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TYPOGRAPHY is the art, or skill of designing COMMUNICATION by means of the PRINTED WORD.

Typography is the art, or skill of designing Communication by means of the printed word.

These are typefaces created within the late 18th center or their direct descendathes. The work Of Giambattista Bodoni epitomizes this style of TYPES. In MANY cases, stoke TERMINALS are “BALL shapes tether than an evocation of a brand pen effect. These TEND to be highly mummer designs, with dearly.

These are typefaces created within the late 18th center or their direct descendathes. The work Of Giambattista Bodoni epitomizes this style of types. In many cases, stoke terminals are “ball shapes tether than an evocation of a brand pen effect. These tend to be highly mummer designs, with dearly.

This category INCLUDES the first roman types, ORIGINALLY created between the late 15TH and mind 18th centuries, as well as typefaces pattern after those DESIGNED in this earlier period. The axis of curves strokes is normally INCLINED to the left in these designs, so that weight stress is at approximately 8:00 and 2:00 o' clock.

This category includes the first roman types, originally created between the late 15th and mind 18th centuries, as well as typefaces pattern after those designed in this earlier period. The axis of curves strokes is normally inclined to the left in these designs, so that weight stress is at approximately 8:00 and 2:00 o' clock.

1. Aperture 
2. Arm 
3. Ascender 
4. Baseline 
5. BOWL 
6. COUNTER 
7. CROSSBAR 
8. Descended 
9. Diagonal STROKE 
10. Ear

1. GROTESQUE 
2. SQUARE 
3. HUMANISTIC 
4. GEOMETRIC

A HORIZONTAL STROKE

A horizontal stroke

A CURVED STROKE that ENCLOSES a LETTER's COUNTER.

A curved stroke that encloses a letter's counter.

The edge of a block of TEXT that is uneven is called the RAG. When focusing on TYPOGRAPHY, look at your text BLOCKS as a whole to make sure the rag is not impacting design. SOMETIMES, if the rag is too jagged it can be distracting and affect readability.

The edge of a block of text that is uneven is called the rag. When focusing on typography, look at your text blocks as a whole to make sure the rag is not impacting design. Sometimes, if the rag is too jagged it can be distracting and affect readability.

Below are some simple guidelines for studying your typography and making sure it's appropriate for your project at hand. 

• Choose your typeface carefully, paying attention to the font family and whether it makes sense in this context.
• SET up your design USING placeholder text, but don't sign off on the final design until you've seen the real text in the design.
• Pay CLOSE attention to the little details of your typography, such as the rag of your text blocks. These small details can greatly affect readability.
• Look at each block of text as if it had no words in it. What SHAPES does the text make on the PAGE? Make sure these shapes complement the larger page design.

Below are some simple guidelines for studying your typography and making sure it's appropriate for your project at hand. 

Fully or PARTIALLY ENCLOSED space WITHIN a letter.

Fully or partially enclosed space within a letter.

Slab serif typefaces became POPULAR in the 19th century for advertising DISPLAY. These typefaces have very heavy SERIFS with minimal or no bracketing. Generally, Change in stroke WEIGHT are addition of heavy (Stroke Weight) serifs.

Slab serif typefaces became popular in the 19th century for advertising display. These typefaces have very heavy serifs with minimal or no bracketing. Generally, Change in stroke weight are addition of heavy (Stroke Weight) serifs.

A DOWNWARD vertical stroke lowercase letters that EXTENDS below the BASELINE.

A downward vertical stroke lowercase letters that extends below the Baseline.

Elements of Typography : Typefaces and Fonts: Typefaces are a FAMILY of fonts (such as Helvetica Regular, Helvetica Italic, Helvetica Black and Helvetica Bold). Fonts refer to one weight or STYLE within that family (such as Helvetica Italic).

In DESIGN, typefaces are typically divided into SIX types, or “font families”.

There are six types:

1. Serif
2. Sans-serif
3. Monospaced
4. Cursive
5. Fantasy
6. SCRIPT

Elements of Typography : Typefaces and Fonts: Typefaces are a family of fonts (such as Helvetica Regular, Helvetica Italic, Helvetica Black and Helvetica Bold). Fonts refer to one weight or style within that family (such as Helvetica Italic).

In design, typefaces are typically divided into six types, or “font families”.

There are six types:

A HORIZONTAL STROKE not CONNECTED on ONE or both ENDS.

A horizontal stroke not connected on one or both ends.

A SMALL STROKE PROJECTING from the UPPER right bowl of some lowercase G's

A small stroke projecting from the upper right bowl of some lowercase g's

1. Old STYLE 
2. TRANSITIONAL 
3. Neoclassical & Didoes 
4. SLAB.

OPENING at the END of an OPEN COUNTER.

Opening at the end of an open counter.

The EMPTY space surrounding your letters is IMPORTANT to consider. Several adjustments can be made between and around letters, which are all DISTINCT typography concepts. Typically, these are found under the advanced font SETTINGS in your word processor. 

1. Kerning: the space between individual letters
2. Tracking: the space between groups of letters
3. Leading: the space between lines of type
4. Measure: the length of lines of text
5. Alignment: PLACING text to the left, right, centered, or justified

The empty space surrounding your letters is important to consider. Several adjustments can be made between and around letters, which are all distinct typography concepts. Typically, these are found under the advanced font settings in your word processor. 

Typography is an art. It is as important SOMETIMES more important them the color and GRAPHIC used. It has a GREAT impact On how your DESIGN is received by people. Here are some reasons why you should never overlook on the goodness of typography.

Typography is an art. It is as important sometimes more important them the color and graphic used. It has a great impact On how your design is received by people. Here are some reasons why you should never overlook on the goodness of typography.

An UPWARD vertical stroke FOUND on EXTENDS above the TYPEFACE's x-height.

An upward vertical stroke found on extends above the typeface's x-height.

Most typefaces can be classified into one of four basic groups: those with serifs these without serifs, scripts and decorative STYLES. Over the years, Typography and scholars of typography have DEVISED various systems to more definitively categorize typefaces some of these system have scares of sub-categories. A classification on system can be helpful in IDENTIFYING, CHOOSING and COMBINING typefaces.

Most typefaces can be classified into one of four basic groups: those with serifs these without serifs, scripts and decorative styles. Over the years, Typography and scholars of typography have devised various systems to more definitively categorize typefaces some of these system have scares of sub-categories. A classification on system can be helpful in identifying, choosing and combining typefaces.

Simple geometric shapes influence the construction of these typefaces. STACKS have the APPEARANCE Being. STRICT monoclines and character shapes are made up of geometric forms . Geometric sans tend to be less REACHABLE than grotesques.

Simple geometric shapes influence the construction of these typefaces. Stacks have the appearance Being. Strict monoclines and character shapes are made up of geometric forms . Geometric sans tend to be less reachable than grotesques.

The INVISIBLE LINE where LETTERS SIT

The invisible line where letters sit

English printer and typography JOHN Baskerville established this style in the MID 18TH century. Weight CONTRAST Is more pronounced than in old style design. SERIFS are still breasted and head serifs are oblique.

English printer and typography john Baskerville established this style in the mid 18th century. Weight contrast Is more pronounced than in old style design. Serifs are still breasted and head serifs are oblique.

An ANGLED STROKE.

An angled stroke.

These are the first commercially popular sums serif TYPEFACES. Stroke contrast is less pronounced than Curlier designs, and much of the “squatness” in curved storks has been rounded. Normally the most obvious DISTINGUISHING CHARACTER tic of these FACES in this single BOWL g and more monotone weight stress.

These are the first commercially popular sums serif typefaces. Stroke contrast is less pronounced than Curlier designs, and much of the “squatness” in curved storks has been rounded. Normally the most obvious distinguishing character tic of these faces in this single bowl g and more monotone weight stress.

These design are generally based on grotesque CHARACTER traits and propositions, but have a definite and, in some instance, DRAMATIC SQUARING of morally curved strokes. They usually have more attitude character spacing than their Sans SERIF COUSINS and tend to be limited to display designs.

These design are generally based on grotesque character traits and propositions, but have a definite and, in some instance, dramatic squaring of morally curved strokes. They usually have more attitude character spacing than their Sans serif cousins and tend to be limited to display designs.

The addition of a hyphen at the end of lines can HELP prevent legibility issues and MAKE adjustments look better. We USUALLY don't have to think about hyphenation, since it's handled automatically in word PROCESSORS and web browsers.

The addition of a hyphen at the end of lines can help prevent legibility issues and make adjustments look better. We usually don't have to think about hyphenation, since it's handled automatically in word processors and web browsers.