Editing Typography (section)

== Display graphics ==
[[File:John Wilkes Booth wanted poster new.jpg|thumb|Nineteenth century wanted poster for [[John Wilkes Booth]] (the assassin of U.S. President [[Abraham Lincoln]]) printed with lead and woodcut type, and incorporating photography]]

Type may be combined with [[negative space]] and images, forming relationships and dialog between the words and images for special effects. Display designs are a potent element in [[graphic design]]. Some sign designers exhibit less concern for readability, sacrificing it for an artistic manner. Color and size of type elements may be much more prevalent than in solely text designs. Most display items exploit type at larger sizes, where the details of letter design are magnified. Color is used for its emotional effect in conveying the tone and nature of subject matter.

Display typography encompasses:
* [[Advertisement]]s in publications, such as newspapers and magazines
* Magazine and newspaper headline type
* [[Sign]]s and other large-scale-letter designs, such as [[information sign]]s and [[billboard]]s
* [[Poster]]s
* [[Brochure]]s and [[flyer (pamphlet)|flyers]]
* [[Packaging and labeling]]
* Business communications and advertising
* [[Book cover]]s
* Typographic [[logo]]s, trademarks, and word marks
* [[Graffiti]]
* Inscriptions
* [[Architectural]] lettering
* [[Kinetic typography]] in [[motion picture]]s, [[television]], [[vending machine]] displays, online, and [[computer screen]] displays

=== Advertising ===
Typography has long been a vital part of [[promotional material]] and [[advertising]]. Designers often use typefaces to set a theme and mood in an advertisement (for example, using bold, large text to convey a particular message to the reader).<ref>Stanley, Thomas Blaine. ''The Technique of Advertising Production''. New York: Prentice-Hall, 1940. p. 40.</ref> Choice of typeface is often used to draw attention to a particular advertisement, combined with efficient use of color, shapes, and images.<ref>Stanley, Thomas Blaine. ''The Technique of Advertising Production''. New York: Prentice-Hall, 1940.</ref> In the early twenty-first century, typography in advertising often reflects a company's [[brand]].

A brand may use typography to express its theme, personality, and message.<ref>{{cite web|title=Brand Typography: A Complete Guide|date=16 June 2020|url=https://www.creativebloq.com/how-to/choose-the-right-typeface-for-a-brand}}</ref> Just by looking at the typeface, viewers can get an idea about the message and personality of the brand, which the brands are fully aware of and are tapping into the power of good typography.

Typefaces used in advertisements convey different messages to the reader: classical ones are for a strong personality, while more modern ones may convey clean, neutral look. Bold typefaces are used for making statements and attracting attention. In any design, a balance has to be achieved between the visual impact and communication aspects.<ref>Glaser, C. Knight, J. ''When Typography Speaks Louder Than Words''. 13 April 2012.</ref> Digital technology in the twentieth and twenty-first centuries has enabled the creation of typefaces for advertising that are more experimental than traditional typefaces.<ref name=Rothenberg1990 />

=== Inscriptional and architectural lettering ===
{{See also|Epigraphy}}
[[File:Rydal Mount Plaque - geograph.org.uk - 895220.jpg|thumb|upright|Plaque for the [[William Wordsworth]] Sesquicentenary, Rydal Mount, [[Cumbria]], by [[John Shaw (stone carver)|John Shaw]]]] 
The history of inscriptional lettering is intimately tied to the history of writing, the evolution of letterforms and the craft of the hand. The widespread use of the computer and various etching and [[sandblasting]] techniques today has made the hand carved monument a rarity, and the number of [[Letter cutting|letter-carvers]] left in the [[US]] continues to dwindle.<ref>{{Cite news |last=Jones |first=Malcolm |date=2018-06-30 |title=Stone Carver Nick Benson Gives Eternity a Run for Its Money |url=https://www.thedailybeast.com/stone-carver-nick-benson-gives-eternity-a-run-for-its-money |access-date=2024-03-03 |work=The Daily Beast |language=en}}</ref>

For monumental lettering to be effective, it must be considered carefully in its context. Proportions of letters need to be altered as their size and distance from the viewer increases. An expert monument designer gains understanding of these nuances through much practice and observation of the craft. Letters drawn by hand and for a specific project have the possibility of being richly specific and profoundly beautiful in the hand of a master. Each also may take up to an hour to carve, so it is no wonder that the automated sandblasting process has become the industry standard.<ref>{{cite web|url=http://www.historygraphicdesign.com/a-graphic-renaissance/printing-comes-to-europe/827-typography-2|title=Typography|website=History of Graphic Design|access-date=24 October 2017|archive-date=6 November 2017|archive-url=https://web.archive.org/web/20171106082550/http://www.historygraphicdesign.com/a-graphic-renaissance/printing-comes-to-europe/827-typography-2|url-status=usurped}}</ref>