Abstract: During Rapid Serial Visual Presentation, readers can read sans-serif type about 20% faster at very small sizes. This advantage disappears at larger sizes. The study was done with fonts specially designed to control typeface parameters other than the serifs. The results suggest that rendering serifs at small sizes may be counterproductive.

Abstract: Helvetica is a sans-serif typeface. It is simple and clean, and commonly seen in advertising, signage, and literature. The R has a curved leg, and the i and j have square dots. The Q has a straight angled tail, and the counterforms inside the O, Q, and C are oval. It is an all-purpose type design that can deliver practically any message clearly and efficiently. It is one of the most popular typefaces of all time. Helvetica: Homage to a Typeface presents 400 examples of Helvetica in action, selected from two diametrically opposed worlds. Superb applications by renowned designers are juxtaposed with an anonymous collection of ugly, ingenious, charming, and hair-raising samples of its use.

Abstract: It is an object of the present invention to achieve high quality document output without garbled text by specifying an optimum typeface for each character in a paragraph or for each paragraph in a document such as tagged document by using typeface information. In order to achieve the object, according to the present invention, there is provided a text processing device comprising an input unit for inputting a document including typeface attributes and text, a specifying unit for specifying a font based on the typeface attribute included in the document input by the input unit, installed fonts, and a text code of the text, and an output unit for outputting characters of the text by using the font specified by the specifying unit.

Abstract: BioMorphic Typography is a new conception of writing and a morphing typeface driven by biofeedback. It enables users to become aware of their autonomic physiological functions while they type, in real-time. In doing so, BioMorphic Typography seeks to challenge longstanding Western notions about the relationship among the senses, representation, and technology.

Abstract: Chapter 1: Digital publishing Why not desktop publishing? Print publishing, Web publishing, multimedia publishing, entry level requirements for designers, current realities Chapter 2: Printing history and the different types of printing Letterpress, Intaglio, screen, lithography, xerography, inkjet, dryography, and the new variants. Chapter 3: The digital revolution and the online world Desktop publishing, imagesetters, PostScript, the World Wide Web, email, FTP Chapter 4: Hardware CPUs, RAM, hard drives, removable storage, scanners, mice and tablets, printers Chapter 5: Software Why Office won't do: PostScript illustration, bitmap illustration, image manipulation page layout Chapter 6: File management Making a folder to save the pieces: document, word processing file, graphics, halftones where to save it how to move it Chapter 7: Graphic design history Editors rule, the entry of illustrations, the birth of marketing, the addition of color Chapter 8: Fonts Terminology, baseline measurements, weight, italics, families, PostScript, TrueType, OpenType character lists small caps, oldstyle figures, ligatures. When to use them and when not to. Chapter 9: Typestyles Usage of serif, sans serif, script, text, display, types of serifs, development of serif styles, styles of sans serif, historical periods faux elements: faux bold, italic, small caps, superscript, subscript, fractions, etc. Why they happen, how to avoid them, why and when to avoid them. Chapter 10: Typography The differences between typewriting and typesetting, typographic measurements, hundreds of standard characters Chapter 11: Producing type Excellent type is invisible, a basic procedure: 1. Read the copy 2. Place the copy in historical and typographic context 3. List the different pieces needed: headers, body copy, bulleted lists, captions, bylines, sidebars, bursts, legalese 4. Pick an appropriate typeface 5. Shape the page to reveal the pieces as they need to be seen to be read 6. Pay especial detail to the details Chapter 12: Typographic norms Margins, indents, column widths, gutters, body copy, bulleted lists, headers, captions, bylines, stationery, newsletters Chapter 13: Forms, rules, and tables Tabular matter, leaders, paragraph rules, tables, white space, leading the eye Chapter 14: Paper and media Basis size, and weight office paper, printing paper, cover stock sheet-fed, Web or roll-fed Chapter 15: Basic Web design Purpose of the Web, why do they come? How do you attract them? What can you use? Chapter 16: Career positions and customer relations Traditional, digital, online, deadlines, attitude, the key is communication, client approval, business ethics Appendix A: Shortcuts & customized interface: a rationale Appendix B: Teaching style & expectations Appendix C: Glossary

Abstract: This study investigated how common online text affects reading performance of elementary school-age children by examining the actual and perceived readability of four computer-displayed typefaces at 12- and 14-point sizes. Twenty-seven children, ages 9 to 11, were asked to read eight children's passages and identify erroneous/substituted words while reading. Comic Sans MS, Arial and Times New Roman typefaces, regardless of size, were found to be more readable (as measured by a reading efficiency score) than Courier New. No differences in reading speed were found for any of the typeface combinations. In general, the 14-point size and the examined sans serif typefaces were perceived as being the easiest to read, fastest, most attractive, and most desirable for school-related material. In addition, participants significantly preferred Comic Sans MS and 14-point Arial to 12-point Courier. Recommendations for appropriate typeface combinations for children reading on computers are discussed.