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