Typesetting in the context of Floating block

Typography is the art and technique of arranging type to make written language legible, readable and appealing when displayed. The arrangement of type involves selecting typefaces, point sizes, line lengths, line spacing, letter spacing, and spaces between pairs of letters. The term typography is also applied to the style, arrangement, and appearance of the letters, numbers, and symbols created by the process. Type design is a closely related craft, sometimes considered part of typography; most typographers do not design typefaces, and some type designers do not consider themselves typographers. Typography also may be used as an ornamental and decorative device, unrelated to the communication of information.

Typography is also the work of graphic designers, art directors, manga artists, comic book artists, and, now, anyone who arranges words, letters, numbers, and symbols for publication, display, or distribution, from clerical workers and newsletter writers to anyone self-publishing materials. Until the Digital Age, typography was a specialized occupation. Personal computers opened up typography to new generations of previously unrelated designers and lay users. As the capability to create typography has become ubiquitous, the application of principles and best practices developed over generations of skilled workers and professionals has diminished.

In letterpress printing and typesetting, a composing stick is a tray-like tool used to assemble pieces of metal type into words and lines, which are then transferred to a galley before being locked into a forme and printed. Many composing sticks have one adjustable end, allowing the length of the lines and consequent width of the page or column to be set, with spaces and quadrats of different sizes being used to make up the exact width. Early composing sticks often had a fixed measure, as did many used in setting type for newspapers, which were fixed to the width of a standard column, when newspapers were still composed by hand.

The compositor takes the pieces of type from the boxes (compartments) of the type case and places them in the composing stick, working from left to right and placing the letters upside-down with the nick to the top.

In physical typesetting, a sort or type is a block with a typographic character etched on it, used—when lined up with others—to print text. In movable-type printing, the sort or type is cast from a matrix mold and assembled by hand with other sorts bearing additional characters into lines of type to make up a form, from which a page is printed.

In graphic design, page layout is the arrangement of visual elements on a page. It generally involves organizational principles of composition to achieve specific communication objectives.

The high-level page layout involves deciding on the overall arrangement of text and images, and possibly on the size or shape of the medium. These decisions require intelligence, sentience, and creativity on the part of the designer, and they are informed by culture, psychology, and what the document authors and editors wish to communicate and emphasize. Low-level pagination and typesetting are more mechanical processes. Given certain parameters such as boundaries of text areas, the typeface, and font size, justification preference can be done in a straightforward way. Until desktop publishing became dominant, these processes were still done by people, but in modern publishing, they are almost always automated. The result might be published as-is (as for a residential phone book interior) or it might be adjusted by a graphic designer (as for a highly polished, expensive publication).

In typography, line length is the width of a block of typeset text, usually measured in units of length like inches or points or in characters per line (in which case it is a measure). A block of text or paragraph has a maximum line length that fits a determined design. If the lines are too short then the text becomes disjointed; if they are too long, the content loses rhythm as the reader searches for the start of each line.

Line length is determined by typographic parameters based on a formal grid and template with several goals in mind: balance and function for fit and readability with a sensitivity to aesthetic style in typography. Typographers adjust line length to aid legibility or copy fit. Text can be flush left and ragged right, flush right and ragged left, or justified where all lines are of equal length. In a ragged right setting, line lengths vary to create a ragged right edge. Sometimes this can be visually satisfying. For justified and ragged right settings typographers can adjust line length to avoid unwanted hyphens, rivers of white space, and orphaned words/characters at the end of lines (e.g., "The", "I", "He", "We").

In typography, leading (/ˈlɛdɪŋ/ LED-ing) is the space between adjacent lines of type; the exact definition varies.

In hand typesetting, leading is the thin strips of lead (or aluminium) that were inserted between lines of type in the composing stick to increase the vertical distance between them. The thickness of the strip is called leading and is equal to the difference between the size of the type and the distance from one baseline to the next. For instance, given a type size of 10 points and a distance between baselines of 12 points, the leading would be 2 points. This combination of type size and distance between baselines is described as "10 on 12 pt", which may appear in a book's colophon as "Typeset in 10 on 12 pt Times Roman", or similar.

In metal typesetting, a font is a particular size, weight and style of a typeface, defined as the set of fonts that share an overall design.For instance, the typeface Bauer Bodoni (shown in the figure) includes fonts "Roman" (or "regular"), "bold" and "italic"; each of these exists in a variety of sizes. In traditional printing, fonts were physically created using metal or wood type, with a font for each size.

In the digital description of fonts (computer fonts), the terms font and typeface are often used interchangeably. For example, when used in computers, each style is stored in a separate digital font file. Most are scalable fonts, so all sizes of a style are encompassed in one font.

In typography, a dingbat (sometimes more formally known as a printer's ornament or printer's character) is an ornament, specifically, a glyph used in typesetting, often employed to create box frames (similar to box-drawing characters), or as a dinkus (section divider). Some of the dingbat symbols have been used as signature marks or used in bookbinding to order sections.

In the computer industry, a dingbat font or pi font is a computer font that has symbols and shapes located at the code points normally designated for alphabetical or numeric characters. This practice was necessitated by the limited number of code points available in 20th century operating systems. Modern computer fonts containing dingbats are based on Unicode encoding, which has unique code points for dingbats.

A style guide is a set of standards for the writing, formatting, and design of documents. A book-length style guide is often called a style manual or a manual of style. A short style guide, typically ranging from several to several dozen pages, is often called a style sheet. The standards documented in a style guide are applicable for either general use, or prescribed use in an individual publication, particular organization, or specific field.

A style guide establishes standard style requirements to improve communication by ensuring consistency within and across documents. They may require certain best practices in writing style, usage, language composition, visual composition, orthography, and typography by setting standards of usage in areas such as punctuation, capitalization, citing sources, formatting of numbers and dates, table appearance and other areas. For academic and technical documents, a guide may also enforce best practices in ethics (such as authorship, research ethics, and disclosure) and compliance (technical and regulatory). For translations, a style guide may even be used to enforce consistent grammar, tone, and localization decisions such as units of measure.

The prime symbol ′, double prime symbol ″, triple prime symbol ‴, and quadruple prime symbol ⁗ are used to designate units and for other purposes in mathematics, science, linguistics and music.

Although the characters differ little in appearance from those of the apostrophe and single and double quotation marks, the uses of the prime symbol are quite different. While an apostrophe is now often used in place of the prime, and a double quote in place of the double prime (due to the lack of prime symbols on everyday writing keyboards), such substitutions are not considered appropriate in formal materials or in typesetting.

The Linotype machine (/ˈlaɪnətaɪp/ LYNE-ə-type) is a "line casting" machine used in printing which is manufactured and sold by the former Mergenthaler Linotype Company and related companies. It was a hot metal typesetting system that cast lines of metal type. Linotype became one of the mainstays for typesetting, especially small-size body text for newspapers, magazines, and advertisements from the late 19th century to the 1970s and 1980s, when it was largely replaced by phototypesetting and then digital typesetting.

The name of the machine comes from producing an entire line of metal type at once, hence a line-o’-type. It was a significant improvement over the previous industry standard of letter-by-letter manual hand composition using a composing stick and shallow subdivided trays, called “cases”.

In printing and typography, hot metal typesetting (also called mechanical typesetting, hot lead typesetting, hot metal, and hot type) is a technology for typesetting text in letterpress printing. This method injects molten type metal into a mold that has the shape of one or more glyphs. The resulting sorts or slugs are later used to press ink onto paper. Normally the typecasting machine would be controlled by a keyboard or by a paper tape.

It was the standard technology used for mass-market printing from the late nineteenth century until the arrival of phototypesetting (also called cold type) and then electronic processes in the 1950s to 1980s.

The bibliographical definition of an edition is all copies of a book printed from substantially the same setting of type, including all minor typographical variants.

In typesetting and page layout, alignment or range is the setting of text flow or image placement relative to a page, column (measure), table cell, or tab (and often to an image above it or under it).

The type alignment setting is sometimes referred to as text alignment, text justification, or type justification. The edge of a page or column is known as a margin, and a gap between columns is known as a gutter.

The Assamese alphabet (Assamese: অসমীয়া বৰ্ণমালা, romanized: Ôxômiya Bôrnômala) is a writing system of the Assamese language and is a part of the Bengali-Assamese script. This script was also used in Assam and nearby regions for Sanskrit as well as other languages such as Bodo (now Devanagari), Khasi (now Roman), Mising (now Roman), Jaintia (now Roman) etc. The current form of the script has seen continuous development from the 5th-century Umachal/Nagajari-Khanikargaon rock inscriptions written in an eastern variety of the Gupta script, adopting significant traits from the Siddhaṃ script in the 7th century. By the 17th century three styles of Assamese alphabets could be identified (bamuniya, kaitheli and garhgaya) that converged to the standard script following typesetting required for printing. The present standard is identical to the Bengali alphabet except for two letters, ৰ (ro) and ৱ (vo); and the letter ক্ষ (khya) has evolved into an individual consonant by itself with its own phonetic quality whereas in the Bengali alphabet it is an original conjunct of two letters (ক + ষ).

The Buranjis were written during the Ahom dynasty in the Assamese language using the Assamese alphabet. In the 14th century Madhava Kandali used Assamese alphabets to compose the famous Saptakanda Ramayana, which is the Assamese translation of Valmiki's Sanskrit Ramayana. Later, Sankardev used it in the 15th and 16th centuries to compose his oeuvre in Assamese and Brajavali dialect, the literary language of the bhakti poems (borgeets) and dramas.

LaTeX (/ˈlɑːtɛx/ LAH-tekh or /ˈleɪtɛx/ LAY-tekh, often stylized as LaTeX) is a software system for typesetting documents, based on TeX. LaTeX provides a high-level, descriptive markup language to utilize TeX more easily: TeX handles the document layout, while LaTeX handles the content side for document processing. Because the plain TeX formatting commands are elementary, it provides authors with ready-made commands for formatting and layout requirements such as chapter headings, footnotes, cross-references and bibliographies.

LaTeX was originally written in the early 1980s by Leslie Lamport at SRI International. The current version is LaTeX2e, first released in 1994 but incrementally updated starting in 2015. This update policy replaced earlier plans for a separate release of LaTeX3, which had been in development since 1989. LaTeX is free software and is distributed under the LaTeX Project Public License (LPPL).

In typesetting, a slug is any of several kinds of piece of lead or other type metal. One kind of slug is a piece of spacing material used to space paragraphs. In the era of commercial typesetting in metal type, they were usually manufactured in strips of 6-point lead. Another kind of slug is a single sort, bearing a single letter or any other symbol. More recently, a slug can be an entire line of Linotype typeset matter, where a single piece of lead has been cast bearing a line of text.

In modern typesetting programs such as Adobe InDesign, slugs hold printing information, customized color bar information, or display other instructions and descriptions for other information in the document. Objects (including text frames) positioned in the slug area are printed but will disappear when the document is trimmed to its final page size.