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. Digital technology in the twentieth and twenty-first centuries has enabled the creation of typefaces for advertising that are more experimental than traditional typefaces. Inscriptional and architectural lettering 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-carvers left in the US continues to dwindle. 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. See also Allography, different representations of the same grapheme or character in different typefaces have the same meaning :Category:Typographical symbols By writing system Arabic typography East Asian typography History of Western typography Supporting organizations ATypI: Association Typographique Internationale ("International Typographic Association") International Society of Typographic Designers Type Directors Club References Citations General sources . . . A compilation of more than fifty texts on the history, practice, and aesthetics of typeface design and typography , 159 pp. , devotes entire chapters to the development and uses of individual or small groupings of typefaces . . McLean, Ruari. The Thames and Hudson Manual of Typography. New York: Thames and Hudson, 1992. . . . . . A comprehensive collection of essays on the typographic art. A more classic companion to . Tschichold, Jan. The New Typography. New ed. Berkeley: University of California Press, 2006. . . . Type Foundries of America and Their Catalogues and A Typographical Journey through the Inland Printer, 1883-1900 by Maurice Annenberg External links AIGA on typography – American Institute of Graphic Arts Language enablement – World Wide Web Consortium Internationalization (i18n)