type workbook

Christina Fountain

A Typographic Workbook

Christina Fountain

Table of Contents

2

Rules

X-height

Hyphenation

Widows, Rivers, & Orphans

Alignments

Justificaion

Combining Typefaces

Quotes

Dashes

Apostrophes

Special Characters

Bullets

Numerals

Small Caps

Paragraph Breaks

Headers & Subheads

Captions & Notes

Font Specifications

5

9

23

27

29

33

45

53

54

56

59

61

65

67

71

83

91

101

”

Good artists copy,

Great artists steal.Pablo Picasso”

”

RULES

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What to do

Use only one space between sentences.

Use real quotation marks.

Use real apostrophes.

Make sure the apostrophes are where they belong.

Tighten up the leading in lines with all caps or with few ascenders and descenders.

Hang the punctuation off the aligned edge.

Use en or em dashes, use consistently.

Kern all headlines where necessary.

Use a one-em first-line indent on all indented paragraphs.

If a correctly spelled word needs an accent mark, use it.

Adjust the spacing between paragraphs.

Use a decimal or right-aligned tab for the numbers in numbered paragraphs.

Leave a least 2 characters on the line and 3 following.

Keep the word spacing consistent.

Use the special characters whenever necessary, including super- and subscript.

Spend the time to create nice fraction or choose a font that has fractions.

The following is a compendium of the rules es-tablished in this book. You might want to check through them each time you complete a publication.

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Never use the spacebar to align text, always set tabs and use the tab key.

Leave no widows or orphans.

Avoid more than 3 hyphenations in a row.

Avoid too many hyphenations in any paragraph.

Avoid hyphenating or line brakes of names and proper nouns.

Avoid beginning consecutive lines with the same word.

Avoid ending consecutive lines with the same word.

Avoid ending lines with the words: the, of, at, a, by..

Never hyphenate a words in a headline and avoid hyphenation in a callout.

Never justify the text on a short line.

Either indent the first line of paragraphs or add extra space between them – not both.

Never have one line in a paragraph in the column or following.

Never combine two serif fonts on one page.

Rarely combine two sans serif fonts on one page.

Rarely combine more than three typefaces on one page.

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What not to do

6

XXXX

X

XXX-Height

Readability extended amount of text – such as an article, book, or

annual report – is easy to read. Legibility refers to whether an refers

to whether a short burst of text – such as a headline catalog listing, or

stop sign – is instantly recognizable.

There are several factors that determine whether a text is readable.

When deciding what typeface should be used for a job, consideration

should be given to the typeface and its x-height. It is important to

understand how a block of text can express a message through its

texture/color, therefore suiting a particular design solution. Fonts set

in the same size, same leading and column width will produce varying

degrees of “color”.

In typography, color can also describe the balance between black and

white on the page of text. A typeface’s color is determined by stroke

width, x-height, character width and serif styles.

As a designer, if you are only asked to make

the text readable on the page the following

questions should be asked ...Readability and

legibility are two key elements of printed text

that typographer strive to maximize. Read-

ability extended amount of text – such as an

article, book, or annual report – is easy to

read. Legibility refers to whether an refers to

whether a short burst of text – such as a head-

line catalog listing, or stop sign – is instantly

recognizable.

There are several factors that determine

whether a text is readable. When decid-

ing what typeface should be used for a job,

consideration should be given to the typeface

and its x-height. It is important to understand

how a block of text can express a message

through its texture/color, therefore suiting

a particular design solution. Fonts set in the

same size, same leading and column width

will produce varying degrees of “color”.

In typography, color can also describe the

balance between black and white on the page

of text. A typeface’s color is determined by

stroke width, x-height, character width and

serif styles.

Readability and legibility are two key elements of printed text that typographer strive to maximize.

Who is to read it?

Someone that wants to read it? Someone that has to read it?

How will it be read?

Quickly. In passing. Focused. Near. Far.

As a designer,if you are only asked to make the text readable on the page the following questions should be asked...

10

Color / X-HeightA typeface’s color is determined by stroke width, x-height, character width and serif styles

Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural insti-tutions as museums and libraries.

mrs eavesZuzana Licko

8/11

x-height: small

character width: narrow

color: light

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cel-ebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, main-ly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several succes-sive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

universAdrian Frutiger

8/11

x-height: large

character width: wide

color: medium

Xxhg

12

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

meliorHermann Zapf

8/11

x-height: average

character width: average

color: medium

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were charac-terized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

helvetica neue 55Max Miedinger

8/11

x-height: large


color: medium

Xxhg

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s mani-festo glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as muse-ums and libraries.

Itc New BaskervilleJohn Baskerville

8/11

x-height: average


color: light

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and inno-vation in culture and society. Futurism rejected traditions and glorified con-temporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several suc-cessive actions of a subject at the same time. Marinetti’s manifesto glori-fied the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Akzidenze GroteskBerthold Akzidenze

8/11

x-height: large


color: dark

Xxhg

14

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innova-tion in culture and society. Futurism rejected traditions and glorified con-temporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several suc-cessive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweep-ing repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

FuturaPaul Rennerx

8/11

x-height: average


color: dark

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cel-ebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glori-fied the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

FruitgerAdrian Fruitger

8/11

x-height: large


color: medium

Xxhg

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were character-ized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

BemboStanley Morison

8/11

x-height: average


color: light

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on dis-carding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technol-ogy of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and politi-cal values and the destruction of such cultural institutions as museums and libraries.

ClarendonRobert Besley

8/11

x-height: large


color: dark

Xxhg

16

Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrel-evant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contempo-rary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several succes-sive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweep-ing repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

MetaErik Spiekermann

8/11

x-height: large


color: dark

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

GaramondClaude Garamond

8/11

x-height: small


color: light

Xxhg

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were character-ized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

DidotFirmin Didot

8/11

x-height: average


color: light

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

InterstateTobias Frere-Jones

8/11

x-height: large


color: dark

Xxhg

18

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, original-ity, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cul-tural, social, and political values and the destruction of such cultural institutions as museums and libraries.

PalatinoHermann Zapf

8/11

x-height: average


color: medium

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cel-ebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, main-ly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several succes-sive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

MemphisRudolf Wolf

8/11

x-height: average


color: dark

Xxhg

Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automo-bile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Adobe CaslonWilliam Caslon

8/11

x-height: average


color: medium

XxhgFuturism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of tradi-tional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

EurostileAldo Novarese

8/11

x-height: large


color: medium

Xxhg

20

Futurism was first announced on February 20, 1909, when the Paris

newspaper Le Figaro published a manifesto by the Italian poet and edi-

tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti,

reflected his emphasis on discarding what he conceived to be the static

and irrelevant art of the past and celebrating change, originality, and

innovation in culture and society. Futurism rejected traditions and glori-

fied contemporary life, mainly by emphasizing two dominant themes, the

machine and motion. The works were characterized by the depiction of

several successive actions of a subject at the same time. Marinetti’s mani-

festo glorified the new technology of the automobile and the beauty of its

speed, power, and movement. He exalted violence and conflict and called

for the sweeping repudiation of traditional cultural, social, and political

values and the destruction of such cultural institutions as museums and

libraries.

SerifaAdrian Frutiger

8/11

x-height: average


color: medium

XxhgFuturism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technol-ogy of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

News GothicMorris Fuller Benton

8/11

x-height: large


color: dark

Xxhg

In unjustified text, the text block is set with normal letter and word

spacing. Because of the even word spacing the text will have an even

texture – no large spaces between words. The lines will naturally vary

in length. a ragged text block can integrate with the layout and add

visual interest to the page. The difficulty is making the ragged edge

have a pleasing silhouette. When the first line in the text is longer

than the second, it becomes separate from the layout and creates a

box-like shape. This destroys one of the advantages of unjustified text.

The ragged edge needs to have a life, but a narrow column can be less

active. Another advantage to ragged text is less hyphenation is needed.

Therefore, names, dates or words which are normally read together

can stay together.Hyp

hen

atio

n

how the text is read avoid widows (one word on the last line of a paragraph)

avoid hyphenating or line brakes of names and proper nouns

leave a least 2 characters on the line and 3 following

avoid beginning consecutive lines with the same word

avoid ending consecutive lines with the same word

avoid ending lines with the words: the, of, at, a, by..

never hyphenate a words in a headline and avoid hyphenation in a calloutHY

PHEN

ATI

ON

RU

LES

to p

ay a

tten

tio

n t

o

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HEADLINES

Don't hyphenate headlines. That's a law.

Don Quixote de la Man-

cha

Watch where the first line of a two-line headline ends.

Does it create a silly or misleading phrase? Fix it.

Professor and The-

rapist to Lecture

Don’t leave widows (very short last lines) in headlines.

Man Walks Barefoot Across Bay

Bridge

Fix it either way, or rewrite!

Man walks barefoot across Bay Bridge

Man walks barefoot

across Bay Bridge

24

What are BAD line breaks anyway?

Look for bad line breaks throughout every line of body copy. Of course do this only on the final copy, after all editing has been done!

Casing Adder

Bat

Heresy borsch-boil starry a

boarder borsch boil gam

plate lung, lung a gore in-

ner ladle wan-hearse torn

coiled Mutt-fill.

Mutt-fill worsen mush of-

ten torn, butted hatter putty

gut borsch-boil tame, an off

oiler pliers honor tame, door

moist cerebrated worse Cas-

ing.Casing worsted sickened

basement, any hatter betting

orphanage off .526 (fife toe

sex).

Casing worse gut lurking

an furry poplar—spatially

wetter gull coiled Any-bally.

Any-bally worse Casing’s

sweat-hard, any harpy cobble

wandered toe gat merit,

bought Casing worse tow pore

toe becalm Any-bally’s

horsebarn. (Boil pliers honor

Mutt-fill tame dint gat mush

offer celery; infect, day gut

nosing atoll.)

Butt less gat earn wetter star-

ry.

Corrections:Example:

Justify the headline so it stays on one line.

Use a line break (shift+return) to bump “a” down to the next line,where it fits very nicely.

Kern the line a tiny bit to bring the rest of the word up.

Type a dischy in front of the word to bump it down.

Never hyphenate a person’s name. I had to go up a few lines, bump “off” down,which bumped

the other line endings down.

Fix widow.

There is plenty of room to squeeze “bought” on this line, perhaps by kerning the line a tiny bit.

“Horsebarn” is a good long word that could be hyphenated; type a dischy. Better yet, when

“bought” moved up, it gave enough room to move “horsebarn” up. If not, try opening the text

box a little bit.

Edit: to get ride of that terrible widow, exchange a short word for a long word.

...........................................................................

.........................

........................

.......................

.................................................

............................

..............................

....................

Example After:

26

Casing Adder Bat

Heresy borsch-boil starry

a boarder borsch boil gam

plate lung, lung a gore inner

ladle wan-hearse torn coiled

Mutt-fill.

Mutt-fill worsen mush

often torn, butted hatter

putty gut borsch-boil tame,

an off oiler pliers honor

tame, door moist cerebrated

worse Casing. Casing worsted

sickened basement, any hatter

betting orphanage off .526

(fife toe sex).

Casing worse gut lurking an

furry poplar—spatially wetter

gull coiled Any-bally.

Any-bally worse Casing’s

sweat-hard, any harpy cobble

wandered toe gat merit, bought

Casing worse tow pore toe

becalm Any-bally’s horsebarn.

(Boil pliers honor Mutt-fill

tame dint gat mush offer celery;

infect, day gut nosing atoll.)

Butt less gat earn wetter

muffin starry.

WIDOWS

ORPHANS

RIVERS

Never leave WIDOWS and ORPHANS bereft on the page.

When a paragraph ends and leaves fewer than seven characters (not

words, characters) on the last line, that line is called a widow. Worse

than leaving one word at the end of a line is leaving part of a word, the

other part being paraphrased on the line above.

When the last line of a paragraph, be it ever so long, won’t fit at the

bottom of a column and must end itself at the top of the next column,

that is an orphan. ALWAYS correct this.

In typography, rivers, or rivers of white, are visually unattractive gaps

appearing to run down a paragraph of text. They can occur with

any spacing, though they are most noticeable with wide word spaces

caused by either full text justification or monospaced fonts.

Avoid both of these situations. If you have edit-ing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program you’re working in. Sometimes widening a margin just a hair will do it. But it must be done. Widows and orphans on a page are wrong.

Right and wrong do not exist in graphic design.

There is only effective and non-effective communication.

— Peter Bilak“

“

Alignment

If someone insists that fully justified text is better than left-aligned text, tell them they are wrong. If someone else tells you that left-aligned text is better than justified text, tell them they are wrong.

If they are both wrong, then what's right? Alignment is only a small

piece of the puzzle. What works for one design might be totally inappro-

priate for another layout. As with all layouts, it depends on the purpose

of the piece, the audience and its expectations, the fonts, the margins

and white space, and other elements on the page. The most appropri-

ate choice is the alignment that works for that particular design.

Traditionally many books, newsletters, and newspapers use full-

justification as a means of packing as much information onto the page

as possible to cut down on the number of pages needed. While the

alignment was chosen out of necessity, it has become so familiar to us

that those same types of publications set in left-aligned text would look

odd, even unpleasant.

You may find that fully-justified text is a necessity either due to space

constraints or expectations of the audience. If possible, try to break up

dense blocks of texts with ample subheadings, margins, or graphics.

Justified Text

*

*

*

*

*

Often considered more formal, less friendly than left-aligned text.

Usually allows for more characters per line, packing more into the

same amount of space (than the same text set left-aligned).

May require extra attention to word and character spacing and

hyphenation to avoid unsightly rivers of white space running through

the text.

May be more familiar to readers in some types of publications, such as

books and newspapers.

Some people are naturally drawn to the "neatness" of text that lines up

perfectly on the left and right.

30

Left Aligned, Ragged Right

Centered

There is nothing inherently wrong with centered text. As with ragged

right or fully-justified text alignment, what works for one design might

be totally inappropriate for another layout. There are simply fewer

situations where centered text is appropriate. When in doubt, don't

center it.

As with all layouts, alignment depends on the purpose of the piece,

the audience and its expectations, the fonts, the margins and white

space, and other elements on the page. The most appropriate choice

is the alignment that works for that particular design.

No matter what alignment you use, remember to pay close attention

to hyphenation and word/character spacing as well to insure that your

text is as readable as possible.

There will undoubtedly be well-meaning friends, business associates,

clients, and others who will question your choices. Be prepared to ex-

plain why you chose the alignment you did and be prepared to change

it (and make necessary adjustments to keep it looking good) if the

person with final approval still insists on something different.

Often considered more informal, friendlier than justified text.

The ragged right edge adds an element of white space.

May require extra attention to hyphenation to keep right margin from

being too ragged.

Generally type set left-aligned is easier to work with (i.e. requires

less time, attention, and tweaking from the designer to make it look

good).

*

*

*

*

JUSTIFY

///////////////////////////////////////////////////////////////////

//////////////////////////////////////////////////////////////////////////////////////////////////////

Just

ified

Tex

t

The only time you can safely get away with justifying text is if your type

is small enough and your line is long enough, as in books where the

text goes all the way across the page. If your line is shorter, as in news-

letter, or if you don't have many words on the line, than as the type

aligns to the margins the words space themselves to accommodate

it. It usually looks awkward. You've seen newspaper columns where

all text is justified, often with a word stretching all the way across the

column, or a little word on either side of the column with a big gap

in the middle. Gross. But that's what can happen with justified type.

When you do it, the effect might not be as radical as the newspaper

column, but if your lines are relatively short, you will inevitably end

up with uncomfortable gaps in some lines, while other lines will be all

squished together.

When your work comes out of the printer, turn it upside down and

squint at it. The rivers will be very easy to spot. Get rid of them. Try

squinting at the example on the bottom of the previous page.

Here is a general guideline for determining if your line length is long

enough to satisfactorily justify the text: the line length in picas should

be about twice the point size of the type; that is, if the type you are

using is 12 point, the line length should be at least 24 picas (24 picas

is 4 inches-simply divide the number of picas by 6, as there are 6 picas

per inch). Thus 9-point type should be on an 18-pica line (3 inches)

before you try to justify it, and 18-point type should be on a 36-pica

line (6 inches). The rulers in most programs can be changed to picas,

if you like.

Justified text was the style for many years-we grew up on it. But there

has been a great deal of research done on readability (how easy

something is to read) and it shoes that those disruptive, inconsistent

gaps between the words inhibit the flow of reading. Besides, they look

dumb. Keep your eyes open as you look at professionally printed work

(magazines, newsletters, annual reports, journals) and you'll find

there's a very strong trend to align type on the left and leave the right

ragged.

Justify text only if the line is long enough to prevent awkward and inconsistent word spacing.

Here is a general guideline for determining if

your line length is long enough to satisfactorily

justify the text: the line length in picas should

be about twice the point size of the type; that

is, if the type you are using is 12 point, the line

length should be at least 24 picas (24 picas is

4 inches-simply divide the number of picas by

6, as there are 6 picas per inch). Thus 9-point

type should be on an 18-pica line (3 inches)

before you try to justify it, and 18-point type

should be on a 36-pica line (6 inches). The rul-

ers in most programs can be changed to picas,

if you like.

Justification Examples:

Justified text was the style for many years-we grew up on it. But there has

been a great deal of research done on readability (how easy something

is to read) and it shoes that those disruptive, inconsistent gaps between

the words inhibit the flow of reading. Besides, they look dumb. Keep

your eyes open as you look at professionally printed work (magazines,

newsletters, annual reports, journals) and you'll find there's a very

strong trend to align type on the left and leave the right ragged.

ITC NEW BASKERVILLE

Word Spacing:

Min: 80%

Desired: 100%

Max: 133%

Problems:

This is InDesign's standard justification set-

ting. It's not bad but the second to last line in

the second paragraph is awkward.

serif

34

Here is a general guideline for determining

if your line length is long enough to satisfac-

torily justify the text: the line length in picas

should be about twice the point size of the

type; that is, if the type you are using is 12

point, the line length should be at least 24

picas (24 picas is 4 inches-simply divide the

number of picas by 6, as there are 6 picas per

inch). Thus 9-point type should be on an 18-

pica line (3 inches) before you try to justify it,

and 18-point type should be on a 36-pica line

(6 inches). The rulers in most programs can

be changed to picas, if you like.


has been a great deal of research done on readability (how easy some-

thing is to read) and it shoes that those disruptive, inconsistent gaps

between the words inhibit the flow of reading. Besides, they look

dumb. Keep your eyes open as you look at professionally printed work

(magazines, newsletters, annual reports, journals) and you'll find

there's a very strong trend to align type on the left and leave the right

ragged.

ITC NEW BASKERVILLE

Word Spacing:

Min: 100%

Desired: 100%

Max: 200%

Problems:

This is not too bad, however the words are

spaced out a little too much.

















between the words inhibit the flow of reading. Besides, they look dumb.

Keep your eyes open as you look at professionally printed work (maga-

zines, newsletters, annual reports, journals) and you'll find there's a

very strong trend to align type on the left and leave the right ragged.

ITC NEW BASKERVILLE

Word Spacing:

Min: 85

Desired: 40%

Max: 150%

Problems:

This looks pretty good.

36

Here is a general guideline for determin-

ing if your line length is long enough

to satisfactorily justify the text: the line

length in picas should be about twice the

point size of the type; that is, if the type

you are using is 12 point, the line length

should be at least 24 picas (24 picas is 4

inches-simply divide the number of picas

by 6, as there are 6 picas per inch). Thus

9-point type should be on an 18-pica line

(3 inches) before you try to justify it, and

18-point type should be on a 36-pica line

(6 inches). The rulers in most programs

can be changed to picas, if you like.

Justified text was the style for many years-we grew up on it. But

there has been a great deal of research done on readability

(how easy something is to read) and it shoes that those disrup-

tive, inconsistent gaps between the words inhibit the flow of

reading. Besides, they look dumb. Keep your eyes open as you

look at professionally printed work (magazines, newsletters, an-

nual reports, journals) and you'll find there's a very strong trend

to align type on the left and leave the right ragged.

ITC NEW BASKERVILLE

Word Spacing:

Min: 200%

Desired: 200%

Max: 400%

Problems:

The words are spread way too much.

















between the words inhibit the flow of reading. Besides, they look dumb.

Keep your eyes open as you look at professionally printed work (maga-

zines, newsletters, annual reports, journals) and you'll find there's a

very strong trend to align type on the left and leave the right ragged.

ITC NEW BASKERVILLE

Word Spacing:

Min: 85%

Desired: 110%

Max: 250%

Problems:

This is about as good as it gets, however there

are still a feel awkward lines.

38

Justification Examples: san serif


if your line length is long enough to satis-

factorily justify the text: the line length in

picas should be about twice the point size

of the type; that is, if the type you are us-

ing is 12 point, the line length should be at

least 24 picas (24 picas is 4 inches-simply di-

vide the number of picas by 6, as there are

6 picas per inch). Thus 9-point type should

be on an 18-pica line (3 inches) before you

try to justify it, and 18-point type should

be on a 36-pica line (6 inches). The rulers

in most programs can be changed to picas,

if you like.


there has been a great deal of research done on readability (how

easy something is to read) and it shoes that those disruptive, in-

consistent gaps between the words inhibit the flow of reading.

Besides, they look dumb. Keep your eyes open as you look at pro-

fessionally printed work (magazines, newsletters, annual reports,

journals) and you'll find there's a very strong trend to align type

on the left and leave the right ragged.

FRUTIGER

Word Spacing:

Min: 80%

Desired: 100%

Max: 133%

Problems:

This is InDesign's standard justification set-

ting, and the words may be spaced together

too much.

Here is a general guideline for determin-

ing if your line length is long enough

to satisfactorily justify the text: the line

length in picas should be about twice the

point size of the type; that is, if the type

you are using is 12 point, the line length

should be at least 24 picas (24 picas is 4

inches-simply divide the number of picas

by 6, as there are 6 picas per inch). Thus

9-point type should be on an 18-pica line

(3 inches) before you try to justify it, and

18-point type should be on a 36-pica line











FRUTIGER

Word Spacing:

Min: 100%

Desired: 100%

Max: 200%

Problems:

This is not too bad, however the words are

spaced out a little too much.

40














if you like.









FRUTIGER

Word Spacing:

Min: 85

Desired: 40%

Max: 150%

Problems:

This looks pretty good.

Here is a general guideline for de-

termining if your line length is long

enough to satisfactorily justify the text:

the line length in picas should be

about twice the point size of the type;

that is, if the type you are using is

12 point, the line length should be

at least 24 picas (24 picas is 4 inches-

simply divide the number of picas by

6, as there are 6 picas per inch). Thus

9-point type should be on an 18-pica

line (3 inches) before you try to justify

it, and 18-point type should be on a

36-pica line (6 inches). The rulers in

most programs can be changed to pi-

cas, if you like.

Justified text was the style for many years-we grew up on

it. But there has been a great deal of research done on

readability (how easy something is to read) and it shoes

that those disruptive, inconsistent gaps between the words

inhibit the flow of reading. Besides, they look dumb. Keep

your eyes open as you look at professionally printed work

(magazines, newsletters, annual reports, journals) and you'll

find there's a very strong trend to align type on the left

and leave the right ragged.

FRUTIGER

Word Spacing:

Min: 200%

Desired: 200%

Max: 400%

Problems:

The words are spread way too much.

42














if you like.









FRUTIGER

Word Spacing:

Min: 85%

Desired: 110%

Max: 250%

Problems:

This is about as good as it gets. COMBINING

TYPEFACES

T h e r e i s n o t a b i n d i n g r e c i p e f o r t y p e c o m b i n a t i o n s .

It is a matter of typographic sensitivity and experience.

Expert typographers, as well as careless amateurs permit them-

selves combinations that would horrify colleagues with more tradi-

tional sympathies.

“ “

Co

mb

inin

g T

ypef

aces

Although there is not recipe there is a place

to start: keep an eye on the characteristic

shapes of the letterform. A well designed

page contains no more than two different

typefaces or four different type variations

such as type size and bold or italic style. {Us-

ing 2 different serif fonts or 2 different sans

serifs fonts in the same composition is never

a good idea}

When combining serif and sans serif text fonts, one shroud try and match the character-istics of form and type color: proportion, x-heights.

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first

announced on February 20, 1909, when the Paris

newspaper Le Figaro published a manifesto by the

Italian poet and editor Filippo Tommaso Marinetti.

The name Futurism, coined by Marinetti, reflected

his emphasis on discarding what he conceived to

be the static and irrelevant art of the past and cel-

ebrating change, originality, and innovation in cul-

ture and society. Futurism rejected traditions and

glorified contemporary life, mainly by emphasizing

two dominant themes, the machine and motion.

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first

announced on February 20, 1909, when the

Paris newspaper Le Figaro published a manifesto

by the Italian poet and editor Filippo Tommaso

Marinetti. The name Futurism, coined by

Marinetti, reflected his emphasis on discarding

what he conceived to be the static and irrelevant

art of the past and celebrating change, originality,

and innovation in culture and society. Futurism

rejected traditions and glorified contemporary

life, mainly by emphasizing two dominant themes,

the machine and motion.

aa BB ee GG gg

aa BB ee GG gg

Font Combinations

Grotesque: Helvetica 20pt

Old Style: Garamond 20pt

These two fonts work together pretty well,

because of differences in x-height.

Grotesque: Akzidenz 20pt

Transitional: Mrs. Eaves 20pt

These two fonts have a nice contrast because

of stroke witdth and x height.

46

aa BB ee GG gg

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glo-rified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.

aa BB ee GG gg

aa BB ee GG ggGeometric: Futura 20pt

Transitional: Belizio 20pt

Belizio looks awkward next to Futura,

because of its very large letter size. The

x-height is the same, but they look awkward

next to one another.

Humanist: Frutiger 20pt

Transitional: Adobe Caslon 20pt

Similar stroke width and x-height makes

these two typefaces work well together. The

skinny letters from Frutiger contrast nicely

with the wider letters of Caslon.

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrat-ing change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two domi-nant themes, the machine and motion.

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contempo-rary life, mainly by emphasizing two domi-nant themes, the machine and motion.

aa BB ee GG gg aa BB ee GG ggGeometric: Futura 20pt

Modern: Walbaum 20pt

These two fonts almost have the same

x-height, which might not be enough con-

trast. It looks nice though.

Grotesque: Univers 20pt

Modern: Didot 20pt

Similar letter size, but contrast between letter

thickness give this combination a nice feel.

48

aa BB ee GG gg

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was

first announced on February 20, 1909, when

the Paris newspaper Le Figaro published a

manifesto by the Italian poet and editor

Filippo Tommaso Marinetti. The name

Futurism, coined by Marinetti, reflected his

emphasis on discarding what he conceived

to be the static and irrelevant art of the past

and celebrating change, originality, and

innovation in culture and society. Futurism

rejected traditions and glorified contempo-

rary life, mainly by emphasizing two domi-

nant themes, the machine and motion.

WORDS IN LIBERTY

A Prologue to Futurism: Futurism

was first announced on February 20,

1909, when the Paris newspaper Le

Figaro published a manifesto by the

Italian poet and editor Filippo Tommaso

Marinetti. The name Futurism, coined

by Marinetti, reflected his emphasis

on discarding what he conceived to be

the static and irrelevant art of the past

and celebrating change, originality,

and innovation in culture and society.

Futurism rejected traditions and glo-

rified contemporary life, mainly by

emphasizing two dominant themes, the

machine and motion.


New Transitional: ITC New Baskerville 20pt

These two fonts have a similar stroke width

and x-height which makes them compatible.

The letter width is pretty similar, which might

make the contrast not great enough.

Grotesque: Interstate 20pt

New Transitional: Clarendon 20pt

Clarendon's stroke is too large even for

Interstate black, which makes for too little

contrast here.

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a mani-festo by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by empha-sizing two dominant themes, the machine and motion.

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contempo-rary life, mainly by emphasizing two domi-nant themes, the machine and motion.


Slab Serif: Memphis 20pt

I feel like these two fonts look kind of awk-

ward together. The tall skinny nature of

Futura contrasts strangely with the wide look

of Memphis.

Humanist: Helvetica 20pt

Slab Serif: Belizio 20pt

Belizios large wide letters make for good

headline text, while Helvetica's narrow clean

look makes for great body text.

50

AAaa BB ee GG gg

“”“”

“”“” Qu

ota

tio

n M

arks

Most software applications will convert the

typewriter quotes to the real quotes for

you automatically as you type. Check the

preferences for your application – you’ll find

a check box to tell your application to auto-

matically set something like “typographer’s

quotes,” “smart quotes,” or “curly quotes.”

Then as you type using the standard ditto key

(“), the software will set the correct quotation

marks for you.

But it is necessary to know how to set them

yourself because sometimes the software

doesn't do it or does it wrong.

Opening double quote: “ Type: Option [

Closing double quote: ” Type: Option Shift ]

Opening single quote: ‘ Type: Option [

Closing single quote: ’ Type: Option Shift ]

Examples:

Bridge Clearance: 16' 7"

The young man stood 6' 2"

The length of the wall is 153'9".

Use real quotation marks – never those grotesque generic marks that actually symbolize ditto/inch or foot marks.

Ap

ost

rop

hes

For possessives: Turn the phrase around. The

apostrophe will be placed after whatever word

you end up with. For example, in the phrase

the boys’ camp, to know where to place the

apostrophe say to yourself, “The camp be-

longs to the boys.” The phrase the boy’s camp

says “The camp belongs to the boy.”

“The big exception to this is “its.” “Its” used

as a possessive never has an apostrophe! The

word it only has an apostrophe as a contrac-

tion — “it’s” always means “it is” or “it has.”

Always. It may be easier to remember if you

recall that yours, hers, and his don’t use apos-

trophes — and neither should its.

For contractions: The apostrophe replaces

the missing letter. For example: your’re

always means you are; the apostrophe is

replacing the a from are. That’s an easy way

to distinguish it from your as in your house

and to make sure you don’t say: Your going to

the store.

As previously noted, it’s means “it is”; the

apostrophe is indicating where the i is left

out. Don’t means “do not”; the apostrophe is

indicating where the o is left out.

People often are confused about where the apostrophe belongs. There are a couple of rules that work very well.

54

For omission of letters: In a phrase such as

Rock ’n’ Roll, there should be an apostrophe

before and after the n, because the a and the

d are both left out. And don’t turn the first

apostrophe around — just because it appears

in front of the letter does not mean you need

to use the opposite single quote. An apostro-

phe is still the appropriate mark (not ‘n’).

In a phrase such as House o’ Fashion, the

apostrophe takes the place of the f. There is

not earthly reason for an apostrophe to be set

before the o.

In a phrase such as Gone Fishin’ the same

pattern is followed — the g is missing.

In a date when part of the year is left out,

an apostrophe needs to indicate the missing

year. In the 80s would mean the temperature;

In the ’80s would mean the decade. (Notice

there is no apostrophe before the s! Why

would there be? It is not possessive, nor is it a

contraction — it is simply plural.

Das

hes

Everyone knows what a hyphens is —that

tiny little dash that belongs in some words,

like mother-in-law, or in phone numbers. It is

also used to break a word at the end of a line,

of course.

You might have been taught to use a double

hyphen to indicate a dash, like so: -- . This is

a typewriter convention because typewriters

didn’t have the real dash used in professional

typesetting. On a Mac, no one needs to use

the double hyphen—we have a professional

em dash, the long one, such as you see in this

sentence. We also have an en dash, which is a

little shorter than the em dash.

hyphen -

en dash –

em dash —

Never use two hyphens instead of a dash. Use hyphens, en dashes, and em dashes appropriately.

A hyphen is one third of the em rule and is

used to link words. It serves as a compound

modifier where two words become one, such

as x-height. A hyphen is also used to break

works at syllables in text blocks.

Hypen

56

To type an en dash

en dash – Option Hyphen

hold the Option key down, then tap the hyphen key

An en dash is half of the em rule (the width of a capital N) and is used

between words that indicate a duration, such as time or months or

years. Use it where you might otherwise use the word “to.”

In a page layout application, the en dash can be used with a thin space

on either side of it. If you want you can kern it so it is not a full space.

October – December

6:30 – 8:45 A.M.

4 – 6 years of age

En dash

Em dash —

To type an em dash

em dash — Shift Option Hyphen

hold the Shift and Option keys down, then tap the hyphen key.

The em dash is twice as long as the en dash—it’s about the size of a

capital letter M in whatever size and typeface you’re using at the mo-

ment. This dash is often used in place of a colon or parentheses, or

it might indicate an abrupt change in thought, or it’s used in a spot

where a period is too strong and a comma is too weak.

Our equivalent on the typewriter was the double hyphen, but now we

have a real em dash. Using two hyphens(or worse, one) where there

should be an em dash makes your look very unprofessional.

When using an—no space is used on either side.

Em dash

Option [

Option Shift [

Option ]

Option Shift ] c

Option Hyphen

Option Shift Hyphen

Option ;

Option 8 bullet

Option Shift 5

Option Shift 6

Option g

Option 2

Option r

Option Shift 8

Option $

Option Shift 2

Option Shift 1

Option 1

Option Shift ?

Option 3

Option c

Option Shift c

Option e

Option ~

Option u

Option n

ˆ Option i

Special CharactersThe following is a list of the most often-used spe-cial characters and accent marks.

“”‘’–—…•fifl©™®°¢€⁄¡¿£çÇ

áàäã â

Opening Double Quote

Closing Double Quote

Opening Single Quote

Closing Single Quote

En Dash

Em Dash

Ellipsis

Bullet

Ligature of ‘f’ and ‘i’

Ligature of ‘f’ and ‘l’

Copyright

Trademark

Registered

Degree Symbol

Cent

Euro

Fraction Bar

Upside-down Exclamation Point

Upside-down Question Mark

Pound

Cedilla

Capitol Cedilla

Remember, to set an accent mark over a let-

ter, press the Option key and the letter, then

press the letter you want under it.¿

ss

sss

s

Bu

llets

Simply put, a bullet is a large dot used to draw

attention to each item in a list or series. The

items can be single words, phrases, sentences

or paragraphs. Even if you use the bullet

that is part of your font, don’t automatically

assume it’s the right size: it might need to be

altered in scale or position to make it look

balanced next to the text.

Bullets should be centered on either the cap

height or x-height, depending on the nature

of your copy. If all of your items begin with

a cap, center the bullet on the cap, or a bit

lower so it balances with the negative spaces

created by the lowercase. If your items all

begin with lowercase characters, center the

bullets on the x-height. Insert some space

after the bullet to avoid crowding.

The preferred way to align bullets is with the

left margin. You can also have the bullets

overhang the margin, and keep all your text

aligned with the left margin. Whichever style

you choose, your listing will look best if items

that run more than one line are indented so

that the copy aligns with itself, and not with

the bullet on the first line.

This very useful typographic element can add emphasis, clarity and visual interest to all kinds of copy.

s ss

To be more creative, substitute symbols or ding-bats for the actual bullets. Try squares, triangles or check marks just not all at once. Keep these simple and in proportion with the rest of your text.

lovely

surly

ghastly

womanly

saintly

ungodly

stately

sprightly

lovely

surly

ghastly

womanly

saintly

ungodly

stately

sprightly

virulent

infectious

rave

bloody

zombie

ectasy

apocalyptic

doom

virulent

infectious

rave

bloody

zombie

ectasy

apocalyptic

doom

s

s

s

s

s

s

s

s

a

a

a

a

a

a

a

a

u

u

u

u

u

u

u

u

v

v

v

v

v

v

v

v

62

1234567890

Numerals

Oldstyle figures are a style of numeral which

approximate lowercase letterforms by hav-

ing an x-height and varying ascenders and

descenders. They are considerably different

from the more common “lining” (or “align-

ing”) figures which are all-cap height and

typically monospaced in text faces so that they

line up vertically on charts. Oldstyle figures

have more of a traditional, classic look. They

are only available for certain typefaces, some-

times as the regular numerals in a font, but

more often within a supplementary or expert

font. The figures are proportionately spaced,

eliminating the white spaces that result from

monospaced lining figures, especially around

the numeral one.

Oldstyle figures are very

useful and quite beauti-

ful when set within text.

Unlike lining figures, they

blend in without disturb-

ing the color of the body

copy. They also work well

in headlines since they’re

not as intrusive as lining

figures. In fact, many peo-

ple prefer them overall for

most uses except charts

and tables. It’s well worth

the extra effort to track

down and obtain typefaces

with oldstyle numerals;

the fonts that contain

them might well become

some of your favorites.

Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505.

Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505.

1234567890

Smal

l Cap

s Small caps are uppercase (capital) letters that

are about the size of normal lowercase letters

in any given typeface. Small caps are less

intrusive when all uppercase appears within

normal text or can be used for special empha-

sis. Computer programs can generate small

caps for a any typeface, but those are not the

same as true small caps. True small caps have

line weights that are proportionally correct

for the typeface, which me and that they can

be used within a body of copy without looking

noticeably wrong.

Use small caps for acronyms. Set acronyms such as NASA or NAS-

DAQ in small caps when they appear in body text or headlines.

Use small caps for common abbreviations. Set common abbrevia-

tions such as AM or PM in small caps so they don't overpower

the accompanying text. Use small caps for A.M. and P.M.; space

once after the number, and use periods. (if the font does not have

small caps reduce the font size slightly)

Use true small caps fonts. Avoid simply resizing capital letters or

using the small caps feature in some programs. Instead use type-

faces that have been specifically created as small caps.

*

*

*

CC

Kira, an FBI agent, turned on CNN to get the dirt on the CIA before going to bed at 9:30 P.M.

Kira, an fbi agent, turned on cnn to get the dirt on the cia before going to bed at 9:30 p.m.

The capitol letters in the middle of the

sentence call too much attention to

themselves, even when the abbreviations

may not be very important. Notice how

much better the small caps blend with the

text in the second example.

68

There is no rest for the wicked.

There is no rest for the wicked.

The weight of computer-drawn small caps

is thinner than the regular caps in some

typefaces, resulting in awkward capitol

letters and uneven text color. Try to find font

families called "Pro" or "Caps," as the small

caps in these fonts have been redesigned to

match in proportions and thickness.

Paragraph breaks set a rhythm for the reader. The breaks have a rela-

tionship with the column of text as well as the page margins. A break

may be introduced as an indentation, as a space or both. The over all

page feel will be influenced by your choice.Para

gra

ph

Bre

aks

In typography there are 4 rules regarding

paragraph breaks:

Do not indent the first paragraph

Block paragraphs are flush left and are sepa-

rated by extra leading not a full return

The amount indent is equal to the leading

(sometimes needs a bit more)

Never hit two returns between paragraphs

*

*

*

*

¶ ¶


newspaper Le Figaro published a manifesto by the Italian poet and

editor Filippo Tommaso Marinetti. The name Futurism, coined by

Marinetti, reflected his emphasis on discarding what he conceived

to be the static and irrelevant art of the past and celebrating change,

originality, and innovation in culture and society.1 Futurism rejected

traditions and glorified contemporary life, mainly by emphasizing two

dominant themes, the machine and motion. The manifesto's rhetoric

was passionately bombastic; it’s tone was aggressive and inflammatory

and was purposely intended to inspire public anger and amazement,

to arouse controversy, and to attract widespread attention.

But it is the movements which survive, oddly, here where we live and

work as poets and artists: or, if not the movements, then their sense of

art as an life itself. All of which, as futurism, had come sharply into fo-

cus by the start of the world war: a first radical mix of art and life, the

epitome in the poplar mind of an avant-garde. It was, on both its Rus-

sian & Italian sides, the first great “art” movement led by poets; and if

its means now sometimes seem exaggerated or unripe in retrospect,

they carry within them the seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with

a polemical stance in favor of the transformed present (1909), the lat-

er manifestos of Futurist poets and artists offered formal, “technical”

approaches to the works then getting under way. The key term—still

resonant today—was parole in libertà2, by which poetry was to become

“an uninterrupted sequence of new images… (a) strict bet of images

or analogies, to be cast into the mysterious sea of phenomena.” This

freedom-of-the-world, while it resembled other forms of collage and

of image juxtaposition, more fully explored the use of innovative and

expressive typography in the visual presentation of language, as set in

motion by forerunners like Mallarmé. Outrageous and aggressive, the

Futurists' performances mixed declamation and gesture, events and

surroundings, indifference and engagement, to break the barriers

between themselves and those who came to jeer or cheer them. Wrote

Marinetti Selbst3 (circa 1915), “Everything of any value is theatrical.”

Explorations

72

Futurism was first announced on February

20, 1909, when the Paris newspaper Le Figaro published a manifesto

by the Italian poet and editor Filippo Tommaso Marinetti. The name

Futurism, coined by Marinetti, reflected his emphasis on discarding

what he conceived to be the static and irrelevant art of the past and

celebrating change, originality, and innovation in culture and society.1

Futurism rejected traditions and glorified contemporary life, mainly

by emphasizing two dominant themes, the machine and motion. The

manifesto's rhetoric was passionately bombastic; it’s tone was aggres-

sive and inflammatory and was purposely intended to inspire public

anger and amazement, to arouse controversy, and to attract wide-

spread attention.

But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the

movements, then their sense of art as an life itself. All of which, as

futurism, had come sharply into focus by the start of the world war: a

first radical mix of art and life, the epitome in the poplar mind of an

avant-garde. It was, on both its Russian & Italian sides, the first great

“art” movement led by poets; and if its means now sometimes seem

exaggerated or unripe in retrospect, they carry within them the seed

of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the

transformed present (1909), the later manifestos of Futurist poets

and artists offered formal, “technical” approaches to the works then

getting under way. The key term—still resonant today—was parole in

libertà2, by which poetry was to become “an uninterrupted sequence

of new images… (a) strict bet of images or analogies, to be cast into

the mysterious sea of phenomena.” This freedom-of-the-world, while

it resembled other forms of collage and of image juxtaposition, more

fully explored the use of innovative and expressive typography in the

visual presentation of language, as set in motion by forerunners like

Mallarmé. Outrageous and aggressive, the Futurists' performances

mixed declamation and gesture, events and surroundings, indiffer-

ence and engagement, to break the barriers between themselves and

those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa

1915), “Everything of any value is theatrical.”











to arouse controversy, and to attract widespread attention. But it is the

movements which survive, oddly, here where we live and work as poets

and artists: or, if not the movements, then their sense of art as an life

itself. All of which, as futurism, had come sharply into focus by the

start of the world war: a first radical mix of art and life, the epitome

in the poplar mind of an avant-garde. It was, on both its Russian &

Italian sides, the first great “art” movement led by poets; and if its

means now sometimes seem exaggerated or unripe in retrospect, they

carry within them the seed of all that we were later to become. While

Marinetti's opening manifesto for Italian Futurism bristled with a

polemical stance in favor of the transformed present (1909), the later

manifestos of Futurist poets and artists offered formal, “technical”













74


newspaper Le Figaro published a manifesto by the Italian

poet and editor Filippo Tommaso Marinetti. The name

Futurism, coined by Marinetti, reflected his emphasis on

discarding what he conceived to be the static and irrelevant

art of the past and celebrating change, originality, and

innovation in culture and society.1 Futurism rejected tradi-

tions and glorified contemporary life, mainly by emphasiz-

ing two dominant themes, the machine and motion. The

manifesto's rhetoric was passionately bombastic; it’s tone was

aggressive and inflammatory and was purposely intended to

inspire public anger and amazement, to arouse controversy,

and to attract widespread attention.

But it is the movements which survive, oddly, here where we live and

work as poets and artists: or, if not the movements, then

their sense of art as an life itself. All of which, as futurism,

had come sharply into focus by the start of the world war:

a first radical mix of art and life, the epitome in the poplar

mind of an avant-garde. It was, on both its Russian & Italian

sides, the first great “art” movement led by poets; and if its

means now sometimes seem exaggerated or unripe in ret-

rospect, they carry within them the seed of all that we were

later to become.

While Marinetti's opening manifesto for Italian Futurism bristled

with a polemical stance in favor of the transformed present

(1909), the later manifestos of Futurist poets and artists

offered formal, “technical” approaches to the works then

getting under way. The key term—still resonant today—was

parole in libertà2, by which poetry was to become “an unin-

terrupted sequence of new images… (a) strict bet of images

or analogies, to be cast into the mysterious sea of phenom-

ena.” This freedom-of-the-world, while it resembled other

forms of collage and of image juxtaposition, more fully

explored the use of innovative and expressive typography

in the visual presentation of language, as set in motion by

forerunners like Mallarmé. Outrageous and aggressive, the

Futurists' performances mixed declamation and gesture,

events and surroundings, indifference and engagement, to

break the barriers between themselves and those who came

to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915),

“Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909,

when the Paris newspaper Le Figaro published a manifesto by the Ital-

ian poet and editor Filippo Tommaso Marinetti. The name Futurism,

coined by Marinetti, reflected his emphasis on discarding what he

conceived to be the static and irrelevant art of the past and celebrating

change, originality, and innovation in culture and society. 1 Futurism

rejected traditions and glorified contemporary life, mainly by empha-

sizing two dominant themes, the machine and motion. The mani-

festo's rhetoric was passionately bombastic; it’s tone was aggressive and

inflammatory and was purposely intended to inspire public anger and

amazement, to arouse controversy, and to attract widespread attention.

But it is the movements which survive, oddly, here where we live

and work as poets and artists: or, if not the movements, then their

sense of art as an life itself. All of which, as futurism, had come sharply

into focus by the start of the world war: a first radical mix of art and

life, the epitome in the poplar mind of an avant-garde. It was, on

both its Russian & Italian sides, the first great “art” movement led by

poets; and if its means now sometimes seem exaggerated or unripe in

retrospect, they carry within them the seed of all that we were later to

become.

While Marinetti's opening manifesto for Italian Futurism

bristled with a polemical stance in favor of the transformed pres-

ent (1909), the later manifestos of Futurist poets and artists offered

formal, “technical” approaches to the works then getting under way.

The key term—still resonant today—was parole in libertà2, by which

poetry was to become “an uninterrupted sequence of new images…

(a) strict bet of images or analogies, to be cast into the mysterious sea

of phenomena.” This freedom-of-the-world, while it resembled other

forms of collage and of image juxtaposition, more fully explored the

use of innovative and expressive typography in the visual presentation

of language, as set in motion by forerunners like Mallarmé. Outra-

geous and aggressive, the Futurists' performances mixed declamation

and gesture, events and surroundings, indifference and engagement,

to break the barriers between themselves and those who came to jeer

or cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of

any value is theatrical.”

76

u Futurism was first announced on February 20, 1909, when the Paris











u But it is the movements which survive, oddly, here where we live and

work as poets and artists: or, if not the movements, then their sense of

art as an life itself. All of which, as futurism, had come sharply into fo-

cus by the start of the world war: a first radical mix of art and life, the

epitome in the poplar mind of an avant-garde. It was, on both its Rus-

sian & Italian sides, the first great “art” movement led by poets; and if

its means now sometimes seem exaggerated or unripe in retrospect,

they carry within them the seed of all that we were later to become.

u While Marinetti's opening manifesto for Italian Futurism bristled

with a polemical stance in favor of the transformed present (1909),

the later manifestos of Futurist poets and artists offered formal,

“technical” approaches to the works then getting under way. The key

term—still resonant today—was parole in libertà2, by which poetry was

to become “an uninterrupted sequence of new images… (a) strict bet

of images or analogies, to be cast into the mysterious sea of phenom-

ena.” This freedom-of-the-world, while it resembled other forms of

collage and of image juxtaposition, more fully explored the use of

innovative and expressive typography in the visual presentation of

language, as set in motion by forerunners like Mallarmé. Outrageous

and aggressive, the Futurists' performances mixed declamation and

gesture, events and surroundings, indifference and engagement, to

break the barriers between themselves and those who came to jeer or

cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of any

value is theatrical.”

F u t u r i s m w a s f i r s t a n n o u n c e d on February 20, 1909, when the Paris newspaper Le Figaro published a

manifesto by the Italian poet and editor Filippo Tommaso Marinetti.

The name Futurism, coined by Marinetti, reflected his emphasis on

discarding what he conceived to be the static and irrelevant art of the

past and celebrating change, originality, and innovation in culture and

society. 1 Futurism rejected traditions and glorified contemporary life,

mainly by emphasizing two dominant themes, the machine and mo-

tion. The manifesto's rhetoric was passionately bombastic; it’s tone was

aggressive and inflammatory and was purposely intended to inspire

public anger and amazement, to arouse controversy, and to attract

widespread attention.

B u t i t i s t h e m o v e m e n t s w h i c h survive, oddly, here where we live and work as poets and artists: or,

if not the movements, then their sense of art as an life itself. All of

which, as futurism, had come sharply into focus by the start of the

world war: a first radical mix of art and life, the epitome in the poplar

mind of an avant-garde. It was, on both its Russian & Italian sides, the

first great “art” movement led by poets; and if its means now some-

times seem exaggerated or unripe in retrospect, they carry within

them the seed of all that we were later to become.

W h i l e M a r i n e t t i ' s o p e n i n g m a n i f e s t o for Italian Futurism bristled with a polemical stance in favor of the

transformed present (1909), the later manifestos of Futurist poets

and artists offered formal, “technical” approaches to the works then

getting under way. The key term—still resonant today—was parole in












78

Futurism was first announced on February 20, 1909, when

the Paris newspaper Le Figaro published a manifesto by the

Italian poet and editor Filippo Tommaso Marinetti. The

name Futurism, coined by Marinetti, reflected his emphasis on

discarding what he conceived to be the static and irrelevant art of the

past and celebrating change, originality, and innovation in culture and

society.1 Futurism rejected traditions and glorified contemporary life,

mainly by emphasizing two dominant themes, the machine and mo-

tion. The manifesto's rhetoric was passionately bombastic; it’s tone was

aggressive and inflammatory and was purposely intended to inspire

public anger and amazement, to arouse controversy, and to attract

widespread attention.

But it is the movements which survive, oddly, here where

we live and work as poets and artists: or, if not the move

ments, then their sense of art as an life itself. All of which,

as futurism, had come sharply into focus by the start of the world war:

a first radical mix of art and life, the epitome in the poplar mind of an




of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism

bristled with a polemical stance in favor of the transformed

present (1909), the later manifestos of Futurist poets and

artists offered formal, “technical” approaches to the works then get-

ting under way. The key term—still resonant today—was parole in























But it is the movements which survive, oddly, here where we

live and work as poets and artists: or, if not the movements,

then their sense of art as an life itself. All of which, as futur-

ism, had come sharply into focus by the start of the world

war: a first radical mix of art and life, the epitome in the

poplar mind of an avant-garde. It was, on both its Russian

& Italian sides, the first great “art” movement led by poets;

and if its means now sometimes seem exaggerated or unripe

in retrospect, they carry within them the seed of all that we

were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with

a polemical stance in favor of the transformed present (1909), the lat-

er manifestos of Futurist poets and artists offered formal, “technical”




or analogies, to be cast into the mysterious sea of phenomena." This









80

Futurism was first announced on February 20,

1909, when the Paris newspaper Le Figaro published a manifesto by the

Italian poet and editor Filippo Tommaso Marinetti. The name Futur-

ism, coined by Marinetti, reflected his emphasis on discarding what he

conceived to be the static and irrelevant art of the past and celebrating

change, originality, and innovation in culture and society.1 Futurism

rejected traditions and glorified contemporary life, mainly by empha-

sizing two dominant themes, the machine and motion. The mani-

festo's rhetoric was passionately bombastic; it’s tone was aggressive and

inflammatory and was purposely intended to inspire public anger and

amazement, to arouse controversy, and to attract widespread atten-

tion. But it is the movements which survive,

oddly, here where we live and work as poets and artists: or, if not the

movements, then their sense of art as an life itself. All of which, as

futurism, had come sharply into focus by the start of the world war: a

first radical mix of art and life, the epitome in the poplar mind of an




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”













Headers &Subheads

Header: A line or block of text that appears at the beginning of a page or document.

Subhead: A heading given to a subsection of a piece of writing.

Kerning: Spacing in a header is key to creating appropriate visual hierarchy in

a document or page of text. Proper spacing is achieved by kerning. Kerning is

the process of removing small amounts of space between letters to create visually

consistent letterspacing. The larger the text is, the more attention should be

paid to kerning.

WASHINGTON unkerned

WASHINGTON kerned

The key to kerning is visual perception. The more white space that surrounds an

object or letter, the smaller it seems, even if it is next to an object of equal size, but

with less white space around it. The key to kerning is to keep it visually consistent.

The spacing between letters may not all be the exact same, but it will appear that way

with the proper kerning.

Headers are the first things the reader sees in a body of text, so make sure to use them correctly.

Words in LibertyA P r o l o g u e t o F u t u r i s m

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-

lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-

ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static

and irrelevant art of the past and celebrating change, originality, and innovation in culture and

society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two

dominant themes, the machine and motion. The manifesto's rhetoric was passionately bom-

bastic; it’s tone was aggressive and inflammatory and was purposely intended to inspire public

anger and amazement, to arouse controversy, and to attract widespread attention.

R a d i c a l m i x o f a r t a n d l i f e

But it is the movements which survive, oddly, here where we live and work as poets and artists:

or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had

come sharply into focus by the start of the world war: a first radical mix of art and life, the

epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first

great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe

in retrospect, they carry within them the seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in

favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered

formal, “technical” approaches to the works then getting under way. The key term—still reso-

nant today—was parole in libertà2, by which poetry was to become “an uninterrupted sequence

of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of

phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image

juxtaposition, more fully explored the use of innovative and expressive typography in the visual

presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and ag-

gressive, the Futurists' performances mixed declamation and gesture, events and surroundings,

indifference and engagement, to break the barriers between themselves and those who came to

jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of any value is theatrical.”

84






dominant themes, the machine and motion. The manifesto's rhetoric was passionately bom-

bastic; it’s tone was aggressive and inflammatory and was purposely intended to inspire public

anger and amazement, to arouse controversy, and to attract widespread attention.

Radical mix of art and life




epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the

first great “art” movement led by poets; and if its means now sometimes seem exaggerated or

unripe in retrospect, they carry within them the seed of all that we were later to become. While

Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of

the transformed present (1909), the later manifestos of Futurist poets and artists offered formal,

“technical” approaches to the works then getting under way. The key term—still resonant to-

day—was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new

images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”

This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition,

more fully explored the use of innovative and expressive typography in the visual presentation

of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the

Futurists' performances mixed declamation and gesture, events and surroundings, indifference

and engagement, to break the barriers between themselves and those who came to jeer or cheer

them. Wrote Marinetti Selbst3 (circa 1915), “Everything of any value is theatrical.”WO

RK

S I

N L

IBE

RT

YA

Pro

log

ue

to F

utu

rism






dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic;

it’s tone was aggressive and inflammatory and was purposely intended to inspire public anger and


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



favor of the transformed present (1909), the later manifestos of Futurist poets and artists of-

fered formal, “technical” approaches to the works then getting under way. The key term—still

resonant today—was parole in libertà2, by which poetry was to become “an uninterrupted

sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious

sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and

of image juxtaposition, more fully explored the use of innovative and expressive typography in

the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous

and aggressive, the Futurists' performances mixed declamation and gesture, events and sur-

roundings, indifference and engagement, to break the barriers between themselves and those

who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of any value

is theatrical.”

Words in LibertyA Prologue to Futurism


86














unripe in retrospect, they carry within them the seed of all that we were later to become.












is theatrical.”




























is theatrical.”

WORDS IN LIBERTY

A Prologue to Futurism


88

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro

published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti.

The name Futurism, coined by Marinetti, reflected his emphasis on discarding what

he conceived to be the static and irrelevant art of the past and celebrating change,

originality, and innovation in culture and society.1 Futurism rejected traditions and

glorified contemporary life, mainly by emphasizing two dominant themes, the ma-

chine and motion. The manifesto's rhetoric was passionately bombastic; it’s tone was

aggressive and inflammatory and was purposely intended to inspire public anger and



or, if not the movements, then their sense of art as an life itself. All of which, as

futurism, had come sharply into focus by the start of the world war: a first radical mix

of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its

Russian & Italian sides, the first great “art” movement led by poets; and if its means

now sometimes seem exaggerated or unripe in retrospect, they carry within them the

seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in fa-

vor of the transformed present (1909), the later manifestos of Futurist poets and art-

ists offered formal, “technical” approaches to the works then getting under way. The

key term—still resonant today—was parole in libertà2, by which poetry was to become

“an uninterrupted sequence of new images… (a) strict bet of images or analogies,

to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while

it resembled other forms of collage and of image juxtaposition, more fully explored

the use of innovative and expressive typography in the visual presentation of lan-

guage, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the

Futurists' performances mixed declamation and gesture, events and surroundings,

indifference and engagement, to break the barriers between themselves and those

who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of


WORDS IN LIBERTYA

Prol

ogue

to F

utur

ism

Radi

cal m

ix o

f ar

t and

life

§Captions & Notes

Footnotes and endnotes

Footnotes and endnotes are necessary com-

ponents of scholarly and technical writing.

They’re also frequently used by writers of

fiction, from Herman Melville (Moby-Dick)

to contemporary novelists. Whether their in-

tent is academic or artistic, footnotes present

special typographic challenges.

Specifically, a footnote is a text element at

the bottom of a page of a book or manuscript

that provides additional information about

a point made in the main text. The footnote

might provide deeper background, offer an

alternate interpretation or provide a citation

for the source of a quote, idea or statistic.

Endnotes serve the same purpose but are

grouped together at the end of a chapter,

article or book, rather than at the bottom of

each page.

These general guide-

lines will help you

design footnotes and

endnotes that are

readable, legible and

economical in space.

(Note that academic

presses and journals

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92

Words in LibertyA P r o l o g u e t o F u t u r i s m


published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name

Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be

the static and irrelevant art of the past and celebrating change, originality, and innovation in

culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by

emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was

passionately bombastic; it’s tone was aggressive and inflammatory and was purposely intended

to inspire public anger and amazement, to arouse controversy, and to attract widespread atten-

tion.

R a d i c a l m i x o f a r t a n d l i f e












sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and






is theatrical.”

1. Philip Meggs, History

of Graphic Design, Van

Nostrand Reinhold,

1988

2. parole in liberta =

words set free (liberty)

3. selbst = himself






dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombas-

tic; it’s tone was aggressive and inflammatory and was purposely intended to inspire public anger

and amazement, to arouse controversy, and to attract widespread attention.







unripe in retrospect, they carry within them the seed of all that we were later to become. While

Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of

the transformed present (1909), the later manifestos of Futurist poets and artists offered formal,

“technical” approaches to the works then getting under way. The key term—still resonant to-

day—was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new

images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”

This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition,

more fully explored the use of innovative and expressive typography in the visual presentation

of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the

Futurists' performances mixed declamation and gesture, events and surroundings, indifference

and engagement, to break the barriers between themselves and those who came to jeer or cheer

them. Wrote Marinetti Selbst3 (circa 1915), “Everything of any value is theatrical.”WO

RD

S I

N L

IBE

RT

YA

Pro

log

ue

to F

utu

rism

1.

Ph

ilip

Meg

gs, H

isto

ry o

f Gra

phic

Des

ign

, Van

Nos

tran

d R

ein

hol

d, 1

988

2. P

arol

e in

libe

rta

= w

ords

set

free

(lib

erty

)3.

Sel

bst =

him

self

94









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













is theatrical.”



1. P

hili

p M

eggs

, His

tory

of G

raph

ic D

esig

n, V

an N

ostr

and

Rei

nh

old,

198

8 2

. Par

ole

in li

bert

a =

wor

ds s

et fr

ee (

liber

ty)

3. S

elbs

t = h

imse

lf


























is theatrical.”



1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988 2. Parole in liberta = words set free (liberty) 3. Selbst = himself

96


























is theatrical.”

WORDS IN LIBERTY

A Prologue to Futurism


3. s

elbs

t = h

imse

lf

1. P

hili

p M

eggs

, His

tory

of

Gra

phic

Des

ign

, Van

N

ostr

and

Rei

nh

old,

198

8

2. P

arol

e in

libe

rta

= w

ords

set

free

(lib

erty

)


published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti.

The name Futurism, coined by Marinetti, reflected his emphasis on discarding what

he conceived to be the static and irrelevant art of the past and celebrating change,

originality, and innovation in culture and society.1 Futurism rejected traditions and

glorified contemporary life, mainly by emphasizing two dominant themes, the ma-

chine and motion. The manifesto's rhetoric was passionately bombastic; it’s tone was

aggressive and inflammatory and was purposely intended to inspire public anger and



or, if not the movements, then their sense of art as an life itself. All of which, as

futurism, had come sharply into focus by the start of the world war: a first radical mix

of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its

Russian & Italian sides, the first great “art” movement led by poets; and if its means

now sometimes seem exaggerated or unripe in retrospect, they carry within them the

seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in fa-

vor of the transformed present (1909), the later manifestos of Futurist poets and art-

ists offered formal, “technical” approaches to the works then getting under way. The

key term—still resonant today—was parole in libertà2, by which poetry was to become

“an uninterrupted sequence of new images… (a) strict bet of images or analogies,

to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while

it resembled other forms of collage and of image juxtaposition, more fully explored

the use of innovative and expressive typography in the visual presentation of lan-

guage, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the

Futurists' performances mixed declamation and gesture, events and surroundings,

indifference and engagement, to break the barriers between themselves and those

who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), “Everything of


WORDS IN LIBERTY

A Pr

olog

ue to

Fut

uris

mRa

dica

l mix

of

art a

nd li

fe

1. Philip Meggs, His-tory of Graphic Design, Van Nostrand Rein-hold, 1988

2. Parole in lib-erta = words set free (liberty)

3. Selbst = himself

98

FONT SPEC

IFICAT

IONS

CLASSIFICATION: SLAB SERIF

BOOK

HAIRLINE

SEMI-BOLD

BOLD ITALIC

Archer

MaxogGdQRstA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely con-nected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heri-tage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *


Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { } ? ! @ & *


CLASSIFICATION: GROTESQUE

ROMAN

BOLD

BLACK

Akzidenz Grotesk

MaxogGdQRstA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefac-es was devised in the nineteenth cen-tury, when printers sought to identify a heritage for their own craft analo-gous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefac-es are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have contin-ued to create new typefaces based on historic characteristics.




102

MaxogGdQRstCLASSIFICATION: TRANSITIONAL

REGULAR

SMALL CAPS

ITALIC

BOLD

Baskerville

MxaogGdQRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups cor-respond roughly to the Renaissance, Ba-roque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.






REGULAR

ITALIC

BOLD

BLACK ITALIC

Belizio

MxagGdQrRA basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art histo-ry. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more ab-stract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twenti-eth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefac-es was devised in the nineteenth cen-tury, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letter-forms are closely connected to callig-raphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have con-tinued to create new typefaces based on historic characteristics.





104

MxagGdQrRCLASSIFICATION: GROTESQUE

LIGHT

BOLD

BLACK

Bell Gothic

MxagGdQrRIA basic system for classifying typefaces

was devised in the nineteenth century, when

printers sought to identify a heritage for their

own craft analogous to that of art history.

Humanist letterforms are closely connected

to calligraphy and the movement of the hand.

Transitional and modern typefaces are more

abstract and less organic. These three main

groups correspond roughly to the Renais-

sance, Baroque, and Enlightenment periods in

art and literature. Designers in the twentieth

and twenty-first centuries have continued

to create new typefaces based on historic

characteristics.




CLASSIFICATION: OLDSTYLE

REGULAR

ITALIC

BOLD

EXTRA BOLD

Bembo

MxnogGdQrRstA basic system for classifying typefaces was

devised in the nineteenth century, when print-

ers sought to identify a heritage for their own

craft analogous to that of art history. Humanist

letterforms are closely connected to calligraphy

and the movement of the hand. Transitional

and modern typefaces are more abstract and

less organic. These three main groups cor-

respond roughly to the Renaissance, Baroque,

and Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first

centuries have continued to create new type-

faces based on historic characteristics.

A basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a heri-

tage for their own craft analogous to that

of art history. Humanist letterforms are

closely connected to calligraphy and the

movement of the hand. Transitional and

modern typefaces are more abstract and

less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods

in art and literature. Designers in the

twentieth and twenty-first centuries have

continued to create new typefaces based

on historic characteristics.





106

MxnogGdQrRstCLASSIFICATION: NEW TRANSITIONAL

REGULAR

ITALIC

BOLD

BOLD ITALIC

Bookman

MxaogGdQrRA basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Hu-manist letterforms are closely con-nected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlight-enment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups corre-spond roughly to the Renaissance, Baroque, and Enlightenment peri-ods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.





CLASSIFICATION: MODERN

REGULAR

ITALIC

BOLD

ORNAMENTS

Bodoni

MxaogGdQrRstA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9




108

MxaogGdQrRstCLASSIFICATION: TRANSITIONAL

REGULAR

ITALIC

SWASH

ORNAMENT

ALTERNATE

Caslon

MxanogGdQRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.




Aa Ba Ca Da Ea Fa Ga Ha Ia Ja Ka La Ma Na Oa Pa Qa Ra Sa Ta Ua Va Wa Xa Ya Z

A a Bb C c D d Ee F f G g H h Ii Jj Kk Ll Mm Nn Oo Pp Qq Or S s Ot Uu Vv Ww X x y Z z 1 2 3 4

c h i k l Ss T t

CLASSIFICATION: TRANSITIONAL

REGULAR

ITALIC

BOLD

BOLD ITALIC

Century Schoolbook

MxaogGdQrRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letter-forms are closely connected to callig-raphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlight-enment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic charac-teristics.






110

MxaogGdQrRtCLASSIFICATION: TRANSITIONAL

REGULAR

ITALIC

BOLD

BOLD ITALIC

Cheltenham

MaxogGdQrRsA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heri-tage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.







UNICASE

REGULAR

Cholla

MaxnogGdQrRstA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely con-nected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.









less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art

and literature. Designers in the twentieth



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 ( ) { } ? ! @ & *


112

MaxnogGdQrRstCLASSIFICATION: SLAB SERIF

LIGHT

REGULAR

BOLD

Clarendon

MxagGdQrRtA basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely con-nected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlight-enment periods in art and literature. Designers in the twentieth and twen-ty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art histo-ry. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more ab-stract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twenti-eth and twenty-first centuries have continued to create new typefaces based on historic characteristics.




CLASSIFICATION: GRID BASED SAN-SERIF

REGULAR

Clicker

MaxnogGdQRsA basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art histo-ry. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more ab-stract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twenti-eth and twenty-first centuries have continued to create new typefaces based on historic characteristics.


114

MaxnogGdQRs


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 (

CLASSIFICATION: GROTESQUE DIN

MaxnogGdQrRtLIGHT

REGULAR

MEDIUM

BLACK


A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art 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 { ? ! @ & *

116

MaxnogGdQrRtCLASSIFICATION: GROTESQUE DIN

MaxngdQHAMBURGLIGHT CONDENSED

REGULAR CONDENSED

BOLD CONDENSED

BLACK CONDENSED







CLASSIFICATION: SERIF

REGULAR

ITALIC

BOLD

Disturbance

MxnatQbWFGdRA basic system for classifying typefaces was devised

in the nineteenth century, when printers sought

to identify a heritage for their own craft analo-

gous to that of art history. Humanist letterforms

are closely connected to calligraphy and the

movement of the hand. Transitional and modern

typefaces are more abstract and less organic.

These three main groups correspond roughly to

the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the

twentieth and twenty-first centuries have con-

tinued to create new typefaces based on historic

characteristics.

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo

Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8

9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp

Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0

( ) { } ? ! @ & *

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo

Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7

8 9 0 ( ) { } ? ! @ & *

118

MxnatQbWFGdR

CLASSIFICATION: BLACKLETTER

REGULAR

Fette Fraktur

MxnaopQrRtfgA basic system for classifying typefaces was

devised in the nineteenth century, when



Humanist letterforms are closely connected to

calligraphy and the movement of the hand.



groups correspond roughly to the Renaissance,


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


REGULAR

FRACTIONS

UNICASE

Filosofia

MxnaopQrRtfGgA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in the nine-teenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letter-forms are closely connected to calligraphy and the movement of the hand. Transitional and mod-ern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first cen-turies have continued to create new typefaces based on historic characteristics.




120

MxnaopQrRtfGgCLASSIFICATION: GROTESQUE

BOOK

DEMI

HEAVY

CONDENSED

Franklin Gothic

MaxodQRtfGgA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying type-faces was devised in the nineteenth century, when printers sought to iden-tify a heritage for their own craft anal-ogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups cor-respond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefac-es based on historic characteristics.





CLASSIFICATION: HUMANIST

CONDENSED

REGULAR

BOLD

ULTRA BLACK

Frutiger

MaxodQRtfGgA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letter-forms are closely connected to callig-raphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have contin-ued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analo-gous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefac-es are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have contin-ued to create new typefaces based on historic characteristics.





122

CLASSIFICATION: GEOMETRIC

BOOK

BOLD

EXTRA BOLD

Futura

MxaopQRstGgA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups corre-spond roughly to the Renaissance, Baroque, and Enlightenment peri-ods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.





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 ( ) { } ? ! & *


124


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.





CLASSIFICATION: GROTESQUE

REGULAR

BOLD

BLACK EXTENDED

Helvetica

MaoygGdQrRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was






and modern typefaces are more abstract and


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




Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6


ULTRA LIGHT

126

MaoygGdQrRtCLASSIFICATION: GROTESQUE

REGULAR

BOLD

BLACK

BOLD CONDENSED

Interstate

MaoygGdQrRtA basic system for classifying typefaces


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






CLASSIFICATION: SCRIPT

REGULAR

Kunstler Script

xyogGdQrRstAa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *

Pat. San ea consectet ad duis dolorem eu facil dit am, summy nisim ipit, quat, velit pratismodo diat.Et lorperi liquat lor sequam zzrilit, velese facin ut verosti nciduis modit, qui erosto odit ut verit nos nos amet iure doluptatisl digna facin hendre ming ea feum incilla ad dunt dunt ipit vulput lor-per sumsand ionsenit num ip erit la feu feumsan henis exerci esto etumsan hent am, velit, quisit nummy nosto dolutat irit veniam zzrilit, qui tincilit wis eum zzriustis ex eraestrud delit lamcon vero exercidunt aliscidui bla facip et veniam eum illan veros dignit alit vullandiat nis nisl dunt aliquam consent alit etuero odionsecte dunt nulla faci et in vulla feugait lore eum zzril ullamco nsequi bla autpatet nummodipisi.Ed etummodit vullamcon utat ulluptat delendit nonsenim in-ciliqui tio odoloreet ver sum velis aliquis del irit aut nosto conse-quam zzrit aut ipsum diamcon sequam num et wisi tio dolorem elesto dolobor iuscilisci et, quis endre te dolobor sum volenibh exerit utpat. Uptat, vel dolese molorem eraessis nit niamcorperos autat, venit in etum erilissit irit eui bla feum iurem nonsequi e

128


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.






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.




130


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.







REGULAR

ITALIC

BOLD

FRACTIONS

Mrs Eaves

MaxogGdQrRstA basic system for classifying typefaces was






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


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






132

MaxogGdQrRstCLASSIFICATION: GROTESQUE

REGULAR

ITALIC

BOLD

News Gothic

MaxogGdQrRstA basic system for classifying typefaces was devised in the nineteenth century, when print-ers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in the nineteenth century, when print-ers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.





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.


134

MaopQRfGgCLASSIFICATION: HUMANIST

BOOK

ITALIC

BOLD

Optima

MxaopQRstGgA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.





CLASSIFICATION: OLD STYLE

LIGHT

OLD STYLE

MEDIUM

BLACK

Palatino

MxaopQRstGgA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.






136


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.





THIN

REGULAR

HEAVY

Platelet

MaxbyogGQrRtA basic system for classifying typefaces



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.




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 ( ) { }

? ! @ & *



Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }

? ! & *



Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }

? ! @ & *

138

MaxbyogGQrRt


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.





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.




140

MxanodQrRtSfgCLASSIFICATION: HUMANIST

(55) SANS

ITALIC

SERIF

ITALIC

Rotis

MxanopQrRtGgA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renais-sance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely con-nected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.





CLASSIFICATION: OLDSTYLE

REGULAR

SMALL CAPS

BOLD

BOLD ITALIC

Sabon

MxayogGQfRA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.






142

MxayogGQfRCLASSIFICATION: HUMANIST

REGULAR

CAPS

ITALIC

BOLD

Scala Sans

MxabyogGdQrRA basic system for classifying typefaces was





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







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







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


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.





144

MxaoygGdQRCLASSIFICATION: SCRIPT

REGULAR

Snell Roundhand

axogbGdQrRstAa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *

Dolessecte ver sim er aut wismod mincilit loboreet praessed tat. Iquis eu feuis dolore faci ercil eriurer sisi tet, quamconse do odolor amcom-modit vulla feugait luptatisl dolorer augait praessi. Lut vel iriuscil et luptat. Nullandre magna feugiam, quis aute conullu ptatincip ea alit wis et volore dip et, cortin henisi. Quis autet, veros accum ipit vel ute mod ting eumsandreet am, qui te faciniat num-mod eu feugiat ex essim vent vendre tat venibh et pratuer ipsum volortio eniat praessed mincilit dolobortie tat. Lam dolut amcommy nos eraessed tin ulput ut vulputat, quat, volo-bor incip et essi.orper sum quamconsed magniam, quisit accum voloborem alit iuscipit la consequam dit nulput acing eu feum quat. Ut lup-tat at.

CLASSIFICATION: NEW TRANSITIONAL

BOLD CONDENSED

REGULAR

ITALIC

BOLD

Swift

MxaoygGdQrRA basic system for classifying typefaces









respond roughly to the Renaissance, Ba-

roque, and Enlightenment periods in art

and literature. Designers in the twentieth



characteristics.





Humanist letterforms are closely connected to

calligraphy and the movement of the hand.



groups correspond roughly to the Renaissance,


and literature. Designers in the twentieth and

twenty-first centuries have continued to create

new typefaces based on historic characteristics.





146

MxaoygGdQrRCLASSIFICATION: HUMANIST

REGULAR

BOLD

BLACK

BLACK

Syntax

MxaoygGdQrRA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the move-ment of the hand. Transitional and modern typefaces are more abstract and less or-ganic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.







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.






148

MxanyogGdQrRCLASSIFICATION: MODERN

REGULAR

ITALIC

SMALL CAPS

BOLD

Walbaum

MxyagGdQrRA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letter-forms are closely connected to callig-raphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have contin-ued to create new typefaces based on historic characteristics.

A basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more ab-stract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have con-tinued to create new typefaces based on historic characteristics.






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.





150

MyogGdQrR

QQQ152

Designed by Christina Fountain

Class project for Professor Herstowski's Typography 02

The University of Kansas

Spring 2012

Text was compiled from the following sources:

Elements of Typographic Style by Robert Bringhurst,

Getting it Right with Type: by Victoria Square,

Mac is Not A Typewriter by Robin Williams.

This book is not to be sold to the public and to only be used by the designer for their reference and student design portfolio.

QQ

type workbook

Documents

page of text

use en

line of paragraphs

text readable

block of text

line indent

short line

short burst of text