1 Legibility and Comprehension 1 Running Head: LEGIBILITY AND COMPREHENSION OF ONSCREEN TYPE Comparing the Legibility and Comprehension of Type Size, Font Selection and Rendering Technology of Onscreen Type by Scott Bondurant Chandler Dissertation submitted to the Faculty of the Virginia Polytechnic Institute and State University, Blacksburg, Virginia, in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Curriculum and Instruction APPROVED: Glen Holmes, PhD, Co-chair Peter Doolittle, PhD, Co-chair Tom Hergert, PhD, Member Mark Sanders, PhD, Member Ken Potter, PhD, Member Keywords: type, typography, legibility, speed of reading, reading speed, comprehension, education, effectiveness, type size, font selection, serif, sans-serif, type rendering technology, anti-alias, perceptual encoding, orthochromatic, Helvetica, Palatino, computer, CRT, monitor, experimental, repeated measures.
2 Legibility and Comprehension 2 Comparing the Legibility and Comprehension of Type Size, Font Selection and Rendering Technology of Onscreen Type by Scott Bondurant Chandler Abstract This experimental study investigated the relationship between the independent measures of font selection, type size, and type rendering technology and the dependent measures of legibility, as measured by the Chapman-Cook speed of reading test, as well as comprehension, as measured by a series of questions from the verbal comprehension section of the Graduate Record Exam. An electronic instrument presented test items in 12 different typographic styles. The study tested 117 college students at a university in southwestern Virginia. Each participant encountered anti-alias type rendering style and the orthochromatic type rendering style while participants were randomly assigned to either Helvetica or Palatino (font selection) and 8, 10 or 12 point type size. Results indicated that the 12 point type size was read more quickly than either 8 point type or 10 point type. There was also an interaction between font selection and type rendering technology for speed of reading: Helvetica without an anti-alias was read more quickly than Helvetica with an anti-alias and more quickly than Palatino without an antialias. These findings contradict an earlier, similar study. There were no significant results with regard to comprehension.
3 Legibility and Comprehension 3 LD5655 v Chandler Keywords: type, typography, legibility, speed of reading, reading speed, comprehension, education, effectiveness, type size, font selection, serif, sans-serif, type rendering technology, anti-alias, perceptual encoding, orthochromatic, Helvetica, Palatino, computer, CRT, monitor, experimental, repeated measures.
4 Legibility and Comprehension 4 Acknowledgements I am the vine; you are the branches. If a man remains in me and I in him, he will bear much fruit; apart from me you can do nothing. John 15:5 Thanks to you, Kelly. I appreciated your support and help every step of the way. Beyond what was required, you seemed to innately know what to say and how to encourage. I could not have done it without you. With sincere appreciation to my supportive committee members (Glen Holmes, Peter Doolittle, Greg Sherman, Mark Sanders, Tom Hergert, Ken Potter, Larnie Cross) and to my teachers, all of them: Bijward, Price, Kelly, Lemon, Svec, Arthur, Barnett, Nuff, Wimberly, Wardell and Higgins to name only a few. Kelly Wolff, Jason Hutchens, and Matt Gardner provided substantial editorial and technical support. Kathy Pinkerton and Bob Fields provided crucial access to their students, most of whom volunteered to partipate. Susan Ariew was more than just a fellow researcher: she was an advocate. And thanks to supportive friends and family, you know who you are.
5 Legibility and Comprehension 5 Table of Contents Abstract... 2 Acknowledgements... 4 Table of Contents... 5 List of Tables...11 List of Tables...12 I. Introduction...13 A. Problem Presentation...13 B. Overview...15 C. Definitions...15 II. Review of Literature...18 A. History of Early On-screen Research Television-Presented Graphics Computer-Presented Graphics:...18 B. Font Selection Font Selection in Print Expert Opinion on Onscreen Font Selection Onscreen Font Selection Research Common Practice in Onscreen Font Selection...23 C. Type Size Introduction to Type Size Print Research on Type Size Common Practice in Onscreen Type Size...27
6 Legibility and Comprehension 6 4. Onscreen Research on Type Size...28 D. Rendering technology Microcomputer Type Technologies Orthochromatic Type Anti-Alias Technologies...33 a) Applications that use anti-alias technology b) Expert opinion on anti-alias rendering c) Research on anti-alias...38 E. Secondary Variables Environmental Lighting in Print Research Angle of Reading in Print Line Length in Print...41 a) Typographers on Line Length...41 b) Research on Line Length F. Legibility, Speed of Reading and Comprehension Introduction to Legibility and Speed of Reading Speed of Reading Tests...43 a) Chapman-Cook Speed of Reading Test...43 b) Tinker Speed of Reading Test...44 c) Minnesota Speed of Reading Test...45 d) Statistics of speed of reading tests Test of Speed of Reading and Comprehension...46 a) Nelson-Denny Test...46
7 Legibility and Comprehension 7 b) GRE Practice Test of Comprehension and Speed of Reading.46 G. Summary...47 H. Need for the Study...47 I. Hypotheses Research Questions Variable List...51 J. Variables of Interest Independent Variables...51 a) Type rendering technology b) Font selection (sans-serif vs. serif)...57 c) Type size Dependent Variables...58 a) Speed of reading...58 b) Comprehension Font File Format...59 III. Methodology...60 A. Research Design...60 B. Operational Variables Independent Variables...61 a) Type rendering technology (anti-alias vs. orthochromatic)...61 b) Font selection (sans-serif vs. serif)...62 c) Type size (8, 10, and 12 points) Dependent Variables...64
8 Legibility and Comprehension 8 a) Legibility: time spent on speed of reading test b) Comprehension: score on comprehension test...65 C. Participants...67 D. Procedures Overall description Assignment of Participants Treatment-by-treatment Procedures...70 E. Materials Standardized Instruction Treatment-by-treatment Descriptions...74 IV. Results...75 A. Introduction...75 B. Data Analysis Research Questions Descriptive Speed of Reading Findings Inferential Speed of Reading Findings...79 a) Type size...79 b) Font selection c) Type rendering technology d) Interaction between font selection and type rendering technology Descriptive Reading Comprehension Findings Reading Comprehension Reliability...88
9 Legibility and Comprehension 9 6. Inferential Comprehension Findings...89 a) Type size...89 b) Font selection c) Type rendering technology d) Interaction with regard to Comprehension C. Analysis Summary...92 V. Discussion...93 A. Background...93 B. Discussion of Speed of Reading Results Type Size Font Selection Type Rendering Technology Interaction between Font Selection and Type Rendering Technology97 C. Discussion of Comprehension Results Restriction of Range Type Size Font Selection Type Rendering Technology D. Discussion At Large E. Areas of Future Research F. Future Research should Exercise Appropriate Controls G. Implications for Practice H. Summary...108
10 Legibility and Comprehension 10 VI. References Appendix A: Chapman-Cook Speed of Reading Test, Instructions for 6 printing unit arrangement Appendix B: Chapman-Cook Speed of Reading Test: instructions, text and key Appendix C: Minnesota Speed of Reading Test for College Students by Alvin C. Eurich Appendix D: Nelson Denny Test of Speed of Reading and Comprehension, extracted from James A. Holmes, Formatting Variables and Typeface Variations of Dot- Matrix Print and their Effect on Reading Comprehension and Reading Speed (Holmes, 1986) Appendix E: Welcome screen from the instrument Appendix F: Vision data collection screen from the instrument Appendix G: Demographic data collection screen from the instrument Appendix H: Sample Speed of Reading Question from the instrument in 10 pt, Palatino, crisp anti-alias Appendix I: Sample Comprehension Passage from the instrument in 10 pt, Palatino, none anti-alias Appendix J: Sample Comprehension Question from the instrument in 10 pt, Palatino, none anti-alias Appendix K: Chapman Cook Test questions used in the instrument Appendix L: GRE Test of Verbal Comprehension Questions used in the instrument Appendix M: Data Collected by the Instrument Appendix N: Instrument workflow description by Director Label...183
11 Legibility and Comprehension 11 List of Tables Table 1: Font selection and sizes in web site...24 Table 2: Sample monitor resolutions...28 Table 3: Weisenmiller s Speed of Reading Results...39 Table 4: Weisenmiller s Comprehension Results...40 Table 5: Amount of Time Participants Spend Reading...68 Table 6: Time to Complete Speed of Reading Tasks...77 Table 7: Descriptive Statistics Score for Speed of Reading...78 Table 8: Analysis of Variance for Speed of Reading...80 Table 9: Pairwise Comparison for Speed of Reading with regard to Size...80 Table 10: Post-Hoc Descriptive for Speed of Reading Interaction between Font Selection and Rendering Technology...82 Table 11: Simple Effects for Speed of Reading Interaction between Font Selection and Rendering Technology...82 Table 12: Interaction Post-Hoc Significance for Speed of Reading...83 Table 13: Descriptive Statistics for Comprehension by Typographic Style...86 Table 14: Descriptive Statistics for Comprehension by Test Item...87 Table 15: Comprehension Instrument Reliability Matrix, Correlations between Items and Aggregated Score...89 Table 16: Analysis of Variance for Comprehension...90
12 Legibility and Comprehension 12 List of Figures Figure 1: Serif vs. sans-serif styles...16 Figure 2: Typeface terminology regarding fount height...16 Figure 3: Perceptual size varies from point size...25 Figure 4: Many fonts are mathematically based...31 Figure 5: Orthochromatic rendering of type...32 Figure 6: Vectors not an exact match to raster grid...32 Figure 7: Orthochromatic rendering of type, 216 ppi...33 Figure 8: Anti-alias type created by downsampling...34 Figure 9: Photoshop s none type style (orthochromatic)...52 Figure 10: Photoshop s crisp type style (anti-alias)...53 Figure 11: Photoshop s smooth type style (anti-alias)...54 Figure 12: Photoshop s strong type style (anti-alias)...55 Figure 13: Acrobat type rendering (anti-alias)...56 Figure 14: Speed of Reading Interaction of Font Selection and Rendering Technology, two views...84
13 Legibility and Comprehension 13 Introduction Problem Presentation There is a rich history of research regarding typography in print. One needs look no further than the seminal works of Miles Tinker or thumb through the pages of the Journal of Applied Psychology around the 1940s to find hundreds of studies on very specific issues relating to the use of type. More recently, much attention has been paid to the educational use of type as well as structuring and presentation of text in print format. Common threads have developed and most researchers agree on how the effectiveness of text information can be maximized for training and education (Glynn & Britton, 1984; Kostelnick, 1990; Kramer & Bernhardt, 1996; Streit, Davis, & Ladner, 1986). Although many sources discuss the layout and selection of typefaces in print, very few studies have experimentally addressed this issue on the computer screen (Waite, 1995) and much of what research does exist is dated (Jones, 1994). With the educational trend towards Internet instruction and interactive multimedia, there seems to be a gap in the visual literacy research. It is possible that certain styles, sizes and presentations of type could affect learning. If such results were found, the potential exists to improve the screen designs of interactive multimedia and web-based instruction. Practical suggestions for the use of onscreen type could enhance and improve instructional multimedia as type design is often handled by programming teams and not by graphic designers (Mukherjee & Edmonds, 1993).
14 Legibility and Comprehension 14 Traditional wisdom has suggested that serif typefaces are easier to read than sansserif faces. Typographer Ruari McLean s first rule of typographic legibility is that sansserif is intrinsically less legible than serifed type (McLean, 1997). Of course, it has yet to be proved whether this rule holds true in onscreen applications. Historically, some letters were distinguishable only by their serifs. The German blackletter fonts from the 1400s are a good example of this phenomenon. Hoener, Salad and Kay (1997) report that research on typeface selection has been inconclusive. However, this study used typeface in a different way. It is possible that although serif and sans-serif typefaces are equally legible in the relatively high-resolution of printed instruction, the low-resolution of the computer screen and mode of onscreen presentation may indicate a preference. The typographic community believes that small type is considered more elegant and leaves room for negative space, which is thought to improve the overall legibility of the page. In fact, traditional lead type was cast and set as small as a nonpareil, now commonly known as six point type (Bringhurst, 1999). Perhaps the lower resolution (image density) of interactive multimedia makes small type too difficult to read. This study addresses type rendering technology. There is a trend towards anti-alias rendering (grayscale or tonal) instead of orthochromatic rendering (pure black and pure white) of type on computer screens (Gardner, 2000; Fields, 2000; Gowen, 2000). Although Wiessenmiler (1999) implicitly addressed rendering technology in A study of the readability of on-screen text, this area has received little attention in the research.
15 Legibility and Comprehension 15 Overview A wide range of literature needs to be addressed before undertaking this study. Much of the literature deals with traditional typography, which was based entirely on the printed word. In addressing the specific variables employed in this study, the immense body of knowledge with respect to type selection and type size in the realm of print will be considered. This understanding helps to form reasonable theories as starting points for researching onscreen type. Much of the literature on non-print typography addresses early television-presented instruction. Later research addresses the screen design of text-only (ASCII) computer systems and low-resolution displays. There is a small but relevant body of work dealing with type onscreen. While most of this work deals specifically with type on the world wide web, these articles directly impact the goals and structure of this study. Definitions For the purpose of this study, a number of technical terms need to be precisely defined and understood: Font selection: the choice of typeface for use as body copy. Type selection is broken down into several broad categories including serif and sans-serif. Almost all serif of these typefaces include small accents at the edge of the letterforms (see Figure 1); these additions are thought to increase legibility in print. Sans-serif faces include contemporary faces in which the letterforms are more consistent in stroke and are not highlighted by
16 Legibility and Comprehension 16 ornaments (see Figure 1). Historically the term typeface was used to refer to the look of a particular typographic design while the term font referred to one specific size of typeface expressed in metal (McLean, 1997). With the advent of computerized typesetting, the terms typeface and font are used interchangeably. In this study, both terms refer to a font design and not to a particular size. Figure 1 Serif vs. sans-serif styles New Century Schoolbook Avant Garde Serifs are small accents at the ends of letterforms in historical typefaces. Contemporary sans-serif faces lack these feet. Font size: the size in points (1/72 inch) from the top of the tallest letter in a typeface to the bottom of the descenders of the lowest lowercase letter with no additional spacing added (see Figure 2). Even at the same point size, different typefaces may be very different in size. Script faces, for example, have larger than normal descenders (lowercase letters dip below the baseline) making the actual size of the type smaller. Figure 2 Typeface terminology regarding fount height ascenders cap height x-height baseline descenders 36 point Minion reveals how a typeface s size is determined not by the height of most letters but of the most extreme letters.
17 Legibility and Comprehension 17 Rendering technology: Different computer operating systems, software applications and font technologies use distinct methods for calculating the shape of letters. Therefore, there are many visibly different ways for text to appear onscreen. Historically most type on computer screens was rasterized that is, rendered onscreen using square pixels on an orthogonal grid using only pure black and pure white (orthochromatic mode); some more sophisticated systems now use subtle changes in value (grayscale) in an effort to improve the appearance of type. The use of grayscale in type rendering is known as antialias. Legibility: refers to the relative ease with which individual letterforms, words and paragraphs may be read. Speed of reading has historically been used as one method to ascertain the legibility of different size and styles of type. Readability: describes the complexity of the words that make up the message being read. Readability was once used interchangeably with legibility but has now taken on a different and broader meaning. Comprehension: refers to the degree to which students are able to complete a cognitively difficult set of questions using recall and reasoning.
18 Legibility and Comprehension 18 Review of Literature History of Early On-screen Research Television-Presented Graphics During the 1980s, there were several television-based systems that provided a platform for computer based learning. Several of these showed promise and are discussed at length in the research: videotext and teletext were two of the most common technologies (Carey, 1984; Rubin, 1984). However, other convergent technologies replaced these broadcast methods. By the early 1990s, CD-ROM had become the dominant technology. Today it is common to use CD-ROM, Internet technologies such as the world wide web as distribution media for instruction employing text, graphics, animation, video and sound. Computer-Presented Graphics: Isaacs (1987) makes a strong case for the study of typography in multimedia applications in Text Screen Design for Computer-Assisted Learning. The author suggests that although many macro areas of multimedia have been researched, many of the small scale issues such as text design have been overlooked. Nonetheless, Issacs (1987) offers only a cursory overview of type design displayed on a computer monitor. The author does make obvious pronouncements. For instance, Issacs suggests that mixed-case text is easier to read than upper-case text and that color is a factor in the readability of type. Issacs (1987) research experimentally determined that some colors are better than others, that reversed video may be difficult to read, that
19 Legibility and Comprehension 19 blinking and flashing should be used sparingly, and that type style, size and line length all affect the legibility of the message. It is important to realize that Isaacs article was written in Options for the design of multimedia text were limited by current standards. In fact, the author defines an ordinary colour display as 320x200 pixels supporting 16 colors. Even the most inexpensive computer today dramatically exceeds those specifications. Font Selection Font Selection in Print According to typographer Sean Cavanaugh when setting body text serif typefaces are naturally better than sans serif typefaces (Cavanaugh, 1995, p. 105). Likewise, he reported that headlines and forms are appropriate uses for sans-serif faces. While few other typographers make such sweeping pronouncements, most typographers have a demonstrable bias towards the classical lines of the serif faces made popular by the Renaissance (Bringhurst, 1999; Cavanaugh, 1995). For example, the vast majority of books are printed in serif faces. In his classic Elements of Typographic Style, Robert Bringhurst (Bringhurst, 1999) urges extreme caution in selecting typefaces. For instance, he made a distinction between fonts designed for letterpress (metal type pressing into paper like Gutenberg) and offset press (ink transferred onto paper via a rubber blanket). Since laser printers operate at resolutions near 300 dpi, Bringhurst cautions against using delicate or modern stroke fonts at this resolution. Palatino (a serif face) and Optima (sans-serif face with strokes that vary in size with some parts of each glyph thicker and others thinner) are
20 Legibility and Comprehension 20 explicitly named as troublesome. A computer screen has less than 1/17 th the resolution (in area) of the laser printer Bringhurst shames. Paterson and Tinker (1932) studied the relative speed of reading of the seven most frequently used typefaces. These seven faces included Scotch Roman, Garamond, Antique, Bodoni, Old Style, Caslon, Cheltenham. Of these seven faces, variations of Garamond, Bodoni, and Caslon are used today for design purposes while only Garamond is commonly used for body copy. The literature suggests that there is very little difference in legibility. These seven serif faces vary in speed of reading by a maximum of 2.8% (Donald Gildersleeve Paterson & Tinker, 1932). The study also included three display faces: Kabel Light, arguably a sans-serif face, read 2.6% slower than Garamond, a serif face; American Typewriter and Cloister Black read 5.1% and 14.0% slower than Garamond respectively (Donald Gildersleeve Paterson & Tinker, 1932; Tinker, 1963). Pyke (1926) suggests that there are few variations in serif faces and therefore only radical changes in the design of a typeface will result in appreciable differences in legibility. Other research confirms this premise when letters are formed into words and phrases but not when viewed separately (Rothlein, 1912). Expert Opinion on Onscreen Font Selection Issacs (1987) suggests that the design and size of type will affect legibility. The parameters of that research keep those observations from being useful with today s larger screens. Since Issac s research, there have been improvements in monitor technology. Today s screens offer more pixels, higher pixel resolution and improved color depth.
21 Legibility and Comprehension 21 Additionally, all popular operating systems now sport a graphical user interface which provides a radically different user experience than what was standard in Mason observes that serif typefaces and modern typefaces ( modern refers to typefaces with variable stroke widths such as Bodoni and Optima) may be difficult to read on-screen (Mason, 1997; McLean, 1997; Williams, 1994). At small sizes these styles may lack the resolution to properly distinguish letterforms (Mason, 1997). Research primarily focused on text density describes some of the variables considered here. For instance, Ipek (1995) states that growing evidence suggests that many design principles are unique to the computer. Geske (1996) predicted that serif typefaces onscreen may present unique problems in that the serif fonts may not have adequate resolution to render the subtle character shapes and may darken when rendered. In general, Geske predicts that serif typefaces will not perform well. Other scholars concur with his premise (Bradshaw, 2000; Sutherland, 2000). Further, Bigelow states When printed the serifs on typefaces are only a tiny percentage of the typeface design. But on-screen, in order to display the serifs using the limited number of available pixels, they take up a much bigger proportion of the information than they do in print. Serifs should be small things but on screen they become big noise or distracting chunks of interference. (Bigelow in Petzgold, 1992) Onscreen Font Selection Research Nonetheless, Geske s (2000) recent study on the Readability of body text in computer mediated communication found that there were no statistically significant
22 Legibility and Comprehension 22 differences in reading serif typefaces onscreen when compared to sans-serif. Geske used Palatino as his serif font and Helvetica as his sans-serif font. Although non-significant differences should be viewed with great caution, there is so little research on this topic that these data might warrant review. In 14 point size, serif faces were read faster (77.4 seconds compared to 81.6 seconds, t >.05); in 12 point size, reading times were similar (74.0 seconds for serif compared to 74.8 seconds for sans-serif, t >.05); and for 10 point size sans-serif was read somewhat more quickly (81.9 seconds versus 83.9 seconds, t >.05). Weisenmiller (1999) compared four typefaces (Georgia, Times, Arial, and Verdana) in A study of the readability of on-screen text. In addition to looking at comparing serif typefaces to sans-serif typefaces, Weisenmiller also considered one font of each type designed for use onscreen and one font of each type designed for use in print. However, it is likely that at least one of the print-based fonts was hinted (optimized with special programming for onscreen use). Weisenmiller found no differences in speed of reading or comprehension between any of the four typefaces. Grant s (2000) recent study comparing serif vs. sans-serif type in testing environments presented via the world wide web found a significant difference based on font selection. This experiment indicated that serif type was read 67.9 words faster per minute than sans-serif type. This represents a 25% improvement over sans-serif type. Windows based users viewed Times New Roman (serif, TrueType) and Ariel (sans-serif, TrueType) while Macintosh based users viewed Times (serif, Postscript or TrueType) and Helvetica (sans-serif, Postscript or TrueType).
23 Legibility and Comprehension 23 Essentially, Grant prepared an electronic version of the verbal comprehension component of the Graduate Record Exam using web-based technologies. Students were instructed to access the appropriate web page from their own computer in their usual computing environment. They were then asked to provide demographic information and begin the GRE test. The amount of time to read each passage was timed although the time needed to answer each question was not recorded. At the end of the test, the amount of time needed to read each passage and the answer for each passage was stored on the web server. Because of the random assignment of participants to different font styles a comparison of means could be conducted to compare serif and sans-serif faces. Grant s study does not explain how or if differences between operating systems, font technologies, browser type, monitor settings or rendering style were controlled. Common Practice in Onscreen Font Selection Unlike in print, the fonts available on both the machine of the content creator and the machine of the content viewer often influence font selection onscreen. While some technologies such as Adobe Acrobat, Adobe Photoshop, MacroMedia Director preserve font style when transferred to a client machine, other technologies such as the world wide web and Microsoft Word do not. Specific font selection onscreen is largely uncontrolled. In word processors and on the world wide web, the most used type specifications are likely to be the application defaults. Gardner (2000) suggests that 45% of all onscreen type is viewed in one of the variants of Times because it acts as the pre-programmed default in many applications.
24 Legibility and Comprehension 24 A review of web sites (Gardner, 2000) confirms that web fonts are highly limited. Many web sites that have been around since the early days of the Internet, rely heavily on Times (Macintosh), Times New Roman (Macintosh and Windows), Helvetica (Macintosh) and Arial (Macintosh and Windows). Most font selection on the web today appears to be limited to a short list of TrueType fonts including Times New Roman, Arial, Tahoma, and Verdana (Gardner, 2000). Although sans-serif faces are more common, serif and sans-serif fonts are used in a variety of sizes and applications (see Table 1). It is also evident that the choice of browser plays a major role in the size at which any particular text element is drawn (Vosseller, 2000). Table 1 Font Selection and Sizes in Web Sites navigation subheads body copy yahoo.com (IE5) serif, 12 sans, 16 serif, 16 yahoo.com (net47) serif, 9 sans,12&13 serif, 10 altavista.com (IE5) sans, 12 sans, 16 sans, 12 altavista.com (net47) sans, 12 sans, 16 sans, 12 (IE5) sans, 9 sans, 13 sans, 9&13 (net47) sans, 9 sans, 9 sans, 9&10 macnn.com (IE5) sans, 11 serif, 16 serif, 16 macnn.com (net47) sans, 9 serif, 11 serif, 10 Font selection and size vary among web sites. In fact, meaningful differences exist between Microsoft Internet Explorer 5.0 (IE5) and Netscape Explorer 4.7 (net47) web browsers. There also appears to be a trend that most textual navigation bars now use type rendered on the client machine instead of type pre-rendered as graphics by the web designer (Peck, 2000). While this compromises the exact appearance of the type, it is likely to increase the speed at which the page loads (Peck, 2000).
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Page layout & typography graphic design first impressions lecture goals To help you better communicate the purpose of your web pages by visually emphasizing the most important features and relationships
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- Fundamentals of Multimedia (Optional) INTRODUCTION This is one of the three optional courses designed for Semester 4 of the Bachelor of Information Technology Degree program. This course provides the
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Resolution SCANNING, RESOLUTION, AND FILE FORMATS We will discuss the use of resolution as it pertains to printing, internet/screen display, and resizing iamges. WHAT IS A PIXEL? PIXEL stands for: PICture
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The Journal of Transport and Land Use: Guidelines for Authors Fall 2012 Revision These guidelines are provided to assist authors in preparing article manuscripts for publication in the Journal of Transport
PHOTOSHOP BASIC CONCEPTS: Adobe Photoshop is a powerful, industry standard image-editing tool for designers, artists, film & video makers, etc. File Formats the kind/type of digital file you are working
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Ten Simple Steps Toward Universal Design of Online Courses Implementing the principles of universal design in online learning means anticipating the diversity of students that may enroll in your course
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1 Adobe Illustrator 10 About flattening artwork When artwork contains transparency, Adobe Illustrator performs a process called flattening before printing or saving the artwork. During flattening, Illustrator
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Use of Local languages in Computers By completing this module, you will be able to understand and learn the following: Fonts, Different kinds of fonts Enabling regional language support in Windows XP Indic
Handbook for Preparation of Graduate Dissertations, Projects, and Theses College of Graduate Studies Main Campus Revised October 2007 Table of Contents Table of Contents 2 Introduction 4 General Directions