Typographic Workbook by Alice Shrum

{Typography Rules: Alice Shrum

Table of Contents

Readability & Legibility

Color

X-Heights

Hyphenation

Typographical Errors

Alignment

Justification

Combining Typefaces

Quotation Marks

Apostrophes

Dashes

Special Characters

Bullets

Old Style Figures

Small Caps

Paragraph Breaks

Headers & Sub-Heads

Foot Notes & End Notes

106

Classification of Type

123

Font Specs

131

{Understand: The Rules Use only one space between sentences. Use real quotation marks. Use real apostrophes. Make sure the apostrophes are where they belong. Hang the punctuation off the aligned edge. Use en or em dashes, use consistently. Kern all headlines where necessary. Never use the spacebar to align text, always set tabs and use the tab key. Leave no widows or orphans. Avoid more than 3 hyphenations in a row. Avoid too many hyphenations in any paragraph. Avoid hyphenating or line brakes of names and proper nouns. Leave a least 2 characters on the line and 3 following. Avoid beginning consecutive lines with the same word. Avoid ending consecutive lines with the same word. Avoid ending lines with the words: the, of, at, a, by...

Never hyphenate a words in a headline and avoid hyphenation in a callout. Never justify the text on a short line. Keep the word spacing consistent. Tighten up the leading in lines with all caps or with few ascenders and descenders. Use a one-em first-line indent on all indented paragraphs. Adjust the spacing between paragraphs. Either indent the first line of paragraphs or add extra space between them â&#x20AC;&#x201C; not both. Use a decimal or right-aligned tab for the numbers in numbered paragraphs. If a correctly spelled word needs an accent mark, use it. Never have one line in a paragraph in the colomn or following. Never combine two serif fonts on one page. Rarely combine two sans serif fonts on one page. Rarely combine more than three typefaces on one page. Use the special characters whenever necessary, including super- and subscript. Spend the time to create nice fraction or chose a font that has fractions.

Clarity

{Define: Readability & Legibility These are the two key elements of printed

text that typographers strive to maximize. Readability of extended amounts of text – such as an article, book, or annual report – are easy to read. Legibility refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable.

{Apply: Readability & Legibility 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 â&#x20AC;&#x153;colorâ&#x20AC;?.

{Understand: Color In typography, color can also de-

scribe the balance between black and white on the page of text. A typefaceâ&#x20AC;&#x2122;s color is determined by stroke width, x-height, character width and serif styles.

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

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.

{Understand: Color A typefaceâ&#x20AC;&#x2122;s color is determined by stroke width, x-height, character width and serif styles.

X-Height Explorations

X xhg

Xxhg

baskerville John Baskerville

9/12 x-height: small character width: narrow color: medium

helvetica neue 55 Max Miedinger

9/12 x-height: average character width: average color: dark

X xhg mrs eaves Zuzana Licko

Xxhg

72 point

univers Adian Frutiger

9/12 x-height: small character width: average color: light

9/12 x-height: large character width: wide color: medium

X xhg

Xxhg

bembo Francesco Griffo

franklin gothic no. 2 Morris Fuller Benton

9/12 x-height: average character width: average color: light

9/12 x-height: large character width: average color: very dark

X xhg Xxhg

72 point

volta Dr. Konrad F. Bauer & Walter Baum

futura Adrian Frutiger

9/12 x-height: average character width: wide color: medium

9/12 x-height: average character width: average color: medium

X xhg Xxhg walbaum Justus Erich

syntax Hans Eduard Meier

9/12 x-height: large character width: narrow color: light

9/12 x-height: large character width: average color: average

X xhg Xxhg

72 point

swift Gerard Unger

din Johannes Erler & Albert-Jan Pool

9/12 x-height: average character width: average color: average

9/12 x-height: large character width: wide color: light

X xhg Xxhg didot Firmin Didot

bell Gothic Chauncey H. Griffith

9/12 x-height: average character width: narrow color: light

9/12 x-height: large character width: narrow color: light

X xhg

Xxhg

72 point

garamond Claude Garamond

interstate Tobias Frere-Jones

9/12 x- height: average character width: narrow color: dark

9/12 x- height: large character width: average color: dark

X xhg

Xxhg

goudy Frederic W. Goudy

clicker Greg Thompson

9/12 x-height: small character width: average color: light

9/12 x-height: large character width: narrow color: light

X x hg

Xxhg

disturbance Jeremy Tankard

gill sans Eric Gill

72 point

9/12 x-height: small character width: average color: light

9/12 x-height: average character width: wide color: medium

Paragraph Treatment

{Apply: Hyphenation Rules to pay attention to: – – – – – – –

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 callout.

{Understand: Ragged Edges 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 â&#x20AC;&#x201C; 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.

Headlines

Don’t hyphenate headlines. That’s the law. Don Quixote de la ManCha

Also, watch where the first line of a two-line heasline ends – does it create a silly or misleading phase? Fix it. Professor and therapist to lecture. Don’t lose your selfrespect.

Donâ&#x20AC;&#x2122;t leave widows (very short 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.

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 offter 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.) Bot less gat earn pancake wetter starry.

Justify the headline so it stays on one line. Use a line break (shift+return) to bumpt “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 wee bit. To get ride of that terrible widow, exchange a short word for a long word.

{

Typographical Errors

{Define: Common Mistakes Widow

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.

Orphan

When the last line of a paragraph, be it ever so long, wonâ&#x20AC;&#x2122;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.

Rivers 24

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.

{Apply: Prevention Never leave widows and orphans on the page.

Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program youâ&#x20AC;&#x2122;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.

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.

Right do not exist in graphic design There is only effective and non-effective communication.

â&#x20AC;&#x201D; Peter Bilak

Wrong {Understand: Alignment If they are both wrong, then whatâ&#x20AC;&#x2122;s right?

Alignment is only a small piece of the puzzle. What works for one design might be totally inappropriate for another layout. As with all layouts, it depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design.

Alignment

{Understand: Left Align Left-Aligned, Ragged Right – 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.)

{Understand: 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, donâ&#x20AC;&#x2122;t center it.

{Understand: Justification – 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.

{Apply: Justification You may find that fully-justified text is a necessity

either due to space constraints or expectations of the audience. If possible though, try to break up dense blocks of texts with ample subheadings, margins, or graphics. 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 leftaligned text would look odd, even unpleasant.

{Understand: Justification The only time you can safely get away with justifying text is if your

type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. Gross. But that’s what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squished together.

{Apply: Justification 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 rulers in most programs can be changed to picas, if you like.

When your work gets done printing, turn it upside down and squint at it. The rivers will be very easy to detect.

Get rid of them!

{Think: Justification 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 youâ&#x20AC;&#x2122;ll find thereâ&#x20AC;&#x2122;s a very strong trend to align type on the left and leave the right ragged.

Justification

80:100:133

This example shows a standard formating for justified text. This is a fairly good balance, the color has a nice value to it, appears a little light but readable.

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 youâ&#x20AC;&#x2122;ll find thereâ&#x20AC;&#x2122;s a very strong trend to align type on the left and leave the right ragged.

80:100:133

The character spacing is too tight and the word spacing is too far apart. In the second column there are obvious rivers in the copy.

Justified text was the style for many yearswe 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 youâ&#x20AC;&#x2122;ll find thereâ&#x20AC;&#x2122;s a very strong trend to align type on the left and leave the right ragged.

65:150:400

Good color, word spacing is slightlty wide, rivers are beginning to form, character spacing a little close.

65:150:400

Another good set of numbers. The words are legible. Nicely space without any rivers.

40:80:120

letter spacing is too tight. Needs to be tracked out more. Difficult to deciper one word from another.

40:80:120

Letterspacing is too tight. Needs to be tracked out.

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 18pica 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.

200:250:300

Word spacing is too wide. Rivers are evident in both paragraphs.

200:250:300

Optically not too bad, but word spacing is too wide. Rivers are evident in both paragraphs.

25:50:100

Word spacing entirely too tight. All of the words are running together.

25:50:100

Word spacing entirely too tight. Words are almost impossible to tell apart.

{Think:

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.

{Apply: Alignment There will undoubtedly be well-meaning

friends, business associates, clients, and others who will question your choices. Be prepared to explain why you chose the alignment you did and be prepared to change it (and make necessary adjustments to keep it looking good) if the person with final approval still insists on something different. No matter what alignment you use, remember to pay close attention to hyphenation and word/character spacing as well to insure that your text is as readable as possible.

â&#x20AC;&#x153;

There is not a binding recipe for type combinations. It is a matter of typographic

sensitivity and experience.

Expert typographers,

as well as careless amateurs permit themselves to make combinations that would horrify colleagues with more traditional sympathies.

â&#x20AC;&#x153;

Combining Typefaces

{Understand: The Mixture Although there is no 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.

{Apply: Serif & Sans When combining serif and sans serif text fonts, one shroud try and match the characteristics of form and type color: proportion, x-heights. Using 2 different serif fonts or 2 different sans serifs fonts in the same composition is never a good idea

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

aa BB ee GG gg

These 2 fonts compliment each otther based on the x-height and character width. Because the x-height is so similar (after size adjustments) the subhead and body copy are the same size. The consistent character width helps keep the body copy cohesive and creates a nice flow for the eye to follow.

These 2 fonts do not work together based on the x-height and character width. Even though the two typefaces appear to be close to the same height, Franklin Gothic has a much larger x-height than Bembo giving them an awkward look when combined.

Gill Sans 10 & 12 pt : Humanist and Sabon 10pt: Old Style

Franklin Gothic Book 10pt : Grotesque and Bembo 10pt:Old Style

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced

on February 20, 1909, when the Paris newspa-

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. Marinettiâ&#x20AC;&#x2122;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.

per 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. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

aa BB ee GG gg

This pair dos not work well together based on character width and stroke weight. Futura is so tall and skinny that when it is combined with the voluptuous volta it doensâ&#x20AC;&#x2122;t look good.

Together these fonts work together based on the stroke weight and x-height. Both fonts are fairly monoweighted and have similar x-heights which, after only a slight size adjustment, makes them compliment each other nicely on the page.

Futura Book 9pt :Geometric Sans Serif and Volta 9pt: Transtional

Frutiger 10pt : Humanist Sans and Cheltenham 9pt: Transitional

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on

A Prologue to Futurism: Futurism was first announced

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. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for

the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

aa BB ee GG gg

Futura Book 9pt : Geometric Sans and Walbaum 9pt: Modern Futura and Walbaum work well together based on the stroke weight, and character width. Because the two are so similar in these characteristics they flow nicely together and make a nice combination.

aa BB ee GG gg

Franklin Gothic 10pt : Grotesque and Didot 10pt: Modern This pair works because of their differences. The x-heights are close, but the stroke variation is very different. Franklin Gothic is very close to monoweight and the modern Didot has vast variations, but together they compliment each other.

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on

aa BB ee GG gg

In this combination optically the pair looks fine, but when the letters are set next to one another like above the characters are too different to make a strong pair.

This is a stunning pair! Everything matches up and the copy blends very nicely with the header and sub-head.

Futura Book 9pt : Geometric Sans and Baskerville 10pt: Transitional

Franklin Gothic Book 9pt : Grotesque and Melior 9pt: Transitional.

WORDS IN LIBERTY

A Prologue to Futurism:Futurism was first announced

A Prologue to Futurism: Futurism was first announced on

aa BB ee GG gg

Futura Book 9pt : Geometric and Serifa 9pt: Slab Serif

Scala Sans 10pt : Humanist Sans and Filosofia 11pt: Slab Serif

When these two are combined Futura looks squished together compared to the wide slab serif style of Serifa. Even though the two fonts have similar x-heights the character widths vary too greatly for the two to make a solid pair.

Another good pair. The character widths match up nicely, Scala Sans is set in a smaller size because it has a larger x-height than Filosophia, with these adjustments made the the two flow nicely and the copyâ&#x20AC;&#x2122;s color is consistent.

abcdefghijklmnopqrstuvwxyz ABCD abcdefghijklmnopqrstuvwxyz ABCDEFGH

abcdefghijklmnopqrstuv ABCDEFGHIJKL

abcdefghijklmnopqr

A BCDEFGHIJKLMNOP

abcdefghijklm ABCDEFGHIJKLMNO abcdefghijkl ABCDEFGHIJKLMNOPQRSTUVW

a bcdef ABCDEFGHI JKLMNOPQRSTUVWX

Punctuation

{Understand: Quotation Marks Use real quotation marks – never

those grotesque generic marks that actually symbolize ditto/inch or foot marks: use “and” – not “and”. 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 automatically set something like “typographer’s quotes,” “smart quotes,” or curly quotes.” Then as you type using the standard ditto key (“), the software will set the correct quotation marks for you.

”

{Apply:

Manual Settings 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 ] Bridge Clearance: 16' 7" The young man stood 6' 2" The length of the wall is 153'9"

{Apply: Apostrophes Apostrophe: â&#x20AC;&#x2122; option shift ] People often are confused about where the apostrophe belongs. There are a couple of rules that work very well.

{Understand: She’s Got It

’

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 belongs to the boys.” The phrase the boy’s camp says “The camp belongs to the boy.”

“The big exception to this is “its.” “Its” used as a possessive never has an apostrophe! The word it only has an apostrophe as a contraction — “it’s” always means “it is” or “it has.” Always. It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes — and neither should its.

{Understand: It’s Grammar 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.

{Understand:

’

Missin’ Letters

For omission of letters: In a phrase such as

Rock ’n’ Roll, there should be an apostrophe before and after the n, because the a and the d are both left out. And don’t turn the first apostrophe around — just because it appears in front of the letter does not mean you need to use the opposite single quote. An apostrophe is still the appropriate mark (not ‘n’).

In a phrase such as House o’ Fashion, the 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.

Hyphen En dash – Em dash —

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

Everyone knows what a hyphens is —that tiny little dash that belongs in some words, like mother-in-law, or in phone numbers. It’s also used to break a word at the end of a line, of course. You might have been taught to use a double hyphen to indicate a dash, like so : -- . Thit 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.

{Define: Hyphen 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.

{Define: En Dash 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

{Define: 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 moment. This dash is often used in place of a colon or parentheses, or it might indicate an abrupt change in thought, or it’s used in a spot where a period is too strong and a comma is too weak. Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Using two hyphens(or worse, one) where there should be an em dash makes your look very unprofessional.

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

-–—-–—-–— -–—-–—-–— -–—-–—-–— -–—-–—-–— -–—-–—-–— -–—-–—-–— -–—-–—-–— -–—-–—-–— -–—-–—-–—

{Understand: Special Characters The following is a list of the most often-used special characters and accent marks. On the following pages are the key combinations for just about every accent you might need.

£ “ ” ‘ ’ – — … • ﬁ ﬂ © ™ ® ° ¢ € ⁄ ¡ ¿ £ ç Ç

Option Option Option Option Option Option Option Option Option Option Option Option Option Option Option Option Option Option Option Option Option Option

+[ Shift + [ +] + Shift + ] + Hyphen = En Dash + Shift + Hyphen = Em Dash +; +8 + Shift + 5 + Shift + 6 +g +2 +r + Shift + 8 +$ + Shift + 2 + Shift + 1 +1 + Shift + ? +3 +c + Shift + c

Remember, to set an accent mark over a letter, press the Option key and the letter, then press the letter you want under it. ´ Option e ` Option ~ (upper-left or next to the Spacebar) ¨ Option u ˜ Option n ˆ Option i

{Understand: Bullets Bullets, of course! This very useful typographic element can add emphasis, clarity and visual interest to all kinds of copy.

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, donâ&#x20AC;&#x2122;t automatically assume itâ&#x20AC;&#x2122;s the right size: it might need to be altered in scale or position to make it look balanced next to the text.

{Apply: Bullets Bullets should be centered on either the cap height or xheight, 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.

To be more creative, substitute symbols or dingbats for the actual bullets. Try squares, triangles or check marks (just not all at once, as shown in the illustration!). Keep these simple and in proportion with the rest of your text.

{Understand:

Dingbats DINGBATS AS BULLETS Another occasion to take advantage of the baseline shift feature is when using dingbats or ornaments. Suppose you have a list of items and you really want to use a fancy dingbat from the Zapf Dingbats font, instead of using the boring ol’ round bullet (or —heaven forbid— a hyphen). But the Zapf Dingbat character is too big. If you reduce its size, the dingbat is too low because the character is still sitting on the baseline. So select the character and shift it up above the baseline. Bullets should be centered on either the cap height or x-height, depending on the nature of your copy.

Pick any three adjectives that describe yourself:

Choose a dingbat instead of a bullet.

• • • • • • • •

✣ ✣ ✣ ✣ ✣ ✣ ✣ ✣

lovely surly ghastly womanly saintly ungodly stately sprightly

You have lots of dingbats to choose from, but they are usually too big. ● lovely ● surly ● ghastly ● womanly ● saintly ● ungodly ● stately ● sprightly

You can decrease the point size of the bullet.

lovely surly ghastly womanly saintly ungodly stately sprightly

Often when the size is decreases the bullet sits too low. lovely surly ✶ ghastly ✶ womanly ✶ saintly ✶ ungodly ✶ stately ✶ sprightly ✶ ✶

Raise the dingbat higher to adjust.

6 5 4 3 2

{Understand: Old Style Figures Oldstyle figures are a style of numeral which approximate lowercase letterforms by having an x-height and varying ascenders and descenders. They are considerably different from the more common “lining” (or “aligning”) figures which are all-cap height and typically monospaced in text faces so that they line up vertically on charts. Oldstyle figures have more of a traditional, classic look. They are only available for certain typefaces, sometimes 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.

{Apply: Old Style Figures Oldstyle figures are very useful and quite beautiful when set within text. Unlike lining figures, they blend in without disturbing the color of the body copy. They also work well in headlines since theyâ&#x20AC;&#x2122;re not as intrusive as lining figures. In fact, many people prefer them overall for most uses except charts and tables. Itâ&#x20AC;&#x2122;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. Or write to me at Route 913, zip code 87505. Dear John, Please call me at 438–9762 at 3:00. Or write to me at Route 913, zip code 87505.

{Define: Small Caps Small caps are uppercase (capital) letters

that are about the size of normal lowercase letters in any given typeface. Small caps are less intrusive when all uppercase appears within normal text or can be used for special emphasis. Computer programs can generate small caps for a any typeface, but those are not the same as true small caps. True small caps have line weights that are proportionally correct for the typeface, which me and that they can be used within a body of copy without looking noticeably wrong.

{Apply: Small Caps -- Use small caps for acronyms. Set

acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines.

-- For common abbreviations. Set common

abbreviations such as AM or PM in small caps so they donâ&#x20AC;&#x2122;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 typefaces that have been specifically created as small caps.

{Understand: Small Caps Harriet, an FBI agent, turned on CNN to get the dirt on the CIA before going to bed at 9:30 P.M. The capital letters in the middle of the sentence call too much attention to themselves. Notice how the smallcaps blend in with the text. The capital letters for P.M. are much too large â&#x20AC;&#x201D; the abbreviation is not that important

Harriet, an fbi agent, turned on cnn to get the dirt on the cia before going to bed at 9:30 p.m. In typefaces like Eurostile the weight of the computerdrawn small caps is thinner than the weight of the regular initial (first letter) caps.

The Human Torch Took Out a Bank Loan Instead there are font families that include “true-drawn” small caps which have been redesigned to match the proportions and thickness of the uppercase. These families are often called “expert” sets or even “small cap” sets. The result is a smooth, uniform, undisturbing tone throughout the text.

{Understand: Paragraph Breaks Paragraph breaks set a rhythm for the

reader. The breaks have a relationship with the column of text as well as the page margins. A break may be introduced as an indentation, as a space or both. The over all page feel will be influenced by your choice.

{Define: Paragraph Breaks In typography there are 4 rules regarding paragraph breaks:

1. First line at the beginning of an article should be flush left (do not indent first paragraph) 2. Block paragraphs are flush left and are separated by extra leading not a full return 3. The amount indent is = to the leading (sometimes needs a bit more) 4. Never hit two returns between paragraphs

Paragraph Breaks

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberté2, 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.”

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 liberté2, 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.”

But it is the movements which sur vive where we live and work as poets and ar tists: 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 Mar inetti’s opening manifesto for Italian F utur ism br istled 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 liberté2, 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.”

was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub*Futurism lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-

ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberté2, 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.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in cul ture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was pur posely intended to inspire public anger and amazement, to arouse controversy, and to at tract 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 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 liberté2, by which poetry was to become “an uninterrupted se quence of new images…(a) strict bet of images or analogies, to be cast into the myste rious 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 expres sive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declama tion and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marineti selbst3 (circa 1915), “Everything of any value is theatrical.”

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 liberté2, 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 freedomof-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.”

Divisions

{Understand: Organizing Text Header: A line of text serving to indicate what the passage below is about.

Sub-head: A heading of a sub-division, as in a chapter, an essay, or anewspaper article.

{Header: Sub-Head The example being used is the layout in this book. The header is 48 pt Interstate, a sans serif font, while the sub-head is 30 pt Volta a transitional serif font. The header is used to point out a topics to be discuseed, while the subhead breaks down the copy into sub-topics.

Division Explorations

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.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

100

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 liberté2, 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.”

Words in Liberty A Prologue to Futurism

Radical Mix of Art & Life But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberté2, 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-theworld, 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.”

101

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.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

Radical Mix of Art & Life But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberté2, 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.”

102

Words in Liberty

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in cul A Prologue ture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by to Futurism emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was pur posely intended to inspire public anger and amazement, to arouse controversy, and to at tract 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 Radical Mix great “art” movement led by poets; and if its means now sometimes seem exaggerated of Art & Life or unripe in retrospect, they carry 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 liberté2, by which poetry was to become “an uninterrupted se quence of new images…(a) strict bet of images or analogies, to be cast into the myste rious 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 expres sive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declama tion and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marineti selbst3 (circa 1915), “Everything of any value is theatrical.”

103

Radical Mix of Art & Life

A Prologue to Futurism

104

A Prologue to Futurism

Radical Mix of Art & Life

Words in Liberty Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberté2, 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.”

105

Footnotes & Endnotes

{Understand: Footnotes & Endnotes They are necessary components of scholarly and technical writing. Theyâ&#x20AC;&#x2122;re also frequently used by writers of fiction, from Herman Melville (Moby-Dick) to contemporary novelists. Whether their intent is academic or artistic, footnotes present special typographic challenges.

106

{Understand: The Purpose 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.

107

{Understand: Designing Notes These general guidelines will help you design

footnotes and endnotes that are readable, legible and economical in space. (Note that academic presses and journals can be sticklers for format: before proceeding, check with your client or publisher to see if they have a specific stylesheet that must be followed.)

108

{Apply: Tech Specs Numbers or Symbols: Footnotes are most often indicated by placing a superscript numeral immediately after the text to be referenced. The same superscript numeral then precedes the footnoted text at the bottom of the page. Numbering footnotes is essential when there are many of them, but if footnotes are few they can be marked with a dagger, asterisk, or other symbol instead. Endnotes should always use numerals to facilitate easy referencing.

109

{Apply: Footnotes & Endnotes Size: Footnotes and endnotes are set smaller than body text.

The difference in size is usually about two points, but this can vary depending on the size, style and legibility of the main text. Even though theyâ&#x20AC;&#x2122;re smaller, footnotes and endnotes should still remain at a readable size.

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Footnote Explorations

1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988

Radical Mix of Art & Life But it is the movements which survive, oddly, here where we live and work as

112

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 avantgarde. 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 liberté2, 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.”

2. parole in liberta = words set free (liberty)

3. selbst = himself

Words in Liberty A Prologue to Futurism

1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988

Radical Mix of Art & Life

2. parole in liberta = words set free (liberty)

3. selbst = himself

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 liberté2, 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-theworld, 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.”

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 1. Philip Meggs, in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly History of Graphic by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric Design, Van Nostrand was passionately bombastic; its tone was aggressive and inflammatory and was purposely Reinhold, 1988 intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

Radical Mix of Art & Life But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberté2, by which poetry was to become “an uninterrupted 2. parole in liberta sequence of new images…(a) strict bet of images or analogies, to be cast into the mysterious = words set free (liberty) 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 3. selbst = himself and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

114

Words in Liberty

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in cul A Prologue ture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by to Futurism emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was pur posely intended to inspire public anger and amazement, to arouse controversy, and to at tract 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 Radical Mix 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 of Art & Life or unripe in retrospect, they carry 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 2 1. Philip Meggs, today—was parole in liberté , by which poetry was to become “an uninterrupted se History of Graphic quence of new images…(a) strict bet of images or analogies, to be cast into the myste Design, Van Nostrand rious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of Reinhold, 1988 collage and of image juxtaposition, more fully explored the use of innovative and expres 2. parole in liberta sive typography in the visual presentation of language, as set in motion by forerunners = words set free like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declama (liberty) tion and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marineti 3. selbst = himself selbst3 (circa 1915), “Everything of any value is theatrical.”

115

A Prologue to Futurism

Radical Mix of Art & Life

Words in Liberty

116

1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988

2. parole in liberta = words set free (liberty)

3. selbst = himself

Words in Liberty

A Prologue to Futurism 1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988

Radical Mix of Art & Life

2. parole in liberta = words set free (liberty)

3. selbst = himself

117

Classification of Type

{Understand: Type Development Garamond did not think of himself as an Old

118

Style designer any more than John Baskerville could realize that some day he would be considered a Transitional designer. What happened is this. Over the centuries type became more and more refined; that is, the contrast between thick and thin strokes became greater and the serifs became finer. This refinement was possible because of the development of smoother papers, better inks, and more advanced printing methods. The ultimate refinement was attained in the late 1700â&#x20AC;&#x2122;s when Bodoni reduced the thin strokes and serifs to fine hairline strokes. After Bodoni, type design became eclectic. In search of new forms of typographic expression, designers began to borrow features from one period and add them to another. We see a lot of this today. Many of the fonts designed in the 20th Century are difficult to classify.

{Understand: Stress Variations in Stress:

As early typefaces were based on the written letterforms the scribes, it was important that the type designer tries to capture as much as the written form as possible. The letter O is a good example to study the distribution of weight which creates a vertical stress through the thinnest part of the letterform. It was this characteristic that the early typefaces tried to imitate. This is quite clear in Garamond. As type evolved and the designer was no longer influenced by handwriting, the stress became more vertical as in Baskerville and later totally vertical with Bodoni. In Univers you will find no noticeable stress.

119

{Understand: Stroke Weight Variations in Thicks and Thins:

120

Faces also vary in degree of contrast between thick and thin strokes of the letters. In Garamond you can see a prominent characteristic of little contrast between thick and thin strokes of a letter. In Transitional faces there is a tendency toward refinement and greater contrast between thick and thins. Bodoni has maximum contrast in these strokes (extreme contrast of thick and thins, hairline serifs). With Serifa there is a return to very little contrast (almost mono-weight. In Univers the is an absence of any noticeable thick and thin strokes; there is a uniformity of strokes (mono-weight).

{Understand: Serifs Variations in Serifs

Serifs also vary from one face to the next in their weight and in the way they are bracketed; that is the way in which the serif meets the vertical stroke of the letter. Once again, you can see the evolution of type from Garamond to Baskerville, to Bodoni this was followed by the return of the heavy serif in Serifa and the elimination of the serif in Univers.

121

Classification of Type: Serif

xoaengdp

Geralde (also call Old Style)

Didone (modern)

– contrast between thick and thin strokes is more pronounced – horizontal bar on e – diagonal stress is less prominent – shorter x-height – scooped serifs, sturdy without being heavy

– extreme contrast between thick and thin strokes – hairline (strokes) serifs – horizontal stress – horizontal bar on e Bodoni, Bauer Bodoni, Walbaum

Sabon, Garamond, Bembo, Times, Plantin, Caslon Old Style

xoaengdp

xoeangdp

Humanist

New Transitional

– little contrast between thick and thin of strokes – stroke weight has inflections similar to handwriting – strong diagonal stress such as on letter o – sloping bar on letter e

– sturdy typefaces hold up under poor printing – little contrast between thick and think strokes – horizontal stress – horizontal bar on e – tall x-height – shorter ascenders, descenders

Jenson, Goudy’s Kennerly, Bruce Rogers’ Centaur

Bookman, Century Schoolbook, Cheltenham

xoeangdp xoeangdp Transitional

Egyptian or Slab-serif

– contrast between thick and thin strokes is pronounced – very slight diagonal stress – bracketed serifs – horizontal bar on e – tall x-height

– mono weight – square ended serifs – horizontal stress – horizontal bar on e

Baskerville, Caslon, Perpetua, (newer garamonds)

Memphis, Clarendon, Serifa, Rockwell

123

CLASSIFICATION OF TYPE: SANS SERIF

Grotesque

xAag

– slight contrast in the stoke weight – slight squareness to the curves – usually a tall x-height : short ascenders and descenders – usually a two story lowercase a – capital R usually has a curled leg – capital G usually has a spur helvetica, univers, akzidenz grotesk, folio

Geometric

xAag – vary little contrast in the stoke weight (monoline) – a little wider set – constructed from simple shapes : circle and rectangle – usually a one story lowercase a – upper case A has a pointed apex futura, kabel, metro

Humanist

xAag – based on the proportions of the Roman capitals – some contrast in the stroke weight – lowercase a and g are usually two story syntax, frutiger, praxis, stone sans

HAMBURGERQ hamburgerq?!& AKZIDENZ GROTESK

HAMBURGERQ hamburgerq !?& BASKERVILLE (NEW BASKERVILLE)

HAMBURGERQ hamburgerq ?!&

BELIZIO

HAMBURGERQ hamburgerq ?!& BEMBO

HAMBURGERQ hamburgerq !?& BOOKMAN

HAMBURGERQ hamburgerq !?& BODONI (BAUER BODONI)

HAMBURGERQ hamburgerq !?& CASLON (ADOBE CALSON

HAMBURGERQ !? & HAMBURGERQ ?!& CHOLLA

HAMBURGERQ hamburgerq !?& CLARENDON

HAMBURGERQ hamburgerq !?& CLICKER

HAMBURGERQ hamburgerq 1?& DIDOT

HAMBURGERQ hamburgerq !?& DIN

HAMBURGERQ HAMBURGERQ !?& DISTURBANCE

HAMBURGERQ hamburgerq !?& FILOSOFIA

HAMBURGERQ hamburgerq !?& FRUTIGER

HAMBURGERQ hamburgerq?!& FUTURA

HAMBURGERQ hamburgerq?!& GARAMOND (ADOBE GARAMOND)

HAMBURGERQ hamburgerq?!& GILL SANS

HAMBURGERQ hamburgerq ?!& GOUDY

HAMBURGERQ hamburgerq ?!& HELVETICA

HAMBURGERQ hamburgerq ?!& INTERSTATE

Hg Ay Bur Ger Eat Rope Que ?!& KUENSTLER SCRIPT

HAMBURGERQ hamburgerq ?!& MELIOR

HAMBURGERQ hamburgerq ?!& MEMPHIS

HAMBURGERQ hamburgerq ?!& MRS EAVES

HAMBURGERQ hamburgerq ?!& NEWS GOTHIC

HAMBURGERQ hamburgerq ?!& PLATELET

HAMBURGERQ hamburgerq ?!& ROCKEWELL

HAMBURGERQ hamburgerq ?!& ROTIS SANS

HAMBURGERQ hamburger ?!& ROTIS SERIF

HAMBURGERQ hamburgerg ?!& SABON

HAMBURGERQ hamburgerq ?!& SERIFA

AMBUhamburgerq HAMBURGERQ SHELLY

BURGERQ hamburgerq HAMGERQ SNELL ROUNDHAND

HAMBURGERQ hamburgerq ?!& SWIFT

HAMBURGERQ hamburgerq ?!& TRADE GOTHIC

HAMBURGERQ hamburger ?!& UNIVERS

HAMBURGERQ hamburgerq ?!& VOLTA

HAMBURGERQ hamburgerq?!& WALBAUM

CLASSIFICATION: GROTESQUE SANS SERIF

Akzidenz Grotesk

MaxogGdQRst ROMAN

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

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

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

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

131

CLASSIFICATION: TRANSITIONAL SERIF

New Baskerville

MxaogGdQRt REGULAR

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

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

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

BOLD

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

CLASSIFICATION: SLAB SERIF

Belizio

MxagGdQrR REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 567890(){}?!@&* ITALIC

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 90(){}?!@&* BOLD

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890(){}?!@ BLACK ITALIC

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll 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: SAN SERIF

Bell Gothic

MxagGdQrRI LIGHT

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

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

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

CLASSIFICATION: OLD STYLE SERIF

Bembo

MxnogGdQrRs REGULAR

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

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

BOLD

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

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

CLASSIFICATION: TRANSITIONAL SERIF

Bookman

MxaogGdQrR REGULAR

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 567890(){}?!@&* BOLD ITALIC

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 567890(){}?!@&*

CLASSIFICATION: MODERN SERIF

(bauer) Bodoni

MxaogGdQrRst REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @&*123456789 ITALIC

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 234567890(){}?!@ &*

CLASSIFICATION: TRANSITIONAL SERIF

(adobe) Caslon

MxanogGdQRt REGULAR

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

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

c h i k l Ss T t 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.

SWASH

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Z

ORNAMENT

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

CLASSIFICATION: TRANSITIONAL SERIF

New Century Schoolbook

MxaogGdQrRt REGULAR

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 twentyfirst 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 (){}?!@&*123456789 ITALIC

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 890(){}?!@&* BOLD ITALIC

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 890(){}?!@&*

CLASSIFICATION: TRANSITIONAL SERIF

Cheltenham

MxaogGdQrRt BOOK

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?!@&*123456789 ITALIC

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7890(){}?!@&*

CLASSIFICATION: SANS SERIF

Cholla

MaxnogGdQrRst UNICASE

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 34567890(){}?!@&* REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 34567890(){}?!@&*

CLASSIFICATION: SLAB SERIF

Clarendon

MxagGdQrRt LIGHT

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 90(){}?!@&* BOLD

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 90(){}?!@&*

CLASSIFICATION: TRANSITIONAL SERIF

Cheltenham

MaxogGdQrRs REGULAR

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

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

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

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

CLASSIFICATION: SANS SERIF

Clicker

MaxnogGdQRs REGULAR

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

Courier New

CLASSIFICATION: MONOSPACE SERIF

MaxogGdQrR

REGULAR

Aa Bb Jj Kk Ss Tt 3 4 5 @ & *

Cc Dd Ll Mm Uu Vv 6 7 8

Aa Bb Jj Kk Ss Tt 3 4 5 @ & *

Cc Dd Ll Mm Uu Vv 6 7 8

Ee Ff Nn Oo Ww Xx 9 0 (

Gg Hh Pp Qq Yy Zz ) { }

Ii Rr 1 2 ? ! BOLD

Ee Ff Nn Oo Ww Xx 9 0 (

Gg Hh Pp Qq Yy Zz ) { }

Ii Rr 1 2 ? !

CLASSIFICATION: MODERN SERIF

Didot

MxaogGdQrRt REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?!@&*123456789 ITALIC

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll 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 SANS SERIF

DIN

MaxnogGdQrRt MIDDELSCRIFT

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

CLASSIFICATION: SERIF

Disturbance

MxnatQbWFGdR REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 90(){}?!@&*123456789 ITALIC

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

BOLD

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 890(){}?!@&*

CLASSIFICATION: SLAB SERIF

Egyptienne

MxnagGdQrR REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }?!@&*123456789 ITALIC

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll 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: BLACK LETTER

Fette Fraktur

MxnaopQrRtfGg REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll 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, vendiat 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 deliqui tem ip et laorem zzrilit ulla facipsu stisim veros ad eugait nonsecte ming eu feuis eum dolute molore commy nos nit laor sequamet et wisis nonse velit lor summy nos nisim irilla alit iliquatum zzrit utem euipsustin volummo dolore dolore conullan ullaortis nit nim adionsecte feuis etum dolobore molore verit veniss

CLASSIFICATION: SLAB SERIF

Filosofia

MxnaopQrRtfGg REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4567890(){}?!@&* FRACTIONS

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

UNICASE

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll 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 SANS SERIF

Franklin Gothic

MaxodQRtfGg BOOK

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890(){}?!@&*

CLASSIFICATION: HUMANIST SANS SERIF

Frutiger

MaxodQRtfGg CONDENSED

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4567890(){}?!@&* REGULAR

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 567890(){}?!@&*

CLASSIFICATION: GEOMETRIC SANS SERIF

Futura

MxaopQRstGg BOOK

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 67890(){}?!@&* EXTRA BOLD

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

CLASSIFICATION: HUMANIST SANS SERIF

Gill Sans

MaxnbyogGQRt REGULAR

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

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

BOLD

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

CLASSIFICATION: OLD STYLE SERIF

Goudy

MabyoigGdQrR REGULAR

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1234567890(){}?!&* BOLD

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll 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 SANS SERIF

Helvetica

MaoygGdQrRt REGULAR

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7890(){}?!@&* THIN EXTENDED

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

CLASSIFICATION: TRANSITIONAL SERIF

Hoefler Text

MxaoygGdQR

REGULAR

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

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

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

AaBbCcDdEeFfG gHhIiJjKkLlMm NnOoPpQqRrSsâ&#x201D;&#x20AC; tuvwxyz1238 9 0

CLASSIFICATION: SANS SERIF

Interstate

MaoygGdQrRt REGULAR

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 90(){}?!@&* BOLD CONDENSED

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4567890(){}?!@&*

CLASSIFICATION: HUMANIST SANS SERIF

Knockout

MaexnyogGdQrRt FEATHERWEIGHT

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

WELTER

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 890(){}?!@&*

FULL HEAVY

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 567890(){}?!@&* BOLD NO.2

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

CLASSIFICATION: SCRIPT

Kunstler Script

xyogGdQrRst REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll 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 lorper 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 inciliqui tio odoloreet ver sum velis aliquis del irit aut nosto consequam zzrit aut ipsum diamcon sequam num et wisi tio dolorem elesto dolobor iuscilisci et, quis endre te dolobor sum volenibh exerit utpat. Uptat, vel dolese molorem eraessis nit niamcorperos autat, venit in etum erilissit irit eui bla feum iurem nonsequi e

CLASSIFICATION: TRANSITIONAL SERIF

Melior

MayogGdQrRt REGULAR

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

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

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

CLASSIFICATION: SLAB SERIF

Memphis

MxagGdQrRt LIGHT

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 34567890(){}?!@&*

CLASSIFICATION: HUMANIST SANS SERIF