-
Sans serif text fonts are often used for introductory paragraphs, incidental text and
model of reading or visual perception. Some typographers believe that the overall
task, which offer maximum flexibility, readability and efficient use of page space.
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.
tors are interdependent), but many tests were carried out in the absence of a
word shape (Bouma) is very important in readability, and that the theory of parallel letterwise recognition is either wrong, less important, or not the entire picture.
The text layout, tone or colour of set matter, and the interplay of text with white
Studies distinguishing between Bouma recognition and parallel letterwise recog-
nance" to the subject matter. With printed media typographers are also concerned
favored parallel letterwise recognition, which is widely accepted by cognitive
space of the page and other graphic elements combine to impart a "feel" or "resowith 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
nition with regard to how people actually recognize words when they read, have psychologists.[citation needed]
Legibility can also be compromised by letterspacing, word spacing, or leading
that is too tight or too loose. It can be improved when generous vertical space sep-
also is subject to specific cultural conventions. For example, in French it is cus-
arates lines of text, making it easier for the eye to distinguish one line from the
tence, while in English it is not.
loosely fitted can also result in poor legibility.
tomary to insert a non-breaking space before a colon (:) or semicolon (;) in a sen-
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.
next, or previous line. Poorly designed fonts and those that are too tightly or
Typography is an element of all printed material. Periodical publications, espe-
cially newspapers and magazines, use typographical elements to achieve an at-
tractive, distinctive appearance, to aid readers in navigating the publication, and
in some cases for dramatic effect. By formulating a style guide, a periodical stan-
dardizes on a relatively small collection of typefaces, each used for specific ele-
Sometimes legibility is simply a matter of type size; more often, however, it is a
ments 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
matter of typeface design. Generally speaking, typefaces that are true to the basic
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
boldface, large and small capital letters, colorsand other typographic features.
commission a type designer to create bespoke (custom tailored) typefaces for
their exclusive use.
Different periodical publications design their publications, including their typog-
good design."[2]
raphy, to achieve a particular tone or style. For example, USAToday uses a bold,
and type design. For example, comparing serif vs. sans serif type, italic type vs.
faces and colors; type sizes vary widely, and the newspaper's name is placed on a
Studies of legibility have examined a wide range of factors including type size
roman type, line length, line spacing, color contrast, the design of right-hand edge
(for example, justification, straight right hand edge) vs. ranged left, and whether
text is hyphenated.
Legibility research was published from the late nineteenth century on, but the
overall finding has been that the reading process is remarkably robust, and that
colorful, and comparatively modern style through their use of a variety of type-
colored background. In contrast, the New York Times use a more traditional approach, with fewer colors, less typeface variation, and more columns.
Especially on the front page of newspapers and on magazine covers, headlines are
often set in larger display typefaces to attract attention, and are placed near the masthead. 8 on 14.3
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, color contrast, the design of right-hand edge (for example, justification, straight right hand edge) vs. ranged left, and whether text is hyphenated. Legibility research was published from the late nineteenth century on, but the overall finding has been that the reading process is remarkably robust, and that significant differences are hard to find. So comparative
studies of seriffed vs. sans serif type, or justified vs. unjustified type, have failed to settle the argument over which is best.[citation needed] Legibility is usually measured through speed of reading, with comprehension scores used to check for effectiveness (that is, not a rushed or careless read). For example, Miles Tinker, who published numerous studies from the 1930s to the 1960s, used a speed of reading test that required participants to spot incongruous words as an effectiveness filter. These days, legibility research tends to be limited to critical issues, or the testing of specific design solutions (for example, when new typefaces are developed). Examples of critical issues include typefaces (also called fonts) for people with visual impairment, and typefaces for highway signs, or for other conditions where legibility may make a key difference. Much of the legibility research literature is somewhat atheoretical — various factors were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests were carried out in the absence of a model of reading or visual perception. Some typographers believe that the overall word shape (Bouma) is very important in readability, and that the theory of parallel letterwise recognition is either wrong, less important, or not the entire picture. Studies distinguishing between Bouma recognition and parallel letterwise recognition with regard to how people actually recognize words when they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed] Legibility can also be compromised by letterspacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility. Typography is an element of all printed material. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colorsand other typographic features. Some publications, such as The Guardian and The Economist, go so far as to commission a type designer to create bespoke (custom tailored) typefaces for their exclusive use. Different periodical publications design their publications, including their typography, to achieve a particular tone or style. For example, USAToday uses a bold, colorful, and comparatively modern style through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's name is placed on a colored background. In contrast, the New York Times use a more traditional approach, with fewer colors, less typeface variation, and more columns. Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead. 9 on 13.1
In traditional typography, text is composed to create a readable, coherent, and vi-
significant differences are hard to find. So comparative studies of seriffed vs. sans
Even distribution with a minimum of distractions and anomalies are aimed at pro-
which is best.[citation needed]
sually satisfying whole that works invisibly, without the awareness of the reader.
ducing 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
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 histori-
words as an effectiveness filter.
writing all have differing characteristics and requirements. For historic material, cal genre acquired by a long process of accretion, with considerable overlap be-
1960s, used a speed of reading test that required participants to spot incongruous
tween 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
ples of critical issues include typefaces (also called fonts) for people with visual im-
romans" or "book romans" with design values echoing present-day design arts,
specific design solutions (for example, when new typefaces are developed). Exam-
pairment, and typefaces for highway signs, or for other conditions where legibility
which are closely based on traditional models such as those of Nicolas Jenson,
may make a key difference.
Claude Garamond. With their more specialized requirements, newspapers and
Much of the legibility research literature is somewhat atheoretical — various fac-
task, which offer maximum flexibility, readability and efficient use of page space.
tors are interdependent), but many tests were carried out in the absence of a
Francesco Griffo (a punchcutter who created the model for Aldine typefaces), and
magazines rely on compact, tightly-fitted text romans specially designed for the
tors were tested individually or in combination (inevitably so, as the different fac-
Sans serif text fonts are often used for introductory paragraphs, incidental text
model of reading or visual perception. Some typographers believe that the overall
with a high-performance seriffed font of matching style for the text of an article.
lel letterwise recognition is either wrong, less important, or not the entire picture.
and whole short articles. A current fashion is to pair sans serif type for headings
The text layout, tone or colour of set matter, and the interplay of text with white
word shape (Bouma) is very important in readability, and that the theory of paral-
Studies distinguishing between Bouma recognition and parallel letterwise recogni-
space of the page and other graphic elements combine to impart a "feel" or "reso-
tion with regard to how people actually recognize words when they read, have fa-
with binding margins, paper selection and printing methods.
psychologists.[citation needed]
nance" to the subject matter. With printed media typographers are also concerned
vored parallel letterwise recognition, which is widely accepted by cognitive
Typography is modulated by orthography and linguistics, word structures, word
Legibility can also be compromised by letterspacing, word spacing, or leading that
also is subject to specific cultural conventions. For example, in French it is cus-
lines of text, making it easier for the eye to distinguish one line from the next, or
frequencies, morphology, phonetic constructs and linguistic syntax. Typography
tomary to insert a non-breaking space before a colon (:) or semicolon (;) in a sen-
is too tight or too loose. It can be improved when generous vertical space separates previous line. Poorly designed fonts and those that are too tightly or loosely fitted
tence, while in English it is not.
can also result in poor legibility.
Readability and legibility are often confused. “Legibility is the quality of the type-
Typography is an element of all printed material. Periodical publications, espe-
face design and readability with the design of the printed page. Designers aim to achieve excellence in both.
cially newspapers and magazines, use typographical elements to achieve an attrac-
tive, distinctive appearance, to aid readers in navigating the publication, and in
some cases for dramatic effect. By formulating a style guide, a periodical stan-
"The typeface chosen should be legible, that is, it should be read without effort.
dardizes on a relatively small collection of typefaces, each used for specific ele-
matter of typeface design. Generally speaking, typefaces that are true to the basic
boldface, large and small capital letters, colorsand other typographic features.
embellished, or abstracted.
mission a type designer to create bespoke (custom tailored) typefaces for their ex-
Sometimes legibility is simply a matter of type size; more often, however, it is a
letterforms are more legible than typefaces that have been condensed, expanded,
"However, even a legible typeface can become unreadable through poor setting
and placement, just as a less legible typeface can be made more readable through good design."[2]
ments within the publication, and makes consistent use of type sizes, italic,
Some publications, such as The Guardian and The Economist, go so far as to com-
clusive use.
Different periodical publications design their publications, including their typog-
raphy, to achieve a particular tone or style. For example, USAToday uses a bold,
Studies of legibility have examined a wide range of factors including type size and
colorful, and comparatively modern style through their use of a variety of type-
type, line length, line spacing, color contrast, the design of right-hand edge (for ex-
colored background. In contrast, the New York Times use a more traditional ap-
type design. For example, comparing serif vs. sans serif type, italic type vs. roman ample, 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
faces and colors; type sizes vary widely, and the newspaper's name is placed on a
proach, with fewer colors, less typeface variation, and more columns.
Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are placed near the
masthead. 7.5 on 14.3
In traditional typography, text is composed to create a readable, coherent,
and visually satisfying whole that works invisibly, without the awareness of
and that significant differences are hard to find. So comparative studies of
seriffed vs. sans serif type, or justified vs. unjustified type, have failed to set-
the reader. Even distribution with a minimum of distractions and anomalies
tle the argument over which is best.[citation needed]
Choice of font(s) is perhaps the primary aspect of text typography—prose
scores used to check for effectiveness (that is, not a rushed or careless read).
are aimed at producing clarity and transparency.
fiction, non-fiction, editorial, educational, religious, scientific, spiritual and
commercial writing all have differing characteristics and requirements. For
Legibility is usually measured through speed of reading, with comprehension
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
historic material, established text typefaces are frequently chosen according
incongruous words as an effectiveness filter.
considerable overlap between historical periods.
These days, legibility research tends to be limited to critical issues, or the
to a scheme of historical genre acquired by a long process of accretion, with
testing of specific design solutions (for example, when new typefaces are de-
Contemporary books are more likely to be set with state-of-the-art seriffed
veloped). Examples of critical issues include typefaces (also called fonts) for
sign arts, which are closely based on traditional models such as those of Nico-
conditions where legibility may make a key difference.
Aldine typefaces), and Claude Garamond. With their more specialized re-
Much of the legibility research literature is somewhat atheoretical — various
"text romans" or "book romans" with design values echoing present-day delas Jenson, Francesco Griffo (a punchcutter who created the model for
people with visual impairment, and typefaces for highway signs, or for other
quirements, newspapers and magazines rely on compact, tightly-fitted text
factors were tested individually or in combination (inevitably so, as the dif-
readability and efficient use of page space. Sans serif text fonts are often used
sence of a model of reading or visual perception. Some typographers believe
rent fashion is to pair sans serif type for headings with a high-performance
that the theory of parallel letterwise recognition is either wrong, less impor-
The text layout, tone or colour of set matter, and the interplay of text with
Studies distinguishing between Bouma recognition and parallel letterwise
"feel" or "resonance" to the subject matter. With printed media typogra-
read, have favored parallel letterwise recognition, which is widely accepted
romans specially designed for the task, which offer maximum flexibility,
for introductory paragraphs, incidental text and whole short articles. A cur-
seriffed font of matching style for the text of an article.
white space of the page and other graphic elements combine to impart a
phers 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. Design-
ferent factors are interdependent), but many tests were carried out in the ab-
that the overall word shape (Bouma) is very important in readability, and
tant, or not the entire picture.
recognition with regard to how people actually recognize words when they
by cognitive psychologists.[citation needed]
Legibility can also be compromised by letterspacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical
space separates lines of text, making it easier for the eye to distinguish one
line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility.
Typography is an element of all printed material. Periodical publications, es-
pecially newspapers and magazines, use typographical elements to achieve an
attractive, distinctive appearance, to aid readers in navigating the publica-
ers aim to achieve excellence in both.
tion, and in some cases for dramatic effect. By formulating a style guide, a
"The typeface chosen should be legible, that is, it should be read without ef-
for specific elements within the publication, and makes consistent use of type
fort. Sometimes legibility is simply a matter of type size; more often, how-
ever, it is a matter of typeface design. Generally speaking, typefaces that are true to the basic letterforms are more legible than typefaces that have been
periodical standardizes on a relatively small collection of typefaces, each used sizes, italic, boldface, large and small capital letters, colorsand other typo-
graphic features. Some publications, such as The Guardian and The Econo-
mist, go so far as to commission a type designer to create bespoke (custom
condensed, expanded, embellished, or abstracted.
tailored) typefaces for their exclusive use.
"However, even a legible typeface can become unreadable through poor set-
Different periodical publications design their publications, including their ty-
ting 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
pography, to achieve a particular tone or style. For example, USAToday uses
a bold, colorful, and comparatively modern style through their use of a vari-
ety of typefaces and colors; type sizes vary widely, and the newspaper's name
and type design. For example, comparing serif vs. sans serif type, italic type
is placed on a colored background. In contrast, the New York Times use a
hand edge (for example, justification, straight right hand edge) vs. ranged
more columns.
vs. roman type, line length, line spacing, color contrast, the design of rightleft, 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,
more traditional approach, with fewer colors, less typeface variation, and
Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are
placed near the masthead. 8 on 13.8
In traditional typography, text is composed to create a readable, coher-
robust, and that significant differences are hard to find. So comparative
awareness of the reader. Even distribution with a minimum of distrac-
have failed to settle the argument over which is best.[citation needed]
ent, and visually satisfying whole that works invisibly, without the
tions and anomalies are aimed at producing clarity and transparency. Choice of font(s) is perhaps the primary aspect of text typography—
studies of seriffed vs. sans serif type, or justified vs. unjustified type,
Legibility is usually measured through speed of reading, with compre-
hension scores used to check for effectiveness (that is, not a rushed or
prose fiction, non-fiction, editorial, educational, religious, scientific, spir-
careless read). For example, Miles Tinker, who published numerous
requirements. For historic material, established text typefaces are fre-
quired participants to spot incongruous words as an effectiveness filter.
long process of accretion, with considerable overlap between historical
These days, legibility research tends to be limited to critical issues, or the
itual and commercial writing all have differing characteristics and
quently chosen according to a scheme of historical genre acquired by a
periods.
Contemporary books are more likely to be set with state-of-the-art ser-
iffed "text romans" or "book romans" with design values echoing present-day design arts, which are closely based on traditional models such
studies from the 1930s to the 1960s, used a speed of reading test that re-
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.
as those of Nicolas Jenson, Francesco Griffo (a punchcutter who created
Much of the legibility research literature is somewhat atheoretical —
specialized requirements, newspapers and magazines rely on compact,
as the different factors are interdependent), but many tests were carried
the model for Aldine typefaces), and Claude Garamond. With their more
tightly-fitted text romans specially designed for the task, which offer
various factors were tested individually or in combination (inevitably so, out in the absence of a model of reading or visual perception. Some ty-
maximum flexibility, readability and efficient use of page space. Sans
pographers believe that the overall word shape (Bouma) is very impor-
text and whole short articles. A current fashion is to pair sans serif type
is either wrong, less important, or not the entire picture.
serif text fonts are often used for introductory paragraphs, incidental
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 im-
part a "feel" or "resonance" to the subject matter. With printed media
typographers are also concerned with binding margins, paper selection
tant in readability, and that the theory of parallel letterwise recognition Studies distinguishing between Bouma recognition and parallel letter-
wise recognition with regard to how people actually recognize words
when they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed]
Legibility can also be compromised by letterspacing, word spacing, or
and printing methods.
leading that is too tight or too loose. It can be improved when generous
Typography is modulated by orthography and linguistics, word struc-
tinguish one line from the next, or previous line. Poorly designed fonts
syntax. Typography also is subject to specific cultural conventions. For
bility.
a colon (:) or semicolon (;) in a sentence, while in English it is not.
Typography is an element of all printed material. Periodical publica-
Readability and legibility are often confused. “Legibility is the quality of
to achieve an attractive, distinctive appearance, to aid readers in navi-
tures, word frequencies, morphology, phonetic constructs and linguistic
example, in French it is customary to insert a non-breaking space before
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
vertical space separates lines of text, making it easier for the eye to disand those that are too tightly or loosely fitted can also result in poor legi-
tions, especially newspapers and magazines, use typographical elements
gating the publication, and in some cases for dramatic effect. By formu-
lating a style guide, a periodical standardizes on a relatively small
collection of typefaces, each used for specific elements within the publi-
cation, and makes consistent use of type sizes, italic, boldface, large and
effort. Sometimes legibility is simply a matter of type size; more often,
small capital letters, colorsand other typographic features. Some publi-
that are true to the basic letterforms are more legible than typefaces that
mission a type designer to create bespoke (custom tailored) typefaces for
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 readable through good design."[2]
Studies of legibility have examined a wide range of factors including
type size and type design. For example, comparing serif vs. sans serif
type, italic type vs. roman type, line length, line spacing, color contrast,
cations, such as The Guardian and The Economist, go so far as to comtheir exclusive use.
Different periodical publications design their publications, including
their typography, to achieve a particular tone or style. For example, US-
AToday uses a bold, colorful, and comparatively modern style through
their use of a variety of typefaces and colors; type sizes vary widely, and
the newspaper's name is placed on a colored background. In contrast,
the New York Times use a more traditional approach, with fewer colors,
the design of right-hand edge (for example, justification, straight right
less typeface variation, and more columns.
Legibility research was published from the late nineteenth century on,
headlines are often set in larger display typefaces to attract attention,
hand edge) vs. ranged left, and whether text is hyphenated.
but the overall finding has been that the reading process is remarkably
Especially on the front page of newspapers and on magazine covers,
and are placed near the masthead. 8.5 on 13.4
In traditional typography, text is composed to create a readable, coherent, and visually satisfying whole that works invisibly, without the awareness of the reader. Even distribution with a minimum of distractions and anomalies are aimed at producing clarity and transparency. Choice of font(s) is perhaps the primary aspect of text typography— prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual and commercial writing all have differing characteristics and requirements. For historic material, established text typefaces are frequently chosen according to a scheme of historical genre acquired by a long process of accretion, with considerable overlap between historical periods. Contemporary books are more likely to be set with state-of-the-art seriffed "text romans" or "book romans" with design values echoing present-day design arts, which are closely based on traditional models such as those of Nicolas Jenson, Francesco Griffo (a punchcutter who created the model for Aldine typefaces), and Claude Garamond. With their more specialized requirements, newspapers and magazines rely on compact, tightly-fitted text romans specially designed for the task, which offer maximum flexibility, readability and efficient use of page space. Sans serif text fonts are often used for introductory paragraphs, incidental text and whole short articles. A current fashion is to pair sans serif type for headings with a high-performance seriffed font of matching style for the text of an article. The text layout, tone or 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, color contrast, the design of right-hand edge (for example, justification, straight right hand edge) vs. ranged left, and whether text is hyphenated. Legibility research was published from the late nineteenth century on, but the overall finding has been that the reading process is re-
markably robust, and that significant differences are hard to find. So comparative studies of seriffed vs. sans serif type, or justified vs. unjustified type, have failed to settle the argument over which is best.[citation needed] Legibility is usually measured through speed of reading, with comprehension scores used to check for effectiveness (that is, not a rushed or careless read). For example, Miles Tinker, who published numerous studies from the 1930s to the 1960s, used a speed of reading test that required participants to spot incongruous words as an effectiveness filter. These days, legibility research tends to be limited to critical issues, or the testing of specific design solutions (for example, when new typefaces are developed). Examples of critical issues include typefaces (also called fonts) for people with visual impairment, and typefaces for highway signs, or for other conditions where legibility may make a key difference. Much of the legibility research literature is somewhat atheoretical — various factors were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests were carried out in the absence of a model of reading or visual perception. Some typographers believe that the overall word shape (Bouma) is very important in readability, and that the theory of parallel letterwise recognition is either wrong, less important, or not the entire picture. Studies distinguishing between Bouma recognition and parallel letterwise recognition with regard to how people actually recognize words when they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed] Legibility can also be compromised by letterspacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility. Typography is an element of all printed material. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colorsand other typographic features. Some publications, such as The Guardian and The Economist, go so far as to commission a type designer to create bespoke (custom tailored) typefaces for their exclusive use. Different periodical publications design their publications, including their typography, to achieve a particular tone or style. For example, USAToday uses a bold, colorful, and comparatively modern style through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's name is placed on a colored background. In contrast, the New York Times use a more traditional approach, with fewer colors, less typeface variation, and more columns. Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead. 9 on 12.3
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 fic-
tion, non-fiction, editorial, educational, religious, scientific, spiritual and com-
mercial 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 con-
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 incon-
gruous words as an effectiveness filter.
These days, legibility research tends to be limited to critical issues, or the test-
siderable overlap between historical periods.
ing of specific design solutions (for example, when new typefaces are devel-
Contemporary books are more likely to be set with state-of-the-art seriffed "text
people with visual impairment, and typefaces for highway signs, or for other
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,
oped). Examples of critical issues include typefaces (also called fonts) for conditions where legibility may make a key difference.
Much of the legibility research literature is somewhat atheoretical — various
factors were tested individually or in combination (inevitably so, as the different
factors are interdependent), but many tests were carried out in the absence of a model of reading or visual perception. Some typographers believe that the
overall word shape (Bouma) is very important in readability, and that the theory
of parallel letterwise recognition is either wrong, less important, or not the entire
picture.
Studies distinguishing between Bouma recognition and parallel letterwise
recognition with regard to how people actually recognize words when they
read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed]
Legibility can also be compromised by letterspacing, word spacing, or leading
that is too tight or too loose. It can be improved when generous vertical space
separates lines of text, making it easier for the eye to distinguish one line from
the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility.
Typography is an element of all printed material. Periodical publications, espe-
cially 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, colorsand 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
expanded, embellished, or abstracted.
their exclusive use.
"However, even a legible typeface can become unreadable through poor set-
Different periodical publications design their publications, including their typog-
ting and placement, just as a less legible typeface can be made more readable
raphy, to achieve a particular tone or style. For example, USAToday uses a
through good design."[2]
bold, colorful, and comparatively modern style through their use of a variety of
and type design. For example, comparing serif vs. sans serif type, italic type vs.
placed on a colored background. In contrast, the New York Times use a more
edge (for example, justification, straight right hand edge) vs. ranged left, and
columns.
Studies of legibility have examined a wide range of factors including type size roman type, line length, line spacing, color contrast, the design of right-hand
whether text is hyphenated.
typefaces and colors; type sizes vary widely, and the newspaper's name is
traditional approach, with fewer colors, less typeface variation, and more
Especially on the front page of newspapers and on magazine covers, headlines
Legibility research was published from the late nineteenth century on, but the
are often set in larger display typefaces to attract attention, and are placed near
significant differences are hard to find. So comparative studies of seriffed vs.
7.5 on 13.8
overall finding has been that the reading process is remarkably robust, and that
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 comprehen-
Choice of font(s) is perhaps the primary aspect of text typography—prose
less read). For example, Miles Tinker, who published numerous studies
the reader. Even distribution with a minimum of distractions and anomalies
fiction, non-fiction, editorial, educational, religious, scientific, spiritual and
sion scores used to check for effectiveness (that is, not a rushed or carefrom the 1930s to the 1960s, used a speed of reading test that required
commercial writing all have differing characteristics and requirements. For
participants to spot incongruous words as an effectiveness filter.
ing to a scheme of historical genre acquired by a long process of accre-
These days, legibility research tends to be limited to critical issues, or the
historic material, established text typefaces are frequently chosen accord-
tion, 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
testing of specific design solutions (for example, when new typefaces are
developed). Examples of critical issues include typefaces (also called
fonts) for people with visual impairment, and typefaces for highway signs,
or for other conditions where legibility may make a key difference.
Much of the legibility research literature is somewhat atheoretical — vari-
for Aldine typefaces), and Claude Garamond. With their more specialized
ous factors were tested individually or in combination (inevitably so, as the
text romans specially designed for the task, which offer maximum flexibil-
the absence of a model of reading or visual perception. Some typogra-
requirements, newspapers and magazines rely on compact, tightly-fitted
ity, readability and efficient use of page space. Sans serif text fonts are
often used for introductory paragraphs, incidental text and whole short ar-
ticles. 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.
different factors are interdependent), but many tests were carried out in phers believe that the overall word shape (Bouma) is very important in
readability, and that the theory of parallel letterwise recognition is either wrong, less important, or not the entire picture.
Studies distinguishing between Bouma recognition and parallel letterwise
The text layout, tone or colour of set matter, and the interplay of text with
recognition with regard to how people actually recognize words when they
"feel" or "resonance" to the subject matter. With printed media typogra-
cepted by cognitive psychologists.[citation needed]
white space of the page and other graphic elements combine to impart a phers are also concerned with binding margins, paper selection and print-
ing 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.
read, have favored parallel letterwise recognition, which is widely ac-
Legibility can also be compromised by letterspacing, word spacing, or
leading that is too tight or too loose. It can be improved when generous
vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and
those that are too tightly or loosely fitted can also result in poor legibility.
Typography is an element of all printed material. Periodical publications,
especially newspapers and magazines, use typographical elements to
Readability and legibility are often confused. “Legibility is the quality of the
achieve an attractive, distinctive appearance, to aid readers in navigating
signers aim to achieve excellence in both.
style guide, a periodical standardizes on a relatively small collection of
typeface design and readability with the design of the printed page. De-
"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
the publication, and in some cases for dramatic effect. By formulating a
typefaces, each used for specific elements within the publication, and
makes consistent use of type sizes, italic, boldface, large and small capital letters, colorsand other typographic features. Some publications, such as The Guardian and The Economist, go so far as to commission a type de-
that are true to the basic letterforms are more legible than typefaces that
signer to create bespoke (custom tailored) typefaces for their exclusive
"However, even a legible typeface can become unreadable through poor
Different periodical publications design their publications, including their
have been condensed, expanded, embellished, or abstracted.
setting and placement, just as a less legible typeface can be made more
readable through good design."[2]
Studies of legibility have examined a wide range of factors including type size and type design. For example, comparing serif vs. sans serif type,
italic type vs. roman type, line length, line spacing, color contrast, the design of right-hand edge (for example, justification, straight right hand
edge) vs. ranged left, and whether text is hyphenated.
Legibility research was published from the late nineteenth century on, but
the overall finding has been that the reading process is remarkably robust,
and that significant differences are hard to find. So comparative studies of
use.
typography, to achieve a particular tone or style. For example, USAToday
uses a bold, colorful, and comparatively modern style through their use of
a variety of typefaces and colors; type sizes vary widely, and the newspa-
per's name is placed on a colored background. In contrast, the New York
Times use a more traditional approach, with fewer colors, less typeface
variation, and more columns.
Especially on the front page of newspapers and on magazine covers,
headlines are often set in larger display typefaces to attract attention, and are placed near the masthead.
8 on 13.6
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, color contrast, the design of right-hand edge (for example, justification, straight right hand edge) vs. ranged left, and whether text is hyphenated. Legibility research was published from the late nineteenth century on, but the overall finding has been that the reading process is remarkably robust, and that significant differences are hard to find. So com-
parative studies of seriffed vs. sans serif type, or justified vs. unjustified type, have failed to settle the argument over which is best.[citation needed] Legibility is usually measured through speed of reading, with comprehension scores used to check for effectiveness (that is, not a rushed or careless read). For example, Miles Tinker, who published numerous studies from the 1930s to the 1960s, used a speed of reading test that required participants to spot incongruous words as an effectiveness filter. These days, legibility research tends to be limited to critical issues, or the testing of specific design solutions (for example, when new typefaces are developed). Examples of critical issues include typefaces (also called fonts) for people with visual impairment, and typefaces for highway signs, or for other conditions where legibility may make a key difference. Much of the legibility research literature is somewhat atheoretical — various factors were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests were carried out in the absence of a model of reading or visual perception. Some typographers believe that the overall word shape (Bouma) is very important in readability, and that the theory of parallel letterwise recognition is either wrong, less important, or not the entire picture. Studies distinguishing between Bouma recognition and parallel letterwise recognition with regard to how people actually recognize words when they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed] Legibility can also be compromised by letterspacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility. Typography is an element of all printed material. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colorsand other typographic features. Some publications, such as The Guardian and The Economist, go so far as to commission a type designer to create bespoke (custom tailored) typefaces for their exclusive use. Different periodical publications design their publications, including their typography, to achieve a particular tone or style. For example, USAToday uses a bold, colorful, and comparatively modern style through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's name is placed on a colored background. In contrast, the New York Times use a more traditional approach, with fewer colors, less typeface variation, and more columns. Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead. 8.5 on 12.7
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, color contrast, the design of right-hand edge (for example, justification, straight right hand edge) vs. ranged left, and whether text is hyphenated. Legibility research was published from the late nineteenth century on, but the overall finding has been that the reading process is remarkably robust, and that significant differences are hard to find.
So comparative studies of seriffed vs. sans serif type, or justified vs. unjustified type, have failed to settle the argument over which is best.[citation needed]
Legibility is usually measured through speed of reading, with comprehension scores used to check for effectiveness (that is, not a rushed or careless read). For example, Miles Tinker, who published numerous studies from the 1930s to the 1960s, used a speed of reading test that required participants to spot incongruous words as an effectiveness filter.
These days, legibility research tends to be limited to critical issues, or the testing of specific design solutions (for example, when new typefaces are developed). Examples of critical issues include typefaces (also called fonts) for people with visual impairment, and typefaces for highway signs, or for other conditions where legibility may make a key difference.
Much of the legibility research literature is somewhat atheoretical — various factors were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests were carried out in the absence of a model of reading or visual perception. Some typographers believe that the overall word shape (Bouma) is very important in readability, and that the theory of parallel letterwise recognition is either wrong, less important, or not the entire picture. Studies distinguishing between Bouma recognition and parallel letterwise recognition with regard to how people actually recognize words when they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed]
Legibility can also be compromised by letterspacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility.
Typography is an element of all printed material. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colorsand other typographic features. Some publications, such as The Guardian and The Economist, go so far as to commission a type designer to create bespoke (custom tailored) typefaces for their exclusive use. Different periodical publications design their publications, including their typography, to achieve a particular tone or style. For example, USAToday uses a bold, colorful, and comparatively modern style through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's name is placed on a colored background. In contrast, the New York Times use a more traditional approach, with fewer colors, less typeface variation, and more columns.
Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead. 9 on 12.1
In traditional typography, text is composed to create a readable, coherent,
bust, and that significant differences are hard to find. So comparative
of the reader. Even distribution with a minimum of distractions and anom-
have failed to settle the argument over which is best.[citation needed]
and visually satisfying whole that works invisibly, without the awareness alies are aimed at producing clarity and transparency.
Choice of font(s) is perhaps the primary aspect of text typography—prose
fiction, non-fiction, editorial, educational, religious, scientific, spiritual
and commercial writing all have differing characteristics and require-
studies of seriffed vs. sans serif type, or justified vs. unjustified type,
Legibility is usually measured through speed of reading, with comprehen-
sion scores used to check for effectiveness (that is, not a rushed or care-
less read). For example, Miles Tinker, who published numerous studies
from the 1930s to the 1960s, used a speed of reading test that required
ments. For historic material, established text typefaces are frequently
participants to spot incongruous words as an effectiveness filter.
process of accretion, with considerable overlap between historical peri-
These days, legibility research tends to be limited to critical issues, or the
chosen according to a scheme of historical genre acquired by a long ods.
Contemporary books are more likely to be set with state-of-the-art ser-
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
iffed "text romans" or "book romans" with design values echoing pres-
signs, or for other conditions where legibility may make a key difference.
as those of Nicolas Jenson, Francesco Griffo (a punchcutter who created
Much of the legibility research literature is somewhat atheoretical — vari-
specialized requirements, newspapers and magazines rely on compact,
the different factors are interdependent), but many tests were carried out
ent-day design arts, which are closely based on traditional models such
the model for Aldine typefaces), and Claude Garamond. With their more
tightly-fitted text romans specially designed for the task, which offer max-
imum 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 typogra-
ous factors were tested individually or in combination (inevitably so, as
in the absence of a model of reading or visual perception. Some typographers believe that the overall word shape (Bouma) is very important in
readability, and that the theory of parallel letterwise recognition is either
wrong, less important, or not the entire picture.
Studies distinguishing between Bouma recognition and parallel letterwise
recognition with regard to how people actually recognize words when
they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed]
phers are also concerned with binding margins, paper selection and
Legibility can also be compromised by letterspacing, word spacing, or
Typography is modulated by orthography and linguistics, word struc-
tinguish one line from the next, or previous line. Poorly designed fonts
printing methods.
tures, word frequencies, morphology, phonetic constructs and linguistic syntax. Typography also is subject to specific cultural conventions. For
example, in French it is customary to insert a non-breaking space before a colon (:) or semicolon (;) in a sentence, while in English it is not.
Readability and legibility are often confused. “Legibility is the quality of the typeface design and readability with the design of the printed page.
Designers aim to achieve excellence in both.
leading that is too tight or too loose. It can be improved when generous
vertical space separates lines of text, making it easier for the eye to dis-
and those that are too tightly or loosely fitted can also result in poor legi-
bility.
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
"The typeface chosen should be legible, that is, it should be read without
makes consistent use of type sizes, italic, boldface, large and small capi-
however, it is a matter of typeface design. Generally speaking, typefaces
as The Guardian and The Economist, go so far as to commission a type
have been condensed, expanded, embellished, or abstracted.
use.
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
"However, even a legible typeface can become unreadable through poor
setting and placement, just as a less legible typeface can be made more
tal letters, colorsand other typographic features. Some publications, such
designer to create bespoke (custom tailored) typefaces for their exclusive Different periodical publications design their publications, including their
typography, to achieve a particular tone or style. For example, USAToday
readable through good design."[2]
uses a bold, colorful, and comparatively modern style through their use
size and type design. For example, comparing serif vs. sans serif type,
paper's name is placed on a colored background. In contrast, the New
Studies of legibility have examined a wide range of factors including type
italic type vs. roman type, line length, line spacing, color contrast, the de-
sign 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 ro-
of a variety of typefaces and colors; type sizes vary widely, and the newsYork Times use a more traditional approach, with fewer colors, less typeface variation, and more columns.
Especially on the front page of newspapers and on magazine covers,
headlines are often set in larger display typefaces to attract attention, and are placed near the masthead. 7.5 on 13.3
In traditional typography, text is composed to create a readable, co-
herent, 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 trans-
parency.
comparative studies of seriffed vs. sans serif type, or justified vs. un-
justified type, have failed to settle the argument over which is
best.[citation needed]
Legibility is usually measured through speed of reading, with com-
prehension scores used to check for effectiveness (that is, not a
Choice of font(s) is perhaps the primary aspect of text typography—
rushed or careless read). For example, Miles Tinker, who published
spiritual and commercial writing all have differing characteristics
ing test that required participants to spot incongruous words as an
prose fiction, non-fiction, editorial, educational, religious, scientific, and requirements. For historic material, established text typefaces
are frequently chosen according to a scheme of historical genre ac-
quired by a long process of accretion, with considerable overlap be-
numerous studies from the 1930s to the 1960s, used a speed of read-
effectiveness filter.
These days, legibility research tends to be limited to critical issues,
tween 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
faces (also called fonts) for people with visual impairment, and type-
seriffed "text romans" or "book romans" with design values echoing
present-day design arts, which are closely based on traditional mod-
els 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 maga-
zines 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 introduc-
tory 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
typefaces are developed). Examples of critical issues include type-
faces for highway signs, or for other conditions where legibility may make a key difference.
Much of the legibility research literature is somewhat atheoretical —
various factors were tested individually or in combination (inevitably
so, as the different factors are interdependent), but many tests were
carried out in the absence of a model of reading or visual perception.
Some typographers believe that the overall word shape (Bouma) is
very important in readability, and that the theory of parallel letterwise
recognition is either wrong, less important, or not the entire picture. Studies distinguishing between Bouma recognition and parallel letterwise recognition with regard to how people actually recognize
words when they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed]
Legibility can also be compromised by letterspacing, word spacing,
or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the
eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility.
Typography is an element of all printed material. Periodical publica-
tions, especially newspapers and magazines, use typographical ele-
ments to achieve an attractive, distinctive appearance, to aid readers
page. Designers aim to achieve excellence in both.
in navigating the publication, and in some cases for dramatic effect.
"The typeface chosen should be legible, that is, it should be read
small collection of typefaces, each used for specific elements within
more often, however, it is a matter of typeface design. Generally
face, large and small capital letters, colorsand other typographic fea-
without effort. Sometimes legibility is simply a matter of type size;
By formulating a style guide, a periodical standardizes on a relatively
the publication, and makes consistent use of type sizes, italic, bold-
speaking, typefaces that are true to the basic letterforms are more
tures. Some publications, such as The Guardian and The Economist,
lished, or abstracted.
tom tailored) typefaces for their exclusive use.
"However, even a legible typeface can become unreadable through
Different periodical publications design their publications, including
made more readable through good design."[2]
USAToday uses a bold, colorful, and comparatively modern style
type size and type design. For example, comparing serif vs. sans
vary widely, and the newspaper's name is placed on a colored back-
contrast, the design of right-hand edge (for example, justification,
proach, with fewer colors, less typeface variation, and more
legible than typefaces that have been condensed, expanded, embel-
poor setting and placement, just as a less legible typeface can be
Studies of legibility have examined a wide range of factors including serif type, italic type vs. roman type, line length, line spacing, color straight right hand edge) vs. ranged left, and whether text is hyphen-
ated.
Legibility research was published from the late nineteenth century on, but the overall finding has been that the reading process is re-
markably robust, and that significant differences are hard to find. So
go so far as to commission a type designer to create bespoke (cus-
their typography, to achieve a particular tone or style. For example, through their use of a variety of typefaces and colors; type sizes
ground. In contrast, the New York Times use a more traditional apcolumns.
Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead. 8 on 12.3
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 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, color contrast, the design of right-hand edge (for example, justification, straight right hand edge) vs. ranged left, and whether text is hyphenated.
Legibility research was published from the late nineteenth century on, but the overall finding has been that the reading process is remarkably robust, and that significant differences are hard to
find. So comparative studies of seriffed vs. sans serif type, or justified vs. unjustified type, have failed to settle the argument over which is best.[citation needed]
Legibility is usually measured through speed of reading, with comprehension scores used to check for effectiveness (that is, not a rushed or careless read). For example, Miles Tinker, who published numerous studies from the 1930s to the 1960s, used a speed of reading test that required participants to spot incongruous words as an effectiveness filter. These days, legibility research tends to be limited to critical issues, or the testing of specific design solutions (for example, when new typefaces are developed). Examples of critical issues include typefaces (also called fonts) for people with visual impairment, and typefaces for highway signs, or for other conditions where legibility may make a key difference.
Much of the legibility research literature is somewhat atheoretical — various factors were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests were carried out in the absence of a model of reading or visual perception. Some typographers believe that the overall word shape (Bouma) is very important in readability, and that the theory of parallel letterwise recognition is either wrong, less important, or not the entire picture. Studies distinguishing between Bouma recognition and parallel letterwise recognition with regard to how people actually recognize words when they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed]
Legibility can also be compromised by letterspacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility.
Typography is an element of all printed material. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colorsand other typographic features. Some publications, such as The Guardian and The Economist, go so far as to commission a type designer to create bespoke (custom tailored) typefaces for their exclusive use.
Different periodical publications design their publications, including their typography, to achieve a particular tone or style. For example, USAToday uses a bold, colorful, and comparatively modern style through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's name is placed on a colored background. In contrast, the New York Times use a more traditional approach, with fewer colors, less typeface variation, and more columns. Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead. 8.5/11.9
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, color contrast, the design of right-hand edge (for example, justification, straight right hand edge) vs. ranged left, and whether text is hyphenated. Legibility research was published from the late nineteenth century on, but the overall finding has been that the reading
process is remarkably robust, and that significant differences are hard to find. So comparative studies of seriffed vs. sans serif type, or justified vs. unjustified type, have failed to settle the argument over which is best.[citation needed] Legibility is usually measured through speed of reading, with comprehension scores used to check for effectiveness (that is, not a rushed or careless read). For example, Miles Tinker, who published numerous studies from the 1930s to the 1960s, used a speed of reading test that required participants to spot incongruous words as an effectiveness filter. These days, legibility research tends to be limited to critical issues, or the testing of specific design solutions (for example, when new typefaces are developed). Examples of critical issues include typefaces (also called fonts) for people with visual impairment, and typefaces for highway signs, or for other conditions where legibility may make a key difference.
Much of the legibility research literature is somewhat atheoretical — various factors were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests were carried out in the absence of a model of reading or visual perception. Some typographers believe that the overall word shape (Bouma) is very important in readability, and that the theory of parallel letterwise recognition is either wrong, less important, or not the entire picture. Studies distinguishing between Bouma recognition and parallel letterwise recognition with regard to how people actually recognize words when they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed] Legibility can also be compromised by letterspacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility. Typography is an element of all printed material. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colorsand other typographic features. Some publications, such as The Guardian and The Economist, go so far as to commission a type designer to create bespoke (custom tailored) typefaces for their exclusive use.
Different periodical publications design their publications, including their typography, to achieve a particular tone or style. For example, USAToday uses a bold, colorful, and comparatively modern style through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's name is placed on a colored background. In contrast, the New York Times use a more traditional approach, with fewer colors, less typeface variation, and more columns. Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead. 9/11.3
In traditional typography, text is composed to create a
excellence in both.
works invisibly, without the awareness of the reader.
"The typeface chosen should be legible, that is, it should
anomalies are aimed at producing clarity and trans-
matter of type size; more often, however, it is a matter of
less important, or not the entire picture.
true to the basic letterforms are more legible than type-
Studies distinguishing between Bouma recognition and
typography—prose fiction, non-fiction, editorial, educa-
or abstracted.
actually recognize words when they read, have favored
writing all have differing characteristics and require-
"However, even a legible typeface can become unread-
are frequently chosen according to a scheme of historical
legible typeface can be made more readable through
readable, coherent, and visually satisfying whole that
Even distribution with a minimum of distractions and
parency.
Choice of font(s) is perhaps the primary aspect of text tional, religious, scientific, spiritual and commercial
ments. For historic material, established text typefaces
genre acquired by a long process of accretion, with con-
siderable overlap between historical periods.
Contemporary books are more likely to be set with stateof-the-art seriffed "text romans" or "book romans" with
be read without effort. Sometimes legibility is simply a
typeface design. Generally speaking, typefaces that are
faces that have been condensed, expanded, embellished,
able through poor setting and placement, just as a less good design."[2]
Studies of legibility have examined a wide range of fac-
the absence of a model of reading or visual perception.
Some typographers believe that the overall word shape (Bouma) is very important in readability, and that the
theory of parallel letterwise recognition is either wrong,
parallel letterwise recognition with regard to how people parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed]
Legibility can also be compromised by letterspacing,
word spacing, or leading that is too tight or too loose. It
can be improved when generous vertical space separates
tors including type size and type design. For example,
lines of text, making it easier for the eye to distinguish
type, line length, line spacing, color contrast, the design
fonts and those that are too tightly or loosely fitted can
comparing serif vs. sans serif type, italic type vs. roman
one line from the next, or previous line. Poorly designed
design values echoing present-day design arts, which are
of right-hand edge (for example, justification, straight
Nicolas Jenson, Francesco Griffo (a punchcutter who
phenated.
Typography is an element of all printed material. Period-
Garamond. With their more specialized requirements,
Legibility research was published from the late nine-
use typographical elements to achieve an attractive, dis-
ted text romans specially designed for the task, which
the reading process is remarkably robust, and that signif-
closely based on traditional models such as those of
created the model for Aldine typefaces), and Claude
newspapers and magazines rely on compact, tightly-fit-
offer maximum flexibility, readability and efficient use
of page space. Sans serif text fonts are often used for in-
troductory paragraphs, incidental text and whole short
right hand edge) vs. ranged left, and whether text is hy-
teenth century on, but the overall finding has been that
icant 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
also result in poor legibility.
ical publications, especially newspapers and magazines,
tinctive 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 con-
articles. A current fashion is to pair sans serif type for
best.[citation needed]
sistent use of type sizes, italic, boldface, large and small
matching style for the text of an article.
Legibility is usually measured through speed of reading,
Some publications, such as The Guardian and The Econ-
The text layout, tone or colour of set matter, and the in-
ness (that is, not a rushed or careless read). For example,
headings with a high-performance seriffed font of
terplay of text with white space of the page and other
graphic elements combine to impart a "feel" or "reso-
nance" to the subject matter. With printed media typographers are also concerned with binding margins, paper selection and printing methods.
Typography is modulated by orthography and linguistics, word structures, word frequencies, morphology, phonetic
with comprehension scores used to check for effective-
Miles Tinker, who published numerous studies from the
1930s to the 1960s, used a speed of reading test that re-
quired participants to spot incongruous words as an effectiveness filter.
These days, legibility research tends to be limited to crit-
ical issues, or the testing of specific design solutions (for
example, when new typefaces are developed). Examples
capital letters, colorsand other typographic features.
omist, go so far as to commission a type designer to cre-
ate bespoke (custom tailored) typefaces for their exclusive use.
Different periodical publications design their publica-
tions, including their typography, to achieve a particular
tone or style. For example, USAToday uses a bold, colorful, and comparatively modern style through their use of
a variety of typefaces and colors; type sizes vary widely,
and the newspaper's name is placed on a colored back-
constructs and linguistic syntax. Typography also is sub-
of critical issues include typefaces (also called fonts) for
ground. In contrast, the New York Times use a more tra-
French it is customary to insert a non-breaking space be-
way signs, or for other conditions where legibility may
variation, and more columns.
ject to specific cultural conventions. For example, in
fore a colon (:) or semicolon (;) in a sentence, while in
English it is not.
people with visual impairment, and typefaces for high-
make a key difference.
Much of the legibility research literature is somewhat
ditional approach, with fewer colors, less typeface
Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display
Readability and legibility are often confused. “Legibility
atheoretical — various factors were tested individually
typefaces to attract attention, and are placed near the
the design of the printed page. Designers aim to achieve
are interdependent), but many tests were carried out in
7.5 on 15.8
is the quality of the typeface design and readability with
or in combination (inevitably so, as the different factors
masthead.
In traditional typography, text is composed to create a readable, coherent, and visually satisfying whole that works invisibly, without the awareness of the
aim to achieve excellence in both.
overall word shape (Bouma) is very important in
"The typeface chosen should be legible, that is, it
recognition is either wrong, less important, or not the
readability, and that the theory of parallel letterwise entire picture.
reader. Even distribution with a minimum of distrac-
should be read without effort. Sometimes legibility is
and transparency.
is a matter of typeface design. Generally speaking,
Studies distinguishing between Bouma recognition
more legible than typefaces that have been con-
people actually recognize words when they read,
tions and anomalies are aimed at producing clarity
Choice of font(s) is perhaps the primary aspect of
simply a matter of type size; more often, however, it
typefaces that are true to the basic letterforms are
text typography—prose fiction, non-fiction, editorial,
densed, expanded, embellished, or abstracted.
mercial writing all have differing characteristics and
"However, even a legible typeface can become un-
educational, religious, scientific, spiritual and com-
requirements. For historic material, established text
readable through poor setting and placement, just as
scheme of historical genre acquired by a long process
through good design."[2]
torical periods.
factors including type size and type design. For ex-
typefaces are frequently chosen according to a
of accretion, with considerable overlap between his-
Contemporary books are more likely to be set with
and parallel letterwise recognition with regard to how
have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed]
a less legible typeface can be made more readable
Legibility can also be compromised by letterspacing,
Studies of legibility have examined a wide range of
It can be improved when generous vertical space sep-
ample, comparing serif vs. sans serif type, italic type
vs. roman type, line length, line spacing, color con-
word spacing, or leading that is too tight or too loose.
arates 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
state-of-the-art seriffed "text romans" or "book ro-
trast, the design of right-hand edge (for example, jus-
loosely fitted can also result in poor legibility.
arts, which are closely based on traditional models
and whether text is hyphenated.
Typography is an element of all printed material. Pe-
punchcutter who created the model for Aldine type-
Legibility research was published from the late nine-
cialized requirements, newspapers and magazines
that the reading process is remarkably robust, and
mans" with design values echoing present-day design such as those of Nicolas Jenson, Francesco Griffo (a
faces), and Claude Garamond. With their more spe-
rely on compact, tightly-fitted text romans specially
designed for the task, which offer maximum flexibility, readability and efficient use of page space. Sans
tification, straight right hand edge) vs. ranged left,
teenth century on, but the overall finding has been
that significant differences are hard to find. So com-
parative studies of seriffed vs. sans serif type, or jus-
tified vs. unjustified type, have failed to settle the
riodical 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
serif text fonts are often used for introductory para-
argument over which is best.[citation needed]
publication, and makes consistent use of type sizes,
current fashion is to pair sans serif type for headings
Legibility is usually measured through speed of read-
sand other typographic features. Some publications,
fectiveness (that is, not a rushed or careless read).
as to commission a type designer to create bespoke
graphs, incidental text and whole short articles. A
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 mar-
gins, paper selection and printing methods.
ing, with comprehension scores used to check for ef-
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 devel-
Typography is modulated by orthography and lin-
oped). Examples of critical issues include typefaces
ogy, phonetic constructs and linguistic syntax.
and typefaces for highway signs, or for other condi-
guistics, word structures, word frequencies, morphol-
(also called fonts) for people with visual impairment,
italic, boldface, large and small capital letters, colorsuch as The Guardian and The Economist, go so far (custom tailored) typefaces for their exclusive use.
Different periodical publications design their publi-
cations, including their typography, to achieve a particular tone or style. For example, USAToday uses a bold, colorful, and comparatively modern style
through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's name is
placed on a colored background. In contrast, the New
York Times use a more traditional approach, with
fewer colors, less typeface variation, and more
Typography also is subject to specific cultural con-
tions where legibility may make a key difference.
columns.
insert a non-breaking space before a colon (:) or
Much of the legibility research literature is somewhat
Especially on the front page of newspapers and on
ally or in combination (inevitably so, as the different
play typefaces to attract attention, and are placed
ventions. For example, in French it is customary to
semicolon (;) in a sentence, while in English it is not.
atheoretical — various factors were tested individu-
Readability and legibility are often confused. “Legi-
factors are interdependent), but many tests were car-
ability with the design of the printed page. Designers
sual perception. Some typographers believe that the
bility is the quality of the typeface design and read-
ried out in the absence of a model of reading or vi-
magazine covers, headlines are often set in larger disnear the masthead. 8 on 15.2
In traditional typography, text is composed to cre-
ate a readable, coherent, and visually satisfying
whole that works invisibly, without the awareness
page. Designers aim to achieve excellence in both.
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
of the reader. Even distribution with a minimum
"The typeface chosen should be legible, that is, it
very important in readability, and that the theory
ing clarity and transparency.
ity is simply a matter of type size; more often,
less important, or not the entire picture.
ally speaking, typefaces that are true to the basic
Studies distinguishing between Bouma recogni-
have been condensed, expanded, embellished, or
gard to how people actually recognize words
of distractions and anomalies are aimed at producChoice 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 characteris-
should be read without effort. Sometimes legibil-
however, it is a matter of typeface design. Generletterforms are more legible than typefaces that
of parallel letterwise recognition is either wrong,
tion and parallel letterwise recognition with re-
abstracted.
when they read, have favored parallel letterwise
lished text typefaces are frequently chosen
"However, even a legible typeface can become
tive psychologists.[citation needed]
by a long process of accretion, with considerable
just as a less legible typeface can be made more
Legibility can also be compromised by letterspac-
Studies of legibility have examined a wide range
too loose. It can be improved when generous ver-
tics and requirements. For historic material, estabaccording to a scheme of historical genre acquired
overlap between historical periods.
Contemporary books are more likely to be set
unreadable through poor setting and placement, readable through good design."[2]
of factors including type size and type design. For
recognition, which is widely accepted by cogni-
ing, word spacing, or leading that is too tight or
tical space separates lines of text, making it easier
with state-of-the-art seriffed "text romans" or
example, comparing serif vs. sans serif type, italic
for the eye to distinguish one line from the next,
ent-day design arts, which are closely based on
color contrast, the design of right-hand edge (for
that are too tightly or loosely fitted can also result
son, Francesco Griffo (a punchcutter who created
vs. ranged left, and whether text is hyphenated.
mond. With their more specialized requirements,
Legibility research was published from the late
tightly-fitted text romans specially designed for
been that the reading process is remarkably ro-
"book romans" with design values echoing prestraditional models such as those of Nicolas Jen-
the model for Aldine typefaces), and Claude Gara-
newspapers and magazines rely on compact,
the task, which offer maximum flexibility, read-
ability and efficient use of page space. Sans serif
type vs. roman type, line length, line spacing,
example, justification, straight right hand edge)
aid readers in navigating the publication, and in
find. So comparative studies of seriffed vs. sans
best.[citation needed]
matching style for the text of an article.
Legibility is usually measured through speed of
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 lin-
guistics, word structures, word frequencies, mor-
failed to settle the argument over which is
Readability and legibility are often confused.
“Legibility is the quality of the typeface design
and readability with the design of the printed
tively 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, colorsand
far as to commission a type designer to create be-
such as The Guardian and The Economist, go so
spoke (custom tailored) typefaces for their exclu-
used a speed of reading test that required partici-
sive use.
ness filter.
Different periodical publications design their pub-
pants to spot incongruous words as an effective-
These days, legibility research tends to be limited
to critical issues, or the testing of specific design
lications, including their typography, to achieve a
particular tone or style. For example, USAToday
uses a bold, colorful, and comparatively modern
solutions (for example, when new typefaces are
style through their use of a variety of typefaces
typefaces (also called fonts) for people with visual
paper's name is placed on a colored background.
impairment, and typefaces for highway signs, or
English it is not.
style guide, a periodical standardizes on a rela-
read). For example, Miles Tinker, who published
numerous studies from the 1930s to the 1960s,
tural conventions. For example, in French it is
colon (:) or semicolon (;) in a sentence, while in
some cases for dramatic effect. By formulating a
other typographic features. Some publications,
developed). Examples of critical issues include
customary to insert a non-breaking space before a
achieve an attractive, distinctive appearance, to
reading, with comprehension scores used to check
for effectiveness (that is, not a rushed or careless
phology, phonetic constructs and linguistic
syntax. Typography also is subject to specific cul-
Periodical publications, especially newspapers
bust, and that significant differences are hard to
current fashion is to pair sans serif type for head-
The text layout, tone or colour of set matter, and
Typography is an element of all printed material. and magazines, use typographical elements to
serif type, or justified vs. unjustified type, have
ings with a high-performance seriffed font of
in poor legibility.
nineteenth century on, but the overall finding has
text fonts are often used for introductory para-
graphs, incidental text and whole short articles. A
or previous line. Poorly designed fonts and those
for other conditions where legibility may make a
and colors; type sizes vary widely, and the news-
In contrast, the New York Times use a more tradi-
tional approach, with fewer colors, less typeface
key difference.
variation, and more columns.
Much of the legibility research literature is some-
Especially on the front page of newspapers and on
what atheoretical — various factors were tested
individually or in combination (inevitably so, as
the different factors are interdependent), but many
magazine covers, headlines are often set in larger display typefaces to attract attention, and are
placed near the masthead. 8.5 on 14.3
In traditional typography, text is composed to
create a readable, coherent, and visually satis-
fying whole that works invisibly, without the
awareness of the reader. Even distribution with
page. Designers aim to achieve excellence in
absence of a model of reading or visual percep-
both.
tion. Some typographers believe that the over-
"The typeface chosen should be legible, that is,
readability, and that the theory of parallel let-
all word shape (Bouma) is very important in
terwise recognition is either wrong, less impor-
a minimum of distractions and anomalies are
it should be read without effort. Sometimes
legibility is simply a matter of type size; more
tant, or not the entire picture.
Choice of font(s) is perhaps the primary aspect
sign. Generally speaking, typefaces that are
Studies distinguishing between Bouma recog-
editorial, educational, religious, scientific, spir-
than typefaces that have been condensed, ex-
regard to how people actually recognize words
aimed at producing clarity and transparency.
of text typography—prose fiction, non-fiction,
itual and commercial writing all have differing
characteristics and requirements. For historic
often, however, it is a matter of typeface de-
true to the basic letterforms are more legible panded, embellished, or abstracted.
material, established text typefaces are fre-
"However, even a legible typeface can become
torical genre acquired by a long process of
just as a less legible typeface can be made
quently chosen according to a scheme of his-
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
unreadable through poor setting and placement, more readable through good design."[2]
Studies of legibility have examined a wide
range of factors including type size and type
nition and parallel letterwise recognition with when they read, have favored parallel letter-
wise recognition, which is widely accepted by cognitive psychologists.[citation needed]
Legibility can also be compromised by let-
terspacing, word spacing, or leading that is too
tight or too loose. It can be improved when
generous vertical space separates lines of text,
design. For example, comparing serif vs. sans
making it easier for the eye to distinguish one
length, line spacing, color contrast, the design
signed fonts and those that are too tightly or
serif type, italic type vs. roman type, line
of right-hand edge (for example, justification,
straight right hand edge) vs. ranged left, and
line from the next, or previous line. Poorly deloosely fitted can also result in poor legibility.
whether text is hyphenated.
Typography is an element of all printed mate-
faces), and Claude Garamond. With their more
Legibility research was published from the late
pers and magazines, use typographical
azines rely on compact, tightly-fitted text ro-
has been that the reading process is remarkably
Nicolas Jenson, Francesco Griffo (a punchcutter who created the model for Aldine type-
specialized requirements, newspapers and magmans specially designed for the task, which
offer maximum flexibility, readability and effi-
cient use of page space. Sans serif text fonts are often used for introductory paragraphs, inci-
dental 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.
nineteenth century on, but the overall finding
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
rial. Periodical publications, especially newspaelements to achieve an attractive, distinctive appearance, to aid readers in navigating the
publication, and in some cases for dramatic ef-
fect. 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, colorsand other typo-
graphic features. Some publications, such as
The Guardian and The Economist, go so far as
The text layout, tone or colour of set matter,
careless read). For example, Miles Tinker, who
to commission a type designer to create be-
page and other graphic elements combine to
the 1960s, used a speed of reading test that re-
clusive use.
and the interplay of text with white space of the impart a "feel" or "resonance" to the subject
published numerous studies from the 1930s to quired participants to spot incongruous words
spoke (custom tailored) typefaces for their ex-
matter. With printed media typographers are
as an effectiveness filter.
Different periodical publications design their
lection and printing methods.
These days, legibility research tends to be lim-
achieve a particular tone or style. For example,
also concerned with binding margins, paper seTypography is modulated by orthography and
ited to critical issues, or the testing of specific
tively modern style through their use of a vari-
sues include typefaces (also called fonts) for
widely, and the newspaper's name is placed on
faces are developed). Examples of critical is-
syntax. Typography also is subject to specific
people with visual impairment, and typefaces
cultural conventions. For example, in French it
for highway signs, or for other conditions
is customary to insert a non-breaking space be-
where legibility may make a key difference.
while in English it is not.
Much of the legibility research literature is
Readability and legibility are often confused.
tested individually or in combination (in-
fore a colon (:) or semicolon (;) in a sentence,
“Legibility is the quality of the typeface design and readability with the design of the printed
USAToday uses a bold, colorful, and compara-
design solutions (for example, when new type-
linguistics, word structures, word frequencies,
morphology, phonetic constructs and linguistic
publications, including their typography, to
ety of typefaces and colors; type sizes vary
a colored background. In contrast, the New
York Times use a more traditional approach,
with fewer colors, less typeface variation, and more columns.
somewhat atheoretical — various factors were
Especially on the front page of newspapers and
evitably so, as the different factors are interde-
larger display typefaces to attract attention, and
pendent), but many tests were carried out in the
on magazine covers, headlines are often set in are placed near the masthead. 9 on 13.8
In traditional typography, text is composed to create
aim to achieve excellence in both.
all word shape (Bouma) is very important in read-
that works invisibly, without the awareness of the
"The typeface chosen should be legible, that is, it
recognition is either wrong, less important, or not the
tions and anomalies are aimed at producing clarity
simply a matter of type size; more often, however, it is
a readable, coherent, and visually satisfying whole
reader. Even distribution with a minimum of distracand transparency.
Choice of font(s) is perhaps the primary aspect of text
typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual and commer-
should be read without effort. Sometimes legibility is
ability, and that the theory of parallel letterwise entire picture.
a matter of typeface design. Generally speaking, type-
Studies distinguishing between Bouma recognition
legible than typefaces that have been condensed, ex-
how people actually recognize words when they read,
faces that are true to the basic letterforms are more panded, embellished, or abstracted.
and parallel letterwise recognition with regard to
have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation
cial writing all have differing characteristics and
"However, even a legible typeface can become un-
needed]
typefaces are frequently chosen according to a
a less legible typeface can be made more readable
Legibility can also be compromised by letterspacing,
Studies of legibility have examined a wide range of
It can be improved when generous vertical space sep-
requirements. For historic material, established text
readable through poor setting and placement, just as
scheme of historical genre acquired by a long process
through good design."[2]
torical periods.
factors including type size and type design. For exam-
of accretion, with considerable overlap between his-
Contemporary books are more likely to be set with
state-of-the-art seriffed "text romans" or "book ro-
mans" with design values echoing present-day design arts, which are closely based on traditional models
ple, comparing serif vs. sans serif type, italic type vs. roman type, line length, line spacing, color contrast,
the design of right-hand edge (for example, justification, straight right hand edge) vs. ranged left, and
word spacing, or leading that is too tight or too loose.
arates 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.
whether text is hyphenated.
Typography is an element of all printed material. Pe-
punchcutter who created the model for Aldine type-
Legibility research was published from the late nine-
azines, use typographical elements to achieve an
cialized requirements, newspapers and magazines
that the reading process is remarkably robust, and
such as those of Nicolas Jenson, Francesco Griffo (a
faces), and Claude Garamond. With their more spe-
riodical publications, especially newspapers and mag-
teenth century on, but the overall finding has been
attractive, distinctive appearance, to aid readers in
rely on compact, tightly-fitted text romans specially
that significant differences are hard to find. So com-
matic effect. By formulating a style guide, a periodi-
ity, readability and efficient use of page space. Sans
fied vs. unjustified type, have failed to settle the
designed for the task, which offer maximum flexibil-
parative studies of seriffed vs. sans serif type, or justi-
serif text fonts are often used for introductory para-
argument over which is best.[citation needed]
current fashion is to pair sans serif type for headings
Legibility is usually measured through speed of read-
style for the text of an article.
fectiveness (that is, not a rushed or careless read). For
graphs, incidental text and whole short articles. A
with a high-performance seriffed font of matching
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
ing, with comprehension scores used to check for efexample, 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.
navigating the publication, and in some cases for dracal standardizes on a relatively small collection of
typefaces, each used for specific elements within the publication, and makes consistent use of type sizes,
italic, boldface, large and small capital letters, colorsand other typographic features. Some publications, such as The Guardian and The Economist, go so far as to commission a type designer to create bespoke (custom tailored) typefaces for their exclusive use.
Different periodical publications design their publica-
tions, including their typography, to achieve a partic-
ular tone or style. For example, USAToday uses a
These days, legibility research tends to be limited to
bold, colorful, and comparatively modern style
tions (for example, when new typefaces are devel-
type sizes vary widely, and the newspaper's name is
(also called fonts) for people with visual impairment,
York Times use a more traditional approach, with
Typography also is subject to specific cultural con-
tions where legibility may make a key difference.
columns.
insert a non-breaking space before a colon (:) or
Much of the legibility research literature is somewhat
Especially on the front page of newspapers and on
ally or in combination (inevitably so, as the different
play typefaces to attract attention, and are placed
margins, paper selection and printing methods.
Typography is modulated by orthography and lin-
guistics, word structures, word frequencies, morphol-
ogy, phonetic constructs and linguistic syntax.
ventions. For example, in French it is customary to
semicolon (;) in a sentence, while in English it is not. Readability and legibility are often confused. “Legi-
bility is the quality of the typeface design and read-
ability with the design of the printed page. Designers
critical issues, or the testing of specific design solu-
oped). Examples of critical issues include typefaces
and typefaces for highway signs, or for other condi-
atheoretical — various factors were tested individu-
through their use of a variety of typefaces and colors;
placed on a colored background. In contrast, the New
fewer colors, less typeface variation, and more
magazine covers, headlines are often set in larger dis-
factors are interdependent), but many tests were car-
near the masthead.
perception. Some typographers believe that the over-
7.5 on 15.2
ried out in the absence of a model of reading or visual
In traditional typography, text is composed to cre-
page. Designers aim to achieve excellence in both.
whole that works invisibly, without the awareness
"The typeface chosen should be legible, that is, it
of distractions and anomalies are aimed at pro-
ity is simply a matter of type size; more often,
Choice of font(s) is perhaps the primary aspect of
letterforms are more legible than typefaces that
Studies distinguishing between Bouma recognition
rial, educational, religious, scientific, spiritual and
abstracted.
how people actually recognize words when they
tics and requirements. For historic material, es-
"However, even a legible typeface can become un-
according to a scheme of historical genre acquired
as a less legible typeface can be made more read-
overlap between historical periods.
Studies of legibility have examined a wide range
ate a readable, coherent, and visually satisfying
of the reader. Even distribution with a minimum ducing clarity and transparency.
text typography—prose fiction, non-fiction, edito-
commercial writing all have differing characteristablished text typefaces are frequently chosen
by a long process of accretion, with considerable
model of reading or visual perception. Some ty-
pographers believe that the overall word shape
(Bouma) is very important in readability, and that
should be read without effort. Sometimes legibil-
the theory of parallel letterwise recognition is ei-
however, it is a matter of typeface design. Gener-
ture.
ally speaking, typefaces that are true to the basic
have been condensed, expanded, embellished, or
ther wrong, less important, or not the entire pic-
and parallel letterwise recognition with regard to
read, have favored parallel letterwise recognition, which is widely accepted by cognitive psycholo-
readable through poor setting and placement, just
gists.[citation needed]
able through good design."[2]
Legibility can also be compromised by letterspac-
ing, word spacing, or leading that is too tight or
of factors including type size and type design. For
too loose. It can be improved when generous verti-
with state-of-the-art seriffed "text romans" or
type vs. roman type, line length, line spacing,
for the eye to distinguish one line from the next, or
ent-day design arts, which are closely based on
example, justification, straight right hand edge)
Contemporary books are more likely to be set
"book romans" with design values echoing prestraditional models such as those of Nicolas Jen-
son, Francesco Griffo (a punchcutter who created
example, comparing serif vs. sans serif type, italic
color contrast, the design of right-hand edge (for
vs. ranged left, and whether text is hyphenated.
the model for Aldine typefaces), and Claude Gara-
Legibility research was published from the late
newspapers and magazines rely on compact,
been that the reading process is remarkably ro-
mond. With their more specialized requirements,
cal space separates lines of text, making it easier
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.
nineteenth century on, but the overall finding has
Periodical publications, especially newspapers
bust, and that significant differences are hard to
achieve an attractive, distinctive appearance, to
ability and efficient use of page space. Sans serif
serif type, or justified vs. unjustified type, have
some cases for dramatic effect. By formulating a
graphs, incidental text and whole short articles. A
tation needed]
tively small collection of typefaces, each used for
tightly-fitted text romans specially designed for
the task, which offer maximum flexibility, readtext fonts are often used for introductory para-
current fashion is to pair sans serif type for head-
ings with a high-performance seriffed font of
find. So comparative studies of seriffed vs. sans
failed to settle the argument over which is best.[ci-
Legibility is usually measured through speed of
and magazines, use typographical elements to
aid readers in navigating the publication, and in
style guide, a periodical standardizes on a rela-
specific elements within the publication, and
makes consistent use of type sizes, italic, boldface,
matching style for the text of an article.
reading, with comprehension scores used to check
large and small capital letters, colorsand other ty-
The text layout, tone or colour of set matter, and
read). For example, Miles Tinker, who published
The Guardian and The Economist, go so far as to
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, mor-
phology, phonetic constructs and linguistic syntax.
for effectiveness (that is, not a rushed or careless
numerous studies from the 1930s to the 1960s,
(custom tailored) typefaces for their exclusive use.
ness filter.
Different periodical publications design their pub-
pants to spot incongruous words as an effective-
These days, legibility research tends to be limited
developed). Examples of critical issues include
and colors; type sizes vary widely, and the news-
solutions (for example, when new typefaces are
paper's name is placed on a colored background.
for other conditions where legibility may make a
tional approach, with fewer colors, less typeface
it is not.
Much of the legibility research literature is some-
and readability with the design of the printed
style through their use of a variety of typefaces
typefaces (also called fonts) for people with visual
key difference.
“Legibility is the quality of the typeface design
particular tone or style. For example, USAToday
uses a bold, colorful, and comparatively modern
ary to insert a non-breaking space before a colon
Readability and legibility are often confused.
lications, including their typography, to achieve a
to critical issues, or the testing of specific design
impairment, and typefaces for highway signs, or
(:) or semicolon (;) in a sentence, while in English
commission a type designer to create bespoke
used a speed of reading test that required partici-
Typography also is subject to specific cultural
conventions. For example, in French it is custom-
pographic features. Some publications, such as
what atheoretical — various factors were tested
individually or in combination (inevitably so, as the different factors are interdependent), but
many tests were carried out in the absence of a
In contrast, the New York Times use a more tradivariation, and more columns.
Especially on the front page of newspapers and on
magazine covers, headlines are often set in larger
display typefaces to attract attention, and are
placed near the masthead. 8 on 14.4
In traditional typography, text is composed to
page. Designers aim to achieve excellence in
create a readable, coherent, and visually satis-
both.
awareness of the reader. Even distribution with
"The typeface chosen should be legible, that is,
aimed at producing clarity and transparency.
ibility is simply a matter of type size; more
fying whole that works invisibly, without the
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
it should be read without effort. Sometimes leg-
often, however, it is a matter of typeface design.
the absence of a model of reading or visual perception. Some typographers believe that the
overall word shape (Bouma) is very important in readability, and that the theory of parallel
letterwise recognition is either wrong, less important, or not the entire picture.
Generally speaking, typefaces that are true to
Studies distinguishing between Bouma recogni-
typefaces that have been condensed, expanded,
gard to how people actually recognize words
the basic letterforms are more legible than embellished, or abstracted.
tion and parallel letterwise recognition with re-
when they read, have favored parallel letter-
wise recognition, which is widely accepted by
material, established text typefaces are fre-
"However, even a legible typeface can become
cognitive psychologists.[citation needed]
ical genre acquired by a long process of
ment, just as a less legible typeface can be
Legibility can also be compromised by let-
historical periods.
Studies of legibility have examined a wide
tight or too loose. It can be improved when
design. For example, comparing serif vs. sans
making it easier for the eye to distinguish one
quently chosen according to a scheme of histor-
accretion, with considerable overlap between
Contemporary books are more likely to be set
with state-of-the-art seriffed "text romans" or
"book romans" with design values echoing
unreadable through poor setting and place-
made more readable through good design."[2] range of factors including type size and type
serif type, italic type vs. roman type, line
length, line spacing, color contrast, the design
terspacing, word spacing, or leading that is too generous vertical space separates lines of text, line from the next, or previous line. Poorly designed fonts and those that are too tightly or
of right-hand edge (for example, justification,
loosely fitted can also result in poor legibility.
Nicolas Jenson, Francesco Griffo (a punchcut-
whether text is hyphenated.
Typography is an element of all printed mate-
faces), and Claude Garamond. With their more
Legibility research was published from the late
magazines rely on compact, tightly-fitted text
has been that the reading process is remark-
present-day design arts, which are closely
based on traditional models such as those of ter who created the model for Aldine type-
specialized requirements, newspapers and
romans specially designed for the task, which
offer maximum flexibility, readability and effi-
straight right hand edge) vs. ranged left, and
nineteenth century on, but the overall finding
ably robust, and that significant differences are hard to find. So comparative studies of seriffed
rial. 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 ef-
fect. By formulating a style guide, a periodical
vs. sans serif type, or justified vs. unjustified
standardizes on a relatively small collection of
dental text and whole short articles. A current
which is best.[citation needed]
within the publication, and makes consistent
with a high-performance seriffed font of
Legibility is usually measured through speed of
small capital letters, colorsand other typo-
check for effectiveness (that is, not a rushed or
The Guardian and The Economist, go so far as
published numerous studies from the 1930s to
spoke (custom tailored) typefaces for their ex-
cient use of page space. Sans serif text fonts are
often used for introductory paragraphs, inci-
fashion is to pair sans serif type for headings 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
type, have failed to settle the argument over
reading, with comprehension scores used to
careless read). For example, Miles Tinker, who
the page and other graphic elements combine
the 1960s, used a speed of reading test that re-
ject matter. With printed media typographers
as an effectiveness filter.
paper selection and printing methods.
These days, legibility research tends to be lim-
to impart a "feel" or "resonance" to the sub-
are also concerned with binding margins,
quired participants to spot incongruous words
ited to critical issues, or the testing of specific
typefaces, each used for specific elements
use of type sizes, italic, boldface, large and
graphic features. Some publications, such as
to commission a type designer to create beclusive use.
Different periodical publications design their
publications, including their typography, to
achieve a particular tone or style. For example, USAToday uses a bold, colorful, and compara-
Typography is modulated by orthography and
design solutions (for example, when new type-
tively modern style through their use of a vari-
morphology, phonetic constructs and linguistic
sues include typefaces (also called fonts) for
widely, and the newspaper's name is placed on
for highway signs, or for other conditions
York Times use a more traditional approach,
linguistics, word structures, word frequencies, 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,
faces are developed). Examples of critical is-
people with visual impairment, and typefaces where legibility may make a key difference.
ety of typefaces and colors; type sizes vary
a colored background. In contrast, the New
with fewer colors, less typeface variation, and more columns.
while in English it is not.
Much of the legibility research literature is
Readability and legibility are often confused.
tested individually or in combination (in-
on magazine covers, headlines are often set in
pendent), but many tests were carried out in
and are placed near the masthead. 8.5 on 13.8
“Legibility is the quality of the typeface design and readability with the design of the printed
somewhat atheoretical — various factors were evitably so, as the different factors are interde-
Especially on the front page of newspapers and 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, nonfiction, editorial, educational, religious, scientific, spiritual and commercial writing all have differing characteristics and requirements. For historic material, established text typefaces are frequently chosen according to a scheme of historical genre acquired by a long process of accretion, with considerable overlap between historical periods. Contemporary books are more likely to be set with state-of-the-art seriffed "text romans" or "book romans" with design values echoing present-day design arts, which are closely based on traditional models such as those of Nicolas Jenson, Francesco Griffo (a punchcutter who created the model for Aldine typefaces), and Claude Garamond. With their more specialized requirements, newspapers and magazines rely on compact, tightly-fitted text romans specially designed for the task, which offer maximum flexibility, readability and efficient use of page space. Sans serif text fonts are often used for introductory paragraphs, incidental text and whole short articles. A current fashion is to pair sans serif type for headings with a highperformance seriffed font of matching style for the text of an article. The text layout, tone or colour of set matter, and the interplay of text with white space of the page and other graphic elements combine to impart a "feel" or "resonance" to the subject matter. With printed media typographers are also concerned with binding margins, paper selection and printing methods. Typography is modulated by orthography and linguistics, word structures, word frequencies, morphology, phonetic constructs and linguistic syntax. Typography also is subject to specific cultural conventions. For example, in French it is customary to insert a non-breaking space before a colon (:) or semicolon (;) in a sentence, while in English it is not. Readability and legibility are often confused. “Legibility is the quality of the typeface design and readability with the design of the
printed page. Designers aim to achieve excellence in both. "The typeface chosen should be legible, that is, it should be read without effort. Sometimes legibility is simply a matter of type size; more often, however, it is a matter of typeface design. Generally speaking, typefaces that are true to the basic letterforms are more legible than typefaces that have been condensed, expanded, embellished, or abstracted. "However, even a legible typeface can become unreadable through poor setting and placement, just as a less legible typeface can be made more readable through good design."[2] Studies of legibility have examined a wide range of factors including type size and type design. For example, comparing serif vs. sans serif type, italic type vs. roman type, line length, line spacing, color contrast, the design of right-hand edge (for example, justification, straight right hand edge) vs. ranged left, and whether text is hyphenated. Legibility research was published from the late nineteenth century on, but the overall finding has been that the reading process is remarkably robust, and that significant differences are hard to find. So comparative studies of seriffed vs. sans serif type, or justified vs. unjustified type, have failed to settle the argument over which is best.[citation needed] Legibility is usually measured through speed of reading, with comprehension scores used to check for effectiveness (that is, not a rushed or careless read). For example, Miles Tinker, who published numerous studies from the 1930s to the 1960s, used a speed of reading test that required participants to spot incongruous words as an effectiveness filter. These days, legibility research tends to be limited to critical issues, or the testing of specific design solutions (for example, when new typefaces are developed). Examples of critical issues include typefaces (also called fonts) for people with visual impairment, and typefaces for highway signs, or for other conditions where legibility may make a key difference. Much of the legibility research literature is somewhat atheoretical — various factors were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests were carried
out in the absence of a model of reading or visual perception. Some typographers believe that the overall word shape (Bouma) is very important in readability, and that the theory of parallel letterwise recognition is either wrong, less important, or not the entire picture. Studies distinguishing between Bouma recognition and parallel letterwise recognition with regard to how people actually recognize words when they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed] Legibility can also be compromised by letterspacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility. Typography is an element of all printed material. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colorsand other typographic features. Some publications, such as The Guardian and The Economist, go so far as to commission a type designer to create bespoke (custom tailored) typefaces for their exclusive use. Different periodical publications design their publications, including their typography, to achieve a particular tone or style. For example, USAToday uses a bold, colorful, and comparatively modern style through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's name is placed on a colored background. In contrast, the New York Times use a more traditional approach, with fewer colors, less typeface variation, and more columns. Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead. 9 on 12.7
In traditional typography, text is composed to create
Designers aim to achieve excellence in both.
reading or visual perception. Some typographers
that works invisibly, without the awareness of the
"The typeface chosen should be legible, that is, it
important in readability, and that the theory of paral-
tions and anomalies are aimed at producing clarity
is simply a matter of type size; more often, how-
tant, or not the entire picture.
speaking, typefaces that are true to the basic letter-
Studies distinguishing between Bouma recognition
been condensed, expanded, embellished, or ab-
how people actually recognize words when they
a readable, coherent, and visually satisfying whole
reader. Even distribution with a minimum of distrac-
and transparency.
Choice of font(s) is perhaps the primary aspect of
text typography—prose fiction, non-fiction, editorial,
should be read without effort. Sometimes legibility
ever, it is a matter of typeface design. Generally
forms are more legible than typefaces that have
educational, religious, scientific, spiritual and com-
stracted.
requirements. For historic material, established text
"However, even a legible typeface can become un-
mercial writing all have differing characteristics and typefaces are frequently chosen according to a scheme of historical genre acquired by a long
readable through poor setting and placement, just
believe that the overall word shape (Bouma) is very
lel letterwise recognition is either wrong, less impor-
and parallel letterwise recognition with regard to
read, have favored parallel letterwise recognition,
which is widely accepted by cognitive psychologists.[citation needed]
as a less legible typeface can be made more read-
Legibility can also be compromised by letterspac-
Studies of legibility have examined a wide range of
loose. It can be improved when generous vertical
Contemporary books are more likely to be set with
ample, comparing serif vs. sans serif type, italic
the eye to distinguish one line from the next, or pre-
mans" with design values echoing present-day de-
contrast, the design of right-hand edge (for exam-
process of accretion, with considerable overlap be-
tween historical periods.
state-of-the-art seriffed "text romans" or "book rosign arts, which are closely based on traditional
able through good design."[2]
factors including type size and type design. For ex-
type vs. roman type, line length, line spacing, color ple, justification, straight right hand edge) vs.
models such as those of Nicolas Jenson,
ranged left, and whether text is hyphenated.
model for Aldine typefaces), and Claude Gara-
Legibility research was published from the late
Francesco Griffo (a punchcutter who created the mond. With their more specialized requirements,
newspapers and magazines rely on compact,
tightly-fitted text romans specially designed for the
ing, word spacing, or leading that is too tight or too
space separates lines of text, making it easier for
vious 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
nineteenth century on, but the overall finding has
magazines, use typographical elements to achieve
and that significant differences are hard to find. So
in navigating the publication, and in some cases for
been that the reading process is remarkably robust,
an attractive, distinctive appearance, to aid readers
task, which offer maximum flexibility, readability and
comparative studies of seriffed vs. sans serif type,
are often used for introductory paragraphs, inciden-
the argument over which is best.[citation needed]
to pair sans serif type for headings with a high-per-
Legibility is usually measured through speed of
sizes, italic, boldface, large and small capital let-
for effectiveness (that is, not a rushed or careless
publications, such as The Guardian and The Econ-
efficient use of page space. Sans serif text fonts
tal text and whole short articles. A current fashion is formance seriffed font of matching style for the text
of an article.
The text layout, tone or colour of set matter, and the interplay of text with white space of the page and
other graphic elements combine to impart a "feel"
or justified vs. unjustified type, have failed to settle
reading, with comprehension scores used to check read). For example, Miles Tinker, who published
numerous studies from the 1930s to the 1960s,
used a speed of reading test that required partici-
pants to spot incongruous words as an effective-
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
ters, colorsand other typographic features. Some
omist, go so far as to commission a type designer to create bespoke (custom tailored) typefaces for
their exclusive use.
or "resonance" to the subject matter. With printed
ness filter.
ing margins, paper selection and printing methods.
These days, legibility research tends to be limited
particular tone or style. For example, USAToday
Typography is modulated by orthography and lin-
solutions (for example, when new typefaces are de-
style through their use of a variety of typefaces and
media typographers are also concerned with bind-
to critical issues, or the testing of specific design
guistics, word structures, word frequencies, mor-
veloped). Examples of critical issues include type-
Typography also is subject to specific cultural con-
impairment, and typefaces for highway signs, or for
insert a non-breaking space before a colon (:) or
difference.
phology, phonetic constructs and linguistic syntax.
ventions. For example, in French it is customary to
semicolon (;) in a sentence, while in English it is not.
faces (also called fonts) for people with visual
other conditions where legibility may make a key
Much of the legibility research literature is some-
what atheoretical — various factors were tested in-
Readability and legibility are often confused. “Legi-
dividually or in combination (inevitably so, as the
ability with the design of the printed page.
tests were carried out in the absence of a model of
bility is the quality of the typeface design and read-
different factors are interdependent), but many
Different periodical publications design their publi-
cations, including their typography, to achieve a
uses a bold, colorful, and comparatively modern
colors; type sizes vary widely, and the newspaper's name is placed on a colored background. In contrast, the New York Times use a more traditional
approach, with fewer colors, less typeface variation, and more columns.
Especially on the front page of newspapers and on
magazine covers, headlines are often set in larger
display typefaces to attract attention, and are
placed near the masthead.
7.5 on 14.6
In traditional typography, text is composed to
create a readable, coherent, and visually satisfy-
ing whole that works invisibly, without the aware-
ness 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
page. Designers aim to achieve excellence in both.
"The typeface chosen should be legible, that is,
it should be read without effort. Sometimes legi-
faces that have been condensed, expanded,
gard to how people actually recognize words
material, established text typefaces are fre-
"However, even a legible typeface can become
accretion, with considerable overlap between historical periods.
Contemporary books are more likely to be set
with state-of-the-art seriffed "text romans" or
"book romans" with design values echoing pres-
ther wrong, less important, or not the entire pic-
Studies distinguishing between Bouma recogni-
embellished, or abstracted.
cal genre acquired by a long process of
the theory of parallel letterwise recognition is ei-
erally speaking, typefaces that are true to the
however, it is a matter of typeface design. Gen-
tual and commercial writing all have differing
quently chosen according to a scheme of histori-
(Bouma) is very important in readability, and that ture.
basic letterforms are more legible than type-
characteristics and requirements. For historic
pographers believe that the overall word shape
bility is simply a matter of type size; more often,
of text typography—prose fiction, non-fiction,
editorial, educational, religious, scientific, spiri-
model of reading or visual perception. Some ty-
unreadable through poor setting and placement, just as a less legible typeface can be made
tion and parallel letterwise recognition with re-
when they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed]
Legibility can also be compromised by let-
more readable through good design."[2]
terspacing, word spacing, or leading that is too
of factors including type size and type design.
erous vertical space separates lines of text,
Studies of legibility have examined a wide range For example, comparing serif vs. sans serif
type, italic type vs. roman type, line length, line
spacing, color contrast, the design of right-hand
tight or too loose. It can be improved when genmaking it easier for the eye to distinguish one
line from the next, or previous line. Poorly de-
signed fonts and those that are too tightly or
ent-day design arts, which are closely based on
edge (for example, justification, straight right
loosely fitted can also result in poor legibility.
son, Francesco Griffo (a punchcutter who cre-
hyphenated.
Typography is an element of all printed material.
Claude Garamond. With their more specialized
Legibility research was published from the late
on compact, tightly-fitted text romans specially
has been that the reading process is remarkably
aid readers in navigating the publication, and in
ibility, readability and efficient use of page
to find. So comparative studies of seriffed vs.
style guide, a periodical standardizes on a rela-
introductory paragraphs, incidental text and
have failed to settle the argument over which is
traditional models such as those of Nicolas Jenated the model for Aldine typefaces), and
requirements, newspapers and magazines rely
designed for the task, which offer maximum flexspace. Sans serif text fonts are often used for
whole short articles. A current fashion is to pair sans serif type for headings with a high-perfor-
mance 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
hand edge) vs. ranged left, and whether text is
nineteenth century on, but the overall finding
robust, and that significant differences are hard
best.[citation needed]
makes consistent use of type sizes, italic, bold-
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
printed media typographers are also concerned
an effectiveness filter.
ing methods.
These days, legibility research tends to be lim-
Typography is modulated by orthography and
linguistics, word structures, word frequencies,
morphology, phonetic constructs and linguistic
some cases for dramatic effect. By formulating a
tively small collection of typefaces, each used
the 1960s, used a speed of reading test that re-
with binding margins, paper selection and print-
achieve an attractive, distinctive appearance, to
sans serif type, or justified vs. unjustified type,
and other graphic elements combine to impart a "feel" or "resonance" to the subject matter. With
Periodical publications, especially newspapers
and magazines, use typographical elements to
quired participants to spot incongruous words as
ited to critical issues, or the testing of specific
design solutions (for example, when new type-
faces are developed). Examples of critical is-
for specific elements within the publication, and face, large and small capital letters, colorsand
other typographic features. Some publications, such as The Guardian and The Economist, go
so far as to commission a type designer to cre-
ate bespoke (custom tailored) typefaces for their exclusive use.
Different periodical publications design their publications, including their typography, to
achieve a particular tone or style. For example, USAToday uses a bold, colorful, and compara-
tively modern style through their use of a variety
of typefaces and colors; type sizes vary widely,
and the newspaper's name is placed on a col-
sues include typefaces (also called fonts) for
ored background. In contrast, the New York
highway signs, or for other conditions where leg-
fewer colors, less typeface variation, and more
syntax. Typography also is subject to specific
people with visual impairment, and typefaces for
customary to insert a non-breaking space before
ibility may make a key difference.
columns.
in English it is not.
Much of the legibility research literature is some-
Especially on the front page of newspapers and
Readability and legibility are often confused.
individually or in combination (inevitably so, as
larger display typefaces to attract attention, and
and readability with the design of the printed
many tests were carried out in the absence of a
8 on 13.8
cultural conventions. For example, in French it is a colon (:) or semicolon (;) in a sentence, while
“Legibility is the quality of the typeface design
what atheoretical — various factors were tested
the different factors are interdependent), but
Times use a more traditional approach, with
on magazine covers, headlines are often set in are placed near the masthead.
In traditional typography, text is composed to
page. Designers aim to achieve excellence in
create a readable, coherent, and visually sat-
both.
awareness of the reader. Even distribution
"The typeface chosen should be legible, that
isfying whole that works invisibly, without the
with a minimum of distractions and anomalies
are aimed at producing clarity and trans-
is, it should be read without effort. Sometimes
legibility is simply a matter of type size; more
parency.
often, however, it is a matter of typeface de-
Choice of font(s) is perhaps the primary as-
true to the basic letterforms are more legible
pect of text typography—prose fiction, non-
fiction, editorial, educational, religious,
scientific, spiritual and commercial writing all
sign. Generally speaking, typefaces that are than typefaces that have been condensed, expanded, embellished, or abstracted.
have differing characteristics and require-
"However, even a legible typeface can be-
typefaces are frequently chosen according to
placement, just as a less legible typeface can
ments. For historic material, established text a scheme of historical genre acquired by a
long process of accretion, with considerable
overlap between historical periods.
come unreadable through poor setting and be made more readable through good de-
perception. Some typographers believe that the overall word shape (Bouma) is very important in readability, and that the theory of
parallel letterwise recognition is either wrong,
less important, or not the entire picture. Studies distinguishing between Bouma
recognition and parallel letterwise recognition with regard to how people actually recognize
words when they read, have favored parallel
letterwise recognition, which is widely ac-
cepted by cognitive psychologists.[citation needed]
Legibility can also be compromised by let-
sign."[2]
terspacing, word spacing, or leading that is
range of factors including type size and type
when generous vertical space separates
Studies of legibility have examined a wide
Contemporary books are more likely to be set
design. For example, comparing serif vs.
"book romans" with design values echoing
length, line spacing, color contrast, the de-
with state-of-the-art seriffed "text romans" or
in the absence of a model of reading or visual
too tight or too loose. It can be improved
lines of text, making it easier for the eye to
sans serif type, italic type vs. roman type, line
distinguish one line from the next, or previous
present-day design arts, which are closely
sign of right-hand edge (for example, justifi-
too tightly or loosely fitted can also result in
Nicolas Jenson, Francesco Griffo (a punch-
left, and whether text is hyphenated.
based on traditional models such as those of cutter who created the model for Aldine typefaces), and Claude Garamond. With their
cation, straight right hand edge) vs. ranged Legibility research was published from the
more specialized requirements, newspapers
late nineteenth century on, but the overall
text romans specially designed for the task,
remarkably robust, and that significant differ-
and magazines rely on compact, tightly-fitted
finding has been that the reading process is
which offer maximum flexibility, readability
ences are hard to find. So comparative stud-
text fonts are often used for introductory
vs. unjustified type, have failed to settle the
and efficient use of page space. Sans serif 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.
ies of seriffed vs. sans serif type, or justified
argument over which is best.[citation needed]
Legibility is usually measured through speed
of reading, with comprehension scores used
to check for effectiveness (that is, not a
line. Poorly designed fonts and those that are
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 periodi-
cal 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, colorsand
other typographic features. Some publica-
rushed or careless read). For example, Miles
tions, such as The Guardian and The Econo-
and the interplay of text with white space of
the 1930s to the 1960s, used a speed of
designer to create bespoke (custom tailored)
bine to impart a "feel" or "resonance" to the
incongruous words as an effectiveness filter.
phers are also concerned with binding mar-
These days, legibility research tends to be
publications, including their typography, to
cific design solutions (for example, when new
ple, USAToday uses a bold, colorful, and
The text layout, tone or colour of set matter,
the page and other graphic elements com-
subject matter. With printed media typogra-
gins, paper selection and printing methods.
Typography is modulated by orthography and
linguistics, word structures, word frequencies,
morphology, phonetic constructs and linguis-
tic 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 (;)
Tinker, who published numerous studies from
reading test that required participants to spot
limited to critical issues, or the testing of spe-
Different periodical publications design their
achieve a particular tone or style. For examcomparatively modern style through their use
fonts) for people with visual impairment, and
sizes vary widely, and the newspaper's name
ditions where legibility may make a key differ-
trast, the New York Times use a more tradi-
cal issues include typefaces (also called
typefaces for highway signs, or for other conence.
Much of the legibility research literature is
Readability and legibility are often confused.
were tested individually or in combination (in-
and readability with the design of the printed
typefaces for their exclusive use.
typefaces are developed). Examples of criti-
in a sentence, while in English it is not.
“Legibility is the quality of the typeface design
mist, go so far as to commission a type
of a variety of typefaces and colors; type
is placed on a colored background. In contional approach, with fewer colors, less typeface variation, and more columns.
somewhat atheoretical — various factors
Especially on the front page of newspapers
evitably so, as the different factors are inter-
set in larger display typefaces to attract atten-
dependent), but many tests were carried out
and on magazine covers, headlines are often
tion, and are placed near the masthead. 8.5 on 13.4
In traditional typography, text is composed to create a readable, coherent, and visually satisfying whole that works invisibly, without the awareness of the reader. Even distribution with a minimum of distractions and anomalies are aimed at producing clarity and transparency. Choice of font(s) is perhaps the primary aspect of text typography—prose fiction, non-fiction, editorial, educational, religious, scientific, spiritual and commercial writing all have differing characteristics and requirements. For historic material, established text typefaces are frequently chosen according to a scheme of historical genre acquired by a long process of accretion, with considerable overlap between historical periods. Contemporary books are more likely to be set with state-of-the-art seriffed "text romans" or "book romans" with design values echoing present-day design arts, which are closely based on traditional models such as those of Nicolas Jenson, Francesco Griffo (a punchcutter who created the model for Aldine typefaces), and Claude Garamond. With their more specialized requirements, newspapers and magazines rely on compact, tightly-fitted text romans specially designed for the task, which offer maximum flexibility, readability and efficient use of page space. Sans serif text fonts are often used for introductory paragraphs, incidental text and whole short articles. A current fashion is to pair sans serif type for headings with a high-performance seriffed font of matching style for the text of an article. The text layout, tone or 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, color contrast, the design of right-hand edge (for example, justification, straight right hand edge) vs. ranged left, and whether text is hyphenated. Legibility research was published from the late nineteenth century on, but the overall finding has been that the reading process is remarkably robust, and that significant differences are hard to find. So comparative studies of seriffed vs. sans serif type, or justified vs. unjustified type, have failed to settle the argument over which is best.[citation needed] Legibility is usually measured through speed of reading, with comprehension scores used to check for effectiveness (that is, not a rushed or careless read). For example, Miles Tinker, who published numerous studies from the 1930s to the 1960s, used a speed of reading test that required participants to spot incongruous words as an effectiveness filter.
ried out in the absence of a model of reading or visual perception. Some typographers believe that the overall word shape (Bouma) is very important in readability, and that the theory of parallel letterwise recognition is either wrong, less important, or not the entire picture. Studies distinguishing between Bouma recognition and parallel letterwise recognition with regard to how people actually recognize words when they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed] Legibility can also be compromised by letterspacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility. Typography is an element of all printed material. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colorsand 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.
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.
Different periodical publications design their publications, including their typography, to achieve a particular tone or style. For example, USAToday uses a bold, colorful, and comparatively modern style through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's name is placed on a colored background. In contrast, the New York Times use a more traditional approach, with fewer colors, less typeface variation, and more columns.
Much of the legibility research literature is somewhat atheoretical — various factors were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests were car-
Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead. 9 on 12.5
In traditional typography, text is composed to
create a readable, coherent, and visually satisfying whole that works invisibly, without the
awareness of the reader. Even distribution with
page. Designers aim to achieve excellence in
of a model of reading or visual perception.
both.
Some typographers believe that the overall
"The typeface chosen should be legible, that is,
ability, and that the theory of parallel letterwise
bility is simply a matter of type size; more often,
not the entire picture.
word shape (Bouma) is very important in read-
a minimum of distractions and anomalies are
it should be read without effort. Sometimes legi-
Choice of font(s) is perhaps the primary aspect
erally speaking, typefaces that are true to the
Studies distinguishing between Bouma recogni-
faces that have been condensed, expanded,
gard to how people actually recognize words
aimed at producing clarity and transparency.
of text typography—prose fiction, non-fiction,
editorial, educational, religious, scientific, spiri-
however, it is a matter of typeface design. Gen-
basic letterforms are more legible than type-
recognition is either wrong, less important, or
tion and parallel letterwise recognition with re-
tual and commercial writing all have differing
embellished, or abstracted.
material, established text typefaces are fre-
"However, even a legible typeface can become
tive psychologists.[citation needed]
torical genre acquired by a long process of
ment, just as a less legible typeface can be
Legibility can also be compromised by let-
Studies of legibility have examined a wide
tight or too loose. It can be improved when gen-
characteristics and requirements. For historic quently chosen according to a scheme of his-
accretion, with considerable overlap between historical periods.
Contemporary books are more likely to be set
with state-of-the-art seriffed "text romans" or
unreadable through poor setting and place-
made more readable through good design."[2] range of factors including type size and type
design. For example, comparing serif vs. sans
Nicolas Jenson, Francesco Griffo (a punchcut-
text is hyphenated.
and Claude Garamond. With their more special-
Legibility research was published from the late
rely on compact, tightly-fitted text romans spe-
has been that the reading process is remark-
nineteenth century on, but the overall finding
ably robust, and that significant differences are
mum flexibility, readability and efficient use of
hard to find. So comparative studies of seriffed
for introductory paragraphs, incidental text and
type, have failed to settle the argument over
page space. Sans serif text fonts are often used whole short articles. A current fashion is to pair sans serif type for headings with a high-perfor-
mance 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
Typography is an element of all printed mate-
rial. 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
which is best.[citation needed]
within the publication, and makes consistent
Legibility is usually measured through speed of
small capital letters, colorsand other typo-
reading, with comprehension scores used to
check for effectiveness (that is, not a rushed or
typefaces, each used for specific elements
use of type sizes, italic, boldface, large and
graphic features. Some publications, such as
The Guardian and The Economist, go so far as
careless read). For example, Miles Tinker, who
to commission a type designer to create be-
the 1960s, used a speed of reading test that re-
clusive use.
published numerous studies from the 1930s to quired participants to spot incongruous words
as an effectiveness filter.
lection and printing methods.
These days, legibility research tends to be lim-
ited to critical issues, or the testing of specific
Typography is modulated by orthography and
design solutions (for example, when new type-
morphology, phonetic constructs and linguistic
sues include typefaces (also called fonts) for
linguistics, word structures, word frequencies,
signed fonts and those that are too tightly or
vs. sans serif type, or justified vs. unjustified
matter. With printed media typographers are
also concerned with binding margins, paper se-
making it easier for the eye to distinguish one
loosely fitted can also result in poor legibility.
right hand edge) vs. ranged left, and whether
cially designed for the task, which offer maxi-
erous vertical space separates lines of text,
hand edge (for example, justification, straight
based on traditional models such as those of
ized requirements, newspapers and magazines
terspacing, word spacing, or leading that is too
line from the next, or previous line. Poorly de-
line spacing, color contrast, the design of right-
ter who created the model for Aldine typefaces),
recognition, which is widely accepted by cogni-
serif type, italic type vs. roman type, line length,
"book romans" with design values echoing
present-day design arts, which are closely
when they read, have favored parallel letterwise
spoke (custom tailored) typefaces for their ex-
Different periodical publications design their
publications, including their typography, to
achieve a particular tone or style. For example,
USAToday uses a bold, colorful, and compara-
tively modern style through their use of a vari-
faces are developed). Examples of critical is-
ety of typefaces and colors; type sizes vary
people with visual impairment, and typefaces
a colored background. In contrast, the New York
is customary to insert a non-breaking space be-
where legibility may make a key difference.
fewer colors, less typeface variation, and more
while in English it is not.
Much of the legibility research literature is
syntax. Typography also is subject to specific
cultural conventions. For example, in French it fore a colon (:) or semicolon (;) in a sentence,
for highway signs, or for other conditions
Times use a more traditional approach, with
columns.
somewhat atheoretical — various factors were
Especially on the front page of newspapers and
so, as the different factors are interdependent),
larger display typefaces to attract attention, and
Readability and legibility are often confused.
tested individually or in combination (inevitably
and readability with the design of the printed
but many tests were carried out in the absence
“Legibility is the quality of the typeface design
widely, and the newspaper's name is placed on
on magazine covers, headlines are often set in
are placed near the masthead. 7.5 on 13.7
In traditional typography, text is composed
cellence in both.
satisfying whole that works invisibly, without
"The typeface chosen should be legible, that
to create a readable, coherent, and visually
out in the absence of a model of reading or
visual perception. Some typographers be-
lieve that the overall word shape (Bouma) is
the awareness of the reader. Even distribu-
is, it should be read without effort. Some-
very important in readability, and that the
anomalies are aimed at producing clarity and
size; more often, however, it is a matter of
ther wrong, less important, or not the entire
tion with a minimum of distractions and transparency.
Choice of font(s) is perhaps the primary as-
pect of text typography—prose fiction, non-
fiction, editorial, educational, religious,
scientific, spiritual and commercial writing
times legibility is simply a matter of type
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.
all have differing characteristics and require-
"However, even a legible typeface can be-
typefaces are frequently chosen according
placement, just as a less legible typeface
ments. For historic material, established text
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 ro-
mans" or "book romans" with design values echoing present-day design arts, which are
come unreadable through poor setting and
can be made more readable through good
design."[2]
theory of parallel letterwise recognition is eipicture.
Studies distinguishing between Bouma
recognition and parallel letterwise recogni-
tion with regard to how people actually rec-
ognize words when they read, have favored parallel letterwise recognition, which is
widely accepted by cognitive psychologists.[citation needed]
Legibility can also be compromised by let-
Studies of legibility have examined a wide
terspacing, word spacing, or leading that is
design. For example, comparing serif vs.
when generous vertical space separates
range of factors including type size and type sans serif type, italic type vs. roman type,
line length, line spacing, color contrast, the
too tight or too loose. It can be improved
lines of text, making it easier for the eye to
distinguish one line from the next, or previ-
design of right-hand edge (for example, justi-
ous line. Poorly designed fonts and those
those of Nicolas Jenson, Francesco Griffo (a
left, and whether text is hyphenated.
result in poor legibility.
dine typefaces), and Claude Garamond. With
Legibility research was published from the
Typography is an element of all printed mate-
papers and magazines rely on compact,
finding has been that the reading process is
papers and magazines, use typographical
closely based on traditional models such as
punchcutter who created the model for Al-
their more specialized requirements, news-
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 intro-
ductory 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
fication, straight right hand edge) vs. ranged
late nineteenth century on, but the overall
remarkably robust, and that significant dif-
ferences are hard to find. So comparative
ical standardizes on a relatively small collec-
tified vs. unjustified type, have failed to set-
needed]
Legibility is usually measured through speed rushed or careless read). For example, Miles
to check for effectiveness (that is, not a
and the interplay of text with white space of
Tinker, who published numerous studies
bine to impart a "feel" or "resonance" to the
reading test that required participants to
gins, paper selection and printing methods.
Typography is modulated by orthography
appearance, to aid readers in navigating the
tle the argument over which is best.[citation
The text layout, tone or colour of set matter,
subject matter. With printed media typogra-
elements to achieve an attractive, distinctive
publication, and in some cases for dramatic
of reading, with comprehension scores used
phers are also concerned with binding mar-
rial. Periodical publications, especially news-
studies of seriffed vs. sans serif type, or jus-
for the text of an article.
the page and other graphic elements com-
that are too tightly or loosely fitted can also
from the 1930s to the 1960s, used a speed of
spot incongruous words as an effectiveness
filter.
These days, legibility research tends to be limited to critical issues, or the testing of
effect. By formulating a style guide, a period-
tion of typefaces, each used for specific
elements within the publication, and makes
consistent use of type sizes, italic, boldface, large and small capital letters, colorsand
other typographic features. Some publica-
tions, such as The Guardian and The Econo-
mist, go so far as to commission a type
designer to create bespoke (custom tailored) typefaces for their exclusive use.
Different periodical publications design their
publications, including their typography, to
achieve a particular tone or style. For exam-
ple, USAToday uses a bold, colorful, and
and linguistics, word structures, word fre-
specific design solutions (for example, when
and linguistic syntax. Typography also is
critical issues include typefaces (also called
sizes vary widely, and the newspaper's name
typefaces for highway signs, or for other
trast, the New York Times use a more tradi-
quencies, morphology, phonetic constructs
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.
new typefaces are developed). Examples of
fonts) for people with visual impairment, and
conditions where legibility may make a key difference.
comparatively modern style through their
use of a variety of typefaces and colors; type
is placed on a colored background. In contional approach, with fewer colors, less typeface variation, and more columns.
Much of the legibility research literature is
Especially on the front page of newspapers
“Legibility is the quality of the typeface de-
were tested individually or in combination
set in larger display typefaces to attract at-
printed page. Designers aim to achieve ex-
terdependent), but many tests were carried
Readability and legibility are often confused. sign and readability with the design of the
somewhat atheoretical — various factors
(inevitably so, as the different factors are in-
and on magazine covers, headlines are often tention, and are placed near the masthead. 8 on 12.9
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, color contrast, the design of right-hand edge (for example, justification, straight right hand edge) vs. ranged left, and whether text is hyphenated. Legibility research was published from the late nineteenth century on, but the overall finding has been that the reading process is remarkably robust, and that significant differences are hard to find. So comparative studies of seriffed vs. sans serif type, or justified vs. unjustified type, have failed to settle the argument over which is best.[citation needed] Legibility is usually measured through speed of reading, with comprehension scores used to check for effectiveness (that is, not a rushed or careless read). For example, Miles Tinker, who published numerous studies from the 1930s to the 1960s, used a speed of reading test that required participants to spot incongruous words as an effectiveness filter. These days, legibility research tends to be limited to critical issues, or the testing of specific design solutions (for example, when new typefaces are developed). Examples of critical issues include typefaces (also called fonts) for people with visual impairment, and typefaces for highway signs, or for other conditions where legibility may make a key difference. Much of the legibility research literature is somewhat atheoretical — various factors were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests were carried out in the absence of a model of reading or visual perception. Some
typographers believe that the overall word shape (Bouma) is very important in readability, and that the theory of parallel letterwise recognition is either wrong, less important, or not the entire picture. Studies distinguishing between Bouma recognition and parallel letterwise recognition with regard to how people actually recognize words when they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed] Legibility can also be compromised by letterspacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility. Typography is an element of all printed material. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colorsand other typographic features. Some publications, such as The Guardian and The Economist, go so far as to commission a type designer to create bespoke (custom tailored) typefaces for their exclusive use. Different periodical publications design their publications, including their typography, to achieve a particular tone or style. For example, USAToday uses a bold, colorful, and comparatively modern style through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's name is placed on a colored background. In contrast, the New York Times use a more traditional approach, with fewer colors, less typeface variation, and more columns. Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead. 8.5 on 12.3
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, color contrast, the design of right-hand edge (for example, justification, straight right hand edge) vs. ranged left, and whether text is hyphenated. Legibility research was published from the late nineteenth century on, but the overall finding has been that the reading process is remarkably robust, and that significant differences are hard to find. So comparative studies of seriffed vs. sans serif type, or justified vs. unjustified type, have failed to settle the argument over which is best.[citation needed] Legibility is usually measured through speed of reading, with comprehension scores used to check for effectiveness (that is, not a rushed or careless read). For example, Miles Tinker, who published numerous studies from the 1930s to the 1960s, used a speed of reading test that required participants to spot incongruous words as an effectiveness filter. These days, legibility research tends to be limited to critical issues, or the testing of specific design solutions (for example, when new typefaces are developed). Examples of critical issues include typefaces (also called fonts) for people with visual impairment, and typefaces for highway signs, or for other conditions where legibility may make a key difference. Much of the legibility research literature is somewhat atheoretical — various factors were tested individually or in combination (inevitably so, as the different factors are interdependent), but many tests were carried out in the
absence of a model of reading or visual perception. Some typographers believe that the overall word shape (Bouma) is very important in readability, and that the theory of parallel letterwise recognition is either wrong, less important, or not the entire picture. Studies distinguishing between Bouma recognition and parallel letterwise recognition with regard to how people actually recognize words when they read, have favored parallel letterwise recognition, which is widely accepted by cognitive psychologists.[citation needed] Legibility can also be compromised by letterspacing, word spacing, or leading that is too tight or too loose. It can be improved when generous vertical space separates lines of text, making it easier for the eye to distinguish one line from the next, or previous line. Poorly designed fonts and those that are too tightly or loosely fitted can also result in poor legibility. Typography is an element of all printed material. Periodical publications, especially newspapers and magazines, use typographical elements to achieve an attractive, distinctive appearance, to aid readers in navigating the publication, and in some cases for dramatic effect. By formulating a style guide, a periodical standardizes on a relatively small collection of typefaces, each used for specific elements within the publication, and makes consistent use of type sizes, italic, boldface, large and small capital letters, colorsand other typographic features. Some publications, such as The Guardian and The Economist, go so far as to commission a type designer to create bespoke (custom tailored) typefaces for their exclusive use. Different periodical publications design their publications, including their typography, to achieve a particular tone or style. For example, USAToday uses a bold, colorful, and comparatively modern style through their use of a variety of typefaces and colors; type sizes vary widely, and the newspaper's name is placed on a colored background. In contrast, the New York Times use a more traditional approach, with fewer colors, less typeface variation, and more columns. Especially on the front page of newspapers and on magazine covers, headlines are often set in larger display typefaces to attract attention, and are placed near the masthead. 9 on 12.2