type workbook
Post on 29-Mar-2016
226 Views
Preview:
DESCRIPTION
TRANSCRIPT
Christina Fountain
A Typographic Workbook
Christina Fountain
Table of Contents
2
Rules
X-height
Hyphenation
Widows, Rivers, & Orphans
Alignments
Justificaion
Combining Typefaces
Quotes
Dashes
Apostrophes
Special Characters
Bullets
Numerals
Small Caps
Paragraph Breaks
Headers & Subheads
Captions & Notes
Font Specifications
5
9
23
27
29
33
45
53
54
56
59
61
65
67
71
83
91
101
”
Good artists copy,
Great artists steal.Pablo Picasso”
”
RULES
///////////////////////////////////////////////////////////////////
//////////////////////////////////////////////////////////////////////////////////////////////////////
What to do
Use only one space between sentences.
Use real quotation marks.
Use real apostrophes.
Make sure the apostrophes are where they belong.
Tighten up the leading in lines with all caps or with few ascenders and descenders.
Hang the punctuation off the aligned edge.
Use en or em dashes, use consistently.
Kern all headlines where necessary.
Use a one-em first-line indent on all indented paragraphs.
If a correctly spelled word needs an accent mark, use it.
Adjust the spacing between paragraphs.
Use a decimal or right-aligned tab for the numbers in numbered paragraphs.
Leave a least 2 characters on the line and 3 following.
Keep the word spacing consistent.
Use the special characters whenever necessary, including super- and subscript.
Spend the time to create nice fraction or choose a font that has fractions.
The following is a compendium of the rules es-tablished in this book. You might want to check through them each time you complete a publication.
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
Never use the spacebar to align text, always set tabs and use the tab key.
Leave no widows or orphans.
Avoid more than 3 hyphenations in a row.
Avoid too many hyphenations in any paragraph.
Avoid hyphenating or line brakes of names and proper nouns.
Avoid beginning consecutive lines with the same word.
Avoid ending consecutive lines with the same word.
Avoid ending lines with the words: the, of, at, a, by..
Never hyphenate a words in a headline and avoid hyphenation in a callout.
Never justify the text on a short line.
Either indent the first line of paragraphs or add extra space between them – not both.
Never have one line in a paragraph in the column or following.
Never combine two serif fonts on one page.
Rarely combine two sans serif fonts on one page.
Rarely combine more than three typefaces on one page.
*
*
*
*
*
*
*
*
*
*
*
*
*
*
*
What not to do
6
XXXX
X
XXX-Height
Readability extended amount of text – such as an article, book, or
annual report – is easy to read. Legibility refers to whether an refers
to whether a short burst of text – such as a headline catalog listing, or
stop sign – is instantly recognizable.
There are several factors that determine whether a text is readable.
When deciding what typeface should be used for a job, consideration
should be given to the typeface and its x-height. It is important to
understand how a block of text can express a message through its
texture/color, therefore suiting a particular design solution. Fonts set
in the same size, same leading and column width will produce varying
degrees of “color”.
In typography, color can also describe the balance between black and
white on the page of text. A typeface’s color is determined by stroke
width, x-height, character width and serif styles.
As a designer, if you are only asked to make
the text readable on the page the following
questions should be asked ...Readability and
legibility are two key elements of printed text
that typographer strive to maximize. Read-
ability extended amount of text – such as an
article, book, or annual report – is easy to
read. Legibility refers to whether an refers to
whether a short burst of text – such as a head-
line catalog listing, or stop sign – is instantly
recognizable.
There are several factors that determine
whether a text is readable. When decid-
ing what typeface should be used for a job,
consideration should be given to the typeface
and its x-height. It is important to understand
how a block of text can express a message
through its texture/color, therefore suiting
a particular design solution. Fonts set in the
same size, same leading and column width
will produce varying degrees of “color”.
In typography, color can also describe the
balance between black and white on the page
of text. A typeface’s color is determined by
stroke width, x-height, character width and
serif styles.
Readability and legibility are two key elements of printed text that typographer strive to maximize.
Who is to read it?
Someone that wants to read it? Someone that has to read it?
How will it be read?
Quickly. In passing. Focused. Near. Far.
As a designer,if you are only asked to make the text readable on the page the following questions should be asked...
10
Color / X-HeightA typeface’s color is determined by stroke width, x-height, character width and serif styles
Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural insti-tutions as museums and libraries.
mrs eavesZuzana Licko
8/11
x-height: small
character width: narrow
color: light
XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cel-ebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, main-ly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several succes-sive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
universAdrian Frutiger
8/11
x-height: large
character width: wide
color: medium
Xxhg
12
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
meliorHermann Zapf
8/11
x-height: average
character width: average
color: medium
XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were charac-terized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
helvetica neue 55Max Miedinger
8/11
x-height: large
character width: average
color: medium
Xxhg
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s mani-festo glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as muse-ums and libraries.
Itc New BaskervilleJohn Baskerville
8/11
x-height: average
character width: average
color: light
XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and inno-vation in culture and society. Futurism rejected traditions and glorified con-temporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several suc-cessive actions of a subject at the same time. Marinetti’s manifesto glori-fied the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
Akzidenze GroteskBerthold Akzidenze
8/11
x-height: large
character width: narrow
color: dark
Xxhg
14
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innova-tion in culture and society. Futurism rejected traditions and glorified con-temporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several suc-cessive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweep-ing repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
FuturaPaul Rennerx
8/11
x-height: average
character width: narrow
color: dark
XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cel-ebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glori-fied the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
FruitgerAdrian Fruitger
8/11
x-height: large
character width: wide
color: medium
Xxhg
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were character-ized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
BemboStanley Morison
8/11
x-height: average
character width: average
color: light
XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on dis-carding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technol-ogy of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and politi-cal values and the destruction of such cultural institutions as museums and libraries.
ClarendonRobert Besley
8/11
x-height: large
character width: wide
color: dark
Xxhg
16
Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrel-evant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contempo-rary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several succes-sive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweep-ing repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
MetaErik Spiekermann
8/11
x-height: large
character width: narrow
color: dark
XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
GaramondClaude Garamond
8/11
x-height: small
character width: average
color: light
Xxhg
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were character-ized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
DidotFirmin Didot
8/11
x-height: average
character width: average
color: light
XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
InterstateTobias Frere-Jones
8/11
x-height: large
character width: average
color: dark
Xxhg
18
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, original-ity, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cul-tural, social, and political values and the destruction of such cultural institutions as museums and libraries.
PalatinoHermann Zapf
8/11
x-height: average
character width: average
color: medium
XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cel-ebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, main-ly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several succes-sive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
MemphisRudolf Wolf
8/11
x-height: average
character width: wide
color: dark
Xxhg
Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automo-bile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
Adobe CaslonWilliam Caslon
8/11
x-height: average
character width: average
color: medium
XxhgFuturism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of tradi-tional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
EurostileAldo Novarese
8/11
x-height: large
character width: average
color: medium
Xxhg
20
Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and edi-
tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected traditions and glori-
fied contemporary life, mainly by emphasizing two dominant themes, the
machine and motion. The works were characterized by the depiction of
several successive actions of a subject at the same time. Marinetti’s mani-
festo glorified the new technology of the automobile and the beauty of its
speed, power, and movement. He exalted violence and conflict and called
for the sweeping repudiation of traditional cultural, social, and political
values and the destruction of such cultural institutions as museums and
libraries.
SerifaAdrian Frutiger
8/11
x-height: average
character width: wide
color: medium
XxhgFuturism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technol-ogy of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
News GothicMorris Fuller Benton
8/11
x-height: large
character width: narrow
color: dark
Xxhg
In unjustified text, the text block is set with normal letter and word
spacing. Because of the even word spacing the text will have an even
texture – no large spaces between words. The lines will naturally vary
in length. a ragged text block can integrate with the layout and add
visual interest to the page. The difficulty is making the ragged edge
have a pleasing silhouette. When the first line in the text is longer
than the second, it becomes separate from the layout and creates a
box-like shape. This destroys one of the advantages of unjustified text.
The ragged edge needs to have a life, but a narrow column can be less
active. Another advantage to ragged text is less hyphenation is needed.
Therefore, names, dates or words which are normally read together
can stay together.Hyp
hen
atio
n
how the text is read avoid widows (one word on the last line of a paragraph)
avoid hyphenating or line brakes of names and proper nouns
leave a least 2 characters on the line and 3 following
avoid beginning consecutive lines with the same word
avoid ending consecutive lines with the same word
avoid ending lines with the words: the, of, at, a, by..
never hyphenate a words in a headline and avoid hyphenation in a calloutHY
PHEN
ATI
ON
RU
LES
to p
ay a
tten
tio
n t
o
*
*
*
*
*
*
*
HEADLINES
Don't hyphenate headlines. That's a law.
Don Quixote de la Man-
cha
Watch where the first line of a two-line headline ends.
Does it create a silly or misleading phrase? Fix it.
Professor and The-
rapist to Lecture
Don’t leave widows (very short last lines) in headlines.
Man Walks Barefoot Across Bay
Bridge
Fix it either way, or rewrite!
Man walks barefoot across Bay Bridge
Man walks barefoot
across Bay Bridge
24
What are BAD line breaks anyway?
Look for bad line breaks throughout every line of body copy. Of course do this only on the final copy, after all editing has been done!
Casing Adder
Bat
Heresy borsch-boil starry a
boarder borsch boil gam
plate lung, lung a gore in-
ner ladle wan-hearse torn
coiled Mutt-fill.
Mutt-fill worsen mush of-
ten torn, butted hatter putty
gut borsch-boil tame, an off
oiler pliers honor tame, door
moist cerebrated worse Cas-
ing.Casing worsted sickened
basement, any hatter betting
orphanage off .526 (fife toe
sex).
Casing worse gut lurking
an furry poplar—spatially
wetter gull coiled Any-bally.
Any-bally worse Casing’s
sweat-hard, any harpy cobble
wandered toe gat merit,
bought Casing worse tow pore
toe becalm Any-bally’s
horsebarn. (Boil pliers honor
Mutt-fill tame dint gat mush
offer celery; infect, day gut
nosing atoll.)
Butt less gat earn wetter star-
ry.
Corrections:Example:
Justify the headline so it stays on one line.
Use a line break (shift+return) to bump “a” down to the next line,where it fits very nicely.
Kern the line a tiny bit to bring the rest of the word up.
Type a dischy in front of the word to bump it down.
Never hyphenate a person’s name. I had to go up a few lines, bump “off” down,which bumped
the other line endings down.
Fix widow.
There is plenty of room to squeeze “bought” on this line, perhaps by kerning the line a tiny bit.
“Horsebarn” is a good long word that could be hyphenated; type a dischy. Better yet, when
“bought” moved up, it gave enough room to move “horsebarn” up. If not, try opening the text
box a little bit.
Edit: to get ride of that terrible widow, exchange a short word for a long word.
...........................................................................
.........................
........................
.......................
.................................................
............................
..............................
....................
Example After:
26
Casing Adder Bat
Heresy borsch-boil starry
a boarder borsch boil gam
plate lung, lung a gore inner
ladle wan-hearse torn coiled
Mutt-fill.
Mutt-fill worsen mush
often torn, butted hatter
putty gut borsch-boil tame,
an off oiler pliers honor
tame, door moist cerebrated
worse Casing. Casing worsted
sickened basement, any hatter
betting orphanage off .526
(fife toe sex).
Casing worse gut lurking an
furry poplar—spatially wetter
gull coiled Any-bally.
Any-bally worse Casing’s
sweat-hard, any harpy cobble
wandered toe gat merit, bought
Casing worse tow pore toe
becalm Any-bally’s horsebarn.
(Boil pliers honor Mutt-fill
tame dint gat mush offer celery;
infect, day gut nosing atoll.)
Butt less gat earn wetter
muffin starry.
WIDOWS
ORPHANS
RIVERS
Never leave WIDOWS and ORPHANS bereft on the page.
When a paragraph ends and leaves fewer than seven characters (not
words, characters) on the last line, that line is called a widow. Worse
than leaving one word at the end of a line is leaving part of a word, the
other part being paraphrased on the line above.
When the last line of a paragraph, be it ever so long, won’t fit at the
bottom of a column and must end itself at the top of the next column,
that is an orphan. ALWAYS correct this.
In typography, rivers, or rivers of white, are visually unattractive gaps
appearing to run down a paragraph of text. They can occur with
any spacing, though they are most noticeable with wide word spaces
caused by either full text justification or monospaced fonts.
Avoid both of these situations. If you have edit-ing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program you’re working in. Sometimes widening a margin just a hair will do it. But it must be done. Widows and orphans on a page are wrong.
Right and wrong do not exist in graphic design.
There is only effective and non-effective communication.
— Peter Bilak“
“
Alignment
If someone insists that fully justified text is better than left-aligned text, tell them they are wrong. If someone else tells you that left-aligned text is better than justified text, tell them they are wrong.
If they are both wrong, then what's right? Alignment is only a small
piece of the puzzle. What works for one design might be totally inappro-
priate for another layout. As with all layouts, it depends on the purpose
of the piece, the audience and its expectations, the fonts, the margins
and white space, and other elements on the page. The most appropri-
ate choice is the alignment that works for that particular design.
Traditionally many books, newsletters, and newspapers use full-
justification as a means of packing as much information onto the page
as possible to cut down on the number of pages needed. While the
alignment was chosen out of necessity, it has become so familiar to us
that those same types of publications set in left-aligned text would look
odd, even unpleasant.
You may find that fully-justified text is a necessity either due to space
constraints or expectations of the audience. If possible, try to break up
dense blocks of texts with ample subheadings, margins, or graphics.
Justified Text
*
*
*
*
*
Often considered more formal, less friendly than left-aligned text.
Usually allows for more characters per line, packing more into the
same amount of space (than the same text set left-aligned).
May require extra attention to word and character spacing and
hyphenation to avoid unsightly rivers of white space running through
the text.
May be more familiar to readers in some types of publications, such as
books and newspapers.
Some people are naturally drawn to the "neatness" of text that lines up
perfectly on the left and right.
30
Left Aligned, Ragged Right
Centered
There is nothing inherently wrong with centered text. As with ragged
right or fully-justified text alignment, what works for one design might
be totally inappropriate for another layout. There are simply fewer
situations where centered text is appropriate. When in doubt, don't
center it.
As with all layouts, alignment depends on the purpose of the piece,
the audience and its expectations, the fonts, the margins and white
space, and other elements on the page. The most appropriate choice
is the alignment that works for that particular design.
No matter what alignment you use, remember to pay close attention
to hyphenation and word/character spacing as well to insure that your
text is as readable as possible.
There will undoubtedly be well-meaning friends, business associates,
clients, and others who will question your choices. Be prepared to ex-
plain why you chose the alignment you did and be prepared to change
it (and make necessary adjustments to keep it looking good) if the
person with final approval still insists on something different.
Often considered more informal, friendlier than justified text.
The ragged right edge adds an element of white space.
May require extra attention to hyphenation to keep right margin from
being too ragged.
Generally type set left-aligned is easier to work with (i.e. requires
less time, attention, and tweaking from the designer to make it look
good).
*
*
*
*
JUSTIFY
///////////////////////////////////////////////////////////////////
//////////////////////////////////////////////////////////////////////////////////////////////////////
Just
ified
Tex
t
The only time you can safely get away with justifying text is if your type
is small enough and your line is long enough, as in books where the
text goes all the way across the page. If your line is shorter, as in news-
letter, or if you don't have many words on the line, than as the type
aligns to the margins the words space themselves to accommodate
it. It usually looks awkward. You've seen newspaper columns where
all text is justified, often with a word stretching all the way across the
column, or a little word on either side of the column with a big gap
in the middle. Gross. But that's what can happen with justified type.
When you do it, the effect might not be as radical as the newspaper
column, but if your lines are relatively short, you will inevitably end
up with uncomfortable gaps in some lines, while other lines will be all
squished together.
When your work comes out of the printer, turn it upside down and
squint at it. The rivers will be very easy to spot. Get rid of them. Try
squinting at the example on the bottom of the previous page.
Here is a general guideline for determining if your line length is long
enough to satisfactorily justify the text: the line length in picas should
be about twice the point size of the type; that is, if the type you are
using is 12 point, the line length should be at least 24 picas (24 picas
is 4 inches-simply divide the number of picas by 6, as there are 6 picas
per inch). Thus 9-point type should be on an 18-pica line (3 inches)
before you try to justify it, and 18-point type should be on a 36-pica
line (6 inches). The rulers in most programs can be changed to picas,
if you like.
Justified text was the style for many years-we grew up on it. But there
has been a great deal of research done on readability (how easy
something is to read) and it shoes that those disruptive, inconsistent
gaps between the words inhibit the flow of reading. Besides, they look
dumb. Keep your eyes open as you look at professionally printed work
(magazines, newsletters, annual reports, journals) and you'll find
there's a very strong trend to align type on the left and leave the right
ragged.
Justify text only if the line is long enough to prevent awkward and inconsistent word spacing.
Here is a general guideline for determining if
your line length is long enough to satisfactorily
justify the text: the line length in picas should
be about twice the point size of the type; that
is, if the type you are using is 12 point, the line
length should be at least 24 picas (24 picas is
4 inches-simply divide the number of picas by
6, as there are 6 picas per inch). Thus 9-point
type should be on an 18-pica line (3 inches)
before you try to justify it, and 18-point type
should be on a 36-pica line (6 inches). The rul-
ers in most programs can be changed to picas,
if you like.
Justification Examples:
Justified text was the style for many years-we grew up on it. But there has
been a great deal of research done on readability (how easy something
is to read) and it shoes that those disruptive, inconsistent gaps between
the words inhibit the flow of reading. Besides, they look dumb. Keep
your eyes open as you look at professionally printed work (magazines,
newsletters, annual reports, journals) and you'll find there's a very
strong trend to align type on the left and leave the right ragged.
ITC NEW BASKERVILLE
Word Spacing:
Min: 80%
Desired: 100%
Max: 133%
Problems:
This is InDesign's standard justification set-
ting. It's not bad but the second to last line in
the second paragraph is awkward.
serif
34
Here is a general guideline for determining
if your line length is long enough to satisfac-
torily justify the text: the line length in picas
should be about twice the point size of the
type; that is, if the type you are using is 12
point, the line length should be at least 24
picas (24 picas is 4 inches-simply divide the
number of picas by 6, as there are 6 picas per
inch). Thus 9-point type should be on an 18-
pica line (3 inches) before you try to justify it,
and 18-point type should be on a 36-pica line
(6 inches). The rulers in most programs can
be changed to picas, if you like.
Justified text was the style for many years-we grew up on it. But there
has been a great deal of research done on readability (how easy some-
thing is to read) and it shoes that those disruptive, inconsistent gaps
between the words inhibit the flow of reading. Besides, they look
dumb. Keep your eyes open as you look at professionally printed work
(magazines, newsletters, annual reports, journals) and you'll find
there's a very strong trend to align type on the left and leave the right
ragged.
ITC NEW BASKERVILLE
Word Spacing:
Min: 100%
Desired: 100%
Max: 200%
Problems:
This is not too bad, however the words are
spaced out a little too much.
Here is a general guideline for determining
if your line length is long enough to satisfac-
torily justify the text: the line length in picas
should be about twice the point size of the
type; that is, if the type you are using is 12
point, the line length should be at least 24
picas (24 picas is 4 inches-simply divide the
number of picas by 6, as there are 6 picas per
inch). Thus 9-point type should be on an 18-
pica line (3 inches) before you try to justify it,
and 18-point type should be on a 36-pica line
(6 inches). The rulers in most programs can
be changed to picas, if you like.
Justified text was the style for many years-we grew up on it. But there
has been a great deal of research done on readability (how easy some-
thing is to read) and it shoes that those disruptive, inconsistent gaps
between the words inhibit the flow of reading. Besides, they look dumb.
Keep your eyes open as you look at professionally printed work (maga-
zines, newsletters, annual reports, journals) and you'll find there's a
very strong trend to align type on the left and leave the right ragged.
ITC NEW BASKERVILLE
Word Spacing:
Min: 85
Desired: 40%
Max: 150%
Problems:
This looks pretty good.
36
Here is a general guideline for determin-
ing if your line length is long enough
to satisfactorily justify the text: the line
length in picas should be about twice the
point size of the type; that is, if the type
you are using is 12 point, the line length
should be at least 24 picas (24 picas is 4
inches-simply divide the number of picas
by 6, as there are 6 picas per inch). Thus
9-point type should be on an 18-pica line
(3 inches) before you try to justify it, and
18-point type should be on a 36-pica line
(6 inches). The rulers in most programs
can be changed to picas, if you like.
Justified text was the style for many years-we grew up on it. But
there has been a great deal of research done on readability
(how easy something is to read) and it shoes that those disrup-
tive, inconsistent gaps between the words inhibit the flow of
reading. Besides, they look dumb. Keep your eyes open as you
look at professionally printed work (magazines, newsletters, an-
nual reports, journals) and you'll find there's a very strong trend
to align type on the left and leave the right ragged.
ITC NEW BASKERVILLE
Word Spacing:
Min: 200%
Desired: 200%
Max: 400%
Problems:
The words are spread way too much.
Here is a general guideline for determining
if your line length is long enough to satisfac-
torily justify the text: the line length in picas
should be about twice the point size of the
type; that is, if the type you are using is 12
point, the line length should be at least 24
picas (24 picas is 4 inches-simply divide the
number of picas by 6, as there are 6 picas per
inch). Thus 9-point type should be on an 18-
pica line (3 inches) before you try to justify it,
and 18-point type should be on a 36-pica line
(6 inches). The rulers in most programs can
be changed to picas, if you like.
Justified text was the style for many years-we grew up on it. But there
has been a great deal of research done on readability (how easy some-
thing is to read) and it shoes that those disruptive, inconsistent gaps
between the words inhibit the flow of reading. Besides, they look dumb.
Keep your eyes open as you look at professionally printed work (maga-
zines, newsletters, annual reports, journals) and you'll find there's a
very strong trend to align type on the left and leave the right ragged.
ITC NEW BASKERVILLE
Word Spacing:
Min: 85%
Desired: 110%
Max: 250%
Problems:
This is about as good as it gets, however there
are still a feel awkward lines.
38
Justification Examples: san serif
Here is a general guideline for determining
if your line length is long enough to satis-
factorily justify the text: the line length in
picas should be about twice the point size
of the type; that is, if the type you are us-
ing is 12 point, the line length should be at
least 24 picas (24 picas is 4 inches-simply di-
vide the number of picas by 6, as there are
6 picas per inch). Thus 9-point type should
be on an 18-pica line (3 inches) before you
try to justify it, and 18-point type should
be on a 36-pica line (6 inches). The rulers
in most programs can be changed to picas,
if you like.
Justified text was the style for many years-we grew up on it. But
there has been a great deal of research done on readability (how
easy something is to read) and it shoes that those disruptive, in-
consistent gaps between the words inhibit the flow of reading.
Besides, they look dumb. Keep your eyes open as you look at pro-
fessionally printed work (magazines, newsletters, annual reports,
journals) and you'll find there's a very strong trend to align type
on the left and leave the right ragged.
FRUTIGER
Word Spacing:
Min: 80%
Desired: 100%
Max: 133%
Problems:
This is InDesign's standard justification set-
ting, and the words may be spaced together
too much.
Here is a general guideline for determin-
ing if your line length is long enough
to satisfactorily justify the text: the line
length in picas should be about twice the
point size of the type; that is, if the type
you are using is 12 point, the line length
should be at least 24 picas (24 picas is 4
inches-simply divide the number of picas
by 6, as there are 6 picas per inch). Thus
9-point type should be on an 18-pica line
(3 inches) before you try to justify it, and
18-point type should be on a 36-pica line
(6 inches). The rulers in most programs can
be changed to picas, if you like.
Justified text was the style for many years-we grew up on it. But
there has been a great deal of research done on readability (how
easy something is to read) and it shoes that those disruptive, in-
consistent gaps between the words inhibit the flow of reading.
Besides, they look dumb. Keep your eyes open as you look at pro-
fessionally printed work (magazines, newsletters, annual reports,
journals) and you'll find there's a very strong trend to align type
on the left and leave the right ragged.
FRUTIGER
Word Spacing:
Min: 100%
Desired: 100%
Max: 200%
Problems:
This is not too bad, however the words are
spaced out a little too much.
40
Here is a general guideline for determining
if your line length is long enough to satis-
factorily justify the text: the line length in
picas should be about twice the point size
of the type; that is, if the type you are us-
ing is 12 point, the line length should be at
least 24 picas (24 picas is 4 inches-simply di-
vide the number of picas by 6, as there are
6 picas per inch). Thus 9-point type should
be on an 18-pica line (3 inches) before you
try to justify it, and 18-point type should
be on a 36-pica line (6 inches). The rulers
in most programs can be changed to picas,
if you like.
Justified text was the style for many years-we grew up on it. But
there has been a great deal of research done on readability (how
easy something is to read) and it shoes that those disruptive, in-
consistent gaps between the words inhibit the flow of reading.
Besides, they look dumb. Keep your eyes open as you look at pro-
fessionally printed work (magazines, newsletters, annual reports,
journals) and you'll find there's a very strong trend to align type
on the left and leave the right ragged.
FRUTIGER
Word Spacing:
Min: 85
Desired: 40%
Max: 150%
Problems:
This looks pretty good.
Here is a general guideline for de-
termining if your line length is long
enough to satisfactorily justify the text:
the line length in picas should be
about twice the point size of the type;
that is, if the type you are using is
12 point, the line length should be
at least 24 picas (24 picas is 4 inches-
simply divide the number of picas by
6, as there are 6 picas per inch). Thus
9-point type should be on an 18-pica
line (3 inches) before you try to justify
it, and 18-point type should be on a
36-pica line (6 inches). The rulers in
most programs can be changed to pi-
cas, if you like.
Justified text was the style for many years-we grew up on
it. But there has been a great deal of research done on
readability (how easy something is to read) and it shoes
that those disruptive, inconsistent gaps between the words
inhibit the flow of reading. Besides, they look dumb. Keep
your eyes open as you look at professionally printed work
(magazines, newsletters, annual reports, journals) and you'll
find there's a very strong trend to align type on the left
and leave the right ragged.
FRUTIGER
Word Spacing:
Min: 200%
Desired: 200%
Max: 400%
Problems:
The words are spread way too much.
42
Here is a general guideline for determining
if your line length is long enough to satis-
factorily justify the text: the line length in
picas should be about twice the point size
of the type; that is, if the type you are us-
ing is 12 point, the line length should be at
least 24 picas (24 picas is 4 inches-simply di-
vide the number of picas by 6, as there are
6 picas per inch). Thus 9-point type should
be on an 18-pica line (3 inches) before you
try to justify it, and 18-point type should
be on a 36-pica line (6 inches). The rulers
in most programs can be changed to picas,
if you like.
Justified text was the style for many years-we grew up on it. But
there has been a great deal of research done on readability (how
easy something is to read) and it shoes that those disruptive, in-
consistent gaps between the words inhibit the flow of reading.
Besides, they look dumb. Keep your eyes open as you look at pro-
fessionally printed work (magazines, newsletters, annual reports,
journals) and you'll find there's a very strong trend to align type
on the left and leave the right ragged.
FRUTIGER
Word Spacing:
Min: 85%
Desired: 110%
Max: 250%
Problems:
This is about as good as it gets. COMBINING
TYPEFACES
T h e r e i s n o t a b i n d i n g r e c i p e f o r t y p e c o m b i n a t i o n s .
It is a matter of typographic sensitivity and experience.
Expert typographers, as well as careless amateurs permit them-
selves combinations that would horrify colleagues with more tradi-
tional sympathies.
“ “
Co
mb
inin
g T
ypef
aces
Although there is not recipe there is a place
to start: keep an eye on the characteristic
shapes of the letterform. A well designed
page contains no more than two different
typefaces or four different type variations
such as type size and bold or italic style. {Us-
ing 2 different serif fonts or 2 different sans
serifs fonts in the same composition is never
a good idea}
When combining serif and sans serif text fonts, one shroud try and match the character-istics of form and type color: proportion, x-heights.
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first
announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the
Italian poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti, reflected
his emphasis on discarding what he conceived to
be the static and irrelevant art of the past and cel-
ebrating change, originality, and innovation in cul-
ture and society. Futurism rejected traditions and
glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion.
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first
announced on February 20, 1909, when the
Paris newspaper Le Figaro published a manifesto
by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding
what he conceived to be the static and irrelevant
art of the past and celebrating change, originality,
and innovation in culture and society. Futurism
rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant themes,
the machine and motion.
aa BB ee GG gg
aa BB ee GG gg
Font Combinations
Grotesque: Helvetica 20pt
Old Style: Garamond 20pt
These two fonts work together pretty well,
because of differences in x-height.
Grotesque: Akzidenz 20pt
Transitional: Mrs. Eaves 20pt
These two fonts have a nice contrast because
of stroke witdth and x height.
46
aa BB ee GG gg
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glo-rified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.
aa BB ee GG gg
aa BB ee GG ggGeometric: Futura 20pt
Transitional: Belizio 20pt
Belizio looks awkward next to Futura,
because of its very large letter size. The
x-height is the same, but they look awkward
next to one another.
Humanist: Frutiger 20pt
Transitional: Adobe Caslon 20pt
Similar stroke width and x-height makes
these two typefaces work well together. The
skinny letters from Frutiger contrast nicely
with the wider letters of Caslon.
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrat-ing change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two domi-nant themes, the machine and motion.
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contempo-rary life, mainly by emphasizing two domi-nant themes, the machine and motion.
aa BB ee GG gg aa BB ee GG ggGeometric: Futura 20pt
Modern: Walbaum 20pt
These two fonts almost have the same
x-height, which might not be enough con-
trast. It looks nice though.
Grotesque: Univers 20pt
Modern: Didot 20pt
Similar letter size, but contrast between letter
thickness give this combination a nice feel.
48
aa BB ee GG gg
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was
first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a
manifesto by the Italian poet and editor
Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived
to be the static and irrelevant art of the past
and celebrating change, originality, and
innovation in culture and society. Futurism
rejected traditions and glorified contempo-
rary life, mainly by emphasizing two domi-
nant themes, the machine and motion.
WORDS IN LIBERTY
A Prologue to Futurism: Futurism
was first announced on February 20,
1909, when the Paris newspaper Le
Figaro published a manifesto by the
Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined
by Marinetti, reflected his emphasis
on discarding what he conceived to be
the static and irrelevant art of the past
and celebrating change, originality,
and innovation in culture and society.
Futurism rejected traditions and glo-
rified contemporary life, mainly by
emphasizing two dominant themes, the
machine and motion.
aa BB ee GG gg aa BB ee GG ggGeometric: Futura 20pt
New Transitional: ITC New Baskerville 20pt
These two fonts have a similar stroke width
and x-height which makes them compatible.
The letter width is pretty similar, which might
make the contrast not great enough.
Grotesque: Interstate 20pt
New Transitional: Clarendon 20pt
Clarendon's stroke is too large even for
Interstate black, which makes for too little
contrast here.
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a mani-festo by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by empha-sizing two dominant themes, the machine and motion.
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contempo-rary life, mainly by emphasizing two domi-nant themes, the machine and motion.
aa BB ee GG gg aa BB ee GG ggGeometric: Futura 20pt
Slab Serif: Memphis 20pt
I feel like these two fonts look kind of awk-
ward together. The tall skinny nature of
Futura contrasts strangely with the wide look
of Memphis.
Humanist: Helvetica 20pt
Slab Serif: Belizio 20pt
Belizios large wide letters make for good
headline text, while Helvetica's narrow clean
look makes for great body text.
50
AAaa BB ee GG gg
“”“”
“”“” Qu
ota
tio
n M
arks
Most software applications will convert the
typewriter quotes to the real quotes for
you automatically as you type. Check the
preferences for your application – you’ll find
a check box to tell your application to auto-
matically set something like “typographer’s
quotes,” “smart quotes,” or “curly quotes.”
Then as you type using the standard ditto key
(“), the software will set the correct quotation
marks for you.
But it is necessary to know how to set them
yourself because sometimes the software
doesn't do it or does it wrong.
Opening double quote: “ Type: Option [
Closing double quote: ” Type: Option Shift ]
Opening single quote: ‘ Type: Option [
Closing single quote: ’ Type: Option Shift ]
Examples:
Bridge Clearance: 16' 7"
The young man stood 6' 2"
The length of the wall is 153'9".
Use real quotation marks – never those grotesque generic marks that actually symbolize ditto/inch or foot marks.
Ap
ost
rop
hes
For possessives: Turn the phrase around. The
apostrophe will be placed after whatever word
you end up with. For example, in the phrase
the boys’ camp, to know where to place the
apostrophe say to yourself, “The camp be-
longs to the boys.” The phrase the boy’s camp
says “The camp belongs to the boy.”
“The big exception to this is “its.” “Its” used
as a possessive never has an apostrophe! The
word it only has an apostrophe as a contrac-
tion — “it’s” always means “it is” or “it has.”
Always. It may be easier to remember if you
recall that yours, hers, and his don’t use apos-
trophes — and neither should its.
For contractions: The apostrophe replaces
the missing letter. For example: your’re
always means you are; the apostrophe is
replacing the a from are. That’s an easy way
to distinguish it from your as in your house
and to make sure you don’t say: Your going to
the store.
As previously noted, it’s means “it is”; the
apostrophe is indicating where the i is left
out. Don’t means “do not”; the apostrophe is
indicating where the o is left out.
People often are confused about where the apostrophe belongs. There are a couple of rules that work very well.
54
For omission of letters: In a phrase such as
Rock ’n’ Roll, there should be an apostrophe
before and after the n, because the a and the
d are both left out. And don’t turn the first
apostrophe around — just because it appears
in front of the letter does not mean you need
to use the opposite single quote. An apostro-
phe is still the appropriate mark (not ‘n’).
In a phrase such as House o’ Fashion, the
apostrophe takes the place of the f. There is
not earthly reason for an apostrophe to be set
before the o.
In a phrase such as Gone Fishin’ the same
pattern is followed — the g is missing.
In a date when part of the year is left out,
an apostrophe needs to indicate the missing
year. In the 80s would mean the temperature;
In the ’80s would mean the decade. (Notice
there is no apostrophe before the s! Why
would there be? It is not possessive, nor is it a
contraction — it is simply plural.
Das
hes
Everyone knows what a hyphens is —that
tiny little dash that belongs in some words,
like mother-in-law, or in phone numbers. It is
also used to break a word at the end of a line,
of course.
You might have been taught to use a double
hyphen to indicate a dash, like so: -- . This is
a typewriter convention because typewriters
didn’t have the real dash used in professional
typesetting. On a Mac, no one needs to use
the double hyphen—we have a professional
em dash, the long one, such as you see in this
sentence. We also have an en dash, which is a
little shorter than the em dash.
hyphen -
en dash –
em dash —
Never use two hyphens instead of a dash. Use hyphens, en dashes, and em dashes appropriately.
A hyphen is one third of the em rule and is
used to link words. It serves as a compound
modifier where two words become one, such
as x-height. A hyphen is also used to break
works at syllables in text blocks.
Hypen
56
To type an en dash
en dash – Option Hyphen
hold the Option key down, then tap the hyphen key
An en dash is half of the em rule (the width of a capital N) and is used
between words that indicate a duration, such as time or months or
years. Use it where you might otherwise use the word “to.”
In a page layout application, the en dash can be used with a thin space
on either side of it. If you want you can kern it so it is not a full space.
October – December
6:30 – 8:45 A.M.
4 – 6 years of age
En dash
Em dash —
To type an em dash
em dash — Shift Option Hyphen
hold the Shift and Option keys down, then tap the hyphen key.
The em dash is twice as long as the en dash—it’s about the size of a
capital letter M in whatever size and typeface you’re using at the mo-
ment. This dash is often used in place of a colon or parentheses, or
it might indicate an abrupt change in thought, or it’s used in a spot
where a period is too strong and a comma is too weak.
Our equivalent on the typewriter was the double hyphen, but now we
have a real em dash. Using two hyphens(or worse, one) where there
should be an em dash makes your look very unprofessional.
When using an—no space is used on either side.
Em dash
¡¿
Option [
Option Shift [
Option ]
Option Shift ] c
Option Hyphen
Option Shift Hyphen
Option ;
Option 8 bullet
Option Shift 5
Option Shift 6
Option g
Option 2
Option r
Option Shift 8
Option $
Option Shift 2
Option Shift 1
Option 1
Option Shift ?
Option 3
Option c
Option Shift c
Option e
Option ~
Option u
Option n
ˆ Option i
Special CharactersThe following is a list of the most often-used spe-cial characters and accent marks.
“”‘’–—…•fifl©™®°¢€⁄¡¿£çÇ
áàäã â
Opening Double Quote
Closing Double Quote
Opening Single Quote
Closing Single Quote
En Dash
Em Dash
Ellipsis
Bullet
Ligature of ‘f’ and ‘i’
Ligature of ‘f’ and ‘l’
Copyright
Trademark
Registered
Degree Symbol
Cent
Euro
Fraction Bar
Upside-down Exclamation Point
Upside-down Question Mark
Pound
Cedilla
Capitol Cedilla
Remember, to set an accent mark over a let-
ter, press the Option key and the letter, then
press the letter you want under it.¿
ss
sss
s
Bu
llets
Simply put, a bullet is a large dot used to draw
attention to each item in a list or series. The
items can be single words, phrases, sentences
or paragraphs. Even if you use the bullet
that is part of your font, don’t automatically
assume it’s the right size: it might need to be
altered in scale or position to make it look
balanced next to the text.
Bullets should be centered on either the cap
height or x-height, depending on the nature
of your copy. If all of your items begin with
a cap, center the bullet on the cap, or a bit
lower so it balances with the negative spaces
created by the lowercase. If your items all
begin with lowercase characters, center the
bullets on the x-height. Insert some space
after the bullet to avoid crowding.
The preferred way to align bullets is with the
left margin. You can also have the bullets
overhang the margin, and keep all your text
aligned with the left margin. Whichever style
you choose, your listing will look best if items
that run more than one line are indented so
that the copy aligns with itself, and not with
the bullet on the first line.
This very useful typographic element can add emphasis, clarity and visual interest to all kinds of copy.
s ss
To be more creative, substitute symbols or ding-bats for the actual bullets. Try squares, triangles or check marks just not all at once. Keep these simple and in proportion with the rest of your text.
lovely
surly
ghastly
womanly
saintly
ungodly
stately
sprightly
lovely
surly
ghastly
womanly
saintly
ungodly
stately
sprightly
virulent
infectious
rave
bloody
zombie
ectasy
apocalyptic
doom
virulent
infectious
rave
bloody
zombie
ectasy
apocalyptic
doom
s
s
s
s
s
s
s
s
a
a
a
a
a
a
a
a
u
u
u
u
u
u
u
u
v
v
v
v
v
v
v
v
62
1234567890
Numerals
Oldstyle figures are a style of numeral which
approximate lowercase letterforms by hav-
ing an x-height and varying ascenders and
descenders. They are considerably different
from the more common “lining” (or “align-
ing”) figures which are all-cap height and
typically monospaced in text faces so that they
line up vertically on charts. Oldstyle figures
have more of a traditional, classic look. They
are only available for certain typefaces, some-
times as the regular numerals in a font, but
more often within a supplementary or expert
font. The figures are proportionately spaced,
eliminating the white spaces that result from
monospaced lining figures, especially around
the numeral one.
Oldstyle figures are very
useful and quite beauti-
ful when set within text.
Unlike lining figures, they
blend in without disturb-
ing the color of the body
copy. They also work well
in headlines since they’re
not as intrusive as lining
figures. In fact, many peo-
ple prefer them overall for
most uses except charts
and tables. It’s well worth
the extra effort to track
down and obtain typefaces
with oldstyle numerals;
the fonts that contain
them might well become
some of your favorites.
Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505.
Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505.
1234567890
CCcc
Smal
l Cap
s Small caps are uppercase (capital) letters that
are about the size of normal lowercase letters
in any given typeface. Small caps are less
intrusive when all uppercase appears within
normal text or can be used for special empha-
sis. Computer programs can generate small
caps for a any typeface, but those are not the
same as true small caps. True small caps have
line weights that are proportionally correct
for the typeface, which me and that they can
be used within a body of copy without looking
noticeably wrong.
Use small caps for acronyms. Set acronyms such as NASA or NAS-
DAQ in small caps when they appear in body text or headlines.
Use small caps for common abbreviations. Set common abbrevia-
tions such as AM or PM in small caps so they don't overpower
the accompanying text. Use small caps for A.M. and P.M.; space
once after the number, and use periods. (if the font does not have
small caps reduce the font size slightly)
Use true small caps fonts. Avoid simply resizing capital letters or
using the small caps feature in some programs. Instead use type-
faces that have been specifically created as small caps.
*
*
*
CC
Kira, an FBI agent, turned on CNN to get the dirt on the CIA before going to bed at 9:30 P.M.
Kira, an fbi agent, turned on cnn to get the dirt on the cia before going to bed at 9:30 p.m.
The capitol letters in the middle of the
sentence call too much attention to
themselves, even when the abbreviations
may not be very important. Notice how
much better the small caps blend with the
text in the second example.
68
There is no rest for the wicked.
There is no rest for the wicked.
The weight of computer-drawn small caps
is thinner than the regular caps in some
typefaces, resulting in awkward capitol
letters and uneven text color. Try to find font
families called "Pro" or "Caps," as the small
caps in these fonts have been redesigned to
match in proportions and thickness.
¶ ¶
Paragraph breaks set a rhythm for the reader. The breaks have a rela-
tionship with the column of text as well as the page margins. A break
may be introduced as an indentation, as a space or both. The over all
page feel will be influenced by your choice.Para
gra
ph
Bre
aks
In typography there are 4 rules regarding
paragraph breaks:
Do not indent the first paragraph
Block paragraphs are flush left and are sepa-
rated by extra leading not a full return
The amount indent is equal to the leading
(sometimes needs a bit more)
Never hit two returns between paragraphs
*
*
*
*
¶ ¶
Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society.1 Futurism rejected
traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The manifesto's rhetoric
was passionately bombastic; it’s tone was aggressive and inflammatory
and was purposely intended to inspire public anger and amazement,
to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and
work as poets and artists: or, if not the movements, then their sense of
art as an life itself. All of which, as futurism, had come sharply into fo-
cus by the start of the world war: a first radical mix of art and life, the
epitome in the poplar mind of an avant-garde. It was, on both its Rus-
sian & Italian sides, the first great “art” movement led by poets; and if
its means now sometimes seem exaggerated or unripe in retrospect,
they carry within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with
a polemical stance in favor of the transformed present (1909), the lat-
er manifestos of Futurist poets and artists offered formal, “technical”
approaches to the works then getting under way. The key term—still
resonant today—was parole in libertà2, by which poetry was to become
“an uninterrupted sequence of new images… (a) strict bet of images
or analogies, to be cast into the mysterious sea of phenomena.” This
freedom-of-the-world, while it resembled other forms of collage and
of image juxtaposition, more fully explored the use of innovative and
expressive typography in the visual presentation of language, as set in
motion by forerunners like Mallarmé. Outrageous and aggressive, the
Futurists' performances mixed declamation and gesture, events and
surroundings, indifference and engagement, to break the barriers
between themselves and those who came to jeer or cheer them. Wrote
Marinetti Selbst3 (circa 1915), “Everything of any value is theatrical.”
Explorations
72
Futurism was first announced on February
20, 1909, when the Paris newspaper Le Figaro published a manifesto
by the Italian poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on discarding
what he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and society.1
Futurism rejected traditions and glorified contemporary life, mainly
by emphasizing two dominant themes, the machine and motion. The
manifesto's rhetoric was passionately bombastic; it’s tone was aggres-
sive and inflammatory and was purposely intended to inspire public
anger and amazement, to arouse controversy, and to attract wide-
spread attention.
But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the
movements, then their sense of art as an life itself. All of which, as
futurism, had come sharply into focus by the start of the world war: a
first radical mix of art and life, the epitome in the poplar mind of an
avant-garde. It was, on both its Russian & Italian sides, the first great
“art” movement led by poets; and if its means now sometimes seem
exaggerated or unripe in retrospect, they carry within them the seed
of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the
transformed present (1909), the later manifestos of Futurist poets
and artists offered formal, “technical” approaches to the works then
getting under way. The key term—still resonant today—was parole in
libertà2, by which poetry was to become “an uninterrupted sequence
of new images… (a) strict bet of images or analogies, to be cast into
the mysterious sea of phenomena.” This freedom-of-the-world, while
it resembled other forms of collage and of image juxtaposition, more
fully explored the use of innovative and expressive typography in the
visual presentation of language, as set in motion by forerunners like
Mallarmé. Outrageous and aggressive, the Futurists' performances
mixed declamation and gesture, events and surroundings, indiffer-
ence and engagement, to break the barriers between themselves and
those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa
1915), “Everything of any value is theatrical.”
Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society.1 Futurism rejected
traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The manifesto's rhetoric
was passionately bombastic; it’s tone was aggressive and inflammatory
and was purposely intended to inspire public anger and amazement,
to arouse controversy, and to attract widespread attention. But it is the
movements which survive, oddly, here where we live and work as poets
and artists: or, if not the movements, then their sense of art as an life
itself. All of which, as futurism, had come sharply into focus by the
start of the world war: a first radical mix of art and life, the epitome
in the poplar mind of an avant-garde. It was, on both its Russian &
Italian sides, the first great “art” movement led by poets; and if its
means now sometimes seem exaggerated or unripe in retrospect, they
carry within them the seed of all that we were later to become. While
Marinetti's opening manifesto for Italian Futurism bristled with a
polemical stance in favor of the transformed present (1909), the later
manifestos of Futurist poets and artists offered formal, “technical”
approaches to the works then getting under way. The key term—still
resonant today—was parole in libertà2, by which poetry was to become
“an uninterrupted sequence of new images… (a) strict bet of images
or analogies, to be cast into the mysterious sea of phenomena.” This
freedom-of-the-world, while it resembled other forms of collage and
of image juxtaposition, more fully explored the use of innovative and
expressive typography in the visual presentation of language, as set in
motion by forerunners like Mallarmé. Outrageous and aggressive, the
Futurists' performances mixed declamation and gesture, events and
surroundings, indifference and engagement, to break the barriers
between themselves and those who came to jeer or cheer them. Wrote
Marinetti Selbst3 (circa 1915), “Everything of any value is theatrical.”
74
Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian
poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant
art of the past and celebrating change, originality, and
innovation in culture and society.1 Futurism rejected tradi-
tions and glorified contemporary life, mainly by emphasiz-
ing two dominant themes, the machine and motion. The
manifesto's rhetoric was passionately bombastic; it’s tone was
aggressive and inflammatory and was purposely intended to
inspire public anger and amazement, to arouse controversy,
and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and
work as poets and artists: or, if not the movements, then
their sense of art as an life itself. All of which, as futurism,
had come sharply into focus by the start of the world war:
a first radical mix of art and life, the epitome in the poplar
mind of an avant-garde. It was, on both its Russian & Italian
sides, the first great “art” movement led by poets; and if its
means now sometimes seem exaggerated or unripe in ret-
rospect, they carry within them the seed of all that we were
later to become.
While Marinetti's opening manifesto for Italian Futurism bristled
with a polemical stance in favor of the transformed present
(1909), the later manifestos of Futurist poets and artists
offered formal, “technical” approaches to the works then
getting under way. The key term—still resonant today—was
parole in libertà2, by which poetry was to become “an unin-
terrupted sequence of new images… (a) strict bet of images
or analogies, to be cast into the mysterious sea of phenom-
ena.” This freedom-of-the-world, while it resembled other
forms of collage and of image juxtaposition, more fully
explored the use of innovative and expressive typography
in the visual presentation of language, as set in motion by
forerunners like Mallarmé. Outrageous and aggressive, the
Futurists' performances mixed declamation and gesture,
events and surroundings, indifference and engagement, to
break the barriers between themselves and those who came
to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915),
“Everything of any value is theatrical.”
Futurism was first announced on February 20, 1909,
when the Paris newspaper Le Figaro published a manifesto by the Ital-
ian poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he
conceived to be the static and irrelevant art of the past and celebrating
change, originality, and innovation in culture and society. 1 Futurism
rejected traditions and glorified contemporary life, mainly by empha-
sizing two dominant themes, the machine and motion. The mani-
festo's rhetoric was passionately bombastic; it’s tone was aggressive and
inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live
and work as poets and artists: or, if not the movements, then their
sense of art as an life itself. All of which, as futurism, had come sharply
into focus by the start of the world war: a first radical mix of art and
life, the epitome in the poplar mind of an avant-garde. It was, on
both its Russian & Italian sides, the first great “art” movement led by
poets; and if its means now sometimes seem exaggerated or unripe in
retrospect, they carry within them the seed of all that we were later to
become.
While Marinetti's opening manifesto for Italian Futurism
bristled with a polemical stance in favor of the transformed pres-
ent (1909), the later manifestos of Futurist poets and artists offered
formal, “technical” approaches to the works then getting under way.
The key term—still resonant today—was parole in libertà2, by which
poetry was to become “an uninterrupted sequence of new images…
(a) strict bet of images or analogies, to be cast into the mysterious sea
of phenomena.” This freedom-of-the-world, while it resembled other
forms of collage and of image juxtaposition, more fully explored the
use of innovative and expressive typography in the visual presentation
of language, as set in motion by forerunners like Mallarmé. Outra-
geous and aggressive, the Futurists' performances mixed declamation
and gesture, events and surroundings, indifference and engagement,
to break the barriers between themselves and those who came to jeer
or cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of
any value is theatrical.”
76
u Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society.1 Futurism rejected
traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The manifesto's rhetoric
was passionately bombastic; it’s tone was aggressive and inflammatory
and was purposely intended to inspire public anger and amazement,
to arouse controversy, and to attract widespread attention.
u But it is the movements which survive, oddly, here where we live and
work as poets and artists: or, if not the movements, then their sense of
art as an life itself. All of which, as futurism, had come sharply into fo-
cus by the start of the world war: a first radical mix of art and life, the
epitome in the poplar mind of an avant-garde. It was, on both its Rus-
sian & Italian sides, the first great “art” movement led by poets; and if
its means now sometimes seem exaggerated or unripe in retrospect,
they carry within them the seed of all that we were later to become.
u While Marinetti's opening manifesto for Italian Futurism bristled
with a polemical stance in favor of the transformed present (1909),
the later manifestos of Futurist poets and artists offered formal,
“technical” approaches to the works then getting under way. The key
term—still resonant today—was parole in libertà2, by which poetry was
to become “an uninterrupted sequence of new images… (a) strict bet
of images or analogies, to be cast into the mysterious sea of phenom-
ena.” This freedom-of-the-world, while it resembled other forms of
collage and of image juxtaposition, more fully explored the use of
innovative and expressive typography in the visual presentation of
language, as set in motion by forerunners like Mallarmé. Outrageous
and aggressive, the Futurists' performances mixed declamation and
gesture, events and surroundings, indifference and engagement, to
break the barriers between themselves and those who came to jeer or
cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of any
value is theatrical.”
F u t u r i s m w a s f i r s t a n n o u n c e d on February 20, 1909, when the Paris newspaper Le Figaro published a
manifesto by the Italian poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant art of the
past and celebrating change, originality, and innovation in culture and
society. 1 Futurism rejected traditions and glorified contemporary life,
mainly by emphasizing two dominant themes, the machine and mo-
tion. The manifesto's rhetoric was passionately bombastic; it’s tone was
aggressive and inflammatory and was purposely intended to inspire
public anger and amazement, to arouse controversy, and to attract
widespread attention.
B u t i t i s t h e m o v e m e n t s w h i c h survive, oddly, here where we live and work as poets and artists: or,
if not the movements, then their sense of art as an life itself. All of
which, as futurism, had come sharply into focus by the start of the
world war: a first radical mix of art and life, the epitome in the poplar
mind of an avant-garde. It was, on both its Russian & Italian sides, the
first great “art” movement led by poets; and if its means now some-
times seem exaggerated or unripe in retrospect, they carry within
them the seed of all that we were later to become.
W h i l e M a r i n e t t i ' s o p e n i n g m a n i f e s t o for Italian Futurism bristled with a polemical stance in favor of the
transformed present (1909), the later manifestos of Futurist poets
and artists offered formal, “technical” approaches to the works then
getting under way. The key term—still resonant today—was parole in
libertà2, by which poetry was to become “an uninterrupted sequence
of new images… (a) strict bet of images or analogies, to be cast into
the mysterious sea of phenomena.” This freedom-of-the-world, while
it resembled other forms of collage and of image juxtaposition, more
fully explored the use of innovative and expressive typography in the
visual presentation of language, as set in motion by forerunners like
Mallarmé. Outrageous and aggressive, the Futurists' performances
mixed declamation and gesture, events and surroundings, indiffer-
ence and engagement, to break the barriers between themselves and
those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa
1915), “Everything of any value is theatrical.”
78
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by the
Italian poet and editor Filippo Tommaso Marinetti. The
name Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant art of the
past and celebrating change, originality, and innovation in culture and
society.1 Futurism rejected traditions and glorified contemporary life,
mainly by emphasizing two dominant themes, the machine and mo-
tion. The manifesto's rhetoric was passionately bombastic; it’s tone was
aggressive and inflammatory and was purposely intended to inspire
public anger and amazement, to arouse controversy, and to attract
widespread attention.
But it is the movements which survive, oddly, here where
we live and work as poets and artists: or, if not the move
ments, then their sense of art as an life itself. All of which,
as futurism, had come sharply into focus by the start of the world war:
a first radical mix of art and life, the epitome in the poplar mind of an
avant-garde. It was, on both its Russian & Italian sides, the first great
“art” movement led by poets; and if its means now sometimes seem
exaggerated or unripe in retrospect, they carry within them the seed
of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism
bristled with a polemical stance in favor of the transformed
present (1909), the later manifestos of Futurist poets and
artists offered formal, “technical” approaches to the works then get-
ting under way. The key term—still resonant today—was parole in
libertà2, by which poetry was to become “an uninterrupted sequence
of new images… (a) strict bet of images or analogies, to be cast into
the mysterious sea of phenomena.” This freedom-of-the-world, while
it resembled other forms of collage and of image juxtaposition, more
fully explored the use of innovative and expressive typography in the
visual presentation of language, as set in motion by forerunners like
Mallarmé. Outrageous and aggressive, the Futurists' performances
mixed declamation and gesture, events and surroundings, indiffer-
ence and engagement, to break the barriers between themselves and
those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa
1915), “Everything of any value is theatrical.”
Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society.1 Futurism rejected
traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The manifesto's rhetoric
was passionately bombastic; it’s tone was aggressive and inflammatory
and was purposely intended to inspire public anger and amazement,
to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we
live and work as poets and artists: or, if not the movements,
then their sense of art as an life itself. All of which, as futur-
ism, had come sharply into focus by the start of the world
war: a first radical mix of art and life, the epitome in the
poplar mind of an avant-garde. It was, on both its Russian
& Italian sides, the first great “art” movement led by poets;
and if its means now sometimes seem exaggerated or unripe
in retrospect, they carry within them the seed of all that we
were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with
a polemical stance in favor of the transformed present (1909), the lat-
er manifestos of Futurist poets and artists offered formal, “technical”
approaches to the works then getting under way. The key term—still
resonant today—was parole in libertà2, by which poetry was to become
“an uninterrupted sequence of new images… (a) strict bet of images
or analogies, to be cast into the mysterious sea of phenomena." This
freedom-of-the-world, while it resembled other forms of collage and
of image juxtaposition, more fully explored the use of innovative and
expressive typography in the visual presentation of language, as set in
motion by forerunners like Mallarmé. Outrageous and aggressive, the
Futurists' performances mixed declamation and gesture, events and
surroundings, indifference and engagement, to break the barriers
between themselves and those who came to jeer or cheer them. Wrote
Marinetti Selbst3 (circa 1915), “Everything of any value is theatrical.”
80
Futurism was first announced on February 20,
1909, when the Paris newspaper Le Figaro published a manifesto by the
Italian poet and editor Filippo Tommaso Marinetti. The name Futur-
ism, coined by Marinetti, reflected his emphasis on discarding what he
conceived to be the static and irrelevant art of the past and celebrating
change, originality, and innovation in culture and society.1 Futurism
rejected traditions and glorified contemporary life, mainly by empha-
sizing two dominant themes, the machine and motion. The mani-
festo's rhetoric was passionately bombastic; it’s tone was aggressive and
inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread atten-
tion. But it is the movements which survive,
oddly, here where we live and work as poets and artists: or, if not the
movements, then their sense of art as an life itself. All of which, as
futurism, had come sharply into focus by the start of the world war: a
first radical mix of art and life, the epitome in the poplar mind of an
avant-garde. It was, on both its Russian & Italian sides, the first great
“art” movement led by poets; and if its means now sometimes seem
exaggerated or unripe in retrospect, they carry within them the seed
of all that we were later to become. While
Marinetti's opening manifesto for Italian Futurism bristled with a
polemical stance in favor of the transformed present (1909), the later
manifestos of Futurist poets and artists offered formal, “technical”
approaches to the works then getting under way. The key term—still
resonant today—was parole in libertà2, by which poetry was to become
“an uninterrupted sequence of new images… (a) strict bet of images
or analogies, to be cast into the mysterious sea of phenomena.” This
freedom-of-the-world, while it resembled other forms of collage and
of image juxtaposition, more fully explored the use of innovative and
expressive typography in the visual presentation of language, as set in
motion by forerunners like Mallarmé. Outrageous and aggressive, the
Futurists' performances mixed declamation and gesture, events and
surroundings, indifference and engagement, to break the barriers
between themselves and those who came to jeer or cheer them. Wrote
Marinetti Selbst3 (circa 1915), “Everything of any value is theatrical.”
Headers &Subheads
Header: A line or block of text that appears at the beginning of a page or document.
Subhead: A heading given to a subsection of a piece of writing.
Kerning: Spacing in a header is key to creating appropriate visual hierarchy in
a document or page of text. Proper spacing is achieved by kerning. Kerning is
the process of removing small amounts of space between letters to create visually
consistent letterspacing. The larger the text is, the more attention should be
paid to kerning.
WASHINGTON unkerned
WASHINGTON kerned
The key to kerning is visual perception. The more white space that surrounds an
object or letter, the smaller it seems, even if it is next to an object of equal size, but
with less white space around it. The key to kerning is to keep it visually consistent.
The spacing between letters may not all be the exact same, but it will appear that way
with the proper kerning.
Headers are the first things the reader sees in a body of text, so make sure to use them correctly.
Words in LibertyA P r o l o g u e t o F u t u r i s m
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-
ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change, originality, and innovation in culture and
society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The manifesto's rhetoric was passionately bom-
bastic; it’s tone was aggressive and inflammatory and was purposely intended to inspire public
anger and amazement, to arouse controversy, and to attract widespread attention.
R a d i c a l m i x o f a r t a n d l i f e
But it is the movements which survive, oddly, here where we live and work as poets and artists:
or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had
come sharply into focus by the start of the world war: a first radical mix of art and life, the
epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first
great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe
in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in
favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered
formal, “technical” approaches to the works then getting under way. The key term—still reso-
nant today—was parole in libertà2, by which poetry was to become “an uninterrupted sequence
of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of
phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image
juxtaposition, more fully explored the use of innovative and expressive typography in the visual
presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and ag-
gressive, the Futurists' performances mixed declamation and gesture, events and surroundings,
indifference and engagement, to break the barriers between themselves and those who came to
jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of any value is theatrical.”
84
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-
ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change, originality, and innovation in culture and
society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The manifesto's rhetoric was passionately bom-
bastic; it’s tone was aggressive and inflammatory and was purposely intended to inspire public
anger and amazement, to arouse controversy, and to attract widespread attention.
Radical mix of art and life
But it is the movements which survive, oddly, here where we live and work as poets and artists:
or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had
come sharply into focus by the start of the world war: a first radical mix of art and life, the
epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the
first great “art” movement led by poets; and if its means now sometimes seem exaggerated or
unripe in retrospect, they carry within them the seed of all that we were later to become. While
Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of
the transformed present (1909), the later manifestos of Futurist poets and artists offered formal,
“technical” approaches to the works then getting under way. The key term—still resonant to-
day—was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new
images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”
This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition,
more fully explored the use of innovative and expressive typography in the visual presentation
of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the
Futurists' performances mixed declamation and gesture, events and surroundings, indifference
and engagement, to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti Selbst3 (circa 1915), “Everything of any value is theatrical.”WO
RK
S I
N L
IBE
RT
YA
Pro
log
ue
to F
utu
rism
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-
ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change, originality, and innovation in culture and
society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic;
it’s tone was aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets
and artists: or, if not the movements, then their sense of art as an life itself. All of
which, as futurism, had come sharply into focus by the start of the world war: a first
radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was,
on both its Russian & Italian sides, the first great “art” movement led by poets; and if
its means now sometimes seem exaggerated or unripe in retrospect, they carry within
them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in
favor of the transformed present (1909), the later manifestos of Futurist poets and artists of-
fered formal, “technical” approaches to the works then getting under way. The key term—still
resonant today—was parole in libertà2, by which poetry was to become “an uninterrupted
sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious
sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and
of image juxtaposition, more fully explored the use of innovative and expressive typography in
the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous
and aggressive, the Futurists' performances mixed declamation and gesture, events and sur-
roundings, indifference and engagement, to break the barriers between themselves and those
who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of any value
is theatrical.”
Words in LibertyA Prologue to Futurism
Radical mix of art and life
86
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-
ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change, originality, and innovation in culture and
society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic;
it’s tone was aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets and artists:
or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had
come sharply into focus by the start of the world war: a first radical mix of art and life, the
epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the
first great “art” movement led by poets; and if its means now sometimes seem exaggerated or
unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in
favor of the transformed present (1909), the later manifestos of Futurist poets and artists of-
fered formal, “technical” approaches to the works then getting under way. The key term—still
resonant today—was parole in libertà2, by which poetry was to become “an uninterrupted
sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious
sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and
of image juxtaposition, more fully explored the use of innovative and expressive typography in
the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous
and aggressive, the Futurists' performances mixed declamation and gesture, events and sur-
roundings, indifference and engagement, to break the barriers between themselves and those
who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of any value
is theatrical.”
Words in LibertyA Prologue to Futurism
Radical mix of art and life
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-
ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change, originality, and innovation in culture and
society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic;
it’s tone was aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets and artists:
or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had
come sharply into focus by the start of the world war: a first radical mix of art and life, the
epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the
first great “art” movement led by poets; and if its means now sometimes seem exaggerated or
unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in
favor of the transformed present (1909), the later manifestos of Futurist poets and artists of-
fered formal, “technical” approaches to the works then getting under way. The key term—still
resonant today—was parole in libertà2, by which poetry was to become “an uninterrupted
sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious
sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and
of image juxtaposition, more fully explored the use of innovative and expressive typography in
the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous
and aggressive, the Futurists' performances mixed declamation and gesture, events and sur-
roundings, indifference and engagement, to break the barriers between themselves and those
who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of any value
is theatrical.”
WORDS IN LIBERTY
A Prologue to Futurism
Radical mix of art and life
88
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro
published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti, reflected his emphasis on discarding what
he conceived to be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society.1 Futurism rejected traditions and
glorified contemporary life, mainly by emphasizing two dominant themes, the ma-
chine and motion. The manifesto's rhetoric was passionately bombastic; it’s tone was
aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets and artists:
or, if not the movements, then their sense of art as an life itself. All of which, as
futurism, had come sharply into focus by the start of the world war: a first radical mix
of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its
Russian & Italian sides, the first great “art” movement led by poets; and if its means
now sometimes seem exaggerated or unripe in retrospect, they carry within them the
seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in fa-
vor of the transformed present (1909), the later manifestos of Futurist poets and art-
ists offered formal, “technical” approaches to the works then getting under way. The
key term—still resonant today—was parole in libertà2, by which poetry was to become
“an uninterrupted sequence of new images… (a) strict bet of images or analogies,
to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while
it resembled other forms of collage and of image juxtaposition, more fully explored
the use of innovative and expressive typography in the visual presentation of lan-
guage, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the
Futurists' performances mixed declamation and gesture, events and surroundings,
indifference and engagement, to break the barriers between themselves and those
who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of
any value is theatrical.”
WORDS IN LIBERTYA
Prol
ogue
to F
utur
ism
Radi
cal m
ix o
f ar
t and
life
§§
§Captions & Notes
Footnotes and endnotes
Footnotes and endnotes are necessary com-
ponents of scholarly and technical writing.
They’re also frequently used by writers of
fiction, from Herman Melville (Moby-Dick)
to contemporary novelists. Whether their in-
tent is academic or artistic, footnotes present
special typographic challenges.
Specifically, a footnote is a text element at
the bottom of a page of a book or manuscript
that provides additional information about
a point made in the main text. The footnote
might provide deeper background, offer an
alternate interpretation or provide a citation
for the source of a quote, idea or statistic.
Endnotes serve the same purpose but are
grouped together at the end of a chapter,
article or book, rather than at the bottom of
each page.
These general guide-
lines will help you
design footnotes and
endnotes that are
readable, legible and
economical in space.
(Note that academic
presses and journals
can be sticklers
for format: before
proceeding, check
with your client or
publisher to see if
they have a specific
stylesheet that must
be followed.)
Numbers or Symbols
Footnotes are most often indicated by placing
a superscript numeral immediately after the
text to be referenced. The same superscript
numeral then precedes the footnoted text at
the bottom of the page. Numbering footnotes
is essential when there are many of them, but
if footnotes are few they can be marked with a
dagger, asterisk, or other symbol instead. End-
notes should always use numerals to facilitate
easy referencing.
Size
Footnotes and endnotes are set smaller than
body text. The difference in size is usually
about two points, but this can vary depending
on the size, style and legibility of the main
text. Even though they’re smaller, footnotes
and endnotes should still remain at a read-
able size.
92
Words in LibertyA P r o l o g u e t o F u t u r i s m
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro
published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be
the static and irrelevant art of the past and celebrating change, originality, and innovation in
culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by
emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was
passionately bombastic; it’s tone was aggressive and inflammatory and was purposely intended
to inspire public anger and amazement, to arouse controversy, and to attract widespread atten-
tion.
R a d i c a l m i x o f a r t a n d l i f e
But it is the movements which survive, oddly, here where we live and work as poets and artists:
or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had
come sharply into focus by the start of the world war: a first radical mix of art and life, the
epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the
first great “art” movement led by poets; and if its means now sometimes seem exaggerated or
unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in
favor of the transformed present (1909), the later manifestos of Futurist poets and artists of-
fered formal, “technical” approaches to the works then getting under way. The key term—still
resonant today—was parole in libertà2, by which poetry was to become “an uninterrupted
sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious
sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and
of image juxtaposition, more fully explored the use of innovative and expressive typography in
the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous
and aggressive, the Futurists' performances mixed declamation and gesture, events and sur-
roundings, indifference and engagement, to break the barriers between themselves and those
who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of any value
is theatrical.”
1. Philip Meggs, History
of Graphic Design, Van
Nostrand Reinhold,
1988
2. parole in liberta =
words set free (liberty)
3. selbst = himself
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-
ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change, originality, and innovation in culture and
society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombas-
tic; it’s tone was aggressive and inflammatory and was purposely intended to inspire public anger
and amazement, to arouse controversy, and to attract widespread attention.
Radical mix of art and life
But it is the movements which survive, oddly, here where we live and work as poets and artists:
or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had
come sharply into focus by the start of the world war: a first radical mix of art and life, the
epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the
first great “art” movement led by poets; and if its means now sometimes seem exaggerated or
unripe in retrospect, they carry within them the seed of all that we were later to become. While
Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of
the transformed present (1909), the later manifestos of Futurist poets and artists offered formal,
“technical” approaches to the works then getting under way. The key term—still resonant to-
day—was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new
images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”
This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition,
more fully explored the use of innovative and expressive typography in the visual presentation
of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the
Futurists' performances mixed declamation and gesture, events and surroundings, indifference
and engagement, to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti Selbst3 (circa 1915), “Everything of any value is theatrical.”WO
RD
S I
N L
IBE
RT
YA
Pro
log
ue
to F
utu
rism
1.
Ph
ilip
Meg
gs, H
isto
ry o
f Gra
phic
Des
ign
, Van
Nos
tran
d R
ein
hol
d, 1
988
2. P
arol
e in
libe
rta
= w
ords
set
free
(lib
erty
)3.
Sel
bst =
him
self
94
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-
ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change, originality, and innovation in culture and
society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic;
it’s tone was aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets
and artists: or, if not the movements, then their sense of art as an life itself. All of
which, as futurism, had come sharply into focus by the start of the world war: a first
radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was,
on both its Russian & Italian sides, the first great “art” movement led by poets; and if
its means now sometimes seem exaggerated or unripe in retrospect, they carry within
them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in
favor of the transformed present (1909), the later manifestos of Futurist poets and artists of-
fered formal, “technical” approaches to the works then getting under way. The key term—still
resonant today—was parole in libertà2, by which poetry was to become “an uninterrupted
sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious
sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and
of image juxtaposition, more fully explored the use of innovative and expressive typography in
the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous
and aggressive, the Futurists' performances mixed declamation and gesture, events and sur-
roundings, indifference and engagement, to break the barriers between themselves and those
who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of any value
is theatrical.”
Words in LibertyA Prologue to Futurism
Radical mix of art and life
1. P
hili
p M
eggs
, His
tory
of G
raph
ic D
esig
n, V
an N
ostr
and
Rei
nh
old,
198
8 2
. Par
ole
in li
bert
a =
wor
ds s
et fr
ee (
liber
ty)
3. S
elbs
t = h
imse
lf
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-
ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change, originality, and innovation in culture and
society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic;
it’s tone was aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets and artists:
or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had
come sharply into focus by the start of the world war: a first radical mix of art and life, the
epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the
first great “art” movement led by poets; and if its means now sometimes seem exaggerated or
unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in
favor of the transformed present (1909), the later manifestos of Futurist poets and artists of-
fered formal, “technical” approaches to the works then getting under way. The key term—still
resonant today—was parole in libertà2, by which poetry was to become “an uninterrupted
sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious
sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and
of image juxtaposition, more fully explored the use of innovative and expressive typography in
the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous
and aggressive, the Futurists' performances mixed declamation and gesture, events and sur-
roundings, indifference and engagement, to break the barriers between themselves and those
who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of any value
is theatrical.”
Words in LibertyA Prologue to Futurism
Radical mix of art and life
1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988 2. Parole in liberta = words set free (liberty) 3. Selbst = himself
96
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-
ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change, originality, and innovation in culture and
society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic;
it’s tone was aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets and artists:
or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had
come sharply into focus by the start of the world war: a first radical mix of art and life, the
epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the
first great “art” movement led by poets; and if its means now sometimes seem exaggerated or
unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in
favor of the transformed present (1909), the later manifestos of Futurist poets and artists of-
fered formal, “technical” approaches to the works then getting under way. The key term—still
resonant today—was parole in libertà2, by which poetry was to become “an uninterrupted
sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious
sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and
of image juxtaposition, more fully explored the use of innovative and expressive typography in
the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous
and aggressive, the Futurists' performances mixed declamation and gesture, events and sur-
roundings, indifference and engagement, to break the barriers between themselves and those
who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of any value
is theatrical.”
WORDS IN LIBERTY
A Prologue to Futurism
Radical mix of art and life
3. s
elbs
t = h
imse
lf
1. P
hili
p M
eggs
, His
tory
of
Gra
phic
Des
ign
, Van
N
ostr
and
Rei
nh
old,
198
8
2. P
arol
e in
libe
rta
= w
ords
set
free
(lib
erty
)
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro
published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti, reflected his emphasis on discarding what
he conceived to be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society.1 Futurism rejected traditions and
glorified contemporary life, mainly by emphasizing two dominant themes, the ma-
chine and motion. The manifesto's rhetoric was passionately bombastic; it’s tone was
aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets and artists:
or, if not the movements, then their sense of art as an life itself. All of which, as
futurism, had come sharply into focus by the start of the world war: a first radical mix
of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its
Russian & Italian sides, the first great “art” movement led by poets; and if its means
now sometimes seem exaggerated or unripe in retrospect, they carry within them the
seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in fa-
vor of the transformed present (1909), the later manifestos of Futurist poets and art-
ists offered formal, “technical” approaches to the works then getting under way. The
key term—still resonant today—was parole in libertà2, by which poetry was to become
“an uninterrupted sequence of new images… (a) strict bet of images or analogies,
to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while
it resembled other forms of collage and of image juxtaposition, more fully explored
the use of innovative and expressive typography in the visual presentation of lan-
guage, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the
Futurists' performances mixed declamation and gesture, events and surroundings,
indifference and engagement, to break the barriers between themselves and those
who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of
any value is theatrical.”
WORDS IN LIBERTY
A Pr
olog
ue to
Fut
uris
mRa
dica
l mix
of
art a
nd li
fe
1. Philip Meggs, His-tory of Graphic Design, Van Nostrand Rein-hold, 1988
2. Parole in lib-erta = words set free (liberty)
3. Selbst = himself
98
*
FONT SPEC
IFICAT
IONS
CLASSIFICATION: SLAB SERIF
BOOK
HAIRLINE
SEMI-BOLD
BOLD ITALIC
Archer
MaxogGdQRstA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely con-nected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heri-tage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { } ? ! @ & *
CLASSIFICATION: GROTESQUE
ROMAN
BOLD
BLACK
Akzidenz Grotesk
MaxogGdQRstA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefac-es was devised in the nineteenth cen-tury, when printers sought to identify a heritage for their own craft analo-gous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefac-es are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have contin-ued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
102
MaxogGdQRstCLASSIFICATION: TRANSITIONAL
REGULAR
SMALL CAPS
ITALIC
BOLD
Baskerville
MxaogGdQRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups cor-respond roughly to the Renaissance, Ba-roque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: SLAB SERIF
REGULAR
ITALIC
BOLD
BLACK ITALIC
Belizio
MxagGdQrRA basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art histo-ry. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more ab-stract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twenti-eth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefac-es was devised in the nineteenth cen-tury, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letter-forms are closely connected to callig-raphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have con-tinued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
104
MxagGdQrRCLASSIFICATION: GROTESQUE
LIGHT
BOLD
BLACK
Bell Gothic
MxagGdQrRIA basic system for classifying typefaces
was devised in the nineteenth century, when
printers sought to identify a heritage for their
own craft analogous to that of art history.
Humanist letterforms are closely connected
to calligraphy and the movement of the hand.
Transitional and modern typefaces are more
abstract and less organic. These three main
groups correspond roughly to the Renais-
sance, Baroque, and Enlightenment periods in
art and literature. Designers in the twentieth
and twenty-first centuries have continued
to create new typefaces based on historic
characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: OLDSTYLE
REGULAR
ITALIC
BOLD
EXTRA BOLD
Bembo
MxnogGdQrRstA basic system for classifying typefaces was
devised in the nineteenth century, when print-
ers sought to identify a heritage for their own
craft analogous to that of art history. Humanist
letterforms are closely connected to calligraphy
and the movement of the hand. Transitional
and modern typefaces are more abstract and
less organic. These three main groups cor-
respond roughly to the Renaissance, Baroque,
and Enlightenment periods in art and literature.
Designers in the twentieth and twenty-first
centuries have continued to create new type-
faces based on historic characteristics.
A basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a heri-
tage for their own craft analogous to that
of art history. Humanist letterforms are
closely connected to calligraphy and the
movement of the hand. Transitional and
modern typefaces are more abstract and
less organic. These three main groups
correspond roughly to the Renaissance,
Baroque, and Enlightenment periods
in art and literature. Designers in the
twentieth and twenty-first centuries have
continued to create new typefaces based
on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
106
MxnogGdQrRstCLASSIFICATION: NEW TRANSITIONAL
REGULAR
ITALIC
BOLD
BOLD ITALIC
Bookman
MxaogGdQrRA basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Hu-manist letterforms are closely con-nected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlight-enment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups corre-spond roughly to the Renaissance, Baroque, and Enlightenment peri-ods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: MODERN
REGULAR
ITALIC
BOLD
ORNAMENTS
Bodoni
MxaogGdQrRstA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
108
MxaogGdQrRstCLASSIFICATION: TRANSITIONAL
REGULAR
ITALIC
SWASH
ORNAMENT
ALTERNATE
Caslon
MxanogGdQRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Ba Ca Da Ea Fa Ga Ha Ia Ja Ka La Ma Na Oa Pa Qa Ra Sa Ta Ua Va Wa Xa Ya Z
A a Bb C c D d Ee F f G g H h Ii Jj Kk Ll Mm Nn Oo Pp Qq Or S s Ot Uu Vv Ww X x y Z z 1 2 3 4
c h i k l Ss T t
CLASSIFICATION: TRANSITIONAL
REGULAR
ITALIC
BOLD
BOLD ITALIC
Century Schoolbook
MxaogGdQrRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letter-forms are closely connected to callig-raphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlight-enment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic charac-teristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heri-tage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
110
MxaogGdQrRtCLASSIFICATION: TRANSITIONAL
REGULAR
ITALIC
BOLD
BOLD ITALIC
Cheltenham
MaxogGdQrRsA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heri-tage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: MODERN
UNICASE
REGULAR
Cholla
MaxnogGdQrRstA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely con-nected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a heri-
tage for their own craft analogous to that
of art history. Humanist letterforms are
closely connected to calligraphy and the
movement of the hand. Transitional and
modern typefaces are more abstract and
less organic. These three main groups
correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art
and literature. Designers in the twentieth
and twenty-first centuries have continued
to create new typefaces based on historic
characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2
3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
112
MaxnogGdQrRstCLASSIFICATION: SLAB SERIF
LIGHT
REGULAR
BOLD
Clarendon
MxagGdQrRtA basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely con-nected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlight-enment periods in art and literature. Designers in the twentieth and twen-ty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art histo-ry. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more ab-stract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twenti-eth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: GRID BASED SAN-SERIF
REGULAR
Clicker
MaxnogGdQRsA basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art histo-ry. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more ab-stract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twenti-eth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
114
MaxnogGdQRs
CLASSIFICATION: MODERN
REGULAR
ITALIC
BOLD
Didot
MxaogGdQrRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heri-tage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renais-sance, Baroque, and Enlightenment periods in art and literature. Designers in the twenti-eth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (
CLASSIFICATION: GROTESQUE DIN
MaxnogGdQrRtLIGHT
REGULAR
MEDIUM
BLACK
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely con-nected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { ? ! @ & *
116
MaxnogGdQrRtCLASSIFICATION: GROTESQUE DIN
MaxngdQHAMBURGLIGHT CONDENSED
REGULAR CONDENSED
BOLD CONDENSED
BLACK CONDENSED
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: SERIF
REGULAR
ITALIC
BOLD
Disturbance
MxnatQbWFGdRA basic system for classifying typefaces was devised
in the nineteenth century, when printers sought
to identify a heritage for their own craft analo-
gous to that of art history. Humanist letterforms
are closely connected to calligraphy and the
movement of the hand. Transitional and modern
typefaces are more abstract and less organic.
These three main groups correspond roughly to
the Renaissance, Baroque, and Enlightenment
periods in art and literature. Designers in the
twentieth and twenty-first centuries have con-
tinued to create new typefaces based on historic
characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo
Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp
Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo
Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7
8 9 0 ( ) { } ? ! @ & *
118
MxnatQbWFGdR
CLASSIFICATION: BLACKLETTER
REGULAR
Fette Fraktur
MxnaopQrRtfgA basic system for classifying typefaces was
devised in the nineteenth century, when
printers sought to identify a heritage for their
own craft analogous to that of art history.
Humanist letterforms are closely connected to
calligraphy and the movement of the hand.
Transitional and modern typefaces are more
abstract and less organic. These three main
groups correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art
and literature. Designers in the twentieth and
twenty-first centuries have continued to create
new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *Idunt aliquam adignim velit utat. Etuer accum dunt ad magniam, ven-diat lam verostrud essi tetum illa facipisl utet endre feu faccum dit praessi. Ing ea feuguer aessenim atisi.Delessi. Sectet, sit, ver si.Alit ipit esequis exer adigna adignit aliquat lam dunt utpat aut nisisi.Tate conse nim adionsecte feuis etum dolobore molore verit veniss
CLASSIFICATION: MODERN
REGULAR
FRACTIONS
UNICASE
Filosofia
MxnaopQrRtfGgA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nine-teenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letter-forms are closely connected to calligraphy and the movement of the hand. Transitional and mod-ern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first cen-turies have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
120
MxnaopQrRtfGgCLASSIFICATION: GROTESQUE
BOOK
DEMI
HEAVY
CONDENSED
Franklin Gothic
MaxodQRtfGgA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying type-faces was devised in the nineteenth century, when printers sought to iden-tify a heritage for their own craft anal-ogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups cor-respond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefac-es based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: HUMANIST
CONDENSED
REGULAR
BOLD
ULTRA BLACK
Frutiger
MaxodQRtfGgA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letter-forms are closely connected to callig-raphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have contin-ued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analo-gous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefac-es are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have contin-ued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
122
CLASSIFICATION: GEOMETRIC
BOOK
BOLD
EXTRA BOLD
Futura
MxaopQRstGgA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups corre-spond roughly to the Renaissance, Baroque, and Enlightenment peri-ods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: HUMANIST
REGULAR
ITALIC
BOLD
Gill Sans
MaxnbyogGQRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renais-sance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letter-forms are closely connected to callig-raphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and En-lightenment periods in art and litera-ture. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
124
CLASSIFICATION: GEOMETRIC
BOOK
BOLD
ITALIC
LIGHT
Gotham
MayogGdQRtA basic system for classifying type-
faces was devised in the nineteenth
century, when printers sought to
identify a heritage for their own
craft analogous to that of art history.
Humanist letterforms are closely con-
nected to calligraphy and the move-
ment of the hand. Transitional and
modern typefaces are more abstract
and less organic. These three main
groups correspond roughly to the
Renaissance, Baroque, and Enlight-
enment periods in art and litera-
ture. Designers in the twentieth and
twenty-first centuries have continued
to create new typefaces based on
historic characteristics.
A basic system for classifying type-
faces was devised in the nineteenth
century, when printers sought to
identify a heritage for their own
craft analogous to that of art history.
Humanist letterforms are closely
connected to calligraphy and the
movement of the hand. Transitional
and modern typefaces are more ab-
stract and less organic. These three
main groups correspond roughly
to the Renaissance, Baroque, and
Enlightenment periods in art and
literature. Designers in the twenti-
eth and twenty-first centuries have
continued to create new typefaces
based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: GROTESQUE
REGULAR
BOLD
BLACK EXTENDED
Helvetica
MaoygGdQrRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was
devised in the nineteenth century, when print-
ers sought to identify a heritage for their own
craft analogous to that of art history. Humanist
letterforms are closely connected to calligraphy
and the movement of the hand. Transitional
and modern typefaces are more abstract and
less organic. These three main groups cor-
respond roughly to the Renaissance, Baroque,
and Enlightenment periods in art and literature.
Designers in the twentieth and twenty-first cen-
turies have continued to create new typefaces
based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
ULTRA LIGHT
126
MaoygGdQrRtCLASSIFICATION: GROTESQUE
REGULAR
BOLD
BLACK
BOLD CONDENSED
Interstate
MaoygGdQrRtA basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a
heritage for their own craft analogous to
that of art history. Humanist letterforms
are closely connected to calligraphy
and the movement of the hand. Transi-
tional and modern typefaces are more
abstract and less organic. These three
main groups correspond roughly to the
Renaissance, Baroque, and Enlighten-
ment periods in art and literature. De-
signers in the twentieth and twenty-first
centuries have continued to create new
typefaces based on historic character-
istics.
A basic system for classifying typefac-
es was devised in the nineteenth cen-
tury, when printers sought to identify
a heritage for their own craft analo-
gous to that of art history. Humanist
letterforms are closely connected to
calligraphy and the movement of the
hand. Transitional and modern typefac-
es are more abstract and less organic.
These three main groups correspond
roughly to the Renaissance, Baroque,
and Enlightenment periods in art and
literature. Designers in the twentieth
and twenty-first centuries have contin-
ued to create new typefaces based on
historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: SCRIPT
REGULAR
Kunstler Script
xyogGdQrRstAa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Pat. San ea consectet ad duis dolorem eu facil dit am, summy nisim ipit, quat, velit pratismodo diat.Et lorperi liquat lor sequam zzrilit, velese facin ut verosti nciduis modit, qui erosto odit ut verit nos nos amet iure doluptatisl digna facin hendre ming ea feum incilla ad dunt dunt ipit vulput lor-per sumsand ionsenit num ip erit la feu feumsan henis exerci esto etumsan hent am, velit, quisit nummy nosto dolutat irit veniam zzrilit, qui tincilit wis eum zzriustis ex eraestrud delit lamcon vero exercidunt aliscidui bla facip et veniam eum illan veros dignit alit vullandiat nis nisl dunt aliquam consent alit etuero odionsecte dunt nulla faci et in vulla feugait lore eum zzril ullamco nsequi bla autpatet nummodipisi.Ed etummodit vullamcon utat ulluptat delendit nonsenim in-ciliqui tio odoloreet ver sum velis aliquis del irit aut nosto conse-quam zzrit aut ipsum diamcon sequam num et wisi tio dolorem elesto dolobor iuscilisci et, quis endre te dolobor sum volenibh exerit utpat. Uptat, vel dolese molorem eraessis nit niamcorperos autat, venit in etum erilissit irit eui bla feum iurem nonsequi e
128
CLASSIFICATION: TRANSITIONAL
REGULAR
ITALIC
BOLD
BOLD
Melior
MayogGdQrRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heri-tage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twen-tieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transi-tional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlighten-ment periods in art and literature. De-signers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic character-istics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: SLAB SERIF
LIGHT
MEDIUM
EXTRA BOLD
Memphis
MxagGdQrRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heri-tage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefac-es was devised in the nineteenth cen-tury, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letter-forms are closely connected to callig-raphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and En-lightenment periods in art and litera-ture. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
130
CLASSIFICATION: HUMANIST
REGULAR
CAPS
BLACK
ITALIC
Meta
MaxogGdQrRstA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely con-nected to calligraphy and the movement of the hand. Transitional and modern typefac-es are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlighten-ment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heri-tage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: TRANSITIONAL
REGULAR
ITALIC
BOLD
FRACTIONS
Mrs Eaves
MaxogGdQrRstA basic system for classifying typefaces was
devised in the nineteenth century, when print-
ers sought to identify a heritage for their own
craft analogous to that of art history. Humanist
letterforms are closely connected to calligraphy
and the movement of the hand. Transitional
and modern typefaces are more abstract and less
organic. These three main groups correspond
roughly to the Renaissance, Baroque, and
Enlightenment periods in art and literature.
Designers in the twentieth and twenty-first cen-
turies have continued to create new typefaces
based on historic characteristics.
A basic system for classifying typefaces was devised in the
nineteenth century, when printers sought to identify a heritage
for their own craft analogous to that of art history. Humanist
letterforms are closely connected to calligraphy and the move-
ment of the hand. Transitional and modern typefaces are more
abstract and less organic. These three main groups correspond
roughly to the Renaissance, Baroque, and Enlightenment
periods in art and literature. Designers in the twentieth and
twenty-first centuries have continued to create new typefaces
based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
132
MaxogGdQrRstCLASSIFICATION: GROTESQUE
REGULAR
ITALIC
BOLD
News Gothic
MaxogGdQrRstA basic system for classifying typefaces was devised in the nineteenth century, when print-ers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when print-ers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: GEOMETRIC
REGULAR
OCR A
MaopQRfGgA basic system for clas-
sifying typefaces was
devised in the nineteenth
century, when printers
sought to identify a heri-
tage for their own craft
analogous to that of art
history. Humanist let-
terforms are closely con-
nected to calligraphy and
the movement of the hand.
Transitional and modern
typefaces are more histor-
ic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
134
MaopQRfGgCLASSIFICATION: HUMANIST
BOOK
ITALIC
BOLD
Optima
MxaopQRstGgA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: OLD STYLE
LIGHT
OLD STYLE
MEDIUM
BLACK
Palatino
MxaopQRstGgA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heri-tage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
136
CLASSIFICATION: TRANSITIONAL
REGULAR
ITALIC
BOLD
Perpetua
MxaopQRstGgqA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Ba-roque, and Enlightenment periods in art and litera-ture. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in
the nineteenth century, when printers sought to identify
a heritage for their own craft analogous to that of art
history. Humanist letterforms are closely connected to cal-
ligraphy and the movement of the hand. Transitional and
modern typefaces are more abstract and less organic. These
three main groups correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art and literature.
Designers in the twentieth and twenty-first centuries
have continued to create new typefaces based on historic
characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: GEOMETRIC
THIN
REGULAR
HEAVY
Platelet
MaxbyogGQrRtA basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a heri-
tage for their own craft analogous to
that of art history. Humanist letter-
forms are closely connected to cal-
ligraphy and the movement of the hand.
Transitional and modern typefaces are
more abstract and less organic. These
three main groups correspond roughly to
the Renaissance, Baroque, and Enlight-
enment periods in art and literature.
Designers in the twentieth and twenty-
first centuries have continued to create
new typefaces based on historic charac-
teristics.
A basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a heri-
tage for their own craft analogous to
that of art history. Humanist letter-
forms are closely connected to cal-
ligraphy and the movement of the hand.
Transitional and modern typefaces are
more abstract and less organic. These
three main groups correspond roughly to
the Renaissance, Baroque, and Enlight-
enment periods in art and literature.
Designers in the twentieth and twenty-
first centuries have continued to create
new typefaces based on historic charac-
teristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx
Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx
Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx
Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
138
MaxbyogGQrRt
CLASSIFICATION: HUMANIST
REGULAR
ALTERNATE
BOLD
Priori Sans
MxanopdrRtSfGgA basic system for classifying typefaces was devised in
the nineteenth century, when printers sought to identify
a heritage for their own craft analogous to that of art
history. Humanist letterforms are closely connected to
calligraphy and the movement of the hand. Transitional
and modern typefaces are more abstract and less
organic. These three main groups correspond roughly to
the Renaissance, Baroque, and Enlightenment periods
in art and literature. Designers in the twentieth and
twenty-first centuries have continued to create new
typefaces based on historic characteristics.
A basic system for classifying typefaces was devised
in the nineteenth century, when printers sought to
identify a heritage for their own craft analogous to
that of art history. Humanist letterforms are closely
connected to calligraphy and the movement of the
hand. Transitional and modern typefaces are more
abstract and less organic. These three main groups
correspond roughly to the Renaissance, Baroque, and
Enlightenment periods in art and literature. Design-
ers in the twentieth and twenty-first centuries have
continued to create new typefaces based on historic
characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: TRANSITIONAL
REGULAR
ALTERNATE
BOLD
Priori Serif
MxanodQrRtSfgA basic system for classifying typefaces was
devised in the nineteenth century, when printers
sought to identify a heritage for their own craft
analogous to that of art history. Humanist letter-
forms are closely connected to calligraphy and the
movement of the hand. Transitional and modern
typefaces are more abstract and less organic.
These three main groups correspond roughly to
the Renaissance, Baroque, and Enlightenment
periods in art and literature. Designers in the
twentieth and twenty-first centuries have con-
tinued to create new typefaces based on historic
characteristics.
A basic system for classifying typefaces was de-
vised in the nineteenth century, when printers
sought to identify a heritage for their own craft
analogous to that of art history. Humanist let-
terforms are closely connected to calligraphy
and the movement of the hand. Transitional and
modern typefaces are more abstract and less
organic. These three main groups correspond
roughly to the Renaissance, Baroque, and
Enlightenment periods in art and literature.
Designers in the twentieth and twenty-first
centuries have continued to create new type-
faces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
140
MxanodQrRtSfgCLASSIFICATION: HUMANIST
(55) SANS
ITALIC
SERIF
ITALIC
Rotis
MxanopQrRtGgA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renais-sance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely con-nected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: OLDSTYLE
REGULAR
SMALL CAPS
BOLD
BOLD ITALIC
Sabon
MxayogGQfRA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
142
MxayogGQfRCLASSIFICATION: HUMANIST
REGULAR
CAPS
ITALIC
BOLD
Scala Sans
MxabyogGdQrRA basic system for classifying typefaces was
devised in the nineteenth century, when
printers sought to identify a heritage for their
own craft analogous to that of art history.
Humanist letterforms are closely connected
to calligraphy and the movement of the
hand. Transitional and modern typefaces
are more abstract and less organic. These
three main groups correspond roughly to the
Renaissance, Baroque, and Enlightenment
periods in art and literature. Designers in
the twentieth and twenty-first centuries have
continued to create new typefaces based on
historic characteristics.
A basic system for classifying typefaces was
devised in the nineteenth century, when
printers sought to identify a heritage for their
own craft analogous to that of art history.
Humanist letterforms are closely connected
to calligraphy and the movement of the
hand. Transitional and modern typefaces
are more abstract and less organic. These
three main groups correspond roughly to the
Renaissance, Baroque, and Enlightenment
periods in art and literature. Designers in
the twentieth and twenty-first centuries have
continued to create new typefaces based on
historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: SLAB SERIF
REGULAR
ITALIC
BOLD
BLACK
Serifa
MxaoygGdQRA basic system for classifying typefaces
was devised in the nineteenth cen-
tury, when printers sought to identify
a heritage for their own craft analo-
gous to that of art history. Humanist
letterforms are closely connected to
calligraphy and the movement of the
hand. Transitional and modern typefac-
es are more abstract and less organic.
These three main groups correspond
roughly to the Renaissance, Baroque,
and Enlightenment periods in art and
literature. Designers in the twentieth
and twenty-first centuries have contin-
ued to create new typefaces based on
historic characteristics.
A basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art histo-ry. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more ab-stract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twenti-eth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
144
MxaoygGdQRCLASSIFICATION: SCRIPT
REGULAR
Snell Roundhand
axogbGdQrRstAa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Dolessecte ver sim er aut wismod mincilit loboreet praessed tat. Iquis eu feuis dolore faci ercil eriurer sisi tet, quamconse do odolor amcom-modit vulla feugait luptatisl dolorer augait praessi. Lut vel iriuscil et luptat. Nullandre magna feugiam, quis aute conullu ptatincip ea alit wis et volore dip et, cortin henisi. Quis autet, veros accum ipit vel ute mod ting eumsandreet am, qui te faciniat num-mod eu feugiat ex essim vent vendre tat venibh et pratuer ipsum volortio eniat praessed mincilit dolobortie tat. Lam dolut amcommy nos eraessed tin ulput ut vulputat, quat, volo-bor incip et essi.orper sum quamconsed magniam, quisit accum voloborem alit iuscipit la consequam dit nulput acing eu feum quat. Ut lup-tat at.
CLASSIFICATION: NEW TRANSITIONAL
BOLD CONDENSED
REGULAR
ITALIC
BOLD
Swift
MxaoygGdQrRA basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a heri-
tage for their own craft analogous to that
of art history. Humanist letterforms are
closely connected to calligraphy and the
movement of the hand. Transitional and
modern typefaces are more abstract and
less organic. These three main groups cor-
respond roughly to the Renaissance, Ba-
roque, and Enlightenment periods in art
and literature. Designers in the twentieth
and twenty-first centuries have continued
to create new typefaces based on historic
characteristics.
A basic system for classifying typefaces was
devised in the nineteenth century, when
printers sought to identify a heritage for their
own craft analogous to that of art history.
Humanist letterforms are closely connected to
calligraphy and the movement of the hand.
Transitional and modern typefaces are more
abstract and less organic. These three main
groups correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art
and literature. Designers in the twentieth and
twenty-first centuries have continued to create
new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
146
MxaoygGdQrRCLASSIFICATION: HUMANIST
REGULAR
BOLD
BLACK
BLACK
Syntax
MxaoygGdQrRA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: HUMANIST
CONDENSED
MEDIUM
BOLD
BOLD NO.2
Trade Gothic
MxanyogGdQrRA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
148
MxanyogGdQrRCLASSIFICATION: MODERN
REGULAR
ITALIC
SMALL CAPS
BOLD
Walbaum
MxyagGdQrRA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letter-forms are closely connected to callig-raphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have contin-ued to create new typefaces based on historic characteristics.
A basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more ab-stract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have con-tinued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION: SLAB SERIF
REGULAR
MEDIUM
MEDIUM ITALIC
BOLD
Volta
MyogGdQrRA basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more ab-stract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have con-tinued to create new typefaces based on historic characteristics.
A basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art histo-ry. Humanist letterforms are close-ly connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more ab-stract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twenti-eth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
150
MyogGdQrR
QQQ152
Designed by Christina Fountain
Class project for Professor Herstowski's Typography 02
The University of Kansas
Spring 2012
Text was compiled from the following sources:
Elements of Typographic Style by Robert Bringhurst,
Getting it Right with Type: by Victoria Square,
Mac is Not A Typewriter by Robin Williams.
This book is not to be sold to the public and to only be used by the designer for their reference and student design portfolio.
top related