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April/May 2008 V13N2
When faced with questions from an uninformed supervisor, you may need to do a little hand-holding. Here is a fresh, baker’s dozen answers to common typographic queries. » More

April/May 2008 V13N2
As Beatrice Warde wrote, "Type well used is invisible as type, just as the perfect talking voice is the unnoticed vehicle for the transmission of words, ideas." » More

February/March 2008 V13N1
Punctuation is a pause, a separation of thoughts, a gathering of ideas. It can be a bang or a whimper. Punctuation is a question asked—and a question answered. » More

February/March 2008 V13N1
Designers need to understand the fundamentals of both type and web functionality, since they go hand in hand for developing and maintaining strong type online. » More

December/January 2008 V12N6
Business cards and letterheads are part reference tool, part promotion—and two of the most important design projects you will work on. They create first impressions and provide contact information, and they are invaluable marketing tools. » More

October/November 2007 V12N5
Allan Haley revisits a perennial topic: maintaining visibility and legibility with type set in color. » More

August/September 2007 V12N4
Initial letters are the start of a good conversation. They are the doyennes of type. » More

June/July 2007 V12N3
Technically, it is relatively easy to define a shape and "pour" the type into it. Aesthetically, however, it can be problematic. » More

April/May 2007 V12N2
How to cater to your readership without becoming complacent. » More

April/May 2007 V12N2
How to break the rules of type—successfully » More

April/May 2007 V12N2
How to beat your fonts into submission with three of the best font management utilities » More

February/March 2007 V12N1
When it comes to typefaces—like potato chips and letters in acronyms—one is rarely enough. Using more than one typestyle can help invite readers into content, simplify textual relationships and codify dissimilar information. » More

December/January 2007 V11N6
These 10 guidelines for applying type in invitations will help you make occasions more memorable. » More

August/September 2006 V11N4
Choosing display type presents a confusing maze of options. These simple selection guidelines will help you find the way. » More

June/July 2006 V11N3
Turn on these type options in InDesign to turn out truly effective results. » More

June/July 2006 V11N3
Getting the small stuff right yields big improvements in your type treatments. » More

April/May 2006 V11N2
Four designers discuss how they manipulated, tweaked, sketched, appropriated, and transformed letterforms into compelling and memorable imagery. » More

April/May 2006 V11N2
Alternate characters can add zest to your type menu … but misused, they spoil the dish. Here’s how to apply them with taste. » More

February/March 2006 V11N1
It may sound strange, but the best way to create typographic emphasis is to exercise restraint. These tools, applied with subtlety, will help your type stand out. » More

December/January 2006 V10N6
The allure of hidden wealth, the mystery of lost masterpieces, the thrill of unique solutions: All these passions are combined in the pursuit of typographic treasures. » More

December/January 2006 V10N6
Tend to your script typefaces carefully with these six tips for appropriate use. » More

October/November 2005 V10N5
Necessary then, distinctive now: Historic hand lettering can inspire today’s projects. Here’s how to put it to use. » More

October/November 2005 V10N5
Type in large-scale formats has huge impact, but holds unique challenges for environmental designers. » More

October/November 2005 V10N5
Type classification made easy with these sixteen groups of type styles. » More

October/November 2005 V10N5
Building a productive type library is a matter of being informed and organized. These guidelines will help you make versatile—and cost-effective—choices. » More

October/November 2005 V10N5
Don’t make us break out the handcuffs. Avoid the kind of typographic transgressions that make clients cringe. » More

October/November 2005 V10N5
Learning the language of type is essential to mastering it. Get started with this glossary. » More

August/September 2005 V10N4
While some print purists still think web typography is an oxymoron, you can create effective graphic communication by following a few simple rules. » More

June/July 2005 V10N3
In just a few minutes you can create this cool stencil effect on any image in Photoshop. » More

June/July 2005 V10N3
In just a few minutes you can manipulate text in Illustrator. » More

April/May 2005 V10N2
In just a few minutes you can create this cool embroidered type effect in Illustrator. » More

April/May 2005 V10N2
In just a few minutes you can create this cool rope type effect in Illustrator 8. » More

April/May 2005 V10N2
Easy ways to customize art, photography, and type in Photoshop and Illustrator. » More

Feb/March 2005 V10N1
Basic approaches to typography, layout, and hierarchy that can help you assemble the pieces in a way that makes sense for your audience and your client. » More

Feb/March 2005 V10N1
Type design drives presentations. Here’s how to ensure your typography makes for a hit show. » More

Feb/March 2005 V10N1
In just a few minutes you can create this cool bubbly type effect in Illustrator. » More

Feb/March 2005 V10N1
Use Photoshop to make a splash with textured type. » More