typographic workbook
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TYPOGRAPHYWORKBOOK
A book of rules and
guidelines for type
Designed by Bailey Wells
Typography 02Michael SelbyUniversity of KansasSpring 2012
x-height
hyphenation
alignment
justification
font combinations
quotes
apostrophes
dashes
bullets
numerals
small caps
paragraph breaks
headers
captions
font specs
1 contents
7
21
32
38
48
58
62
66
68
70
80
88
102
112
122
contents
the rules
Use only one space between sentences. Use real quotation marks. Use real apostrophes.Make sure the apostrophes are where they belong. Hang the punctuation off the aligned edge. Use en or em dashes, use consis-tently. Kern all headlines where neces-sary. 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. 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 callout. Never justify the text on a short line. Keep the word spacing consis-tent. Tighten up the leading in lines with all caps or with few ascend-ers and descenders. Use a one-em first-line indent on all indented paragraphs. Adjust the spacing between para-graphs. Either indent the first line of paragraphs or add extra space between them – not both. Use a decimal or right-aligned tab for the numbers in numbered paragraphs. Never have one line in a para-graph 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.Use the special characters when-ever necessary, including super- and subscript. Spend the time to create nice fraction or chose a font that has fractions. If a correctly spelled word needs an accent mark, use it.
the rules
2
ag ag ag ag
ag ag ag ag
ag ag ag ag
Rockwell
Akzidenz Grotesk
Helvetica
Frutiger
Mrs Eaves
Gill Sans
Gotham
Meta
Memphis
Bembo
Interstate
Optima
x-height 4
Readability and legibility are two
key elements of printed text that
typographers strive to maximize.
Readability extended amount of text – such as an article, book, or annual report – is easy to read. Leg-ibility refers to whether an refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable.
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 type-face’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 ...
There are several factors that determine
whether a text is readable.
7 x-height
x-height
Someone that wants to read it? Someone that has to read it?
Quickly. In passing. Focused. Near. Far.
who is to read it?
how will it be read?
8x-height
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 empha-
sis 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 em-
phasizing 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 ex-
alted violence and conflict and called for the sweeping re-
pudiation of traditional cultural, social, and political values
and the destruction of such cultural institutions as museums
and libraries.
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. Mari-
netti’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 destruc-
tion of such cultural institutions as museums and libraries.
Xxhg
Xxhg
ROCKWELL
Morris Fuller Benton
x-height: average
character width: narrow
color: medium
ARCHERHoefler and Frere-Jones
x-height: average
character width: narrow
color: light
9 x-height
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, re-
flected 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.
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 emphasiz-
ing 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.
Xxhg
Xxhg
WALBAUMJustus Erich Walbaum
x-height: tall
character width: narrow
color: medium
BEMBO
Stanley Morison
x-height: average
character width: wide
color: light
10x-height
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
cultural, social, and political values and the destruction of such cultural
institutions as museums and libraries.
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.
Xxhg
Xxhg
GRANJON
Robert Granjon
x-height: average
character width: narrow
color: light
BASKERVILLE
John Quaranda
x-height: average
character width: narrow
color: light
11 x-height
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. Futurism rejected traditions and glorified contem-
porary 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.
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.
Xxhg
Xxhg
SABONJan Tschichold
x-height: average
character width: large
color: light
BEMBO
Stanley Morison
x-height: average
character width: wide
color: light
12x-height
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 in-
novation 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 con-
flict and called for the sweeping repudiation of traditional
cultural, social, and political values and the destruction of
such cultural institutions as museums and libraries.
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 in-
novation 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 con-
flict and called for the sweeping repudiation of traditional
cultural, social, and political values and the destruction of
such cultural institutions as museums and libraries.
Xxhg
Xxhg
SWIFT
Gerard Unger
x-height: average
character width: wide
color: medium
LINOTYPE DIDOTFirmin Didot
x-height: average
character width: average
color: light
13 x-height
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 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.
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 so-
ciety. 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.
Xxhg
Xxhg
ROTIS SANS SERIF
Oti Aicher
x-height: tall
character width: narrow
color: medium
BERTHOLD AKZIDENZ GROTESK
Gunter Gerhand Lange
x-height: tall
character width: narrow
color: light
14x-height
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 so-
ciety. 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.
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 irrel-
evant art of the past and celebrating change, originality,
and innovation in culture and society. Futurism rejected
traditions and glorified contemporary life, mainly by em-
phasizing 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.
Xxhg
Xxhg
META
Erik Spiekermann
x-height: tall
character width: average
color: average
FRUTIGER
Adrian Frutiger
x-height: tall
character width: wide
color: average
15 x-height
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. Futurism rejected traditions and glorified contem-porary 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.
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. Futurism rejected traditions and glorified contem-
porary life, mainly by emphasizing two dominant themes, the
machine and motion. The works were characterized by the de-
piction 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.
Xxhg
Xxhg
SYNTAX
Hans Eduard Meier
x-height: tall
character width: average
color: dark
BEMBO
Stanley Morison
x-height: tall
character width: narrow
color: average
16x-height
x-height
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 em-
phasis 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 move-
ment. He exalted violence and conflict and called for the
sweeping repudiation of traditional cultural, social, and
political values and the destruction of such cultural institu-
tions as museums and libraries.
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. Futur-
ism 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 ac-
tions 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.
Xxhg
Xxhg
INTERSTATE
Tobias Frere-Jones
x-height: tall
character width: average
color: average
ITC OFFICINA SANS
Erik Spiekermann
x-height: average
character width: narrow
color: average
17
x-height
Futurism was first announced on February 20, 1909,
when the Paris newspaper Le Figaro published a
manifesto by the Italian poet and editor Filippo Tom-
maso Marinetti. The name Futurism, coined by Mari-
netti, 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 succes-
sive actions of a subject at the same time. Marinetti’s
manifesto glorified the new technology of the auto-
mobile and the beauty of its speed, power, and move-
ment. 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.
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 in-
novation 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.
Xxhg
Xxhg
GOTHAM
Tobias Frere-Jones
x-height: average
character width: wide
color: light
HELVETICA NEUE
Max Miedinger
x-height: tall
character width: average
color: average
18
hyphenation
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 be-comes 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 life, but a narrow column can be less active. Another advantage to having ragged text is that less hyphen-ation is needed. Therefore, names, dates or words which are normally read together can stay together.
In unjustified text, the text block is set with
normal letter and word spacing.
hyphenation21
Look at how the text is read: avoid widows (one word on the last line of a paragraph)
Avoid hyphenating or line breaks of names and proper nouns
Leave at 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 callout
hyphenation rules
hyphenation 22
hyphenation
headlines
Professor and The-rapist to Lecture
Don Quixote de la Man-
cha
Man Walks Barefoot Across BayBridge
Man Walks Barefoot Across Bay Bridge
Man walks barefoot across Bay Bridge
Watch where the first line of a two-line head-
line ends. Does it create a silly or misleading
phrase? Fix it.
Don’t hyphenate headlines. That’s a law.
Don’t leave widows in headlines.
Fix it either way, or re-write!
23
hyphenation
Never leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing 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.
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 leav-ing 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 it-self at the top of the next column, that is an orphan. ALWAYS correct this.
In typography, rivers, or rivers of white, are visu-ally 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.
Widows and Orphans
Widows
Orphans
Rivers
24
hyphenation
what are bad line breaks anyway?
Look for bad line breaks throughout every
line of body copy. Of course, do this only on
final copy, after all editing has been done!
Here are several examples of the sorts of
things to look for:
1 Justify the headline so it stays on one line.
2 Use a line break (Shift Return) to bump “a” down to the next line, where it fits very nicely.
3 Kern the line a tiny bit to bring the rest of the word up.
4 Type a dischy in front of the word to bump it down.
5 Never hyphenate a person’s name. This had to go up a few lines, and “off” had to be bumped down, which bumped the other line endings down. This also took care of the inappropriate widow in 6.
7 There is plenty of room to squeeze “bought” on this line, perhaps by kerning the line a tiny bit.
8 “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 block or text book a wee bit.
9 To get rid of that terrible widow, exchange a short word for a long word.
26
hyphenation
Casing AdderBatHeresy borsch-boil starr aboarder borsch boil gamplate lung, lung a gore in-ner ladle wan-hearse torncoiled Mutt-fill.
Mutt-fill worsen mush of-fer torn, butted hatter puttygut borsch-boil tame, an offoiler pliers honor tame, doormoist cerebrated worse Cas-ing. Casing worsted sickenedbasement, any hatter bettingorphanage off.526 (fife toesex).
Casing worse gut lurkingan furry poplar–spatiallywetter full coiled Any-bally.Any-bally worse Casing’ssweat-hard, any harpy cobblewandered toe gat merit,bought Casing worse toe poretoe becalm Any-bally’shorsebarn. (Boil pliers honorMutt-fill tame dint gat mushoffer celery; infect, day gutnosing atoll.)
Butt less gat earn wetter star-ry.
Casing Adder BatHeresy borsch-boil starrya boarder borsch boil gamplate lung, lung a gore innerladle wan-hearse torn coiledMutt-fill.
Mutt-fill worsen mushoffer torn, butted hatter puttygut borsch-boil tame, anoff oiler pliers honor tame,door moist cerebrated worseCasing. Casing worsted sick-ened basement, any hatterbetting orphanage off .526(fife toe sex).
Casing worse gut lurking an furry poplar–spatiallywetter gull coiled Any-bally.Any-bally worse Casing’ssweat-hard, any harpy cobblewandered toe gat merit, boughtCasing worse toe pore toebecalm Any-bally’s horsebarn.(Boil pliers honor Mutt-filltame dint gat mush offer celery;infect, day gut nosing atoll.)
Butt less gat earn wetterstarry.
2
3
4
5
6
7
8
9
1
27
Right and wrong do not exist in
graphic design.
There is only effective and non-effective communication. PETER BILAK
If someone else tells you that left-aligned text is better than justified text, tell them they are wrong.
Alignment is only a small piece of the puzzle. What works for one design might be totally inappropriate 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 ele-ments on the page. The most appropriate choice is the alignment that works for that particular design.
If they are both wrong, then what’s right?
If someone insists that fully
justified text is better than left-
aligned text, tell them they are
wrong.
alignment32
alignment
Traditionally many books, newsletters, and news-papers 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.
justified text
alignment 33
alignment
Often considered more formal, less friendly than left-aligned text.
Usually allows for more characters per line, pack-ing 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.
Often considered more informal, friendlier than justi-fied 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 (requires less time and tweaking from the designer).
There is nothing inherently wrong with centered
You may find that fully-justified text is a
necessity either due to space constraints or
expectations of the audience. If possible
though, try to break up dense blocks of texts
with ample subheadings, margins, or graphics.
Left-Aligned, Ragged Right
34
alignment
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 ap-propriate. When in doubt, don’t center it.
As with all layouts, alignment depends on the purpose of the piece, the audience and its expecta-tions, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particu-lar design.
No matter what alignment you use, remember to pay close attention to hyphenation and word/char-acter 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 explain
why you chose the alignment you did and be
prepared to change it (and make necessary ad-justments to keep it looking good) if the person with final approval still insists on something different.
Centered
35
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 newsletter, 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.
Justify text only if the line is long enough to
prevent awkward and inconsistent word spacing.
justification38
justification
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.
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 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.
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.
Justified text was the style for many years.
We grew up on it.
Here is a general guideline for determining if
your line length is long enough to satisfactorily
justify the text.
39justification
justification
Futurism was first announced on Febru-
ary 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 in-
novation 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 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.
Futurism was first announced on Febru-
ary 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 cultural, social,
and political values and the destruction of
such cultural institutions as museums and
libraries.
100125250
This is way too spaced out. The
gaps between each word create
long rivers that break up the
paragraph. It looks worse with
the sans serif font than the
serif font.
40
justification
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.
Futurism was first announced on Febru-
ary 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. Futur-
ism rejected traditions and glorified contem-
porary life, mainly by emphasizing two domi-
nant 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.
80100200
This one is mostly acceptable.
There are small rivers in both
fonts that should be adjusted.
41
justification
Futurism was first announced on Febru-
ary 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 move-
ment. 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.
Futurism was first announced on Febru-
ary 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 celebrat-
ing 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.
125175300
Everything here is too far apart
from each other. Gaps and riv-
ers in each paragraph take over
its legibility.
42
justification
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 innova-
tion 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 ex-
alted violence and conflict and called for the
sweeping repudiation of traditional cultural,
social, and political values and the destruc-
tion of such cultural institutions as museums
and libraries.
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 innova-
tion in culture and society. Futurism rejected
traditions and glorified contemporary life,
mainly by emphasizing two dominant themes,
the machine and motion. The works were char-
acterized 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 con-
flict and called for the sweeping repudiation of
traditional cultural, social, and political values
and the destruction of such cultural institutions
as museums and libraries.
205075
We are getting closer here. The
letters are actually too close to-
gether, but they are more leg-
ible. The sans serif font looks
better than the serif.
43
justification
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.
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 innova-
tion 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.
929295
This is pretty good! There are
only some slight river prob-
lems, but other than that, it’s
pretty legible.
44
Although there is not recipe there is a place to start: keep an eye on the characteristic shapes of the letter-form. 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. (Using 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 characteristics of
form and type color: proportion, x-heights.
font combination48
font combination
It is a matter of typographic sensitivity and
experience. Expert typographers, as well as care-
less amateurs permit themselves combinations
that would horrify colleagues with more tradi-
tional sympathies.
There is not a binding recipe for
type combinations.
49font combination
font combination
font combination
Frutiger Bold: 9 pt, humanist sans-serif
Garamond: 11 pt, Old Style
In this instance, Garamond had to be increased
in size just a tad to match the x-height of
Frutiger. The width of the letters are about the
same so they match up nicely.
Akzidenz Grotesk: 9 pt, grotesque sans serif
Bembo: 9 pt, Old Style
The roundness of both these fonts create a nice
look. The x-height in Akzidenz Grotesk is slight-
ly taller but it still matches up well.
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. 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 repudia-tion of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
aa BB ee GG gg
aa BB ee GG ggWORDS 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. 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.
50
font combination
Futura light: 9 pt, geometric
Baskerville: 9 pt, transitional
Here, the fonts look nice together, but there still
needs to be a higher contrast between them
both to make it more effective.
Optima: 10 pt, humanist sans serif
Bookman light: 7 pt, Transitional
Here, Optima had to be bumped up in size so
that the x-height could be matched. Bookman is
light instead of regular as well, since it is a thick-
er font and would have competed with Optima.
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 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 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 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 insti-
tutions as museums and libraries.
aa BB ee GG gg
aa BB ee GG ggWORDS 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 discard-
ing 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.
51
font combination
Gotham black italic: 9 pt, geometric
Bauer Bodoni: 9 pt, modern
The black italics in Gotham really help to lead
into the Bodoni typeface. It also contrasts the
thicks and thins seen in the serif font.
Franklin Gothic Medium Regular: 8 pt, grotesque
Didot: 7 pt, modern
The x-heights are harder to match up here, but
they still compliment each other nicely because
Franklin Gothic is thick, and Didot is rather thin.
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.
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.
aa BB ee GG gg
aa BB ee GG ggWORDS 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 in-
novation 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 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 move-
ment. 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.
52
font combination
Century Gothic bold: 9 pt, geometric
Trade Gothic medium: 11 pt, new transitional
These fonts work very well together. They
are both fairly small typefaces, and by making
Mrs. Eaves a tad bit bigger they create a
nice compliment.
Trade Gothic bold: 10 pt, grotesque
Clarendon: 8 pt, new transitional
These two fonts look nice, but because Trade
Gothic is so narrow, it conflicts a little with the
wideness of stroke in Clarendon.
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 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.
aa BB ee GG gg
aa BB ee GG ggWORDS 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 Tom-
maso Marinetti. The name Futurism, coined by Marinetti, re-
flected 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 suc-
cessive 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 tradi-
tional cultural, social, and political values and the destruction
of such cultural institutions as museums and libraries.
53
font combination
Futura: 10 pt, geometric sans serifRockwell: 9 pt, slab serif
Futura and Rockwell are both very square, so
they come together and make a nice pairing.
Meta: 9 pt, humanist sans serif
Serifa: 8 pt, slab serif
Both of these fonts have more rounded, shapely
forms. Serifa is smaller, helping the color to
reduce in the paragraph and not allowing it to
compete with Meta.
WORDS IN LIBERTYA 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 Marinet-
ti, 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 technolo-
gy 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 institu-
tions as museums and libraries.
aa BB ee GG gg
aa BB ee GG ggWORDS IN LIBERTY
A Prologue to Futurism: Futurism was first announced on Febru-
ary 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 tradi-
tions 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 politi-
cal values and the destruction of such cultural institutions as
museums and libraries.
54
font combination
Faces of type are like men's faces.
They have their own expression; their complex-
ion and peculiar twists and turns of line identify
them immediately to friends, to whom each is
full of identity.
J.L. Frazier
Most software applications will convert the type-writer quotes to the real quotes for you automati-cally as you type. Check the preferences for your application – you’ll find a check box to tell your application to automatically 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.
Use real quotation marks –
never those grotesque generic
marks that actually symbolize
ditto/inch or foot marks.
use “and” not "and".
quotes58
quotes
Opening double quote:
Closing double quote:
Opening single quote:
Closing single quote:
" Type: Option [
" Type: Option Shift [
' Type: Option [
' Type: Option Shift [
Bridge Clearance: 16’ 7”The young man stood 6’ 2”The length of the wall is 153’9”.
quotes 59
For possessives: Turn the phrase around. The apos-trophe 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 your-self, “The camp belongs 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 contraction — “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 apostrophes — 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 apos-trophe is indicating where the i is left out. Don’t means “do not”; the apostrophe is indicating where the o is left out.
As as aside, people often are
confused about where the
apostrophe belongs. There are
a couple of rules that work
very well.
apostrophes62
apostrophes
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 apostrophe is still the appropriate mark (not ‘n’).
In a phrase such as House o’ Fashion, the apostro-phe 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 apos-trophe 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 be-fore the s! Why would there be? It is not possessive, nor is it a contraction — it is simply plural.)
Opening double quote: " Type: Option [
apostrophes 63
Everyone knows what a hyphens is —that tiny little dash that belongs in some words, like mother-in-law, or in phone numbers. It’s 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.
Never use two hyphens instead
of a dash. Use hyphens, en dash-
es, and em dashes appropriately.
dashes66
dashes
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.
To type an en dashEn dash: – Option Hyphen
Hold the Option key down, then tap the hyphen keyAn 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 – December6:30 – 8:45 A.M.4 – 6 years of age
To type an em dashEm 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 moment. 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.
Hyphen -
En dash –
Em dash —
dashes 67
dashes
special characters
Option [ opening double quoteOption Shift [ closing double quoteOption ]opening single quoteOption Shift ] closing single quote; apostropheOption Hyphen en dash Option Shift Hyphen em dashOption ; ellipsis Option 8 bulletOption Shift 5 ligature of f and iOption Shift 6 ligature of f and lOption gOption 2Option r Option Shift 8 degree symbol (e.g., 102°F)Option $Option Shift 2 Euro symbolOption Shift 1 (one) fraction barOption 1 (one)Option Shift ?Option 3Option c Option Shift c
The following is a list of the most often-used
special characters and accent marks. On the
following pages are the key combinations for
just about every accent you might need.
“”‘’–—…•fifl©™®°¢€⁄¡¿£çÇ
68
dashes
´ Option e` Option ~¨ Option u˜ Option nˆ Option i
Remember, to set an accent mark over a letter,
press the Option key and the letter, then press
the letter you want under it.
69
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 para-graphs. 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.
Bullet, of course! This very use-
ful typographic element can
add emphasis, clarity and visual
interest to all kinds of copy.
bullets70
bullets
The preferred way to align bullets is with the
left margin. You can also have the bullets over-hang 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.
To be more creative, substitute symbols or ding-bats for the actual bullets. Try squares, triangles or check marks (just not all at once, as shown in the illustration!). Keep these simple and in proportion with the rest of your text.
bullets 71
dingbatsas bullets
Another occasion to take advantage of the baseline shift feature is when using dingbats or ornaments. Suppose you have a list of items and you really want to use a fancy dingbat from the Zapf Dingbats font, instead of using the boring ol' round bullet (or—heaven forbid—a hyphen.) But the Zapf Dingbat character is too big. If you reduce its size, the ding-bat is too low because the character is still sitting on the baseline. So select the character and shift it up above the baseline.
bullets72
Pick any three adjectives that
describe yourself:
• lovely• surly• ghastly• womanly• saintly• ungodly• stately• sprightly
Pick any three adjectives that
describe yourself:
▼ lovely▼ surly▼ ghastly▼ womanly▼ saintly▼ ungodly▼ stately▼ sprightly
Pick any three adjectives that
describe yourself:
lovely surly ghastly womanly saintly ungodly stately sprightly
Pick any three adjectives that
describe yourself:
▼ lovely✽ surly❥ ghastly☞ womanly★ saintly✔ ungodly➔ stately♦ sprightly
Choose a dingbat instead of the
dumb ol' bullet!
You can decrease the point size of
the bullet, but then it sits too low.
Raise the dingbat higher off
the baseline.
You have lots of dingbats to
choose from, but they are usually
too big. (Choose one dingbat).
bullets 73
Oldstyle figures are a style of numeral which ap-proximate lowercase letterforms by having an x-height and varying ascenders and descenders. They are considerably different from the more common “lining” (or “aligning”) figures which are all-cap height and typically monospaced in text faces so that they line up vertically on charts.
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 have more
of a traditional, classic look.
numerals76
numerals
Oldstyle figures are very useful and quite
beautiful when set within text. Unlike lining figures, they blend in without disturbing the color of the body copy. They also work well in headlines since they’re not as intrusive as lining figures. In fact, many people prefer them overall for most uses except charts and tables. It’s well worth the extra ef-fort to track down and obtain typefaces with oldstyle numerals; the fonts that contain them might well become some of your favorites.
Notice how large and clunky
these numbers appear:Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505.
Notice how beautifully these
numbers blend into the text:Dear John, please call me at 438-9762 to discuss marriage.Or write to me at Route 916, zip code 87505.
numerals 77
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 emphasis. 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.
small caps80
small caps
Use small caps for acronyms. Set acronyms such as NASA or NASDAQ in small caps when they ap-pear in body text or headlines.
Use small caps for common abbreviations. Set common abbreviations 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 resiz-ing capital letters or using the small caps feature in some programs. Instead use typefaces that have been specifically created as small caps.
small caps 81
small caps
If you set acronyms in regular all caps, their visual presence is unnecessarily overwhelming. One standard and practical place to use small caps is in acronyms such as FBI, NRC, CBS, or SIMM.
Traditionally, "A.M." and "P.M." are set with small caps. If you were taught to type on a typewriter (or if you were taught on a keyboard by someone who was taught on a typewriter), you probably learned to set these abbreviations in all caps because there were no small caps on typewriters. But now that you have the capability, you can and should set
them properly.
where to use small caps
82
small caps
Harriet, an FBI agent, turned on CNN to get the dirt on the CIA before going to bed at 9:30 P.M.
Harriet, an fbi agent, turned on cnn to get the dirt on the cia be-fore going to bed at 9:30 p.m.
The capital letters in the middle of the sentence
call too much attention to themselves. Notice
how the small caps blend in with the text. The
capital letters for P.M. are much too large — the
abbreviation is not that important.
83
small caps
There are quite a few font families that include "true-drawn" small caps—letterforms that have been redesigned to match the proportions and thicknesses of the uppercase. These families are oftne called "expert" sets or perhaps "small cap" sets (see Chapter 8). The result is a smooth, uni-form, undisturbing tone throughout the text.
There Is No Rest For The Wicked.
True-drawn small caps are specially drawn to
match the weight of the capital letters in the same
face.
true-drawn small caps
84
Paragraph breaks set a rhythm for the reader. The breaks have a relationship with the column of text as well as the page margins. A break may be in-troduced as an indentation, as a space or both. The over all page feel will be influenced by your choice.
paragraph breaks88
paragraph breaks
paragraph breaks
In typography there are 4 rules regarding para-
graph breaks:
1. The first line at the beginning of an article should be flush left (do not indent the first paragraph)
2. Block paragraphs are flush left and are separated by extra leading and not a full return
3. The amount of indent is equal to the leading
4. Never hit two returns between paragraphs
89
paragraph breaks
paragraph breaks
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 contem-porary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its 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 is 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" move-ment 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 mani-festos 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 liberta, 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.”
90
paragraph breaks
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 manifesto's rhetoric was passion-ately bombastic; its tone was aggressive and inflam-matory and was purposely intended to inspire pub-lic anger and amazement, to arouse controversy, and to attract widespread attention.
But is 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 radi-cal 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 exag-gerated 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 mani-festos 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 liberta, 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.”
91
paragraph breaks
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; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse con-troversy, 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 radi-cal 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 exag-gerated 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 mani-festos 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 liberta, 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.”
92
paragraph breaks
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; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse con-troversy, and to attract widespread attention.
But is 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 radi-cal 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 exag-gerated 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 mani-festos 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 liberta, 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.”
93
paragraph breaks
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; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse con-troversy, and to attract widespread attention.
But is 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 radi-cal 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 exag-gerated 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 mani-festos 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 liberta, 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.”
94
paragraph breaks
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; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse con-troversy, and to attract widespread attention.
But is 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 radi-cal 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 exag-gerated 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 mani-festos 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 liberta, 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.”
95
paragraph breaks
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; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse con-troversy, and to attract widespread attention.
But is 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 radi-cal 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 exag-gerated 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 mani-festos 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 liberta, 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.”
96
paragraph breaks
❥❥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.1 Futurism rejected traditions and glorified contem-porary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its 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 is 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" move-ment 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 mani-festos 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 liberta, 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.”
97
paragraph breaks
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 contem-porary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its 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 is 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" move-ment 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 liberta, by which poetry was to become “an uninterrupted sequence of new imag-es… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”
98
paragraph breaks
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; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse con-troversy, and to attract widespread attention.
But is 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 radi-cal 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 exag-gerated 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 mani-festos 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 liberta, 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.”
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Header: the supplemental text at the beginning of a text block. It introduces the general idea of what the entire text is about.
Subhead: a subordinate line of text that could be at the beginning of a paragraph. It introduces the main idea of a certain section within the text.
headers102
headers
Pay attention to:
the kerning of the header
clear hierarchy
no hyphenation in the header
subheads should be symmetrical or asymmetrical
103headers
headers
❥❥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 con-temporary 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. The manifes-to's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
❥❥But is 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 & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta, 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 re-sembled 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 Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists' performances mixed decla-mation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Mari-netti selbst (circa 1915): “Everything of any value is theatrical.”
WORDS IN LIBERTYA PROLOGUE TO FUTURISM
Radical mix of art and life
104
headers
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 con-temporary 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. The manifes-to's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
But is 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 some-times 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 & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta, 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 re-sembled 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 Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists' performances mixed decla-mation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Mari-netti selbst (circa 1915): “Everything of any value is theatrical.”
words in libertya p r o l o g u e t o f u t u r i s m
r a d i c a l m i x o f a r t a n d l i f e
105
headers
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 con-temporary 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. The manifes-to's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
But is 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 some-times 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 & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta, 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 re-sembled 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 Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists' performances mixed decla-mation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Mari-netti selbst (circa 1915): “Everything of any value is theatrical.”
Words in LibertyA PROLOGUE TO FUTURISM
Radical mix of art and life
106
headers
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 con-temporary 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. The manifes-to's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
But is 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 some-times 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 & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta, 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 re-sembled 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 Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists' performances mixed decla-mation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Mari-netti selbst (circa 1915): “Everything of any value is theatrical.”
words in liberty a prologue to futurism
radical mix of art and life
107
headers
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 in-novation 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. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
But is 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 fu-
turism, 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 & artists
offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta, 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 inno-vative and expressive typography in the visual presentation of language, as set in mo-tion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists' performances mixed declama-tion 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 selbst (circa 1915): “Everything of any value is theatrical.”
WORDS IN LIBERTYA P r o l o g u e t o F u t u r i s m
R a d i c a l m i x o f a r t a n d l i f e
108
headers
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 con-temporary 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. The manifes-to's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
But is 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 some-times 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 & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta, 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 re-sembled 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 Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists' performances mixed decla-mation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Mari-netti selbst (circa 1915): “Everything of any value is theatrical.”
words in libertyA PROLOGUE TO FUTURISM
Radical mix of art and life
109
Footnotes and endnotes are necessary components of scholarly and technical writing. They’re also frequently used by writers of fiction, from Herman Melville (Moby-Dick) to contemporary novelists. Whether their intent is academic or artistic, foot-notes present special typographic challenges.
The footnote might provide deeper background, of-fer 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.
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Footnotes and endnotes
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.
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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. Endnotes should always use numerals to facilitate easy referencing.
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 readable size.
Numbers or Symbols
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❥❥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.¹ 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 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. The manifes-to's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
❥❥But is 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 & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberte², 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 re-sembled 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 Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists' performances mixed decla-mation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Mari-netti 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
114
captions
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, originali-ty, and innovation in culture and society¹. 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 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. The manifes-to's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
But is 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 some-times 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 & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberte², 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 re-sembled 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 Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists' performances mixed decla-mation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Mari-netti selbst³ (circa 1915): “Everything of any value is theatrical.”
words in libertya p r o l o g u e t o f u t u r i s m
r a d i c a l m i x o f a r t a n d l i f e
1 PHILIP MEGGS,
HISTORY OF
GRAPHIC DESIGN,
VAN NOSTRAND
REINHOLD, 1988
2 PAROLE IN LIBERTA
= WORDS SET FREE
(LIBERTY)
3 SELBST = HIMSELF
115
captions
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.¹ 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 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. The manifes-to's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
But is 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 some-times 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 & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberte², 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 re-sembled 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 Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists' performances mixed decla-mation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Mari-netti 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
116
captions
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, originali-ty, and innovation in culture and society¹. 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 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. The manifes-to's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
But is 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 some-times 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 & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberte², 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 re-sembled 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 Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists' performances mixed decla-mation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Mari-netti selbst³ (circa 1915): “Everything of any value is theatrical.”
words in liberty a 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 (LIB-
ERTY)
3 SELBST = HIMSELF
117
captions
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 in-novation in culture and society.¹ 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. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
But is 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 fu-
turism, 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 & artists
offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberte², 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 inno-vative and expressive typography in the visual presentation of language, as set in mo-tion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists' performances mixed declama-tion 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 P r o l o g u e t o F u t u r i s m
R a d i c a l m i x o f a r t a n d l i f e
1 PHILIP MEGGS, HISTORY OF GRAPHIC DESIGN, VAN NOSTRAND REINHOLD, 1988
2 PAROLE IN LIB-ERTA = WORDS SET FREE (LIBERTY)
3 SELBST = HIMSELF
118
captions
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, originali-ty, and innovation in culture and society¹. 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 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. The manifes-to's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
But is 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 some-times 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 & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberte², 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 re-sembled 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 Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists' performances mixed decla-mation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Mari-netti 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
119
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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
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modern typefaces are more abstract and
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when printers sought to identify a heritage
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modern typefaces are more abstract and
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literature. Designers in the twenti-
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based on historic characteristics.
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heritage for their own craft analogous
to that of art history. Humanist letter-
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raphy and the movement of the hand.
Transitional and modern typefaces
are more abstract and less organic.
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Transitional and modern typefaces are more
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and Enlightenment periods in art and literature.
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faces based on historic characteristics.
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was devised in the nineteenth century,
when printers sought to identify a heri-
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of art history. Humanist letterforms are
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movement of the hand. Transitional and
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modern typefaces are more abstract
and less organic. These three main
groups correspond roughly to the
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Designers in the twentieth and
twenty-first centuries have continued
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historic characteristics.
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century, when printers sought to
identify a heritage for their own
craft analogous to that of art his-
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and the movement of the hand.
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A basic system for classifying typefaces was
devised in the nineteenth century, when
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history. Humanist letterforms are closely
connected to calligraphy and the move-
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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
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periods in art and literature. Designers in
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A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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Transitional and modern typefaces are
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Designers in the twentieth and twenty-
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new typefaces based on historic charac-
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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
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tage for their own craft analogous to that
of art history. Humanist letterforms are
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modern typefaces are more abstract and
less organic. These three main groups
correspond roughly to the Renaissance,
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in art and literature. Designers in the
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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.
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the hand. Transitional and modern typefaces
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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.
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century, when printers sought to
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craft analogous to that of art history.
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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 ( ) { } ? ! @ & *
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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.
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when printers sought to identify a heri-
tage for their own craft analogous to that
of art history. Humanist letterforms are
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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: 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 ( ) { } ? ! @ & *
font specs136
MxnatQbWFGdR
CLASSIFICATION: BLACK LETTER
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 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 ( ) { } ? ! @ & *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 ( ) { } ? ! @ & *
font specs138
CLASSIFICATION: GROTESK
BOOK
ITALIC
MEDIUM
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 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: HUMANIST SANS
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 ( ) { } ? ! @ & *
font specs140
CLASSIFICATION: GEOMETRIC SANS
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: 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 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 ( ) { } ? ! @ & *
ULTRA LIGHT
font specs142
MaoygGdQrRtCLASSIFICATION: HUMANIST SANS
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 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: GEOMETRIC SANS-SERIF
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 ( ) { } ? ! @ & *
font specs144
MayogGdQRtCLASSIFICATION:
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 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 ( ) { } ? ! @ & *
ULTRA LIGHT
CLASSIFICATION: 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 ( ) { } ? ! @ & *
font specs144
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
CLASSIFICATION: TRADITIONAL
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 ( ) { } ? ! @ & *
font specs146
MayogGdQrRtCLASSIFICATION: 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 ( ) { } ? ! @ & *
CLASSIFICATION: HUMANIST SANS SERIF
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 ( ) { } ? ! @ & *
font specs148
MaxogGdQrRstCLASSIFICATION: 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 ( ) { } ? ! @ & *
CLASSIFICATION: SANS SERIF
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 ( ) { } ? ! @ & *
font specs150
MaxogGdQrRstCLASSIFICATION: MODERN
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 ( ) { } ? ! @ & *
CLASSIFICATION: SANS SERIF
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 ( ) { } ? ! @ & *
font specs152
CLASSIFICATION: OLD STYLE
ITALIC
OLD STYLE
BOLD
BOLD ITALIC
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 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.
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
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 ( ) { } ? ! @ & *
font specs154
CLASSIFICATION: GEOMETRIC SANS SERIF
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 ( ) { }
? ! @ & *
CLASSIFICATION: HUMANIST SANS SERIF
(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 ( ) { } ? ! @ & *
font specs156
CLASSIFICATION: OLD STYLE
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 ( ) { } ? ! @ & *
CLASSIFICATION: HUMANIST SANS SERIF
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 ( ) { } ? ! @ & *
font specs158
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 ( ) { } ? ! @ & *
CLASSIFICATION: 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 amcommodit vulla feugait luptatisl dolorer augait praessi. Lut vel iri-uscil 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 nummod 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, volobor incip et essi.orper sum quamconsed magniam, quisit accum voloborem alit iuscipit la consequam dit nulput acing eu feum quat. Ut luptat at.
font specs160
CLASSIFICATION: TRANSITIONAL SERIF
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 ( ) { } ? ! @ & *
CLASSIFICATION: HUMANIST SANS SERIF
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 ( ) { } ? ! @ & *
font specs162
MxaoygGdQrRCLASSIFICATION: SANS SERIF
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 ( ) { } ? ! @ & *
CLASSIFICATION: MODERN SERIF
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 ( ) { } ? ! @ & *
font specs164
CLASSIFICATION: TRANSITIONAL 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 ( ) { } ? ! @ & *
Designed by Bailey Wells
Text for the book was compiled from the
following sources:
Elements of Typographic Style by Robert Bringhurst
Getting it Right with Type: the Do's and Don'ts of Typography by Victoria Square
Mac is Not a Typewriter by Robin Williams
This book is not to be sold to the public and is
to be used by the designer for their reference
and student design portfolio.
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