Typography and You by Ali Fisher

TYPOGRAPHY AND YOU

a guide to learning to love the serifs, kearning, and more of typography

typography and you

2 20 28 38 50 64 74 78 84 88 94 108 118 124

rules hyphenation alignments justification combining typefaces quotes, dashes, apostrophes special characters bullets numerals & figures small caps paragraph breaks headers, subheads, crossheads captions and notes font specs

typography and you

rules

RULES 04 + The following is a compendium of the rules established in this book. You might want to check through them each time you complete a publication.

+ 05 real apostrophes, real quotation marks, en or em dashes consistently, only one space between sentences, a one-em first-line indent on all indented paragraphs, a decimal or right-aligned tab for the numbers in numbered paragraphs, the special characters whenever necessary, including superand subscript, an accent mark if a correctly spelled word needs it. justify the text on a short line, have one line in a paragraph in the column or following, use the spacebar to align text, always set tabs and use the tab key, hyphenate a words in a headline and avoid hyphenation in a callout, combine two serif fonts on one page. more than three hyphenations in a row, too many hyphenations in any paragraph, ending lines with the words: the, of, at, a, by., ending consecutive lines with the same word, beginning consecutive lines with the same word, hyphenating or line brakes of names and proper nouns. no widows or orphans, a least two characters on the line and three following.

rules

make sure the apostrophes are where they belong, hang the punctuation off the aligned edge, keep the word spacing consistent, tighten up the leading in lines with all caps or with few ascenders and descender, adjust the spacing between paragraphs, either indent the first line of paragraphs or add extra space between them â&#x20AC;&#x201C; not both, rarely combine two sans serif fonts on one page, rarely combine more than three typefaces on one page, spend the time to create nice fraction or chose a font that has fractions.

06 +

Xxhg

x-height: large character width: narrow color: dark

x-height: large character width: average color: medium

DIN albert ian pool

9/12

MELIOR herman zapf

9/12

72 pt

+ 07 Readability and legibility are two key elements of printed text that typographer strive to maximize. Readability extended amount of text – such as an article, book, or annual report – is easy to read. Legibility refers to whether an refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable.

rules

08 +

Xxhg

x-height: large character width: narrow color: light

x-height: small character width: average color: light

UNIVERS adrian frutiger

9/12

MRS EAVES zuzana licko

9/12

72 pt

+ 09 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;?.

rules

Xxhg

10 +

9/12

Xxhg

HELVETCA NEUE max miedinger

ITC NEW BASKERVILLE john baskerville

x-height: large character width: average color: medium

x-height: average character width: average color: average

9/12

72 pt

+ 11 In typography, color can also describe 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.

rules

12 +

Xxhg

x-height: average character width: large color: light

x-height: average character width: large color: dark

FUTURA paul renner

9/12

CLARENDON robert besley

9/12

72 pt

+ 13 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.

rules

Xxhg

14 +

9/12

Xxhg

INTERSTATE tobais frere-jones

BEMBO stanley morrison

x-height: large character width: narrow color: dark

x-height: small character width: wide color: light

9/12

Xxhg

72 pt

Xxhg VOLTA frederic w. goudy

AKZIDENZ GROTESQUE gunter gerhand lange

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

rules

+ 15

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

16 +

Xxhg

x-height: tall character width: average color: medium

x-height: average character width: large color: dark

NEWS GOTHIC morris fuller benton

9/12

MEMPHIS rudolph weiss

9/12

Xxhg

72 pt

Xxhg GARAMOND claude garamond

SCALA SANS martin majoor

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

rules

+ 17

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

Xxhg

18 +

9/12

Xxhg

TRADE GOTHIC jackson burke

FILOSOFIA zuzanna licko

x-height: large character width: narrow color: light

x-height: small character width: narrow color: light

9/12

Xxhg

72 pt

9/12

GILL SANS eric gill

DIDOT firmin didot

x-height: average character width: narrow color: dark

x-height: average character width: average color: light

rules

9/12

+ 19

hyphenation

HYPHENATION 22 + Follow these rules to correctly use hyphenation.

widows/ orphans

+ 23 Never leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program 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. When a paragraph ends and leaves fewer than seven characters (not words, characters) on the last line, that line is called a widow. Worse than leaving one word at the end of a line is leaving part of a word, the other part being paraphrased on the line above. When the last line of a paragraph, be it ever so long, 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. You must ALWAYS correct this. In typography, rivers, or rivers of white, are visually unattractive gaps appearing to run down a paragraph of text. They can occur with any spacing, though they are most noticeable with wide word spaces caused by either full text justification or monospaced fonts.

hyphenation

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.

24 + DON’T HYPHENATE HEADLINES. THAT’S A LAW. + Don Quixote de la Mancha ALSO, WATCH WHERE THE FIRST LINE OF A TWO-HEADLINE ENDS—DOES IT CREATE A SILLY OR MISLEADING PHRASE? FIX IT. + Professor and Therapist to Lecture DON’T LEAVE WIDOWS (VERY SHORT LAST LINES) IN HEADLINES. + Man Walks Barefoot Across Bay Bridge FIX IT EITHER WAY, OR REWRITE! + Man walks barefoot across Bay Bridge + Man walks barefoot across Bay Bridge

+ 25 + avoid hyphenating or line brakes of names and proper nouns + how the text is read avoid widows (one word on the last line of a paragraph) + avoid ending consecutive lines with the same word + leave at least 2 characters on the line and 3 following + avoid beginning consecutive lines with the same word + never hyphenate a words in a headline and avoid hyphenation in a callout + avoid ending lines with the words: the, of, at, a, by..

hyphenation

26 +

story by Howard Chace

CASING ADDER BAT

Heresy borsch-boil starry a

Heresy borsch-boil starry

boarder borsch boil gam

a boarder borsch boil gam

plate lung, lung a gore in-

plate lung, lung a gore inner

ner ladle wan-hearse torn

ladle wan-hearse torn coiled

coiled Mutt-fill.

Mutt-fill.

Mutt-fill worsen mush of-

Mutt-fill worsen mush

fter torn, butted hatter putty

offter torn, butted hatter putty

gut borsch-boil tame, an off

gut borsch-boil tame, an

oiler pliers honor tame, door

off oiler pliers honor tame,

moist cerebrated worse Cas-

door moist cerebrated worse

ing. Casing worsted sickened

Casing. Casing worsted sick-

basement, any hatter betting

ened basement, any hatter

orphanage off .526 (fife toe

betting orphanage off .526

sex).

(fife toe sex). Casing worse gut lurking

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,

wandered toe gat merit, bought

bought Casing worse tow pore

Casing worse tow pore toe

toe becalm Any-bally’s

becalm Any-bally’s horsebarn.

horsebarn. (Boil pliers honor

(Boil pliers honor Mutt-fill

Mutt-fill tame dint gat mush

tame dint gat mush offer celery;

offer celery; infect, day gut

infect, day gut nosing atoll.)

nosing atoll.)

Butt less gat earn wetter starry.

+ 27 What are bad line breaks anyway? + Look for bad line breaks throughout ever line of body copy. Of course, do this only on final copy, after all editing has been done. Here are several examples of the sorts of thigns to look for...

hyphenation

1 Justify the headlines so it stays on one line. 2 Use a line break (Shift Return) to bump “a” down to the next line, where it fits very nicely. 3 Kern the line a tiny bit to bring the rest of the word up. 4 Type a dischy in front of the wrod to bump it down. 5 Never hyphenate a person’s name. I had to go up a few lines, bump “off” down, which bumped the other line ending down. 6 Fix Widow. 7 There is plenty of room to squeeze “bought” on this line, perhaps by kerning the line a tiny bit. 8 “Horsebarn” is a good, long word that could be hyphenated; type a dischy. Better yet, when “brought” moved up, it gave enough room to move “horsebarn” up. If not, try opening the text box a wee bit. 9 Edit: to get rid of that terrible widow, exchange a short word for a long word.

alignments

ALIGNMENTS 30 + “Right and wrong do not exist in graphic design. There is only effective and non-effective communication.” — Peter Bilak

general advice

+ 31 If someone insists that fully justified text is better than left-aligned text, tell them they are wrong. If someone else tells you that left-aligned text is better than justified text, tell them they are wrong. If they are both wrong, then 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.

alignments

ALIGNMENTS 32 + Often considered more formal, less friendly than left-aligned text.

justified text

+ 33 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 the same types of publications set in left-aligned text would look odd, even unpleasant. You may find that fully-justified text is a necessity either due to space constraints or expectations of the audience. If possible though, try to break up dense blocks of texts with ample subheadings, margins, or graphics. + Often considered more formal, less friendly than left-aligned text. + Usually allows for more characters per line, packing more information 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. + Some people are naturally drawn to the â&#x20AC;&#x153;neatnessâ&#x20AC;? of text that lines up perfectly on the left and right. + May be more familiar to readers in some types of publications (books and newspapers).

alignments

ALIGNMENTS 34 + When in doubt, don’t center it.

+ 35 There is nothing inherently wrong with centered text. As with ragged right or fullyjustified 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. As with all layouts, alignment depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design. No matter what alignment you use, remember to pay close attention to hyphenation and word/character spacing as well to insure that your text is as readable as possible. There will undoubtedly be well-meaning friends, business associates, clients, and others who will question your choices. Be prepared to 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 is unsatisfied.

alignments

ALIGNMENTS 36 + Often considered more informal, friendlier than justified text.

leftaligned, ragged right

+ 37 + 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 becoming 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).

alignments

justification

40 +

DIN the words really crowd together, and it becomes difficult to distinguish a beginning and end.

minimum: 50% maximum: 50% desired: 50% 9/12

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. When your work comes out of the printer, turn it upside down and squint at it. The rivers will be very easy to spot. Get rid of them. Try squinting at the example on the bottom of the previous page. Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number

of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

MELIOR the text is a little too tight, and the letters start to blend into each other

+ 41

minimum: 50% maximum: 50% desired: 50% 9/12

justification

When your work comes out of the printer, turn it upside down and squint at it. The rivers will be very easy to spot. Try squinting at the example on the bottom of the previous page.

length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

42 +

DIN too many rivers are created with this justification and the spacing really starts to become uneven.

minimum: 100% maximum: 200% desired: 300% 9/12

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 short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squished together. When your work comes out of the printer, turn it upside down and squint at it. The rivers will be very easy to spot. Get rid of them. Try squinting at the example on the bottom of the previous page. Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas

should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

MELIOR there is far too much uneven spacing, widows, and orphans for this setting to work.

+ 43

minimum: 100% maximum: 200% desired: 300% 9/12

justification

When your work comes out of the printer, turn it upside down and squint at it. The rivers will be very easy to spot. Get rid of them. Try squinting at the example on the bottom of the previous page. Here is a general guideline for determining if your line length is

long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

44 +

DIN the type is still spaced out too far, and rivers become more common.

minimum: 280% maximum: 300% desired: 450% 9/12

Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

MELIOR still, too much spacing between the words and too many rivers.

+ 45

minimum: 280% maximum: 300% desired: 450% 9/12

justification

When your work comes out of the printer, turn it upside down and squint at it. The rivers will be very easy to spot. Get rid of them. Try squinting at the example on the bottom of the previous page.

46 +

DIN the type is uncomfortably close and words start to feel rushed.

minimum: 20% maximum: 30% desired: 40% 9/12

are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

MELIOR the spacing is far too close for the reader to feel comfortable and letters start to combine.

+ 47

minimum: 20% maximum: 30% desired: 40% 9/12

justification

inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

EXPLORATION 5

48 +

DIN this justification is a little nicer, although some rivers are created and awkward spacing.

minimum: 85% maximum: 110% desired: 250% 9/12

if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

MELIOR there is some loose spacing, but overall it’s better.

+ 49

minimum: 85% maximum: 110% desired: 250% 9/12

justification

be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

combining typefaces

COMBINING TYPEFACES 52 + â&#x20AC;&#x153;There is no binding recipe for type combinations. It is a matter of typographic sensitivity and experience. Expert typographers, as well as careless amateurs permit themselves combinations that would horrify colleagues with more traditional sympathies.â&#x20AC;?

+ 53 When combining serif and sans serif text fonts, one should try and match the characteristics of form and type color: proportion and x-heights. Although there is not recipe there is a place to start: keep an eye on the characteristic shapes of the letterform. A well designed page contains no more than two different typefaces or four different type variations such as type size and bold or italic style. {Using 2 different serif fonts or 2 different sans serifs fonts in the same composition is never a good idea}.

combining typefaces

54 +

FRUTIGER AND BEMBO humanist san serif with old style

These two fonts work well together based on the stroke weight. The contrast in x-height made for a more interesting font combination to increase hierarchy and to have a quick read, I used Frutiger 13-point for the header and Frutiger 8-point for the sub-head. I used Bembo 8-point for the body.

8/11 WORDS IN LIBERTY

aa BB ee GG gg

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

ROTIS SAN SERIF AND GARAMOND grotesque san serif with old style

These two fonts work well together based on the varying stroke weight. The two together create a lighter text box and is easier to read. I used Rotis San Serif 13-point for the header and Fruitiger 8-point for the sub-head and Garamond 8-point for the body.

8/11 WORDS IN LIBERTY

aa BB ee GG gg

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

combining typefaces

+ 55

56 +

GILL SANS AND MRS EAVES geometric sans serif with transitional

These two fonts work well together based on the contrast in x-height. I used Gill Sans 13-point for the header and Mrs Eaves 8-point for the sub-head and Bembo 8-point for the body.

8/11 WORDS IN LIBERTY

aa BB ee GG gg

FRUTIGER AND MELIOR humanist san serif with transitional

Frutiger makes for a strong headline because of how bold it is, and meliorâ&#x20AC;&#x2122;s curved serifs are welcoming to a large body of text. I used Frutiger 13-point for the header and Melior 8-point for the sub-head and Bembo 8-point for the body.

8/11 WORDS IN LIBERTY

aa BB ee GG gg

combining typefaces

+ 57

58 +

INTERSTATE AND FILOSOFIA geometric sans serif with modern

Interstate and Filosofia make for an interesting combination because of how straight forward Interstate is and how distinct Filosofiaâ&#x20AC;&#x2122;s bowls are. I used Interstate 13-point for the header and Filosofia 8-point for the sub-head and Bembo 8-point for the body.

8/11 WORDS IN LIBERTY

aa BB ee GG gg

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

NEWS GOTHIC AND DIDOT grotesque san serif with modern

News Gothic and Didotâ&#x20AC;&#x2122;s contrast in x-height made hierarchy much clearer and interesting. I used News Gothic 13-point for the header and Didot 8-point for the sub-head and Bembo 8-point for the body.

8/11 WORDS IN LIBERTY

aa BB ee GG gg

combining typefaces

+ 59

60 +

FUTURA AND NEW BASKERVILLE geometric sans serif with new transitional

The contrasting stroke width and exaggeration of New Baskervilleâ&#x20AC;&#x2122;s serif, really bring the two to an unlikely pair, but the two work well in contrast. I used Interstate 13-point for the header and Filosofia 8-point for the subhead and Bembo 8-point for the body.

8/11 WORDS IN LIBERTY

aa BB ee GG gg

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

TRADE GOTHIC AND CASLON grotesque san serif with new transitional

Trade Gothicâ&#x20AC;&#x2122;s taller x-height makes for a nice headline, and the thinness of

8/11 WORDS IN LIBERTY

aa BB ee GG gg

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

combining typefaces

+ 61

62 +

GILL SANS AND BELIZIO geometric sans serif with slab serif

The variation between the two stroke widths and how narrow Belizio is compared to gill sans really contrasts each other in a nice way. I used Bembo 13-point for the header and Bembo 8-point for the sub-head and Gill Sans 8-point for the body.

8/11 WORDS IN LIBERTY

aa BB ee GG gg

META AND VOLTA humanist san serif with slab serif

Voltaâ&#x20AC;&#x2122;s wideness adds a nice opposite to how thin Meta is. Voltaâ&#x20AC;&#x2122;s serifs are also subtle enough that the two still work nicely together. I used Volta 13-point for the header and Volta 8-point for the sub-head and Meta 8-point for the body.

8/11 WORDS IN LIBERTY

aa BB ee GG gg

combining typefaces

+ 63

quotes, dashes, apostrophes

66 +

QUOTES, DASHES, APOSTROPHES opening double quote: “ option + [ closing double quote: ” option + shift + ] opening single quote: ‘ option + [ closing single quote: ’ option + shift + ]

+ 67 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 will find a check box to tell your application to automatically set something like “typographer’s quotes,” “smart quotes,” or “curly quotes.” Then as you type using the standard ditto key (“), the software will set the correct quotation marks for you. But it is necessary to know how to set them yourself because sometimes the software doesn’t do it or does it wrong. Bridge Clearance: 16’ 7” The young man stood 6’ 2” The length of the wall is 153’9”.

quotes, dashes, apostrophes

68 +

QUOTES, DASHES, APOSTROPHES hyphen: en dash: – option + em dash: — option + shift + -

+ 69 Never use two hyphens instead of a dash. Always 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 (--), this is a typewriter convention because typewriters didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hyphen—we have a professional em dash, the long one, such as you see in this sentence. We also have an en dash, which is a little shorter than the em dash.

quotes, dashes, apostrophes

70 +

QUOTES, DASHES, APOSTROPHES Apostrophe: ’ option + shift + ]

+ 71 As as aside, people often are confused about where the apostrophe belongs. There are a couple of rules that work very well. 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. 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.

quotes, dashes, apostrophes

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. 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 is needed to indicate the missing year. In the 80s would mean the temperature; but 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.

72 +

QUOTES, DASHES, APOSTROPHES This is where the real punctuation is hidden.

en dash

+ 73 An en dash is half of the em rule (the width of a capital N) and is used between words that indicate a duration, (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

em dash

hyphen

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 where there should be an em dash makes your look very unprofessional. When using an—no space is used on either side.

quotes, dashes, apostrophes

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.

special characters

SPECIAL CHARACTERS

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

option + [

opening double quote

option + shift + [

closing double quote

option + ]

opening single quote

option + shift + ]

closing single quote

option + -

en dash

option + shift + -

em dash

option + ;

ellipsis

option + 8

bullet

option + shift + 5 ligature of f and i option + shift + 6 ligature of f and l option + g

option + 2

trademark symbol

option + r option + shift + 8 degree symbol option + $

cent symbol

option + shift + 2 euro symbol option + shift + 1 fraction bar option + 1 option + shift + ? option + 3 option + c option + 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.

´ ` ¨ ˜ ˆ

option + e option + ~ option + u option + n option + i

+ 77 The following is a list of the most oftenused special characters and accent marks. On the following pages are key combinations for just about every accent you might need.

special characters

bullets

BULLETS 80 + This very useful typographic element can add emphasis, clarity, and visual interest to all kinds of copy.

+ 81 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. Bullets should be centered on either the cap height or x-height, depending on the nature of your copy. If all of your items begin with a cap, center the bullet on the cap, or a bit lower so it balances with the negative spaces created by the lowercase. If your items all begin with lowercase characters, center the bullets on the x-height. Insert some spacing after the bullet to avoid crowding. The preferred way to align bullets is with the left margin. You can also have the bullets overhang the margin, and keep all your text aligned with the left margin. Whichever style you choose, your listing will look best if items that run more than one line are indented so that the copy aligns with itself, and not with the bullet on the first line.

bullets

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.

82 + choose a dingbat instead of the dumb ‘ol bullet

you have lots of dingbats to choose from, but they are usually too big

pick any three adjectives that describe yourself:

• lovely • surly • ghastly • womanly • saintly • ungodly • stately • sprightly

+ lovely s surly _ ghastly 4 womanly p saintly l ungodly F stately v sprightly

you can decrease the point size of the bullet, but then it sits too low

raise the dingbat higher off the baseline

pick any three adjectives that describe yourself:

lovely s surly s ghastly s womanly s saintly s ungodly s stately s sprightly s

lovely surly s ghastly s womanly s saintly s ungodly s stately s sprightly s s

+ 83 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 olâ&#x20AC;&#x2122; round bullet, 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

numerals & figures

NUMERALS & FIGURES 86 + Oldstyle figures are a style of numeral which approximate lowercase letterforms by having an x-height and varying ascenders and descenders.

+ 87 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. Oldstyle figures are very useful and quite beautiful when set within text. Unlike lining figures, they blend in without disturbing the color of the body copy. They also work well in headlines since they’re not as intrusive as lining figures. In fact, many people prefer them overall for most uses except charts and tables. It’s well worth the extra effort to track down and obtain typefaces with oldstyle numerals; the fonts that contain them might well become some of your favorites.

numerals & figures

Notice how large and chunky these numbers appear: Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505 Notice how beautifully these numbers blend into the text: Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505

small caps

SMALL CAPS 91 + Small caps are less intrusive when all uppercase appears within normal text or can be used for special emphasis.

+ 90 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. + Set acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines. + 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. + Use small caps 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)

small caps

92 +

MRS EAVES used for small caps

There Is No Rest For The Wicked The Wicked Are Very Weary

9/12

The weight of the computer-drawn small caps is thinner than the weight of the regular initial (first letter) caps. Typeface is Mrs. Eaves. There are quite a few font families that include “true-drawn” small caps—letterforms that have been redesigned to match the proportions and thickness of the uppercase. These families are often called “expert” sets or perhaps “small cap” sets. The result is a smooth, uniform, undisturbing tone throughout the text. True-drawn small caps are specially drawn to match the weight of the capital letters in the same face.

+ 93 Harriet, an FBI agent, turned on If you set acronyms in regular all caps, CNN to get the dirt on the CIA their visual presence is unnecessarily before going to bed at 9:30 P.M. overwhelming. One standard and pracHarriet, an fbi agent, turned on tical place to use small caps is in acronyms such as FBI, NRC, or CBS. cnn to get the dirt on the cia before going to bed at 9:30 p.m. Traditionally, ‘A.M.’ and ‘P.M.’ are set with small caps. If you were taught to type on a typewriter (or if you were taught on a keyboard by someone who was taught on a typewriter), you probably learned to set these abbreviations in all caps because there were no small caps on typewriters. But now that you have the capability, you can and should set them properly.

small caps

The capital letters in the middle of the sentence call too much attention to themselves. Notice how the small caps blend in with the text. The capital letters for ‘P.M.’ are much too large— the abbreviation is not that important.

paragraph breaks

PARAGRAPH BREAKS 98 + Paragraph breaks set a rhythm for the reader. The breaks have a relationship with the column of text as well as the page margins.

+ 97 A break may be introduced as an indentation, as a space or both. The overall page feel will be influenced by your choice. In typography there are 4 rules regarding paragraph breaks: + the first line at the beginning of an article should be flush left (do not indent first paragraph) + block paragraphs are flush left and are separated by extra leading not a full return + the amount indent is = to the leading (sometimes needs a bit more) + never hit two returns between paragraphs

paragraph breaks

98 + MELIOR

8.5/12

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 mainfestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term-still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

MELIOR

8.5/12

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as 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

paragraph breaks

+ 99

& 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 mainfestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

100 + DIN MELIOR

8.5/10

Futurism was first announced on February 20, 1909, when the Paris new paper Le Figar published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The na Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live an 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 mainfestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today-was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

+ 101 MELIOR

8.5/10

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

paragraph breaks

But is is the movements which survive, oddly, here where we live an 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 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 mainfestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

102 + Futurism was first MELIOR announced on Febru8.5/12 ary 20, 1909, when DIN

16/18

the Paris new paper Le Figar published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The na Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

+ 103 MELIOR

Futurism was first announced on Febru-

where we live and work as poets and artists; if not the move-

8.5/16 14/16

ary 20, 1909, when the Paris newspaper

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

Le Figaro published a manifesto by the

which, as Futurism, had come sharply into focus by the start

Italian poet and editor Filippo Tommaso

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

Marinetti. The name ‘Futurism’, coined

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

by Marinetti, reflected his emphasis on

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

discarding what he conceived to be the

and if its means now sometimes seem exaggerated or unripe

static and irrelevant art of the past, and

in retrospect, they carry the seed of all that we were later

celebrating change, originality, and in-

novation in culture and society. Futur-

festo for Italian Futurism bristled with a polemical stance in

ism rejected traditions and glorified con-

favor of the transformed present (1909), the later manifestos of

temporary life, mainly by emphasizing

Futurist poets & artists offered formal “technical” approaches

two dominant themes: the machine and

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

motion. The works were characterized

nant today—was parole in liberta 2 , by which poetry was to

by the depiction of several successive

become “an uninterrupted sequence of new images... (a) strict

actions of a subject at the same time.

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

Marinetti’s manifesto glorified the new

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

technology of the automobile and the

other forms of collage and of image juxtaposition, more fully

beauty of its speed, power, and move-

explored the use of innovative and expressive typography

ment. He exalted violence and conflict

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

and called for the sweeping repudia-

forerunners like Mallarme. But the verbal liberation didn’t end

tion of traditional cultural, social, and

with the page; it moved, rather, toward a new performance

political values, and the destruction of

art and a poetry that “scurried off the page in all directions at

such cultural institutions as museums

once,” as Emmett Williams phrased it for the “language hap-

paragraph and libraries. The manifesto’s rhetoric breaks was passionately bombastic; its tone

become. //

While Marinetti’s opening mani-

penings” of a later decade. Outrageous and aggressive, the Futur- ists’ performances mixed declamation and gesture, events

was aggressive and inflammatory and

and surroundings, indifference and engagement, to break the

was purposely intended to inspire

barriers between themselves and those who came to jeer or

public anger and amazement, to arouse

cheer them. Wrote Marinetti Selbst 3 (circa 1915): “Everything

controversy, and to attract widespread

of any value is

attention. //

But it is the

movements which survive, oddly, here

theatrical.”

104 + MELIOR

9/14

Futurism ws first announced on Feb-

widespread attention. >> But it is the movements which

ruary 20, 1909, when the Paris news-

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

paper Le Figaro published a manifesto

artists; if not the movements, then their sense of art as an

by the Italian poet and editor Filippo

life itself survives. All of which, as Futurism, had come

Tommaso Marinetti. The name ‘Futur-

sharply into focus by the start of the world war: a first radi-

ism’, coined by Marinetti, reflected

cal mix of art and life, the epitome in the poplar mind of

his emphasis on discarding what he

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

conceived to be the static and irrel-

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

evant art of the past, and celebrating

now sometimes seem exaggerated or unripe in retrospect,

change, originality, and innovation in

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

culture and society. Futurism rejected

to become. >> While Marinetti’s opening manifesto for

traditions and glorified contempo-

Italian Futurism bristled with a polemical stance in favor

rary life, mainly by emphasizing two

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

dominant themes: the machine and

Futurist poets & artists offered formal “technical” ap- pro-

motion. The works were characterized

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

by the depiction of several successive

still resonant today—was parole in liberta 2 , by which

actions of a subject at the same time.

poetry was to become “an uninterrupted sequence of new

Marinetti’s manifesto glorified the new

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

technology of the automobile and the

the mysterious sea of phenomena.” This “freedom of the

beauty of its speed, power, and move-

world”, while it resembled other forms of collage and of

ment. He exalted violence and conflict

image juxtaposition, more fully explored the use of innova-

and called for the sweeping repudia-

tive and expressive typography in the visual presentation

tion of traditional cultural, social, and

of language, as set in motion by forerunners like Mal-

political values, and the destruction of

larme. But the verbal liberation didn’t end with the page; it

such cultural institutions as muse-

moved, rather, toward a new performance art and a poetry

ums and libraries. The manifesto’s

that “scurried off the page in all directions at once,” as

rhetoric was passionately bombastic;

Emmett Williams phrased it for the “language happenings”

its tone was aggressive and inflamma-

of a later decade. Outrageous and aggressive, the Futurists’

tory and was purposely intended to

performances mixed declamation and gesture, events and

inspire public anger and amazement,

surroundings, indifference and engagement, to break the

to arouse controversy, and to attract

barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): “Everything of any value is theatrical.”

+ 105 DIN

13/16 MELIOR

8.5/16

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

paragraph and libraries. The manifesto’s rhetoric breaks and political values, and the destruction

of such cultural institutions as museums

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 sur-

vive, oddly, here where we live and work as poets and artists; if not the movements, then their sense of art as an life itself survives. All of which, as Futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

WHILE Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This “freedom of the world”, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futur- ists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): “Everything of any value is theatrical.”

106 + MELIOR

9/14

Futurism was first announced on Feb-

widespread attention.

ruary 20, 1909, when the Paris news-

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

paper Le Figaro published a manifesto

we live and work as poets and artists; if not the move-

by the Italian poet and editor Filippo

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

Tommaso Marinetti. The name ‘Futur-

of which, as Futurism, had come sharply into focus by the

ism’, coined by Marinetti, reflected

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

his emphasis on discarding what he

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

conceived to be the static and irrel-

both its Russian & Italian sides, the first great “art” move-

evant art of the past, and celebrating

ment led by poets; and if its means now sometimes seem

change, originality, and innovation in

exaggerated or unripe in retrospect, they carry within them

culture and society. Futurism rejected

the seed of all that we were later to become.

traditions and glorified contemporary

While Marinetti’s opening manifesto for Italian Futurism

life, mainly by emphasizing two domi-

bristled with a polemical stance in favor

nant themes: the machine and motion.

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

The works were characterized by

Futurist poets & artists offered formal “technical” ap-

the depiction of several successive

proaches to the works then getting under way. The key

actions of a subject at the same time.

term—still resonant today—was parole in liberta 2 , by

Marinetti’s manifesto glorified the new

which poetry was to become “an uninterrupted sequence

technology of the automobile and the

of new images... (a) strict bet of images or analogies, to be

beauty of its speed, power, and move-

cast into the mysterious sea of phenomena.” This “free-

ment. He exalted violence and conflict

dom of the world”, while it resembled other forms of col-

and called for the sweeping repudia-

lage and of image juxtaposition, more fully explored the

tion of traditional cultural, social, and

use of innovative and expressive typography in the visual

political values, and the destruction of

presentation of language, as set in motion by forerunners

such cultural institutions as muse-

like Mallarme. But the verbal liberation didn’t end with the

ums and libraries. The manifesto’s

page; it moved, rather, toward a new performance art and a

rhetoric was passionately bombastic;

poetry that “scurried off the page in all directions at once,”

its tone was aggressive and inflamma-

as Emmett Williams phrased it for the “language happen-

tory and was purposely intended to

ings” of a later decade. Outrageous and aggressive, the

inspire public anger and amazement,

Futurists’ performances mixed declamation and gesture,

to arouse controversy, and to attract

events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): “Everything of any value is theatrical.”

+ 107 FUTURISM WAS FIRST AN13/16 NOUNCED ON FEBRUARY MELIOR 20, 1909, 8.5/16 when the Paris newspaper DIN

BUT IT IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE

we live and work as poets and artists; if not the move-

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

Le Figaro published a manifesto by the

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

Italian poet and editor Filippo Tommaso

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

Marinetti. The name ‘Futurism’, coined

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

by Marinetti, reflected his emphasis on

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

discarding what he conceived to be the

its means now sometimes seem exaggerated or unripe in retro-

static and irrelevant art of the past, and

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

celebrating change, originality, and in-

to become.

temporary life, mainly by emphasizing

WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM bristled with a polemical stance in favor of the trans-

two dominant themes: the machine and

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

motion. The works were characterized

& artists offered formal “technical” approaches to the works

by the depiction of several successive

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

actions of a subject at the same time.

was parole in liberta 2 , by which poetry was to become “an

Marinetti’s manifesto glorified the new

uninterrupted sequence of new images... (a) strict bet of images

technology of the automobile and the

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

beauty of its speed, power, and move-

This “freedom of the world”, while it resembled other forms of

ment. He exalted violence and conflict

collage and of image juxtaposition, more fully explored the use

and called for the sweeping repudiation

of innovative and expressive typography in the visual presenta-

of traditional cultural, social, and politi-

tion of language, as set in motion by forerunners like Mallarme.

cal values, and the destruction of such

But the verbal liberation didn’t end with the page; it moved,

cultural institutions as museums and

rather, toward a new performance art and a poetry that “scur-

libraries. The manifesto’s rhetoric was

ried off the page in all directions at once,” as Emmett Williams

passionately bombastic; its tone was ag-

phrased it for the “language happenings” of a later decade.

gressive and inflammatory and was pur-

Outrageous and aggressive, the Futurists’ performances mixed

posely intended to inspire public anger

declamation and gesture, events and surroundings, indifference

and amazement, to arouse controversy,

and engagement, to break the barriers between themselves and

and to attract widespread attention.

those who came to jeer or cheer them. Wrote Marinetti Selbst 3

novation in culture and society. Futurism rejected traditions and glorified con-

(circa 1915): “Everything of any value is theatrical.”

headers subheads crossheads

HEADERS, SUBHEADS, CROSSHEADS

110 +

header: that material which is separated form the main body of text and appears at the top of a printed page. subhead: a phrase, sentence, or several sentences near the title of the article or story.

+ 111 The main header or “headline” is essential to be bold and leap out as the main title of the page or chapter start. If it does not, the reader may be confused as to where the document actually starts. So I always think its a good rule to ensure the reader knows where a section starts and make it quite plain. The main header should also look like it belongs to the first sentence. This can be achieved by ensuring that its paragraph spacing (the space after a hard return) is smaller than the paragraph spacing of the first sentence. Paragraph spacing is not commonly used - even amongst designers, but it is an extremely useful tool. Many people add spacing by hitting return but this does not give much control and cannot be styled from style sheets. Introduction paragraphs are a useful way to entice the reader to continue on reading. They also help not to waste a readers time if they are not interested in reading further. Typographically speaking these into paragraphs need to be easy to read but more distant than the body text

headers subheads crossheads

below. They are not the main article and need to be distinguished from it. The purpose of a subheader is to split up body text so that a reader can find their way around the document with ease. it also makes the document more readable because the viewer is not faced with a page of block text. Each subheader needs to be linked with the corresponding body text underneath it. This should be achieved by using correct spacing after and before the subheader (You find these settings in most “Paragraph” tool pallets and the example below demonstrates how it looks when executed)

112 +

WORDS IN LIBERTY

a prologue to futurism FUTURISM was first announced

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

on February 20, 1909, when the Paris

live and work as poets and artists; if not the movements, then

newspaper Le Figaro published a

their sense of art as an life itself survives. All of which, as Futur-

manifesto by the Italian poet and editor

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

Filippo Tommaso Marinetti. The name

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

‘Futurism’, coined by Marinetti, reflected

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

his emphasis on discarding what he

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

conceived to be the static and irrelevant

sometimes seem exaggerated or unripe in retrospect, they carry

art of the past, and celebrating change,

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

originality, and innovation in culture and

WHILE Marinetti’s opening manifesto for Italian Futurism

society. Futurism rejected traditions and

bristled with a polemical stance in favor of the transformed

glorified contemporary life, mainly by

present (1909), the later manifestos of Futurist poets & artists

emphasizing two dominant themes: the

offered formal “technical” approaches to the works then getting

machine and motion. The works were

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

characterized by the depiction of several

liberta 2 , by which poetry was to become “an uninterrupted

successive actions of a subject at the

sequence of new images... (a) strict bet of images or analogies, to

same time. Marinetti’s manifesto glorified

be cast into the mysterious sea of phenomena.” This “freedom

the new technology of the automobile

of the world”, while it resembled other forms of collage and

and the beauty of its speed, power, and

of image juxtaposition, more fully explored the use of innova-

movement. He exalted violence and

tive and expressive typography in the visual presentation of

conflict and called for the sweeping

language, as set in motion by forerunners like Mallarme. But the

repudiation of traditional cultural, social,

verbal liberation didn’t end with the page; it moved, rather, to-

and political values, and the destruction

ward a new performance art and a poetry that “scurried off the

of such cultural institutions as museums

page in all directions at once,” as Emmett Williams phrased it

and libraries. The manifesto’s rhetoric

for the “language happenings” of a later decade. Outrageous and

was passionately bombastic; its tone was

aggressive, the Futur- ists’ performances mixed declamation and

aggressive and inflammatory and was

gesture, events and surroundings, indifference and engagement,

purposely intended to inspire public an-

to break the barriers between themselves and those who came

ger and amazement, to arouse controver-

to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915):

sy, and to attract widespread attention.

“Everything of any value is theatrical.”

radical mix of art and life

+ 113

LIBERTY

WORDS IN

a prologue to futurism: Futur-

to arouse controversy, and to attract widespread attention.

ism ws first announced on February

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

20, 1909, when the Paris newspaper

where we live and work as poets and artists; if not the

Le Figaro published a manifesto by

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

the Italian poet and editor Filippo

All of which, as Futurism, had come sharply into focus

Tommaso Marinetti. The name ‘Futur-

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

ism’, coined by Marinetti, reflected

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

his emphasis on discarding what he

was, on both its Russian & Italian sides, the first great “art”

conceived to be the static and irrel-

movement led by poets; and if its means now sometimes

evant art of the past, and celebrating

seem exaggerated or unripe in retrospect, they carry within

change, originality, and innovation in

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

culture and society. Futurism rejected

radical mix of art and life: While Marinetti’s opening

traditions and glorified contempo-

manifesto for Italian Futurism bristled with a polemical

rary life, mainly by emphasizing two

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

dominant themes: the machine and

manifestos of Futurist poets & artists offered formal “tech-

motion. The works were characterized

nical” approaches to the works then getting under way.

by the depiction of several successive

The key term—still resonant today—was parole in liberta

actions of a subject at the same time.

2 , by which poetry was to become “an uninterrupted se-

Marinetti’s manifesto glorified the new

quence of new images... (a) strict bet of images or analogies,

technology of the automobile and the

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

beauty of its speed, power, and move-

“freedom of the world”, while it resembled other forms of

ment. He exalted violence and conflict

collage and of image juxtaposition, more fully explored the

and called for the sweeping repudia-

use of innovative and expressive typography in the visual

tion of traditional cultural, social, and

presentation of language, as set in motion by forerunners

headers political values, and the destruction of subheads such cultural institutions as musecrossheads ums and libraries. The manifesto’s

like Mal- larme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions

rhetoric was passionately bombastic;

at once,” as Emmett Williams phrased it for the “language

its tone was aggressive and inflamma-

happenings” of a later decade. Outrageous and aggres-

tory and was purposely intended to

sive, the Futurists’ performances mixed declamation and

inspire public anger and amazement,

gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3

114 + WORDS IN LIBERTY a prologue to futurism

radical mix of art and life

Futurism was first announced on Feb-

vive, oddly, here where we live and work as poets and

ruary 20, 1909, when the Paris news-

artists; if not the movements, then their sense of art as an

paper Le Figaro published a manifesto

life itself survives. All of which, as Futurism, had come

by the Italian poet and editor Filippo

sharply into focus by the start of the world war: a first radi-

Tommaso Marinetti. The name ‘Futur-

cal mix of art and life, the epitome in the poplar mind of

ism’, coined by Marinetti, reflected his

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

emphasis on discarding what he con-

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

ceived to be the static and irrelevant

now sometimes seem exaggerated or unripe in retrospect,

art of the past, and celebrating change,

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

originality, and innovation in culture

become.

and society. Futurism rejected tradi-

While Marinetti’s opening manifesto for Italian Futurism

tions and glorified contemporary life,

bristled with a polemical stance in favor

mainly by emphasizing two dominant

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

themes: the machine and motion. The

Futurist poets & artists offered formal “technical” ap-

works were characterized by the depic-

proaches to the works then getting under way. The key

tion of several successive actions of a

term—still resonant today—was parole in liberta 2 , by

subject at the same time. Marinetti’s

which poetry was to become “an uninterrupted sequence

manifesto glorified the new technology

of new images... (a) strict bet of images or analogies, to be

of the automobile and the beauty of its

cast into the mysterious sea of phenomena.” This “free-

speed, power, and movement. He exalt-

dom of the world”, while it resembled other forms of col-

ed violence and conflict and called for

lage and of image juxtaposition, more fully explored the

the sweeping repudiation of traditional

use of innovative and expressive typography in the visual

cultural, social, and political values,

presentation of language, as set in motion by forerunners

and the destruction of such cultural

like Mallarme. But the verbal liberation didn’t end with the

institutions as museums and libraries.

page; it moved, rather, toward a new performance art and a

The manifesto’s rhetoric was passion-

poetry that “scurried off the page in all directions at once,”

ately bombastic; its tone was aggressive

as Emmett Williams phrased it for the “language happen-

and inflammatory and was purposely

ings” of a later decade. Outrageous and aggressive, the

intended to inspire public anger and

Futurists’ performances mixed declamation and gesture,

amazement, to arouse controversy, and

events and surroundings, indifference and engagement,

to attract widespread attention.

to break the barriers between themselves and those who

But it is the movements which sur-

came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): “Everything of any value is theatrical.”

a prologue to futurism

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

headers subheads crossheads

+ 115

LIBERTY WORDS IN

116 +

FUTURISM WAS FIRST ANNOUNCED ON FEBRUARY 20, 1909,

BUT IT IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE

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

when the Paris newspaper

we live and work as poets and artists; if not the move-

Le Figaro published a manifesto by the

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

Italian poet and editor Filippo Tommaso

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

Marinetti. The name ‘Futurism’, coined

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

by Marinetti, reflected his emphasis on

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

discarding what he conceived to be the

its means now sometimes seem exaggerated or unripe in retro-

static and irrelevant art of the past, and

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

celebrating change, originality, and in-

to become.

temporary life, mainly by emphasizing

WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM bristled with a polemical stance in favor of the trans-

two dominant themes: the machine and

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

motion. The works were characterized

& artists offered formal “technical” approaches to the works

by the depiction of several successive

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

actions of a subject at the same time.

was parole in liberta 2 , by which poetry was to become “an

Marinetti’s manifesto glorified the new

uninterrupted sequence of new images... (a) strict bet of images

technology of the automobile and the

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

beauty of its speed, power, and move-

This “freedom of the world”, while it resembled other forms of

ment. He exalted violence and conflict

collage and of image juxtaposition, more fully explored the use

and called for the sweeping repudiation

of innovative and expressive typography in the visual presenta-

of traditional cultural, social, and politi-

tion of language, as set in motion by forerunners like Mallarme.

cal values, and the destruction of such

But the verbal liberation didn’t end with the page; it moved,

cultural institutions as museums and

rather, toward a new performance art and a poetry that “scur-

libraries. The manifesto’s rhetoric was

ried off the page in all directions at once,” as Emmett Williams

passionately bombastic; its tone was ag-

phrased it for the “language happenings” of a later decade.

gressive and inflammatory and was pur-

Outrageous and aggressive, the Futurists’ performances mixed

posely intended to inspire public anger

declamation and gesture, events and surroundings, indifference

and amazement, to arouse controversy,

and engagement, to break the barriers between themselves and

and to attract widespread attention.

those who came to jeer or cheer them. Wrote Marinetti Selbst 3

novation in culture and society. Futurism rejected traditions and glorified con-

(circa 1915): “Everything of any value is theatrical.”

WORDS

LIBERTY

a prologue to futurism

radical mix of art and life

headers subheads crossheads

+ 117 & 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 mainfestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

captions

CAPTIONS 120 + These general guidelines will help you design footnotes and endnotes that are readable, legible and economical in space.

+ 121 Footnotes and endnotes 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. 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.

captions

CAPTIONS 122 + These general guidelines will help you design footnotes and endnotes that are readable, legible and economical in space.

+ 123 Footnotes are most often indicated by placing a superscript numeral immediately after the text to be referenced. The same superscript numeral then precedes the footnoted text at the bottom of the page. Numbering footnotes is essential when there are many of them, but if footnotes are few they can be marked with a dagger, asterisk, or other symbol instead. Endnotes should always use numerals to facilitate easy referencing. Footnotes and endnotes are set smaller than body text. The difference in size is usually about two points, but this can vary depending on the size, style and legibility of the main text. Even though theyâ&#x20AC;&#x2122;re smaller, footnotes and endnotes should still remain at a readable size.

captions

124 + 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 FUTURISM was first announced

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

on February 20, 1909, when the Paris

live and work as poets and artists; if not the movements, then

newspaper Le Figaro published a

their sense of art as an life itself survives. All of which, as Futur-

manifesto by the Italian poet and editor

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

Filippo Tommaso Marinetti. The name

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

‘Futurism’, coined by Marinetti, reflected

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

his emphasis on discarding what he

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

conceived to be the static and irrelevant

sometimes seem exaggerated or unripe in retrospect, they carry

art of the past, and celebrating change,

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

originality, and innovation in culture and

WHILE Marinetti’s opening manifesto for Italian Futurism

society. Futurism rejected traditions and

bristled with a polemical stance in favor of the transformed

glorified contemporary life, mainly by

present (1909), the later manifestos of Futurist poets & artists

emphasizing two dominant themes: the

offered formal “technical” approaches to the works then getting

machine and motion. The works were

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

characterized by the depiction of several

liberta 2 , by which poetry was to become “an uninterrupted

successive actions of a subject at the

sequence of new images... (a) strict bet of images or analogies, to

same time. Marinetti’s manifesto glorified

be cast into the mysterious sea of phenomena.” This “freedom

the new technology of the automobile

of the world”, while it resembled other forms of collage and

and the beauty of its speed, power, and

of image juxtaposition, more fully explored the use of innova-

movement. He exalted violence and

tive and expressive typography in the visual presentation of

conflict and called for the sweeping

language, as set in motion by forerunners like Mallarme. But the

repudiation of traditional cultural, social,

verbal liberation didn’t end with the page; it moved, rather, to-

and political values, and the destruction

ward a new performance art and a poetry that “scurried off the

of such cultural institutions as museums

page in all directions at once,” as Emmett Williams phrased it

and libraries. The manifesto’s rhetoric

for the “language happenings” of a later decade. Outrageous and

was passionately bombastic; its tone was

aggressive, the Futur- ists’ performances mixed declamation and

aggressive and inflammatory and was

gesture, events and surroundings, indifference and engagement,

purposely intended to inspire public an-

to break the barriers between themselves and those who came

ger and amazement, to arouse controver-

to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915):

sy, and to attract widespread attention.

+ 125

LIBERTY

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

a prologue to futurism: Futur-

to arouse controversy, and to attract widespread attention.

ism ws first announced on February

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

20, 1909, when the Paris newspaper

where we live and work as poets and artists; if not the

Le Figaro published a manifesto by

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

the Italian poet and editor Filippo

All of which, as Futurism, had come sharply into focus

Tommaso Marinetti. The name ‘Futur-

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

ism’, coined by Marinetti, reflected

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

his emphasis on discarding what he

was, on both its Russian & Italian sides, the first great “art”

conceived to be the static and irrel-

movement led by poets; and if its means now sometimes

evant art of the past, and celebrating

seem exaggerated or unripe in retrospect, they carry within

change, originality, and innovation in

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

culture and society. Futurism rejected

radical mix of art and life: While Marinetti’s opening

traditions and glorified contempo-

manifesto for Italian Futurism bristled with a polemical

rary life, mainly by emphasizing two

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

dominant themes: the machine and

manifestos of Futurist poets & artists offered formal “tech-

motion. The works were characterized

nical” approaches to the works then getting under way.

by the depiction of several successive

The key term—still resonant today—was parole in liberta

actions of a subject at the same time.

2 , by which poetry was to become “an uninterrupted se-

Marinetti’s manifesto glorified the new

quence of new images... (a) strict bet of images or analogies,

technology of the automobile and the

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

beauty of its speed, power, and move-

“freedom of the world”, while it resembled other forms of

ment. He exalted violence and conflict

collage and of image juxtaposition, more fully explored the

and called for the sweeping repudia-

use of innovative and expressive typography in the visual

tion of traditional cultural, social, and

presentation of language, as set in motion by forerunners

political values, and the destruction of

like Mal- larme. But the verbal liberation didn’t end with

such cultural institutions as muse-

the page; it moved, rather, toward a new performance art

ums and libraries. The manifesto’s

and a poetry that “scurried off the page in all directions

rhetoric was passionately bombastic;

at once,” as Emmett Williams phrased it for the “language

its tone was aggressive and inflamma-

happenings” of a later decade. Outrageous and aggres-

tory and was purposely intended to

sive, the Futurists’ performances mixed declamation and

inspire public anger and amazement,

gesture, events and surroundings, indifference and engage-

captions

ment, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3

126 + WORDS IN LIBERTY a prologue to futurism

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

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

3. selbst = himself

radical mix of art and life

Futurism was first announced on Feb-

vive, oddly, here where we live and work as poets and

ruary 20, 1909, when the Paris news-

artists; if not the movements, then their sense of art as an

paper Le Figaro published a manifesto

life itself survives. All of which, as Futurism, had come

by the Italian poet and editor Filippo

sharply into focus by the start of the world war: a first radi-

Tommaso Marinetti. The name ‘Futur-

cal mix of art and life, the epitome in the poplar mind of

ism’, coined by Marinetti, reflected his

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

emphasis on discarding what he con-

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

ceived to be the static and irrelevant

now sometimes seem exaggerated or unripe in retrospect,

art of the past, and celebrating change,

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

originality, and innovation in culture

become.

and society. Futurism rejected tradi-

While Marinetti’s opening manifesto for Italian Futurism

tions and glorified contemporary life,

bristled with a polemical stance in favor

mainly by emphasizing two dominant

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

themes: the machine and motion. The

Futurist poets & artists offered formal “technical” ap-

works were characterized by the depic-

proaches to the works then getting under way. The key

tion of several successive actions of a

term—still resonant today—was parole in liberta 2 , by

subject at the same time. Marinetti’s

which poetry was to become “an uninterrupted sequence

manifesto glorified the new technology

of new images... (a) strict bet of images or analogies, to be

of the automobile and the beauty of its

cast into the mysterious sea of phenomena.” This “free-

speed, power, and movement. He exalt-

dom of the world”, while it resembled other forms of col-

ed violence and conflict and called for

lage and of image juxtaposition, more fully explored the

the sweeping repudiation of traditional

use of innovative and expressive typography in the visual

cultural, social, and political values,

presentation of language, as set in motion by forerunners

and the destruction of such cultural

like Mallarme. But the verbal liberation didn’t end with the

institutions as museums and libraries.

page; it moved, rather, toward a new performance art and a

The manifesto’s rhetoric was passion-

poetry that “scurried off the page in all directions at once,”

ately bombastic; its tone was aggressive

as Emmett Williams phrased it for the “language happen-

and inflammatory and was purposely

ings” of a later decade. Outrageous and aggressive, the

intended to inspire public anger and

Futurists’ performances mixed declamation and gesture,

amazement, to arouse controversy, and

events and surroundings, indifference and engagement,

to attract widespread attention.

to break the barriers between themselves and those who

But it is the movements which sur-

came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): “Everything of any value is theatrical.”

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

a prologue to futurism

captions

+ 127

LIBERTY WORDS IN

128 +

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

FUTURISM WAS FIRST ANNOUNCED ON FEBRUARY 20, 1909,

BUT IT IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE

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

when the Paris newspaper

we live and work as poets and artists; if not the move-

Le Figaro published a manifesto by the

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

Italian poet and editor Filippo Tommaso

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

Marinetti. The name ‘Futurism’, coined

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

by Marinetti, reflected his emphasis on

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

discarding what he conceived to be the

its means now sometimes seem exaggerated or unripe in retro-

static and irrelevant art of the past, and

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

celebrating change, originality, and in-

to become.

temporary life, mainly by emphasizing

WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM bristled with a polemical stance in favor of the trans-

two dominant themes: the machine and

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

motion. The works were characterized

& artists offered formal “technical” approaches to the works

by the depiction of several successive

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

actions of a subject at the same time.

was parole in liberta 2 , by which poetry was to become “an

Marinetti’s manifesto glorified the new

uninterrupted sequence of new images... (a) strict bet of images

technology of the automobile and the

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

beauty of its speed, power, and move-

This “freedom of the world”, while it resembled other forms of

ment. He exalted violence and conflict

collage and of image juxtaposition, more fully explored the use

and called for the sweeping repudiation

of innovative and expressive typography in the visual presenta-

of traditional cultural, social, and politi-

tion of language, as set in motion by forerunners like Mallarme.

cal values, and the destruction of such

But the verbal liberation didn’t end with the page; it moved,

cultural institutions as museums and

rather, toward a new performance art and a poetry that “scur-

libraries. The manifesto’s rhetoric was

ried off the page in all directions at once,” as Emmett Williams

passionately bombastic; its tone was ag-

phrased it for the “language happenings” of a later decade.

gressive and inflammatory and was pur-

Outrageous and aggressive, the Futurists’ performances mixed

posely intended to inspire public anger

declamation and gesture, events and surroundings, indifference

and amazement, to arouse controversy,

and engagement, to break the barriers between themselves and

and to attract widespread attention.

those who came to jeer or cheer them. Wrote Marinetti Selbst 3

novation in culture and society. Futurism rejected traditions and glorified con-

(circa 1915): “Everything of any value is theatrical.”

WORDS

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

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

3. selbst = himself

a prologue to futurism

radical mix of art and life

captions

+ 129 & 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 mainfestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

font specs

CLASSIFICATION 132 + “By all means break the rules, and break them beautifully, deliberately, and well. That is one of the ends for which they exist.” —Robert Bringhurst

+ 133 Every font came from a basic straight line, but each font has its own curve and flair for itself. Within the next few pages, a selection of fonts have been chosen to explore the different styles, thickness, and size. With slight line adjustments and serifs added, each character becomes unique to its specific font family and displays its own personality. Throughout this book, typography has been shown through a multitude of ways: poorly with bad kearning, and nicely with surprising font combinations. The only true way to develop a relationship with type is to study it, read it, breathe it, and live it. So begin exhaling.

font specs

archer slab serif

MaxogGdQRst BOOK 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 ( ) { } ? ! @ & * HAIRLINE

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

SEMI-BOLD

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 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 { } ? ! @ & *

akzidenz grotesk san serif

MaxogGdQRst ROMAN

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll 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 (){}?!@&* font specs

baskerville transtional

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 ( ) { } ?!@&*

belizio slab serif

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 1 2 3 specs 4567890(){}?!@&* font

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 ( ) { } ?!@&*

bell gothic slab serif

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 ( ) { } ? ! @&*

bembo modern

MxnogGdQrRst 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 (specs ){}?!@&* font

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(){}?!@&*

bookman transitional

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(){}?!@&*

bodoni modern

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 ( ) { } ?specs !@&* font

caslon transitional

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

century schoolbook grotesque

MxaogGdQrRt REGULAR

A basic system for classifying typefaces was devised in the nineteenth century, when printerssoughttoidentifyaheritagefortheir 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 periodsinartandliterature.Designersinthe 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 NnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890(){}?!@&*12345 6789 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 9specs 0(){}?!@&* font

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 (){}?!@&*

cheltenham transitional

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 ( ) {}?!@&*

cholla modern

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 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 4567890(){}?!@&*

font specs

clarendon slab serif

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 90(){}?!@&* 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(){}?!@&*

clicker slab serif

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 ( ) { } ? ! @ & *

font specs

didot modern

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 ( ){}?!@&*

din grotesque

MaxnogGdQrRt 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 ( ) { } ? ! @ & *123456789 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 { } ? ! @ & *

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 { ? ! @ & *

font specs 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 { ? ! @ & *

din grotesque

MaxngdQHAMBURG LIGHT 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 4 5 6 7 8 9 0 ( ) { } ? ! @ & *123456789 REGULAR 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 4 5 6 7 8 9 0 ( ) { } ? ! @ &*

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

disturbance serif

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 (){}?!@&*

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(){}?!@&*

font specs

fette fraktur black letter

MxnaopQrRtfg 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(){} ?!@&* 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 nim adionsecte feuis etum dolobore molore verit veniss

filosofia modern

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 ( ) { } ? ! @specs &* font

franklin gothic grotesque

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 123 4567890(){}?!@&*

frutiger humanist sans

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 ( ) { } specs ?!@&* font

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 4567890(){}?!@&*

futura geometric sans

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 ( ) { } ? ! @ & *

gotham modern

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 123 4567890(){}?!&*

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 0specs (){}?!@&* font

gotham humanist sans

MayogGdQRt 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 6 7 8 90(){}?!@&* 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(){}?!@&* 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(){}?!@&*

helvetica grotesque

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 ( ) { }?!@&* 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(){}?!@&*

BLACK 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 font specs 7 8 9 0 ( ) { } ? ! @ & *

THIN

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

interstate grotesque

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(){}?!@&*

kunstler script 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. font specs vullamcon utat ulluptat delendit nonsenim inEd etummodit ciliqui 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

melior transitional

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 ( ) {}?!@&*

memphis slab serif

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 3 specs 4567890(){}?!@&* font

meta humanist serif

MaxogGdQrRst 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 ( ) { } ? ! @ & * 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 ( ) { } ? ! @ & *

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 ( ) { } ? ! @ & *

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 ( ) { } ? ! @ & *

mrs eaves old style

MaxogGdQrRst 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 ( ) { } ? ! @ & * 1 2 3 456789 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 ( ) { } ? ! @ & * specs font

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 ( ) { } ?!@&*

news gothic grotesque

MaxogGdQrRst 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 ( ) {}?!@&*

ocr a geometric sans

MaopQRfGg REGULAR

Aa Bb Ii Jj Qq Rr Yy Zz 9 0 (

font specs

Cc Dd Kk Ll Ss Tt 1 2 3 ) { }

Ee Ff Gg Hh Mm Nn Oo Pp Uu Vv Ww Xx 4 5 6 7 8 ? ! @ & *

optima humanist sans

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 ( ) { } ? ! @&* 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 ( ) { } ? ! @&*

palatino old style

MxaopQRstGg 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 ( ) { } ? ! @ &* OLD STYLE

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll 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 9 0 ( ) { } ? ! specs @&* font

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 ( ) { } ?!@&*

perpetua transitional

MxaopQRstGgq 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 123 4567890(){}?!@&* ITALIC

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

BOLD

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 ( ) { } ? ! @ & *

platelet geometric sans

MaxbyogGQrRt THIN

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 Mm Nn Yy Zz ? ! @

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

Aa Bb Mm Nn Yy Zz ? ! &

Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx 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 ( ) { } ? !specs @ & * font

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.

priori sans humanist sans

MxanopdrRtSfGg 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 123 4567890(){}?!@&* ALTERNATE

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj 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 7890(){}?!@&*

priori serif transitional

MxanodQrRtSfg 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 123 4567890(){}?!@&*

ALTERNATE

Aa Bb Cc Dd Ee Ff 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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 123 4567890(){}?!@&*

font specs

rotis humanist sans

MxanopQrRtGg (55) SANS

Aa Bb Cc Dd Ee 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(){}?!@&* 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 7890(){}?!@&*

SERIF

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll 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 ( ) { } ?!@&*

sabon old style

MxayogGQfR 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 (){}?!&* 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 ( ) { } specs ?!@&* font

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 ( ) { }?!@&*

scala sans humanist sans

MxabyogGdQrR 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 ( ) { } ? ! @ & * 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 ( ) { } ? ! @ & *

serifa slab serif

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 ( ) {}?!@&* 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 (specs ){}?!@&* font

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(){}?!@&*

snell roundhand script

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

swift new transitional

MxaoygGdQrR 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 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 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 123 4567890(){}?!@&*

font specs 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 ( ) { } ? ! @ &*

syntax humanist sans

MxaoygGdQrR 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(){}?!@&*

trade gothic humanist sans

MxanyogGdQrR 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 4 5 6 7 890(){}?!@&* 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 ( ) { } ? !@&* 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 ( ) { } ? ! @ & *

font specs 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 ( ) { } ? !@&*

walbaum modern

MxyagGdQrR 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 (){}?!@&* 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 (){}?!@&* 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(){}?!@&*

volta new transitional

MyogGdQrR 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(){}?!@&* 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 4567890(){}?!@&* MEDIUM 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 67 890(){}?!@&* font specs

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(){}?!@&*

TYPOGRAPHY AND YOU

Xxhg

184

TYPOGRAPHY 02 ali fisher

university of kansas spring 2012 professor selby 9/12

Text for the book was compiled from the following sources: Elements of Typographic Style by Robert Bringhurst, Getting it Right with Type: the Do’s and Don’ts of Typography by Victoria Square, Mac is Not A Typewriter by Robin Williams. This book is not to be sold to the public and to only be used by the designer for their reference and student design portfolio.