the type book
DESCRIPTION
A 150 page handbook on the rules and usage of typography. Text for the book was compiled from Elements of Typographic Style by Robert Bringhurst, Getting it Right with Type: the Do's and Dont's of Typography by Victoria Square, Mac is Not A Typewriter by Robin Williams.TRANSCRIPT
the type book.
Aa
tAble of contents
002
Rules
X-Height
Hyphenation
Alignments
Justification
Combining Fonts
Quotes
Special Characters
Bullets
Numerals + Figures
Small Caps
Paragraph Breaks
Headers
Captions + Notes
Type Specimens
004
006
020
026
030
038
046
052
056
060
062
066
078
088
096
JustificAtion 003
the Rules
004
+ 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 consistently.
+ Kern all headlines where necessary.
+ 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 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
+ Avoid hyphenation in a callout.
+ Never justify the text on a short line.
+ Keep the word spacing consistent.
+ If a line is all caps, tighten up the leading.
+ If a line has few ascenders and descenders, tighten up the leading.
+ Use a one-em first-line indent on all indented paragraphs.
+ Adjust the spacing between paragraphs.
+ Indent the first line of paragraphs or add space between them – not both.
+ Use a decimal for the numbers in numbered paragraphs.
+ Never have one line in a paragraph in the colomn 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 whenever necessary.
+ Spend time creating nice fractions or choose a font that has fractions.
+ If a correctly spelled word needs an accent mark, use it.
The following is a compendium of the rules
established in this book
Rules 005
You might want to check through them each time you complete a publication.
X-height
006
And why it’s important
ReAdAbility And legibility ARe two key elements of
printed text that typographer strive to maximize.
Readability extended amount of text – such as an
article, book, or annual report – is easy to read.
Legibility refers to whether a short burst of text
– like a headline catalog listing, or stop sign – is
instantly recognizable.
theRe ARe seveRAl fActoRs thAt deteRmine whetheR text is readable. When deciding what typeface
should be used for a job, consideration should be
given to the typeface and its x-height. It is impor-
tant to understand how a block of text can express
a message through its texture/color, therefore suit-
ing a particular design solution. Fonts set in the
same size, same leading and column width will
produce varying degrees of “color”.
in typogRAphy, coloR cAn Also descRibe the bAlAnce between black and white on the page of text. A
typeface’s color is determined by stroke width,
x-height, character width and serif styles.
The x-height refers to the distance between the baseline and the mean line in a typeface. It is a proportion based on the lowercase x.
As A designeR, if you are only asked to
make the text readable on the page the
following questions should be asked:
how will it be ReAd? Quickly. In passing. Focused. Near. Far.
who is to ReAd it?Someone that wants to read it?
Someone that has to read it?
X-height 007
008
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.
mRs eAvesZuzana Licko
9/12
x-height: small
character width: average
color: light
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a mani-festo by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cel-ebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were 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 conflict and called for the sweeping repu-diation of traditional cultural, social, and political values and the destruction of such cultural institutions as muse-ums and libraries.
univeRsAdrian Frutiger
XxhgXxhg
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x-height: large
character width: average
color: dark
X-height 009
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a mani-festo by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrat-ing 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 cul-tural, social, and political values and the destruction of such cultural institutions as museums and libraries.
melioRHermann Zapf
XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and 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 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.
helveticA neue 55Max Miedinger
Xxhg
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x-height: large
character width: average
color: medium
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x-height: large
character width: average
color: medium
010
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.
bAskeRvilleJohn Baskerville
XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on dis-carding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were character-ized by the depiction of several successive actions of a sub-ject 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 cul-tural institutions as museums and libraries.
din mittelshRift Albert Jan-Pool
Xxhg
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x-height: average
character width: average
color: light
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x-height: large
character width: narrow
color: dark
X-height 011
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.
filosophiAZuzana Licko
X x h gFuturism 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 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.
Akzidenz-gRoteskGünter Gerhard Lange
Xxhg
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character width: narrow
color: light
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x-height: average
character width: narrow
color: dark
012
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 val-ues and the destruction of such cultural institutions as museums and libraries.
gARAmondClaude Garamond
XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the auto-mobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
news gothic Morris Fuller Benton
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character width: average
color: light
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x-height: large
character width: narrow
color: medium
X-height 013
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cel-ebrating change, originality, and innovation in 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.
bemboFrancesco Griffo
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 innova-tion in culture and society. Futurism rejected traditions and glo-rified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were character-ized by the depiction of several successive actions of a sub-ject 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.
futuRAPaul Renner
9/12
x-height: small
character width: average
color: light
9/12
x-height: average
character width: average
color: dark
XxhgXxhg
014
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 dis-carding what he conceived to be the static and irrele-vant 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 glori-fied the new technology of the automobile and the beauty of its speed, power, and movement. He exalt-ed violence and conflict and called for the sweeping repudiation of traditional cultural, social, and politi-cal values and the destruction of such cultural insti-tutions as museums and libraries.
voltAKonrad Bauer & Walter Baum
XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on dis-carding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were character-ized by the depiction of several successive actions of a sub-ject 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 cul-tural institutions as museums and libraries.
tRAde gothicJackson Burke
Xxhg
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x-height: average
character width: wide
color: dark
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x-height: large
character width: narrow
color: light
X-height 015
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a man-ifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he con-ceived 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 sev-eral 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.
clARendonRobert Besley
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a man-ifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he con-ceived 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 sev-eral 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.
gothAmTobias Frere-Jones
9/12
x-height: average
character width: wide
color: dark
9/12
x-height: average
character width: average
color: medium
Xxhg Xxhg
016
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a mani-festo by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cel-ebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were 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 conflict and called for the sweeping repu-diation of traditional cultural, social, and political val-ues and the destruction of such cultural institutions as museums and libraries.
memphisRudolf Wolf
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 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 insti-
inteRstAteTobias Frere-Jones
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x-height: average
character width: wide
color: dark
9/12
x-height: large
character width: narrow
color: light
Xxhg Xxhg
X-height 017
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cel-ebrating change, originality, and innovation in 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.
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 tradi-tions and glorified contemporary life, mainly by emphasiz-ing two dominant themes, the machine and motion. The works were characterized by the depiction of several suc-cessive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweep-ing repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
didotFirmin Didot
Xxhggill sAnsEric Gill
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color: light
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character width: wide
color: medium
018
X-height 019
The hyphen is a punctuation mark used to join words and to separate syllables of a single word.
Dashes are longer and have a different use.
hyphenAtion
020
in unJustified teXt, the teXt block is set with normal letter and word spacing.
Because of the even word spacing the text
will have an even texture – no large spaces
between words. The lines will naturally
vary in length. A ragged text block can
integrate with the layout and add visual
interest to the page.
hyphenAtion 021
hyphenAtion Rules:
+ Avoid leaving widows.
+ Avoid hyphenation or line breaks with names and proper nouns.
+ Leave at least two characters on the line and three following.
+ Avoid starting 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 words in a headline. Avoid hyphenation in a callout.
AnotheR AdvAntAge to RAgged teXt is less
hyphenation is needed. Therefore, names,
dates or words which are normally read
together can stay together.
the difficulty is mAking the RAgged edge have a pleasing silhouette. When the first
line in the text is longer than the second,
it becomes separate from the layout and
creates a box-like shape. This destroys one
of the advantages of unjustified text. The
ragged edge needs to have a life, but a
narrow column can be less active.
widows & oRphAns
widow:
oRphAn:
RiveRs:
When the last line of a paragraph, be it ever so long, won’t fit at
the bottom of a column and must end itself at the top of the next
column, that is an orphan. Always correct this.
In typography, rivers, or rivers of white, are visually unattractive
gaps appearing to run down a paragraph of text. They can occur
with any spacing, though they are most noticeable with wide word
spaces caused by either full text justification or monospaced fonts.
022
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.
When a paragraph ends and leaves fewer than seven characters
(not words, characters) on the last line, that line is called a widow.
Worse than leaving one word at the end of a line is leaving part of
a word, the other part being paraphrased on the line above.
widows And oRphAns on A pAge ARe wRong.
heAdlines
Do not hyphenate headlines. That’s a law.
Watch where the first line of a two-line
headline ends. Does it create a silly or
misleading phrase? Fix it.
Do not leave widows (very short last lines)
in headlines.
hyphenAtion 023
“Don Quixote de la Man-Cha”
“Professor and The-rapist to Lecture”
“Don’t Lose Your SelfRespect”
WRONG:“Man Walks Barefoot Across BayBridge”
Fix it, or rewrite the headline.
RIGHT: “Man Walks BarefootAcross Bay Bridge”
whAt ARe bAd line bReAks AnywAy?
Look for bad line breaks throughout every line of body copy.
Of course, do this only on the final copy after all editing has been done.
cAsing AddeRbAt
Heresy borsch-boil starry a
boarder borsch boil gam
plate lung, lung a gore in-
ner ladle wan-hearse torn
coiled Mutt-fill.
Mutt-fill worsen mush of-
fter torn, butted hatter putty
gut borsch-boil tame, an off
oiler pliers honor tame, door
moist cerebrated worse Cas-
ing. Casing worsted sickened
basement, any hatter betting
orphanage off. 526 (fife toe
sex).
Casing worse gut lurking
an furry poplar—spatially
wetter gull coiled Any-bally.
Any-bally worse Casing’s
sweat-hard, any harpy cobble
wandered toe gat merit,
bought Casing worse tow pore
toe becalm Any-bally’s
horsebarn. (Boil pliers honor
Mutt- fill tame dint gat mush
offer celery; infect, day gut
nosing atoll.)
Butt less gat earn wetter star-
ry.
cAsing AddeR bAt
Heresy borsh-boil starry
a boarder borsch boil gam
plate lung, lung a gore inner ladle
wanhearse torn coiled Mutt-fill.
Mutt-fill worsen mush
offer torn, butted hatter putty
gut borsch-boil tame, an
off oiler pliers honor tame,
door moist cerebrated worse Casing.
Casing worsted sick-
ened basement, any hatter
betting orphanage off .526
(fife toe sex).
Casing worse gut lurking
an furry poplar—spatially
wetter gull coiled Any-bally.
Any-bally worse Casing’s
sweat-hard, any harpy cobble
wandered toe gat merit, bought
Casing worse toe pore toe
becalm Any-bally’s horsebarn.
(Boil pliers honor Mutt-fill tame dint
gat mush offer celery; infect, day gut
nosing atoll.)
Butt less gat earn wetter starry.
024
1
2
3
4
5
6
7
8
9
Justify the headline so it stays on one line.
Use a line break (shift+return)to bump “a” down to the next line, where it fits very nicely.
Kern the line a tiny bit to bring the rest of the word up.
Type a dischy in front of the word to bump it down.
Never hyphenate a person’s name. Go up a few lines, bump “off” down, which bumps the other line endings down.
Fix widows.
There is plenty of room to squeeze “bought” on this line, perhaps by kering the line a tiny bit.
“Horsebarn” is a good long word that could be hyphenated; type a dischy. Better yet, when “bought” moved up, it gave enough room to move horsebarn” up. If not, try opening the text box a wee bit.
Edit: to get rid of that terrible widow, exchange a short word for a long word.
hyphenAtion 025
1
2
3
4
5
6
7
8
9
Alignment
“Right and wrong do not exist in graphic design.There is only effective and non-effective communication.”
—PeterBil’ak
026
As with all layouts, alignment depends on the purpose of the piece, the audience and its expectations, the fonts, margins and white space, and other elements on the page. The most appropri-ate choice is the alignment that works for that particular design.
There will undoubtedly be well-meaning friends, business as-sociates, 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 adjustments to keep it looking good) if the person with final approval still insists on something different.
No matter what alignment you use, remember to pay close attention to hyphenation and word/character spacing to ensure that your text is as readable as possible.
Alignment 027
If someone insists that fully justified text is better than left aligned text, tell them they are wrong.
If someone else tells you that left-aligned text is better than justified text, tell them they are wrong.
if they ARe both wRong, then whAt’s Right? Alignment is only a small piece of the puzzle. What works for one
design might be totally 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 elements on the page. The most appropriate choice is the
alignment that works for that particular design.
Justified teXt Traditionally many books, newsletters, and newspapers use full- justification
as a means of packing as much information onto the page as possible to cut
down on the number of pages needed. While the alignment was chosen out of
necessity, it has become so familiar to us that those same types of publications
set in left- aligned text would look odd, even unpleasant. You may find that
fully-justified text is a necessity either due to space constraints or expectations
of the audience. If possible though, try to break up dense blocks of texts with
ample sub- headings, margins, or graphics.
chARActeRistics + Often considered more formal and
less friendly than left-aligned text.
+ Usually allows for more characters
per line, packing more into the
same amount of space (than the
same text set left-aligned).
+ May require extra attention to word
and character spacing and hyphen-
ation 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.
028
centeRed teXt There is nothing inherently wrong with centered text. As with ragged right or fully-
justified text alignment, what works for one design might be totally inappropriate for
another layout. There are simply fewer situations where centered text is appropriate.
When in doubt, don’t center it.
when in doubt, don’t centeR it.
Alignment 029
RAgged Right In English and most European languages where words are read left-to-right,
text is often aligned flush left, meaning that the text of a paragraph is aligned
on the left-hand side with the right- hand side ragged. Ragged right text is con-
sidered more informal than fully justified text. Although flush left alignment is
less likely to have typographic rivers or problems common to fully justified text,
care must be taken to prevent drastic changes in the length of the line. Abrupt
changes from line to line makes the text difficult to read.
chARActeRistics + Often considered more informal
and friendlier than justified text.
+ The ragged right edge adds an
element of white space.
+ May require extra attention to
hyphenation to keep right margin
from being too ragged.
+ Generally type set left-aligned is
easier to work with (i.e. requires less
time, attention, and tweaking from
the designer to make it look good).
JustificAtion
What is the ideal space between words?
030
Justify teXt only if the line is long enough to pRevent AwkwARd
And inconsistent woRd spAcing.
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, then the words liberally space themselves as the type aligns
to the margins. 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.
Justified text was the style for many years-we grew up on it. But
there has been a great deal of research done on readability (how
easy something is to read) and it shoes that those disruptive,
inconsistent gaps between the words inhibit the flow of reading.
Besides, they look dumb. Keep your eyes open as you look at
professionally printed work (magazines, newsletters, annual
reports, journals) and you’ll find there’s a very strong trend to
align type on the left and leave the right ragged.
JustificAtion 031
quick tips
foRmulA
Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type.
(point size x 2) / 6
eXAmples:9 point type = 18 picas long = 3 inches
12 point type = 24 picas long = 4 inches
16 point type = 36 picas long = 6 inches
There are 6 picas per inch. To determine how long a line is in inches, simply divide the number of picas by 6.
identifying pRoblems& chAnging settings
032
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.
Justification settings can be changed under the the paragraph drop dorwn menu. You can change the word spacing and letter spacing in order to minimize the appearance of rivers and make text more readable. See the next five pages for examples.
+
+
quick tipsFuTuRA 9/12GARAMoND 9/12
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasiz-ing two dominant themes, the machine and motion. The works were character-ized 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 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 cul-tural institutions as museums and librar-ies.
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 suc-cessive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-nology of the automobile and the beauty of its speed, power, and movement. He exalted vio-lence 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.
90 100 133
MINIMuM desiRed MAXIMuM
Both typefaces have significant rivers and
Futura has some hyphenation problems.
JustificAtion 033
FuTuRA 9/12GARAMoND 9/12
Futurism was f i rs t announced on February 20, 1909, when the Paris newspaper Le Figaro published a mani-festo by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of sever-al 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 repu-diation 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 suc-cessive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-nology of the automobile and the beauty of its speed, power, and movement. He exalted vio-lence 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.
034
90 95 120 This solution slightly minimizes rives in
both typefaces, many of the hyphenation
issues with Futura are now gone.
FuTuRA 9/12GARAMoND 9/12
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and inno-vation in culture and society. Futurism rejected traditions and glorified con-temporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several 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 exalt-ed 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 suc-cessive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-nology of the automobile and the beauty of its speed, power, and movement. He exalted vio-lence 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.
JustificAtion 035
85 100 100 These solutions are the more successful
than the previous exercises. The rivers
have been minimized and the words feel
sufficiently spaced.
FuTuRA 9/12GARAMoND 9/12
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and inno-vation in culture and society. Futurism rejected traditions and glorified con-temporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several 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.
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 suc-cessive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-nology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweep-ing repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
036
80 87 110 This solution also works well. There are
minimal rivers and the text is easy to read.
Futura seems a bit scrunched.
FuTuRA 9/12GARAMoND 9/12
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on 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 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 cul-tural, 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 suc-cessive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-nology of the automobile and the beauty of its speed, power, and movement. He exalted vio-lence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cul-tural institutions as museums and libraries.
JustificAtion 037
70 75 80 These solutions are not as successful.
Both typefaces seem very crowded and
difficult to read.
combining typefAces
038
aa
Although theRe is not A Recipe, theRe is A plAce to stARt: keep An eye on the characteristic shapes of the letterform. A well designed page contains no more than two different typefaces or four different type variations such as type size and bold or italic style. A particularly good combination is a sans serif typeface for the heading and a serif typefaces for the body copy. When combining serif and sans serif text fonts, one should try and match the characteristics of form and type color: proportion, x-heights.
There is not binding recipe for type combinations. It is a matter of typo-graphic sensitivity and experience. Expert typographers, as well as careless amateurs permit themselves combinations that would horrify colleagues with more traditional sympathies.
Restrict yourself to two typefaces within a document. Multiple serif or sans serif typefaces will cause unwanted tension.
Don’t be a wimp. The key is contrast: size, strength, typographic color.
A sans serif typeface is easier to read at a glance, and, thus, more effective for headlines.
Serifs in a typeface facilitate the forward movement of reading, making serif typefaces an ideal choice for body copy.
quick tips foR effective type combinAtions
+
+
+
+
aa
combining typefAces 039
old style / geRAld + humAnist sAns seRif
old style / geRAld + gRotesque sAns seRif
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contempo-rary life, mainly by emphasizing two domi-nant themes, the machine and motion. 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.
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contempo-rary life, mainly by emphasizing two domi-nant themes, the machine and motion. 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 tra-ditional cultural, social, and political values and the destruction of such cultural institu-tions as museums and libraries.
aa BB ee GG ggGaramond Old Style [9/12] FrutiGer Humanist sans serif [9/12
BemBo Old Style [9/12] akzienz Grotesk Grotesk sans serif [9/12]
aa BB ee GG gg
There is a visible contrast between these two typefaces,
which is further punctuated by the bold style of the sans
serif font. Both of these typefaces have an organic aspect
that compliment each other well.
Here there is a more prominent contrast between the two
typefaces. The large x-height and boldness of the sans serif
typeface is easier to read than the body copy, which outlines a
clear delineation in hierarchy.
040
Baskerville Transitional [12/16] Futura Geometric sans serif [9/12]
Bookman Transitional [9/12] syntax Humanist sans serif [9/12]
tRAnsitionAl + geometRic sAns seRif
tRAnsitionAl+ geometRic sAns seRif
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrat-ing change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depic-tion 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 exalt-ed 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.
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrat-ing change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two domi-nant themes, the machine and motion. 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 exalt-ed 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 gg
Although there is a clear difference between the heading
and the body copy, the stroke of Futura seems a bit heavy,
which creates a similar typographic color as the bold,
enlarged title and creates tension.
Both of these typefaces – while distinct – maintain organic
attributes that compliment each other well. The humanist
sans serif functions well as the body copy, and both
typefaces exude an approachable style.
combining typefAces 041
Bodoni Modern [9/12] eurostile Geometric sans serif [11/12]
didot Modern [9/12] news Gothic Grotesk sans serif [12/16]
modeRn + geometRic sAn seRif
modeRn + gRotesque sAn seRif
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 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 suc-cessive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-nology of the automobile and the beauty of its speed, power, and movement. He exalted vio-lence 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.
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 soci-ety. 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 automo-bile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweep-ing repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
aa BB ee GG gg
aa BB ee GG gg
Although serif fonts are particularly good choices for body copy,
Modern typefaces such as Bodoni were designed as display
fonts. The variations in stroke width with Bodoni creates a dis-
tinct contrast between the uniform stroke width of Futura.
This combination is eye-catching and demonstrates a clear
hierarchy. The title is easy to read due to the bold sans serif
typeface; while the Modern serif typeface is more subdued but
still legible.
042
melior New Transitional [9/12] Gotham Geometric sans serif [9/12]
PerPetua New Transitional [12/16] akzidenz Grotesk Grotesque sans serif [10/12]
new tRAnsitionAl + geometRic sAns seRif
new tRAnsitionAl+ gRotesque sAns seRif
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was
first announced on February 20, 1909,
when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived
to be the static and irrelevant art of the past
and celebrating change, originality, and
innovation in culture and society. Futurism
rejected traditions and glorified contempo-
rary life, mainly by emphasizing two domi-
nant themes, the machine and motion. 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.
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 tradi-tions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depic-tion 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 exalt-ed 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 gg
The large x-height of Gotham creates a contrast with the
small x-height of Melior.
The strength of Akzidenz Grotesk as the body copy competes
with the header, which creates tension between the two blocks
of text and blurs the hierarchy.
combining typefAces 043
rockwell Slab Serif [12/16] Futura Geometric sans serif [9/12]
memPhis Slab Serif [12/16] akzidenz Grotesk Grotesque sans serif [9/12]
slAb seRif + geometRic sAn seRif
slAb seRif + gRotesque sAn seRif
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, original-ity, and innovation in culture and soci-ety. 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 sever-al successive actions of a subject at the same time. Marinetti’s manifesto glori-fied the new technology of the automo-bile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
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 cul-ture and society. Futurism rejected tradi-tions and glorified contemporary life, main-ly 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 tra-ditional 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 gg
Memphis functions well as a display font. Although serif
fonts are considered to be a strong choice for body copy,
the large slab serif typeface may be too bulky and compro-
mise legibility. The monoweight appearance of Akzidenz
Grotesk and Memphis compliment each other well.
This solution employs the slab serif typeface for the
body copy. The typeface style is light to improve legibil-
ity. The title immediately draws the viewer’s attention,
and Rockwell comprises a strong foundation for the
body copy.
044
combining typefAces 045
quotes,ApostRophes,
& dAshes
“ ”
046
quotAtion mARksUse real quotation marks – never those grotesque generic marks that actually symbolize ditto/inch or foot marks. Most software applications will convert the typewriter quotes to the real quotes automatically as you type. Check the preferences for your application – you’ll find a check box to automatically set something as “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.
It is necessary to know how to set them yourself because sometimes the software doesn't do it or does it wrong.
foot mARks And inch mARks
closing single quote ’Type: Option Shift ]
opening double quote “Type: Option [
closing double quote ”Type: Option Shift [
opening single quote ‘Type: Option ]
Bridge Clearance: 16' 7"The young man stood 6' 2"The length of the wall is 153’9".
quotes, ApostRophes, & dAshes 047
the ApostRophethe ApostRophe is A punctuAtion mARk is A punctuAtion mARk thAt seRves seveRAl functions in English: to mark possessive case; to mark the plural of written items
that are not words established in English orthography, and to omit letters. The
apostrophe is different than the closing single quotation mark, even though they
are identical in appearance.
ApostRophe ’Type: Option + Shift +]
foR possessives: tuRn the phRAse ARound. The apostrophe will be placed after whatever word you end up with. For example,
in the phrase the boys’ camp, to know where to place the apostrophe say to your-
self, “The camp belongs to the boys.” The phrase the boy’s camp says “The camp
belongs to the boy.”
omission of letteRsIn a phrase such as House o’ Fashion, the apostrophe takes the place of
the f. There is not earthly reason for an apostrophe to be set before the o.
In a phrase such as Gone Fishin’ the same pattern is followed — the g
is missing.
048
Rules The big exception to this is “its.” “Its” used as a pos-
sessive never has an apostrophe! The word "it" only
has an apostrophe as a contraction.
For contractions: The apostrophe replaces the miss-
ing 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.
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 be-
cause it appears in front of the letter does not mean
you need to use the opposite single quote. An apos-
trophe is still the appropriate mark (not ‘n’).
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.
use with cARe.
+
+
+
+
quotes, ApostRophes, & dAshes 049
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 hy-
phen—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 dAshes, And em
dAshes AppRopRiAtely.
em dAsh —Option + Shift + -
The equivalent of an em dash on a
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
looks very unprofessional.
dAshes
hyphen -Press the hyphen key
en dAsh –Option + -
050
About hyphens+ 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.
About en dAshes+ An en dash is half of the em rule (the width of a capital N).
+ It 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.
About em dAshes+ The em dash is twice as long as the en dash.
+ It is approximately 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.
+ It might indicate an abrupt change in thought.
+ It is also used in a spot where a period is too strong and a com-
ma is too weak.
October – December6:30 – 8:45 A.M.4 – 6 years of age
quotes, ApostRophes, & dAshes 051
speciAl chARActeRs
Ç ¢ £
And how to type them
052
below is A list of ubiquitous speciAl chARActeRs And Accent mARks.These can also be found within the glyphs dialogue box in most applications.
“”‘’–—...•fifl©TM® °¢€⁄¡¿£çÇ
Opening double quotesClosing double quotesOpening single quotesClosing single quotesEn dashEmdashEllipsisBulletLigatureLigatureCopyrightTrademarkRegistered trademarkDegreeCentEuroFraction barUpside-down exclamation pointUpside-down question markPoundCedillaCapital cedilla
Option [Option Shift [Option ]Option Shift ]Option HyphenOption Shift HyphenOption ;Option 8Option Shift 5Option Shift 6Option gOption 2Option rOption Shift 8Option $Option Shift 2Option Shift 1Option 1Option Shift ?Option 3Option cOption Shift c
speciAl chARActeRs 053
Accent mARks
The meanings of words can
drastically change without the
inclusion of accent marks.
Generally, accent marks are
deemed trivial with English,
where accent marks tend to be
reserved for appropriated
foreign words. Your work needs
to accessible to an internation-
al audience, so just follow this
rule: if a letter in a word has an
accent mark, include it! (Most
importantly, use the correct
accent mark.)
Remember, to set an accent mark over a
letter, press the Option key and the letter,
then press the letter you want under it.
ciRcumfleX ˆOption + i
Acute ́Option + e
gRAve `Option + ~
tRemA ̈Option + u
tildA ̃Option + n
054
speciAl chARActeRs 055
bullets
To be more creative, substitute symbols or dingbats for the actual bullets. Try squares, triangles or check marks (just not all at once!)
058
simply put, A bullet is A lARge dot used to dRAw Attention to eAch item in a list or series. The items can be single words, phrases,
sentences or paragraphs. Even if you use the bullet that is part of
your font, don’t automatically assume it’s the right size: it might
need to be altered in scale or position to make it look balanced
next to the text.
bullets should be centeRed on eitheR the cAp height oR X-height, depending on the nature of your copy. If all of your items begin
with a cap, center the bullet on the cap, or a bit lower so it bal-
ances with the negative spaces created by the lowercase. If your
items all begin with lowercase characters, center the bullets on
the x-height. Insert some space after the bullet to avoid crowding.
the pRefeRRed wAy to Align bullets is with the left mARgin. you cAn also have the bullets overhang the margin, and keep all your text
aligned with the left margin. Whichever style you choose, your
listing will look best if items that run more than one line are
indented so that the copy aligns with itself, and not with the
bullet on the first line.
bullets 057
dingbAts As bullets
Another occasion to take advantage of the baseline shift feature is when using the dingbats or
ornaments. Suppose you have a list of items and you really want to use a fancy dingbat from the
Zapf Dingbats fonts., instead of using the boring round bullet, But the Zapf Dingbat character is
too big. If you reduce its size, the dinbat is too low because the character is still sitting on the
baseline. So select the character and shift it up above the baseline.
• Lovely
• Surly
• Ghastly
• Womanly
• Saintly
• Ungodly
• Stately
• Sprightly
u Lovelyi Surlyt Ghastlye Womanlyn Saintlyb Ungodlyl Statelya Sprightly
Choose a dingbat instead of the bullet (Option + 8).
PICK ANy THREE ADJECTIvES
THAT DESCRIBE youRSELF:
``z Lovely
z Surly
z Ghastly
z Womanly
z Saintly
z Ungodly
z Stately
z Sprightly
You can decrease the point size of the bullet, but then it sits too low.
You have lots of dingbats to choose from, but they are usually too big. (Choose one dingbat.)
Raise the dingbat higher off the baseline.
PICK ANy THREE ADJECTIvES THAT DESCRIBE youRSELF:
PICK ANy THREE ADJECTIvES THAT DESCRIBE youRSELF:
PICK ANy THREE ADJECTIvES
THAT DESCRIBE youRSELF:
``z Lovely
z Surly
z Ghastly
z Womanly
z Saintly
z Ungodly
z Stately
z Sprightly
058
speciAl chARActeRs 059
figuRes & numeRAls
Learn the difference between oldstyle figures and regular numerals in a given typeface.
001
060
oldstyle figuRes ARe A style of numeRAl which AppRoXimAte low- eRcAse 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. The figures are proportionately spaced, eliminating the white spaces
that result from monospaced lining figures, especially around the numeral one.
oldstyle figuRes ARe veRy useful And quite 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 effort to track down and obtain typefaces with oldstyle numerals;
the fonts that contain them might well become some of your favorites.
diffeRence in Alignment
Notice how large and clunky these numbers appear:
Notice how beautifully these numbers blend into the text:
Oldstyle figures have more of a traditional,
classic look. They are only available for
certain typefaces. Sometimes they are
included as regular numerals in a font,
but more often they are found within a
supplementary or expert font.
Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Rout 916, zip code 87505.
Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Rout 916, zip code 87505.
figuRes & numeRAls 061
smAll cAps
Small caps are uppercase (capital) letters that are about the size of normal lowercase
letters in any given typeface.
abc
062
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 type-
face, but those are not the same as true small caps. True small caps have line weights
that are proportionally correct for the typeface, which means that they can be used within
a body of copy without looking noticeably wrong.
how to use smAll cAps + Use small caps for acronyms. Set acronyms
such as nasa or nasdaq in small caps when
they appear in body text or headlines.
+ Use small caps for common abbreviations.
Set abbreviations such as am or pm in small
caps so they don’t overpower the accompa-
nying text. Space once after the number, and
use periods. For common abbreviations, if
the font does not have small caps reduce the
font size slightly. Remember: this is not our
default solution, only in desperation.
+ Use true small caps fonts. Avoid simply
re-sizing capital letters or using the small
caps feature in some programs. Instead use
typefaces that have been specifically created
as small caps.
+ Traditionally abbreviations are set with small
caps. Because typewriters did not have a
small caps option, many people incorrectly
learned to uppercase abbreviations.
smAll cAps 063
smAll cAps: ReAl veRsus fAke
There are quite a few font families that include “true-drawn” small
caps—letterforms that have been redesigned to match the propor-
tions and thicknesses of the uppercase. These families are often called
“expert” sets or perhaps “small cap” sets. The result is a smooth,
uniform, undisturbing tone throughout the text.
computeR geneRAted smAll cAps
The Wicked Are Very WeAry.Notice that the stroke weight on the small caps is lighter than on the capitals.
The stroke weight should be uniform.
Font: Helvetica (regular)
“tRue dRAwn” smAll cAps
The Wicked Are Very WeAry.
Notice that the stroke weight appears uniform throughout the text.
Font: Adobe Caslon (small caps)
064
smAll cAps 065
pARAgRAph bReAks
Paragraph breaks set a rhythm for the reader.
066
If you space or indent your paragraphs poorly, your work
belies you as an amateur. There are a multitude of ways to
denote paragraph breaks.
The paragraph breaks have a relationship with the column of text as well as the page margins. A
break may be introduced as an indentation, as a space or both. The over all page feel will be influ-
enced by your choice.
pARAgRAph bReAk Rules
+ The first line at the beginning of an article should
be flush left. (Do not indent first paragraph)
+ Block paragraphs are flush left and are separated
by extra leading not a full return
+ The amount indent is equal to the leading (some-
times a bit more) Never hit enter twice between
paragraphs to form breaks.
+ Use your software to set the indent automatically.
+ Either indent your paragraphs or put extra space
between them. Don't do both.
+ The standard typographic indent is one em
space—a blank space as wide as the point size of
the type.
So why shouldn't I indent the first paragraph?
The purpose of an indent is to warn the reader that a
new paragraph is about to begin. Such an indication
would be redundant on the first paragraph.
pARAgRAph bReAks 067
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 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 it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which,
as with Futurism, had come sharply into focus by the start of the world
war: a radical mix of art and life—the epitome in the poplar mind of an
avant-garde. It was—on both its Russian and Italian sides—the first great
“art” movement led by poets; and if its means 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
libertà, 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
068
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 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 it is the movements which survive here where we Live and work as Poets and artists; or, iF not the movements, then their sense oF art as a LiFe itseLF. All of which, as
with Futurism, had come sharply into focus by the start of the world war: a radical mix of art and
life—the epitome in the poplar mind of an avant-garde. It was—on both its Russian and Italian
sides—the first great “art” movement led by poets; and if its means 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 libertà, by which poetry was to become “an uninterrupted
sequence of new images... [a] strict bet of images or analogies, to be cast into the mysterious sea of
phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image
juxtaposition, more fully explored the use of innovative and expressive typography in the visual
presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive,
the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference
and engagement, to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti selbst, “Everything of any value is theatrical.”
pARAgRAph bReAks 069
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 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 it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism,
had come sharply into focus by the start of the world war: a radical mix of art and life—the
epitome in the poplar mind of an avant-garde. It was—on both its Russian and Italian sides—
the first great “art” movement led by poets; and if its means 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 libertà, by which poetry was to become “an uninterrupted
sequence of new images... [a] strict bet of images or analogies, to be cast into the mysterious
sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and
of image juxtaposition, more fully explored the use of innovative and expressive typography in
the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous
and aggressive, the Futurists’ performances mixed declamation and gesture, events and
surroundings, indifference and engagement, to break the barriers between themselves and
those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is
070
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 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 it is the movements
which survive here where we live and work as poets and artists; or, if not the movements, then
their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by
the start of the world war: a radical mix of art and life—the epitome in the poplar mind of an
avant-garde. It was—on both its Russian and Italian sides—the first great “art” movement led by
poets; and if its means 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 libertà, by which poetry was to become
“an uninterrupted sequence of new images... [a] strict bet of images or analogies, to be cast into
the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms
of collage and of image juxtaposition, more fully explored the use of innovative and expressive
typography in the visual presentation of language, as set in motion by forerunners like Mallarmé.
Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and
surroundings, indifference and engagement, to break the barriers between themselves and those
who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”
pARAgRAph bReAks 071
F u t u r i s m wa s F i r s t a n n o u n c e d o n F e b r u a r y 2 0 , 1 9 0 9 , 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 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.
b u t i t i s t h e m o v e m e n t s w h i c h s u r v i v e h e r e w h e r e we live and work as poets and artists; or, if not the movements, then their sense of art as a life
itself. All of which, as with Futurism, had come sharply into focus by the start of the world
war: a radical mix of art and life—the epitome in the poplar mind of an avant-garde. It was—
on both its Russian and Italian sides—the first great “art” movement led by poets; and if its
means seem exaggerated or unripe in retrospect, they carry within them the seed of all that
we were later to become.
w h i l e m a r i n e t t i ’ s o p e n i n g m a n i F e s t o F o r i t a l i a n 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 libertà, by which
poetry was to become “an uninterrupted sequence of new images... [a] strict bet of images
or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world,
while it resembled other forms of collage and of image juxtaposition, more fully explored the
use of innovative and expressive typography in the visual presentation of language, as set in
motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances
mixed declamation and gesture, events and surroundings, indifference and engagement, to
break the barriers between themselves and those who came to jeer or cheer them. Wrote
Marinetti selbst, “Everything of any value is theatrical.”
072
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 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 it is the movements which survive here where we live and work as poets and artists; or, if not
the movements, then their sense of art as a life itself. All of which, as with Futurism, had come
sharply into focus by the start of the world war: a radical mix of art and life—the epitome in the
poplar mind of an avant-garde. It was—on both its Russian and Italian sides—the first great “art”
movement led by poets; and if its means 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 libertà, by which poetry was to become “an uninterrupted sequence of new images...
[a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-
of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully
explored the use of innovative and expressive typography in the visual presentation of language, as
set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances
mixed declamation and gesture, events and surroundings, indifference and engagement, to break
the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst,
“Everything of any value is theatrical.”
pARAgRAph bReAks 073
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 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 it is the movements which survive here where we live and work as poets and artists; or, if not
the movements, then their sense of art as a life itself. All of which, as with Futurism, had come
sharply into focus by the start of the world war: a radical mix of art and life—the epitome in the
poplar mind of an avant-garde. It was—on both its Russian and Italian sides—the first great “art”
movement led by poets; and if its means 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 libertà, by which poetry was to become “an uninterrupted sequence of new images...
[a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-
of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully
explored the use of innovative and expressive typography in the visual presentation of language, as
set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances
mixed declamation and gesture, events and surroundings, indifference and engagement, to break
the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst,
“Everything of any value is theatrical.”
z
z
z
074
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 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 it is the movements which survive here where we live and work as poets
and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with
Futurism, had come sharply into focus by the start of the world war: a radical mix of art and
life—the epitome in the poplar mind of an avant-garde. It was—on both its Russian and Italian
sides—the first great “art” movement led by poets; and if its means 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 libertà, by which poetry was to become “an uninterrupted
sequence of new images... [a] strict bet of images or analogies, to be cast into the mysterious sea of
phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image
juxtaposition, more fully explored the use of innovative and expressive typography in the visual
presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive,
the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference
and engagement, to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti selbst, “Everything of any value is theatrical.”
pARAgRAph bReAks 075
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
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 it is the movements which survive here where we live and work as poets and
artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism,
had come sharply into focus by the start of the world war: a radical mix of art and life—the epitome
in the poplar mind of an avant-garde. It was—on both its Russian and Italian sides—the first
great “art” movement led by poets; and if its means 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 libertà, by which poetry was to become “an uninterrupted sequence of new images...
[a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-
of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully
explored the use of innovative and expressive typography in the visual presentation of language, as
set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances
mixed declamation and gesture, events and surroundings, indifference and engagement, to break
the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst,
“Everything of any value is theatrical.”
076
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 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 it is the movements which survive here where we live and work as
poets and artists; or, if not the movements, then their sense of art as a
life itself. All of which, as with Futurism, had come sharply into focus
by the start of the world war: a radical mix of art and life—the epitome
in the poplar mind of an avant-garde. It was—on both its Russian and
Italian sides—the first great “art” movement led by poets; and if its
means 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 libertà, by which poetry was to become “an uninterrupted sequence of new images...
[a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-
of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully
explored the use of innovative and expressive typography in the visual presentation of language, as
set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances
mixed declamation and gesture, events and surroundings, indifference and engagement, to break
the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst,
“Everything of any value is theatrical.”
pARAgRAph bReAks 077
heAdeRs & subheAdeRs
Each character presents a different visual impression on the page.
078
A header is the main title of a layout and is typically the most visually prominent element of the
hierarchy; while a subhead is a subordinate subdivision of the heading.
One way in which headers and subheads adopt the highest visual hierarchy is through
enlarged text. Increasing the size of the text improves its legibility, which making it easier
to view at a glance, and delineates a clear distinction from the body copy. Enlarged text,
however, requires a sensitive handling to maintain visually consistent letter spacing
within the title and subhead through a process called kerning. The larger the letters, the
more critical it is to adjust their spacing.
Kerning is the process of removing small units of space between letters in order to create
visually consistent letter spacing. Awkward letter spacing not only looks naïve and unpro-
fessional, but it can disrupt the communication of the words.
Rules foR keRning + Kerning is totally dependent on your
eye, not on the machine. Type needs a
human eye for the fine tuning.
+ Circular letters appears smaller next to
a rectangular letters.
+ The key to kerning is to keep it visually
consistent. The spacing between let-
ters may not be exactly the same, but
it will appear that way with the proper
kerning. Adjust the letters according
to your sensitive visual perception.
+ You can usually focus better on that
white space if you look at the text with
your eyes squinted.
heAdeRs & subheAdeRs 079
how to keRn teXt
Each character
presents a different
visual impression
on the page and
reacts with other
letters according
to their particular
combinations of
dark and light space.
hl
ho
oc
ot
At
Characters with verticals next to each other need the most amount of space; this can often be used as a guideline with which to keep the spacing consistent.
A vertical next to a curve needs less space.
A curve next to a curve needs very little space.
A curve can actually overlap into the white space under or above the bar or stem of a character, and vice versa.
The closest kerning is done where both letters have a great deal of white space around them.
Washington
WashingtonkeRned
unkeRned
080
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.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 mani-festo’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.
A rAdicAl mix oF Art And liFe: But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists of-fered formal “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà2 , by which poetry was to become “an uninterrupted sequence of new images… [a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typogra-phy 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 declamation and gesture, events and surroundings, indiffer-ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915): Everything of any value is theatrical.”
Words in Liberty
heAdeRs & subheAdeRs 81
WORDS IN LIBERTY
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a mani-festo by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glo-rified 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 institutions as museums and libraries. The mani-festo’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.
A RAdicAl Mix of ARt And life
But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà2 , by which poetry was to become “an uninterrupted sequence of new images… [a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like 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 declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915): Everything of any value is theatrical.”
A PRologue to futuRisM
082
WORDSIN LIBERTY
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 works were character-ized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was ag-gressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
A RADIcAL MIxOf ART AND LIfE
But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists of-fered formal “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà2 , by which poetry was to become “an uninterrupted sequence of new images… [a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like 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’ per-formances mixed declamation and gesture, events and surroundings, indifference and engage-ment, 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.”
A PROLOguETO fuTuRISM
heAdeRs & subheAdeRs 083
>>WORDS IN LIBERTYFuturism 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 works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-nology 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 con-troversy, and to attract widespread attention.
A RAdicAl Mix of ARt
And life
but it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemi-cal 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 libertà2 , by which poetry was to become “an uninterrupted sequence of new images… [a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innova-tive 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 declamation and gesture, events and surround-ings, 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.”
A PRologue to futuRisM
>>
<<
084
WORDS IN LIBERTYF u T u R I S M 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, origi-nality, 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 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 librar-ies. 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.
A R
AD
IcA
L M
IX O
F A
RT A
ND
LIF
E B u T it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà2 , by which poetry was to become “an uninterrupted sequence of new images… [a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of 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.”
A P
ROLO
Gu
E TO
Fu
TuRI
SM
heAdeRs & subheAdeRs 085
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, 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.1 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 move-ment. 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. 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 it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà2 , by which poetry was to be-come “an uninterrupted sequence of new images… [a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like 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 declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915): Everything of any value is theatrical.”
Words In LIBerTy
- A Prologue to Futurism- A radical Mix of Art and Life
086
- A radical Mix of Art and Life
heAdeRs & subheAdeRs 087
cAptions & notes
These general guidelines will help you design footnotes and endnotes that are readable, legible and economical in space.
088
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, footnotes present special typographic challenges.
Specifically, a footnote is a text element at the bottom of a page of a book or manuscript that provides
additional information about a point made in the main text. The footnote might provide deeper back-
ground, offer an alternate interpretation or provide a citation for the source of a quote, idea or statistic.
Endnotes serve the same purpose but are grouped together at the end of a chapter, article or book,
rather than at the bottom of each page.
numbeRs oR symbols
Note that academic presses and jour-nals can be sticklers for format: before proceeding, check with your client or publisher to see if they have a specific stylesheet that must be followed.
+ Footnotes are most often indicated by
placing a superscript numeral immediately
after the text to be referenced. The same
superscript numeral then precedes the
footnote at the bottom of the page.
+ If footnotes are few they can be marked
with a dagger, asterisk, or other symbol
instead. Endnotes should always use nu-
merals 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.
+ Footnotes and endnotes should still re-
main at a readable size.
cAptions & notes 089
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.1
Philip Meggs, History of Graphic
Design, Van Nostrand Reinhold, 1988. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were character-ized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institu-tions 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.
A rAdicAl mix oF Art And liFe: But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà2 = words set free (liberty), by which poetry was to become “an uninterrupted sequence of new images… [a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like 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 declamation and gesture, events and sur-roundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst = himself
3 (circa 1915): Everything of
any value is theatrical.”
Words in Liberty
090
1 Philip Meggs, History
of Graphic Design, Van
Nostrand Reinhold, 1988
WORDS IN LIBERTY
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a mani-festo by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glo-rified 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 institutions as museums and libraries. The mani-festo’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.
A RAdicAl Mix of ARt And life
But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new images… [a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like 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 declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915): Everything of any value is theatrical.”
A PRologue to futuRisM
2 parole in libertà =
words set free (liberty)
3 selbst = himself
cAptions & notes 091
WORDSIN LIBERTY
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 works were character-ized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was ag-gressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
A RADIcAL MIxOf ART AND LIfE
But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists of-fered formal “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà2 , by which poetry was to become “an uninterrupted sequence of new images… [a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like 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’ per-formances mixed declamation and gesture, events and surroundings, indifference and engage-ment, 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.”
A PROLOguETO fuTuRISM
1 Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988
2 parole in libertà = words set free (liberty)
3 selbst = himself
092
A RADIcAL MIxOf ART AND LIfE
1 Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988
2 parole in libertà = words set free (liberty)
3 selbst = himself
>>WORDS IN LIBERTYFuturism 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 works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-nology 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 con-troversy, and to attract widespread attention.
A RAdicAl Mix of ARt
And life
but it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemi-cal 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 libertà2 , by which poetry was to become “an uninterrupted sequence of new images… [a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innova-tive 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 declamation and gesture, events and surround-ings, 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.”
A PRologue to futuRisM
>>
<<1 PhiliP Meggs, histoRy of gRAPhic design, VAn nostRAnd Reinhold, 1988
2 PARole in libeRtà = woRds set fRee (libeRty)
3 selbst = hiMself
cAptions & notes 093
WORDS IN LIBERTYF u T u R I S M 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 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.
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E B u T it is the movements which survive, oddly, here where we live and work as po-ets 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 po-ets & artists offered formal “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà2 , by which poetry was to become “an uninterrupted sequence of new images… [a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual pre-sentation 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 Wil-liams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between them-selves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915): Everything of any value is theatrical.”
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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, 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 society1. 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 move-ment. 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. 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 it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà2 , by which poetry was to be-come “an uninterrupted sequence of new images… [a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like 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 declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915): Everything of any value is theatrical.”
Words In LIBerTy
- A Prologue to Futurism- A radical Mix of Art and Life
1 Philip Meggs, History of
Graphic Design, Van Nos-
trand Reinhold, 1988
2 parole in libertà =
words set free (liberty)
3 selbst = himself
cAptions & notes 095
type specimens
096
A basic system for classifying typefaces was devised in
the nineteenth century, when printers sought to identify a
heritage for their own craft analogous to that of art history.
Humanist letter forms are closely connected to 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.
type specimens 097
book
hAiRline
semi-bold
bold itAlic
Archer
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.
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 { } ? ! @ & *
MaxogGdQRst
098
RomAn
bold
blAck
Akzidenz Grotesk
MaxogGdQRstA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefac-es was devised in the nineteenth cen-tury, when printers sought to identify a heritage for their own craft analo-gous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefac-es are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have contin-ued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
type specimens 099
RegulAR
smAll cAps
itAlic
bold
Baskerville
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 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 ( ) { } ? ! @ & *
MxaogGdQRt
100
RegulAR
itAlic
bold
blAck itAlic
Belizio
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.
A basic system for classifying typefac-es was devised in the nineteenth cen-tury, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letter-forms are closely connected to callig-raphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have con-tinued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
MxagGdQrR
type specimens 101
light
bold
blAck
Bell Gothic
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 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 ( ) { } ? ! @ & *
MxagGdQrRI
102
RegulAR
itAlic
bold
eXtRA bold
Bembo
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
centuries have continued to create new type-
faces based on historic characteristics.
A basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a heri-
tage for their own craft analogous to that
of art history. Humanist letterforms are
closely connected to calligraphy and the
movement of the hand. Transitional and
modern typefaces are more abstract and
less organic. These three main groups
correspond roughly to the Renaissance,
Baroque, and Enlightenment periods
in art and literature. Designers in the
twentieth and twenty-first centuries have
continued to create new typefaces based
on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
MxagGdQrRI MxnogGdQrRst
type specimens 103
RegulAR
itAlic
bold
bold itAlic
Bookman
MxaogGdQrRA basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Hu-manist letterforms are closely con-nected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlight-enment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups corre-spond roughly to the Renaissance, Baroque, and Enlightenment peri-ods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
104
MxaogGdQrRRegulAR
itAlic
bold
oRnAments
Bodoni
MxaogGdQrRstA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
type specimens 105
RegulAR
itAlic
swAsh
oRnAment
AlteRnAte
Caslon
MxanogGdQRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Ba Ca Da Ea Fa Ga Ha Ia Ja Ka La Ma Na Oa Pa Qa Ra Sa Ta Ua Va Wa Xa Ya Z
A a Bb C c D d Ee F f G g H h Ii Jj Kk Ll Mm Nn Oo Pp Qq Or S s Ot Uu Vv Ww X x y Z z 1 2 3 4
c h i k l Ss T t
106
MxanogGdQRtRegulAR
itAlic
bold
bold itAlic
Century Schoolbook
MxaogGdQrRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letter-forms are closely connected to callig-raphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlight-enment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic charac-teristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heri-tage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
type specimens 107
RegulAR
itAlic
bold
bold itAlic
Cheltenham
MaxogGdQrRsA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heri-tage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
108
MaxogGdQrRsunicAse
RegulAR
Cholla
MaxnogGdQrRstA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely con-nected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a heri-
tage for their own craft analogous to that
of art history. Humanist letterforms are
closely connected to calligraphy and the
movement of the hand. Transitional and
modern typefaces are more abstract and
less organic. These three main groups
correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art
and literature. Designers in the twentieth
and twenty-first centuries have continued
to create new typefaces based on historic
characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2
3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
type specimens 109
light
RegulAR
bold
Clarendon
MxagGdQrRtA basic system for classifying type-
faces was devised in the nineteenth
century, when printers sought to
identify a heritage for their own
craft analogous to that of art history.
Humanist letterforms are closely con-
nected to calligraphy and the move-
ment of the hand. Transitional and
modern typefaces are more abstract
and less organic. These three main
groups correspond roughly to the
Renaissance, Baroque, and Enlight-
enment periods in art and literature.
Designers in the twentieth and twen-
ty-first centuries have continued to
create new typefaces based on historic
characteristics.
A basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art histo-ry. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more ab-stract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twenti-eth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
110
MxagGdQrRtRegulAR
Clicker
MaxnogGdQRsA basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art histo-ry. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more ab-stract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twenti-eth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
type specimens 111
RegulAR
itAlic
bold
Didot
MxaogGdQrRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heri-tage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renais-sance, Baroque, and Enlightenment periods in art and literature. Designers in the twenti-eth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
112
MxaogGdQrRtDIN
MaxnogGdQrRtlight
RegulAR
medium
blAck
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely con-nected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa bb cc dd ee ff gg hh ii Jj Kk ll Mm nn oo Pp Qq Rr ss tt uu Vv ww xx yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { ? ! @ & *
type specimens 113
DIN Condensed
MaxngdQHAMBURGlight condensed
RegulAR condensed
bold condensed
blAck condensed
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
114
MaxngdQHAMBURGRegulAR
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 ( ) { } ? ! @ & *
type specimens 115
RegulAR
Fette Fraktur
MxnaopQrRtfgA basic system for classifying typefaces was
devised in the nineteenth century, when
printers sought to identify a heritage for their
own craft analogous to that of art history.
Humanist letterforms are closely connected to
calligraphy and the movement of the hand.
Transitional and modern typefaces are more
abstract and less organic. These three main
groups correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art
and literature. Designers in the twentieth and
twenty-first centuries have continued to create
new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *Idunt aliquam adignim velit utat. Etuer accum dunt ad magniam, ven-diat lam verostrud essi tetum illa facipisl utet endre feu faccum dit praessi. Ing ea feuguer aessenim atisi.Delessi. Sectet, sit, ver si.Alit ipit esequis exer adigna adignit aliquat lam dunt utpat aut nisisi.Tate conse nim adionsecte feuis etum dolobore molore verit veniss
116
MxnaopQrRtfgRegulAR
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 ( ) { } ? ! @ & *
type specimens 117
book
demi
heAvy
condensed
Franklin Gothic
MaxodQRtfGgA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying type-faces was devised in the nineteenth century, when printers sought to iden-tify a heritage for their own craft anal-ogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups cor-respond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefac-es based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb cc Dd Ee ff gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt uu Vv Ww xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
118
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 ( ) { } ? ! @ & *
type specimens 119
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 ( ) { } ? ! @ & *
120
RegulAR
itAlic
bold
Gill Sans
MaxnbyogGQRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renais-sance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letter-forms are closely connected to callig-raphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and En-lightenment periods in art and litera-ture. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
type specimens 121
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 ( ) { } ? ! @ & *
122
MayogGdQRtRegulAR
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
type specimens 123
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 ( ) { } ? ! @ & *
124
RegulAR
Kunstler Script
MxyogGdQrRstAa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll 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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type specimens 125
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 ( ) { } ? ! @ & *
126
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 ( ) { } ? ! @ & *
MayogGdQrRt
type specimens 127
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 ( ) { } ? ! @ & *
128
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 ( ) { } ? ! @ & *
MaxogGdQrRst
type specimens 129
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 ( ) { } ? ! @ & *
130
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 ( ) { } ? ! @ & *
MaxogGdQrRst
type specimens 133
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 ( ) { } ? ! @ & *
132
light
old style
medium
blAck
Palatino
MxaopQRstGgA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heri-tage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
type specimens 133
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 ( ) { } ? ! @ & *
134
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 ( ) { }
? ! @ & *
type specimens 135
RegulAR
AlteRnAte
bold
Priori Sans
MxanopdrRtSfGgA basic system for classifying typefaces was devised in
the nineteenth century, when printers sought to identify
a heritage for their own craft analogous to that of art
history. Humanist letterforms are closely connected to
calligraphy and the movement of the hand. Transitional
and modern typefaces are more abstract and less
organic. These three main groups correspond roughly to
the Renaissance, Baroque, and Enlightenment periods
in art and literature. Designers in the twentieth and
twenty-first centuries have continued to create new
typefaces based on historic characteristics.
A basic system for classifying typefaces was devised
in the nineteenth century, when printers sought to
identify a heritage for their own craft analogous to
that of art history. Humanist letterforms are closely
connected to calligraphy and the movement of the
hand. Transitional and modern typefaces are more
abstract and less organic. These three main groups
correspond roughly to the Renaissance, Baroque, and
Enlightenment periods in art and literature. Design-
ers in the twentieth and twenty-first centuries have
continued to create new typefaces based on historic
characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
136
RegulAR
AlteRnAte
bold
Priori Serif
MxanodQrRtSfgA basic system for classifying typefaces was
devised in the nineteenth century, when printers
sought to identify a heritage for their own craft
analogous to that of art history. Humanist letter-
forms are closely connected to calligraphy and the
movement of the hand. Transitional and modern
typefaces are more abstract and less organic.
These three main groups correspond roughly to
the Renaissance, Baroque, and Enlightenment
periods in art and literature. Designers in the
twentieth and twenty-first centuries have con-
tinued to create new typefaces based on historic
characteristics.
A basic system for classifying typefaces was de-
vised in the nineteenth century, when printers
sought to identify a heritage for their own craft
analogous to that of art history. Humanist let-
terforms are closely connected to calligraphy
and the movement of the hand. Transitional and
modern typefaces are more abstract and less
organic. These three main groups correspond
roughly to the Renaissance, Baroque, and
Enlightenment periods in art and literature.
Designers in the twentieth and twenty-first
centuries have continued to create new type-
faces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
type specimens 137
(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 ( ) { } ? ! @ & *
138
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 ( ) { } ? ! @ & *
type specimens 139
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 ( ) { } ? ! & *
AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz1234567890(){}?!@&*
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
140
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 ( ) { } ? ! @ & *
type specimens 141
RegulAR
Snell Roundhand
MxogbGdQrRstAa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Dolessecte ver sim er aut wismod mincilit loboreet praessed tat. Iquis eu feuis dolore faci ercil eriurer sisi tet, quamconse do odolor amcom-modit vulla feugait luptatisl dolorer augait praessi. Lut vel iriuscil et luptat. Nullandre magna feugiam, quis aute conullu ptatincip ea alit wis et volore dip et, cortin henisi. Quis autet, veros accum ipit vel ute mod ting eumsandreet am, qui te faciniat num-mod eu feugiat ex essim vent vendre tat venibh et pratuer ipsum volortio eniat praessed mincilit dolobortie tat. Lam dolut amcommy nos eraessed tin ulput ut vulputat, quat, volo-bor incip et essi.orper sum quamconsed magniam, quisit accum voloborem alit iuscipit la consequam dit nulput acing eu feum quat. Ut lup-tat at.
142
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 ( ) { } ? ! @ & *
type specimens 143
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 ( ) { } ? ! @ & *
144
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 ( ) { } ? ! @ & *
MxaoygGdQrR
type specimens 145
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 ( ) { } ? ! @ & *
146
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 ( ) { } ? ! @ & *
type specimens 147
thAnks foR ReAding.
Text for the book was compiled from the following sources: ElementsofTypographicStyle by Robert Bringhurst, GettingitRightwithType:theDo’sandDon’tsofTypography byVictoria Square, MacisNotATypewriter by Robin Williams.
DESIGNED By SALLy CARMICHAEL.Class project for Professor Herstowski’s Typography 02 at the University of Kansas, Spring 2012.
This book is not to be sold to the public and to only be used by the designer for their reference and student design portfolio.