Type Workbook by Amy Brown

JUST

A BOOK ABOUT RELATIONSHIP ADVICE WHEN IT COMES TO TYPOGRAPHY

JUST

Designed by Amy Brown. Class project for Typographic Systems at the University of Kansas, Spring 2015. The text was compiled from the following sources: Elements of Typographic Style by Robert Bringhurst, Getting it Right with Type: the Doâ&#x20AC;&#x2122;s and Donâ&#x20AC;&#x2122;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 as well as their student design portfolio.

12 18

13 7 3

12 17

611 9

1 4 7 10 13 16 19

Special Characters page 2

X Height page 18

Quotes and Apostrophes page 46

Numerals/Figures page 64

Captions and Notes page 98

Kerning page 124

Hyphenation Rules page 142

2 5 8 11 14 17 20

Rules Checksheet page 6

Typographic Color page 22

Dahes page 52

3 6 9 12 15 18 21

Typography Rules page 10

Grid Strucures page 36

Small Caps page 58

Paragraph Breaks page 70

Column Width page 108

Alignments page 128

Combining Typefaces page 146

Headers, Subheads, & Crossheads page 84

Leading page 116

Justification page 134

Font Specs page 160

The following is a list of the most-often used special characters and accent marks. You gotta know all of her special characteristsics if you want her falling for ya.

SPECIAL CHARACTERS

ﬁ “ Ç™ — ¡ ® £

”

Use copyright, register, and trademark marks The copyright, register, and trademark characters need to be reduced to work with body text. At times, depending on the typeface, you may need to reduce the mark between 50% and 70%. The goal is to match the x-height. The copyright mark should be approximately 70% of the surrounding text. Unlike the ™ symbol, the © should NOT be superscripted and should remain on the baseline. ™ is usually superscripted for the chosen font. ™ and ® are normally set higher then other marks. If you choose to superscript ®, reduce it to about 60% of the size. Accent Marks Remember, to set an accent mark over a letter. You can do this by pressing the Option key and the letter, then press the letter you want under it. ´ Option e ` Option ~ (upper-left or next to the Spacebar) ¨ Option u ˜ Option n ˆ Option i Ellipsis Character Use the ellipsis character and NOT three periods. You can access the ellipsis by typing Option + : (colon). Allow a small amount of space before and after. However if it is not crowding the text, leave no space at all.

“ ” ‘ ’

Option [ opening double quote Option Shift [ closing double quote Option ] opening single quote Option Shift ] closing single quote;

apostrophe

– — •

Option Hyphen en dash Option Shift Hyphen em dash x Option Option 8 bullet (easy to remember

Option r registered Option Shift 8 degree symbol (e.g., 102°F) Option $ cent symbol Option Shift 2 Euro symbol Option Shift 1 (one) fraction bar Option 1 (one) Option Shift ? Option 3

“ﬁ ™ ¡ ®

® ° ¢ € ⁄ ¡ ¿ £ ç Ç

Option Shift 5 ligature of f and i

Option c

Option Shift c

Option Shift 6 ligature of f and l Option g copyright

Option 2 trademark

£ ”

ﬁ ﬂ © ™

asterisk key)

The following is set of the rules established in this book. You might want to check through them each time you complete a publication. Be a rule follower. No one wants to date a cheater. The baes love dem rules. Trust me.

RULES CHECKSHEET

en kern

hang

tab

orphan

widow

*Use only one space between sentences. *Use real quotation marks. *Use real apostrophes. *Make sure the apostrophes are where they belong. *Hang the punctuation off the aligned edge. *Use en or em dashes, use consistently. *Kern all headlines where necessary. *Never use the spacebar to align text, always set tabs and use the tab key. *Leave no widows or orphans. *Avoid more than 3 hyphenations in a row. *Avoid too many hyphenations in any paragraph. *Avoid hyphenating or line brakes of names and proper nouns. *Leave a least 2 characters on the line and 3 following. *Avoid beginning consecutive lines with the same word. *Avoid ending consecutive lines with the same word. *Avoid ending lines with the words: the, of, at, a, by... *Never hyphenate a words in a headline and avoid hyphenation in a callout. *Never justify the text on a short line. *Keep the word spacing consistent. *Tighten up the leading in lines with all caps or with few ascenders and descenders. *Use a one-em first-line indent on all indented paragraphs. *Adjust the spacing between paragraphs. *Either indent the first line of paragraphs or add extra space between them â&#x20AC;&#x201C; not both. *Use a decimal or right-aligned tab for the numbers in numbered paragraphs. *Never have one line in a paragraph in the column or following. *Never combine two serif fonts on one page. *Rarely combine two sans serif fonts on one page. *Rarely combine more than three typefaces on one page. *Use the special characters whenever necessary, including super- and subscript. *Spend the time to create nice fraction or chose a font that has fractions. *If a correctly spelled word needs an accent mark, use it.

wid-

orpha

ker han

On the following pages are more rules within typography. I’m TELLIN you. If she’s a true honey, she’s a rule follower.

TYPOGRAPHY RULES

indents ellipsis character legibility

use

properly

size

copy

altering fonts

spell check!

1. Insert only single space after all punctuation

Inserting two spaces after a period was common when using a typewriter. Monospace typefaces were designed to occupy the same amount of space no matter the width of the character. Therefore, two spaces were needed to identify the end of a sentence and the beginning of another sentence. With the introduction of the Mac and digital type, characters are designed proportionately, which allows for the correct practice of using one space after all punctuation.

2. Use proper ‘em’ or ‘en’ dashes, and hyphens An em is a unit of measure equal to the point size that you are using. An em dash is a type of punctuation used to offset clauses in a sentence or to indicate an abrupt change in thought. An en dash is equal to half the length of an em dash. En dashes are used to denote duration (time.)

3. Use proper quote and apostrophe marks

Use true quotation marks and apostrophes instead of using inch marks and feet marks. Place all punctuations inside the quotation marks.

4. Use True Small Caps

When setting text that contains acronyms, select a typeface with small caps as a family. Selecting small caps from the style menus is a poor choice because the compute reduces the overall size of the type by 80%. This changes the stroke weight and the feel of the font. Expert sets in the Adobe Type Library have small caps options.

nts

ipsis aracter legibility

Letterspacing is the amount of space between characters in a word. Some software programs caller letterspacing tracking. Use positive number values (to about 2 or 3) to open up letterspacing to capitalized text and small caps, except when periods are used between characters.

6. Use old style figures when appropriate

Old style figures, also known as non-lining figures do not line up on the baseline as regular or lining numerals do. They can be found in various fonts. If the body text has a significant amount of numbers, research a font family where they are included. If non-lining numerals are not available, use a slightly smaller point size for the lining numbers. Think of lining numbers as upper case numbers and non-lining numbers as lower case numbers.

7. Use caps properly

With options given to you by almost any type family (bold, point size, etc) you will seldom need to use all caps to draw attention to your text. Not all typefaces are legible when set in all caps; esp. true for script and decorative typefaces. Short headlines may be the once exception to this rule.

copy

size

spell heck!

5. Add letter space to capitalized & small caps

8. Use correct copyright, register, & trademark

The copyright, register, and trademark characters need to be reduced to work with body text. At times, depending on the typeface, you may need to reduce the mark between 50% and 70%. The goal is to match the x-height. The copyright mark should be approximately 70% of the surrounding text. Unlike the ™ symbol, the © should NOT be superscripted and should remain on the baseline. ™ is usually superscripted for the chosen font. ™ and ® are normally set higher then other marks. If you choose to superscript ®, reduce it to about 60% of the size.

9. Ellipsis Character

Use the ellipsis character and NOT three periods. You can access the ellipsis by typing Option + : (colon). Allow a small amount of space before and after. However if it is not crowding the text, leave no space at all. 10. Avoid underlined text This was useful back in the days of the typewriter to draw attention to the text. With digital type and their families, you should not need to use underlined text.

alterin

11. Increase line spacing to improve readability

Line spacing (aka leading) refers to the space between lines of text. It is important for readability and appearance. Leading is measured from baseline to baseline. As a rule of thumb, allow leading that is 120% of the point size. For sans serif, you may need 130% or more. When setting headlines, solid leading (leading = point size, 12/12) or negative leading (leading =< point size, 12/10). may be appropriate.

12. Body copy size

Body text is set anywhere from 9-12 points. When you print text, it is usually larger than what it looked like on the screen. So, print out your text before finalizing your layout. Type studies will help you determine the proper size before you proceed with your layout.

13. Altering fonts

Donâ&#x20AC;&#x2122;t alter the original typeface by stretching or condensing the letters improperly. Certain type families provide you with a lot of flexibility, so you should not need to destroy/alter text.

14. Legibility of fonts

Sans serif typefaces work well for headlines and to set text that is aligned to vertical/horizontal lines. Certain sans serif typefaces which are not very geometrical work well for body copy (i.e. Frutiger, Meta, Scala Sans, etc.)

15. Decrease line length and increase margins

Line length is a measure of text on one line. Any measure between 45 and 75 characters is comfortable for single column widths. The ideal measure for body text length is 66 characters (counting both letters, punctuation, and spaces.) For multiple columns, a measure between 40 and 50 characters is ideal.

For single-column pages, 4.25 inches is ideal. For two-column width, columns can be as narrow as 2 inches. Turning on the hyphenation feature can improve word spacing.

19. Justification of text

Justification can be appropriate in certain places. However, it can create certain problems such as rivers and word spacing. Adjusting size of margins, decreasing body copy size, turning on auto hyphenation and manually hyphenating the text are all examples of possible solutions.

20. Choose the alignment that fits

Make sure the alignment chosen for all areas of text are legible and consistent with the design and guidelines. Left-aligned text is easier to read and set. Justified text is harder to set w/o inevitable word spacing problems. Right-aligned and centered are generally not used for body copy.

21. Rules of hyphenation

22. Avoid beginning three consecutive lines with the same word

Since software programs deal with line breaks automatically based upon a number of variables, it is possible to have paragraphs with consecutive lines beginning with the same word. When this happens simply adjust the text to avoid/fix the problem.

size

18. Ideal column width

ellipsis

For text meant for extended reading, the amount of space between words in a paragraph should be fairly close–about the width of a lowercase “i.” If the word spacing is too close, it appears as one giant word and legibility is decreased. Keep the spaces between words fairly thin, consistent and even!

e c

altering fonts

Don’t letterspace body copy as it really hampers legibility. Use letterspacing when working with caps. small caps, numbers and display text where looser type spacing may increase legibility.

17. Word spacing should be fairly close

altering

copy ndents

16. Avoid letterspacing lowercase body copy

ind

dents fonts

23. Always spell check!

ellipsis character

Once you are finished with your design, spell check the text using both of the following: a. Use spell=check option that comes with the software you are using for the project. b. Print the document and read it. The monitor and design of the document will make text look perfect when it may not be. Even if text is given to you by a client, check it. Never ever assume that it is correct. Keep a dictionary close as well.

24. Avoid widows and orphans

Widows are either single words alone on a line or single sentences alone on a new page. Orphans are single lines of copy alone at the end of a page.

use

properly

legibility

25. Kerning in headlines

Adjust the space between two particular letters to allow for more consistent negative space.

26. Indents

In continuous text, mark all paragraphs after the first with an indent of at least one “em” (3 spaces). Do NOT use three spaces but rather use the tabs or indents option in your software.

spell check!

Items in a series do not use a comma before the word “and.” (i.e., ‘peaches, apples and oranges.’)

legibility

character

spell check!

27. Items in a series

use

properly

cop size

the height of a lower case x is considered a characteristic of any given typeface. The X-height is the heart of a typeface. Big or small, sheâ&#x20AC;&#x2122;s got alottaâ&#x20AC;&#x2122; love.

x x

xxx x x

There are several factors that determine whether a text is readable. When deciding what typeface should be used for a job, consideration should be given to the typeface and its x-height. It is important to understand how a block of text can express a message through its texture/color, therefore suiting a particular design solution. Fonts set in the same size, same leading and column width will produce varying degrees of “color”. As a designer, if you are only asked to make the text readable on the page the following questions should be asked ...Readability and legibility are two key elements of printed text that typographer strive to maximize. 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. In typography, color can also describe the balance between black and white on the page of text. A typeface’s color is determined by stroke width, x-height, character width and serif styles. As a designer, if you are only asked to make the text readable on the page the following questions should be asked...

How will it be read? Quickly. Fastly. In passing. Focused. Near. Far. Who is to read it? Someone who wants to? Someone that has to?

xx x x x x

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.

x x

The relative lightness or darkness of a typeface in a block of text. DO NOT DISCRIMINATE AGAINST COLOR. All them ladiez are beautiful. You got that?

TYPOGRAPHIC COLOR

Xxhg Xxhg archer hoefler and frere jones

swift gerard unger

8.5/12 x-height: medium character width: medium color: light

8.5/12 x-height: large character width: average color: medium

Xx h g Xxhg rockwell frank pierpont

times new roman victor lardent

8.5/12 x-height: large character width: average color: medium

8.5/12 x-height: average character width: average color: medium 24

X x hg

Xxhg

goudy frederick goudy

bodoni glammbatista bodoni

8.5/12 x-height: average character width: average color: light

8.5/12 x-height: average character width: average color: medium

X x h g Xx hg rotis serif OTL archer

memphis rudolph wolf

8.5/12 x-height: large character width: narrow color: heavy

8.5/12 x-height: average character width: average color: medium 26

X x hg mrs eaves zuzana licko

8.5/12 x-height: small, character width: average color: light

X xhg melior hermann zapf

8.5/12 x-height: average character width: average color: medium

Xxhg

Xx hg

8.5/12 x-height: small character width: average color: light

8.5/12 x-height: average character width: wide color: heavy

garamond claude garamond

volta t walter baum and konrad bauer

X x hg helvetica neue max miedenger

Xxhg scala sans martin majoor

8.5/12 x-height: large character width: medium color: heavy

8.5/12 x-height: average character width: narrow color: light

X xhg

Xx hg

8.5/12 x-height: large character width: narrow color: medium

trade gothic jackson burke

helvetica max miedinger

Xx h g meta eric spiekermann

Xxhg eurostile aldo novareese

8.5/12 x-height: large character width: narrow color: medium

8.5/12 x-height: large character width: medium color: light

X xh g X xh g interstate tobias frere-jones

gotham tobias frere-jones

8.5/12 x-height: large character width: narrow color: heavy

8.5/12 x-height: large character width: wide color: light 32

X xh g Xxhg univers adrian frutiger

futura paul renner

8.5/12 x-height: large character width: wide color: heavy

8.5/12 x-height: medium character width: narrow color: medium

X xhg

X xh g

8.5/12 x-height: large character width: narrow color: light

din albert-jan pool

news gothic morris benton

“The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice.”- Josef Brockman Find a girl that locks to your grid. Don’t settle for any floating crap.

GRID STRUCTURES

When designing a layout and working with text and/or images the use of a grid is essential, as it is the basis on which information is organized and clarified, ensuring legibility. The grid provides a framework were text, image and space can be combined into a cohesive manner. A grid subdivides a page vertically & horizontally into margins, columns, inter-column spaces, lines of type, and spaces between blocks of type or images. These subdivisions form the basis of a modular & systematic approach to the layout, particularly for multi-page documents, making the design process quicker, as well as ensuring visual consistency between related pages throughout the text. At its most basic, the sizes of a grid’s component parts are determined by ease of reading and handling. From the sizes of type to the overall page or sheet size, decision-making is derived from physiology and the psychology of perception as much as by aesthetics. Type sizes are generally determined by hierarchy—captions smaller than body text and so on—column widths by optimum word counts of eight to ten words to the line, and overall layout by the need to group related items. This all sounds rather formulaic, and easy. But designers whose grids produce dynamic or very subtle results take these rules as a starting point only, developing flexible structures in which their sensibility can flourish. Grids often need to be designed to give more flexibility than the single column of text per page (Jan Tschichold’s grid). This is due to to a change in our reading patterns. Grid structures have to accommodate a greater variety of material such as photographs, illustrations, headings, captions, references, charts; they need to be more complicated than a grid using only text and may utilize more modules. The design of the grid had to be relevant to the purpose of the grid.

Tschioldâ&#x20AC;&#x2122;s Grid

Fibonacciâ&#x20AC;&#x2122;s sequence The Fibonacci sequence is a mathemetical seriess discovered in the 12th century by Leonardo Fibonacci and is used to establish proportion. The sequence of numbers established the next number for example (2+3) 5. 0 (0+1) (1+1) 2 (1+2) 3 (2+3) 5 (3+5) 8 (8+5) 13... The ratio of each successive pair of numbers approximates 1.618, the same as the golden section. The golden section is constructed through mathematical calulation: the ratio being 1:1.61703.

Column Grid

Modular Grid

Asymmetrical Grid

Baseline Grid

The following pages go over the correct way to use both apostrophes and quotes. Itâ&#x20AC;&#x2122;s a necessary for all designers to know and understand. You need a smart babe. A babe who knows grammar and knows it well.

QUOTES AND APOSTROPHES

’

“”‘

“

’ ’ ’

’’

’

Use true quotation marks and apostrophes instead of using inch marks and feet marks. Place punctuation inside the quotation marks. Use real quotation marks – never those grotesque generic marks that actually symbolize ditto/inch or foot marks: use "and" – not “and”. Most software applications will convert the typewriter quotes to the real quotes for you automatically as you type. Check the preferences for your application – you’ll find a check box to tell your application to automatically set something like “typographer’s quotes,” “smart quotes,” or “curly quotes.” Then as you type using the standard ditto key (“), the software will set the correct quotation marks for you. It is necessary to know how to set smart quotes/real quotes yourself because sometimes the software doesn’t do it or does it wrong.

“”‘

’

’“’

‘ ”

’

Quotes Opening double quote: “ Type: Option [ Closing double quote: ” Type: Option Shift [ Opening single quote: ‘ Type: Option ] Closing single quote: ’ Type: Option Shift ]

’

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

‘

” ’

’“

Apostrophe Apostrophe: ’ option shift ] People often are confused about where the apostrophe belongs. There are a couple of rules that work very well:

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’).

For contractions: The apostrophe replaces the missing letter. For example: your’re always means you are; the apostrophe is replacing the a from are. That’s an easy way to distinguish it from your as in your house and to make sure you don’t say: Your going to the store. As previously noted, it’s means “it is”; the apostrophe is indicating where the i is left out. Don’t means “do not”; the apostrophe is indicating where the o is left out.

‘”

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.”

’ ’

It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes — and neither should its.

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.

’ “ ’

“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.”

In a phrase such as Gone Fishin’ the same pattern is followed — the g is missing.

‘

“ ”

In a date when part of the year is left out, an apostrophe needs to indicate the missing year. In the 80s would mean the temperature; In the ’80s would mean the decade. (Notice there is no apostrophe before the s! Why would there be? It is not possessive, nor is it a contraction — it is simply plural.

The following pages go over the correct way to use ‘en’ dashes, ‘em’ dashes, and hyphens as well. It’s necessary designers to know and understand how to use them correctly. Be sure you know when to throw in a dash of romance for your boo.

DASHES

-— – -— – —

-– — – – — -

-— –

– —

Always use proper ‘em’ dashes, ‘en’ dashes, and hyphens. Never use two hyphens in place of a dash. 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 or given text that uses 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.

- -— – – – – —

hyphen en dash – em dash —

An em is a unit of measure equal to the point size that you are using. An em dash is a type of punctuation used to offset clauses in a sentence or to indicate an abrupt change in thought. An en dash is equal to half the length of an em dash. En dashes are used to denote duration (time.)

– — 54

Hyphen A hyphen is one third of the em rule and is used to link words. It serves as a compound modifier where two words become one, such as x-height. A hyphen is also used to break works at syllables in text blocks.

-— – – – En dash – To type an en dash: – Option Hyphen hold the Option key down, then tap the hyphen key

– —

An en dash is half of the em rule (the width of a capital N) and is used between words that indicate a duration, such as time or months or years. Use it where you might otherwise use the word “to.”

In a page layout application, the en dash can be used with a thin space on either side of it. If you want you can kern it so it is not a full space. October – December 6:30 – 8:45 A.M. 4 – 6 years of age

–

– —

Em dash — To type an em dash — Shift Option Hyphen Hold the Shift and Option keys down, and then you tap the hyphen key. The em dash is twice as long as the en dash—it’s about the size of a capital letter M in whatever size and typeface you’re using at the moment. This dash is often used in place of a colon or parentheses, or it might indicate an abrupt change in thought, or it’s used in a spot where a period is too strong and a comma is too weak. It is also used for attribution of text.

– -– —— -– -– -— – -— Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Using two hyphens (or worse, one) where there should be an em dash makes your look very unprofessional. When using an—no space is used on either side.

-— –

- –

The following pages go over small caps and how to use them correctly. A lady without true small caps is not a classy lady. You need a classy typface. No one wants to date a fake girl.

SMALL CAPS

sos

fbi

cnn

asap

a.m.

dob

cia

nasa epsn p.m. mtv

Small caps are uppercase (capital) letters that are about the size of normal lowercase letters in any 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 means that they can be used within a body of copy without looking noticeably wrong. When setting text that contains acronyms, select a typeface with small caps as a family. Selecting small caps from the style menus is a poor choice because the compute reduces the overall size of the type by 80%. This changes the stroke weight and the feel of the font. Expert sets in the Adobe Type Library have small caps options. Use small caps for acronyms. Set acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines. Use small caps for common abbreviations. Set common abbreviations such as AM or PM in small caps so they donâ&#x20AC;&#x2122;t overpower the accompanying text. Use small caps for A.M. and P.M.; space once after the number, and use periods. (if the font does not have small caps reduce the font size slightly) Use true small caps fonts. Avoid simply resizing capital letters or using the small caps feature in some programs. Instead use typefaces that have been specifically created as small caps. Serif small caps: Times new Roman Minion Pro Bauer Bodoni Bodoni Baskerville Didot

Sans Serif small caps:: Tahoma Futura TheSans

There is No Rest for the Wicked. The Wicked are Very Weary. Notice how inconsistent the line weight is.

sos

There is No Rest for the Wicked. The Wicked are Very Weary. Font: Bodoni Typefaces with a Small Caps or Old Style set are specifically designed to have an even stroke weight while using it.

asap

a.m.

nas

asa p.m.

epsn p

cia dob

cnn

Harriet, an fbi agent, turned on cnn to get the dirt on the cia before going to bed at 9:30 P.M. Font: Meta The capital letters in the middle of the sentence call too much attention to themselves. Notice how the small caps blendin in with the text. The capital letters for P.M. are much too largeâ&#x20AC;&#x201D; the abbreivation is not that important.

nas

epsn p

dob

0 1

In typography, the symbols used to represent numbers are commonly referred to as figures or numerals. Linging or oldstyle, just be sure to know the difference. You gotta be an educated partner for your girl.

NUMERALS/FIGURES

12 3 789

456

12345

789

Lining figures (also called aligning, cap, or modern figures) approximate capital letters in that they are uniform in height, and generally align with the baseline and the cap height. In some traditional typefaces, certain numerals extend slightly above and/or below the baseline and/or the cap height. Oldstyle figures (also known as non-lining figures) do not line up on the baseline as regular or lining numerals do. Oldstyle figures can be found in various fonts. 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. They have more of a traditional, classic look and are very useful and quite beautiful when set within text. However, 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. Serif Oldstyle Figures: Baskerville Didot Mrs. Eaves Adobe Caslon Expert Janson

Sans Serif Oldstyle Figures: Meta Scala Sans Neutra

Use aligning numbers in an example: Dear John, please call me at 438. 9762 at 3:00 to discuss marriage or write me at Route 916, zipcode 87505

Lining

Oldstyle

12 134 17 1023 323

12.5 134.76 17.8567 1023.4 323.12

12 134 17 1023 323

12.5 134.76 17.8567 1023.4 323.12

Dear John, please call me at 438. 9762 at 3:00 to discuss marriage or write me at Route 916, zipcode 87505

1 9 4

The following pages show different ways to treat paragraph breaks. You can get creative with it. All the baes got a story to tell. How are you supposed to understand hers without a good paragraph break?

PARAGRAPH BREAKS

Paragraph breaks set a rhythm for the reader. The breaks have a relationship with the column of text as well as the page margins. A break may be introduced as an indentation, as a space, or even by both. The over all page feel will be influenced by your choice. In typography there are 4 rules regarding paragraph breaks: 1. first line at the beginning of an article should be flush left (do not indent first paragraph on the page) 2. block paragraphs are flush left and are separated by extra leading not a full return 3. the amount indent is = to the leading (sometimes needs a bit more, it depends on the situation) 4. never hit two returns between paragraphs

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention from all over. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

FUTURISM WAS FIRST ANNOUNCED ON FEBRUARY 20, 1909, WHEN THE PARIS NEWSpaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. BUT IS IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE WE LIVE AND work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM BRISTLED WITH a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract attention. But is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-ofthe-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is the movements But is the movements which survive, which oddly, survive, hereoddly, wherehere we live where andwe work liveas and poets work and as artists: poets and or, artists: or, if not the movements, if not the movements, then their then sensetheir of artsense as anoflife artitself. as anAll lifeofitself. which, All as of futurism, which, ashad futurism, come had come sharply into sharply focus by intothe focus startbyofthe thestart world of war: the world a firstwar: radical a first mixradical of art mix and of life,artthe and epitome life, theinepitome in the poplarthe mind poplar of anmind avant-garde. of an avant-garde. It was, on both It was, itson Russian both its & Russian Italian sides, & Italian the first sides, great the “art” first great “art” movementmovement led by poets; ledand by poets; if its means and if now its means sometimes now sometimes seem exaggerated seem exaggerated or unripe in or unripe in retrospect,retrospect, they carry they within carry them within the seed themofthe allseed that of weall were thatlater we were to become. later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-ofthe-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

FUTURISM WAS FIRST ANNOUNCED ON FEBRUARY 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. BUT IS IS THE MOVEMENTS WHICH SURVIVE, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE MARINETTI’S OPENING MANIFESTO for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

The following pages show different ways to use headers, subheads, and crossheads. It’s important to know how all three of those things work together as a team. If you and your boo don’t work together well as a team, how is marriage ever going to work between the two of you?

HEADERS, SUBHEADS, & CROSSHEADS

HEADER subheader

HEA DER subheader

HEADER

subheader

HE AD ER

SUBHEADER

Header a word, phrase, etc., that is placed at the beginning of a document, passage, etc., or at the top of a page Subhead a subordinate caption, title, or headline The header or headline needs to be bold, or else it wont jump out at the reader. Headers give the reader a starting point and help eliminate confusion. They are first in hierarchy and set the organizational tone of the page. Headers should also be well written and clever, because first impressions count. Other types of headers include running headers, which is a header that appears on each page â&#x20AC;&#x201D;such as a the book title on the right hand page and the chapter title on the left hand page. Designers should embrace headers as organization is a primary focus of typography & graphic design.

EA ER

header

WORDS IN LIBERTY Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo A PROLOGUE Tommaso Marinetti. The name Futurism, coined by Marinetti, TO FUTURISM reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention from all over. But is is the movements which survive, oddly, here where we live and work as poets and artists: RACIAL MIX OF or, if not the movements, then their sense of art as an life itself. All of which had come sharply into focus by the start of the world war: ART AND LIFE 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 in them the seed that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

WORDS IN LIBERTY A PROLOGUE TO Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published FUTURISM a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. RACIAL MIX OF But is is the movements which survive, oddly, here where we live and work as poets and artists: or, ART AND LIFE if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

subh

SUBHEA

HEAD subhe 88

subheader

AD ER

WORDS IN LIBERTY A PROLOGUE TO FUTURISM FUTURISM WAS FIRST ANNOUNCED ON FEBRUARY 20, 1909, WHEN THE PARIS NEWSpaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

RACIAL MIX OF ART AND LIFE BUT IS IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE WE LIVE AND work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM BRISTLED with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

H D

SUBH

HEADER subheader

subheader

WORDS IN LIBERTY A PROLOGUE Futurism was first announced on February 20, 1909, when the Paris newspaper A PROLOGUE TO FUTURISM Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso TO FUTURISM

RACIAL MIX OF ART AND LIFE

Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-ofthe-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

H D

SUBH

HEADER subheader

subheader

WORDS IN LIBERTY A PROLOGUE TO FUTURISM

RACIAL MIX OF ART AND LIFE

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, by emphasizing two dominant themes. 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 attract attention. But is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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WORDS IN LIBERTY

A PROLOGUE TO FUTURISM Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published

a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. RACIAL MIX OF ART AND LIFE But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that later became. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-ofthe-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.” 92

WORDS IN LIBERTY Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a RACIAL MIX OF manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined ART AND LIFE by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant

art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is the movements which survive, oddly, here where we live and work as poets and artists: or, if not A PROLOGUE the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply TO FUTURISM into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is the movements But is the which movements survive, which oddly, survive, here where oddly, we here live where and work we live asand poets work andasartists: poets or, and artists: or, if not the movements, if not the movements, then their sense thenof their art sense as an of lifeart itself. as an Alllife of itself. which, Allasoffuturism, which, as had futurism, come had come sharply intosharply focus byinto thefocus start by of the world first radical mix radical of art and theand epitome in epitome in start ofwar: the aworld war: a first mixlife, of art life, the the poplar mind of an mind avant-garde. It was, on both its Russian sides, the first greatthe “art” the poplar of an avant-garde. It was, on both&itsItalian Russian & Italian sides, first great “art” movement led by poets;led and its means sometimes exaggerated or unripe inor unripe in movement byifpoets; and ifnow its means nowseem sometimes seem exaggerated retrospect, they carry within themwithin the seed of all later become. retrospect, they carry them thethat seedwe of were all that wetowere later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.” A PROLOGUE TO FUTURISM

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A PROLOGUE TO FUTURISM

WORDS IN LIBERTY Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-ofthe-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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FUTURISM WAS FIRST ANNOUNCED ON FEBRUARY 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. BUT IS IS THE MOVEMENTS WHICH SURVIVE, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE MARINETTI’S OPENING MANIFESTO for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 , “Everything of any value is theatrical.”

RACIAL MIX OF ART AND LIFE

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Footnotes & end notes are very necessary components of scholarly writing. Theyâ&#x20AC;&#x2122;re also used by writers of fiction, from MobyDick to contemporary novelists. Whether their intent is academic or artistic, footnotes present special typographic challenges. Pay close attention to all the small details of your boo. Even the footnotes matter.

CAPTIONS AND NOTES

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These general guidelines will help you design footnotes and endnotes that are easily readable, legible and economical in space. (Note that all academic presses and journals can be sticklers for format: before proceeding, check with your client or publisher to see if they have a specific stylesheet that must be followed.) 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. Numbers or Symbols: Footnotes are most often indicated by placing a superscript numeral immediately after the text to be referenced. The same superscript numeral then precedes the footnoted text at the bottom of the page. Numbering footnotes is essential when there are many of them, but if footnotes are few they can be marked with a dagger, asterisk, or other symbol instead. Endnotes should always use numerals for easy referencing.

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

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PHILIP MEGGS, HISTORY OF GRAPHIC DESIGN, VAN NOSTRAND REINHOLD, 198 PPAROLE IN LIBERTA = WORDS SET FREE (LIBERTY) 3 SELBST = HIMSELF

A PROLOGUE TO FUTURISM

PHILIP MEGGS, HISTORY OF GRAPHIC DESIGN, VAN NOSTRAND REINHOLD, 198 1

RACIAL MIX OF ART AND LIFE

PPAROLE IN LIBERTA = WORDS SET FREE (LIBERTY) 2

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Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo A PROLOGUE Tommaso Marinetti. The name Futurism, coined by Marinetti, TO FUTURISM reflected his emphasis on discarding what he conceived to be 1 Philip Meggs, History the static and irrelevant art of the past and celebrating change, of Graphic Design, Van originality, and innovation in culture and society. Futurism rejected Nostrand Reinhold, 198 traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention from all over. But is is the movements which survive, oddly, here where we live and work as poets and artists: RACIAL MIX OF or, if not the movements, then their sense of art as an life itself. All of which had come sharply into focus by the start of the world war: ART AND LIFE 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 in them the seed that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance 2 Parole in liberta = in favor of the transformed present (1909), the later manifestos of words set free Futurist poets and artists offered formal, “technical” approaches to 3 selbst = himself the works then getting under way. The key term--still resonant today-was parole in libertà, by which poetry was to be “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3, “Everything of any value is theatrical.”

WORDS IN LIBERTY

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WORDS IN LIBERTY

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a RACIAL MIX OF manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined ART AND LIFE by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant

art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. PHILIP MEGGS, HISTORY OF GRAPHIC DESIGN, VAN REINHOLD, 198 But is the movements which survive, oddly, here where we live and work as poets and artists: or, if not A PROLOGUE the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply TO FUTURISM into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst (circa 1915), “Everything of any value is theatrical.” PPAROLE IN LIBERTA = WORDS SET FREE (LIBERTY) SELBST = HIMSELF 1

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PPAROLE IN LIBERTA = WORDS SET FREE (LIBERTY)

RACIAL MIX OF ART AND LIFE

PHILIP MEGGS, HISTORY OF GRAPHIC DESIGN, VAN NOSTRAND REINHOLD

A PROLOGUE TO FUTURISM

WORDS IN LIBERTY

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-ofthe-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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WORDS IN LIBERTY

PHILIP MEGGS, HISTORY

OF GRAPHIC DESIGN, VAN NOSTRAND 198

REINHOLD,

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that later became. 2

PPAROLE

LIBERTA

WORDS SET FREE (LIBERTY)

SELBST = HIMSELF

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-ofthe-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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The width of a column can alter your readibility. Itâ&#x20AC;&#x2122;s important to understand appropriate widths for columns so that readers can easily read your text. You need to be able to look at your babe and know what width fits her best.

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Having the right amount of characters on each line is key to the readability. It should not merely be your design that dictates the width of your text, it should also be a matter of legibility. The optimal line length for your body text is considered to be 50-60 characters per line, including spaces. Reading takes place in small leaps of 5–10 characters at a time. 55–60 characters per line could be considered an appropriate line length, allowing the eye 6–12 quick stops on each line. Narrower lines would cause the reader to have to switch from line to line unnecessarily often, and they also cause problems with the way justified columns appear. If a line of text is too long the visitor’s eye will have a hard time focusing on the text. This is because the length makes it difficult to get an idea of where the line starts and ends. Furthermore it can be difficult to continue from the correct line in large blocks of text. If a line is too short the eye will have to travel back too often, breaking the reader’s rhythm. Too short lines also tend to stress people, making them begin on the next line before finishing the current one (hence skipping potentially important words).

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

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

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

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

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When justifying type: 1. line length in picas should be twice point size of type (2.12 inches line length=24 picas) divide picas by 6 to convert 24 To inches 24 picas=6 inches

12 pt pt type= 24pica line=6 inche-wide column

9 pt type= 18pica line=3 inch-wide column

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The following pages discuss leading, which is the vertical spacing between lines of text, and the rules regarding it. Be sure that you find a bae who allows herself room to breathe. If you donâ&#x20AC;&#x2122;t, youâ&#x20AC;&#x2122;re gonna find yourself digging for years on end to fully understand and read her.

LEADING

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Line spacing is the vertical distance between lines of text. Leading is the hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them accurately. Leading is specified in points and refers now days to the space between lines of a text block. Leading introduces space into the text block and allows characters to “breathe” so the information is easy to read. To achieve a balanced and and well-spaced text block, leading usualy has a higher point size than the text it is associated with, for example 9pt text maybe set with 12pt leading. Most writers use either double-spaced lines or single-spaced lines—nothing in between—because those are the options presented by word processors. These habits are held over from the typewriter era. Originally, a typewriter’s carriage could only move vertically in units of a single line. Therefore, linespacing choices were limited to one, two, or more lines at a time. Double spacing became the default because single-spaced typewritten text is dense and hard to read. But double-spacing is still looser than optimal.

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Negative Leading

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Normal Leading

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

Extreme Leading Futurism was first announced on February

Futurism was first announced on February 20, 1909, when

20, 1909, when the Paris newspaper

the Paris newspaper Le Figaro published a manifesto by

Le Figaro published a manifesto by the

the Italian poet and editor Filippo Tommaso Marinetti.

Italian poet and editor Filippo Tommaso

The name Futurism, coined by Marinetti, reflected his

Marinetti. The name Futurism, coined

emphasis on discarding what he conceived to be the static

by Marinetti, reflected his emphasis

and irrelevant art of the past and celebrating change,

on discarding what he conceived to be

originality, and innovation in culture and society. Futurism

the static and irrelevant art of the past

rejected traditions and glorified contemporary life, mainly by

and celebrating change, originality,

emphasizing two dominant themes, the machine and motion.

and innovation in culture and society.

The works were characterized by the depiction of several

Futurism rejected traditions and glorified

successive actions of a subject at the same time. Marinettiâ&#x20AC;&#x2122;s

contemporary life, mainly by emphasizing

manifesto glorified the new technology of the automobile and

two dominant themes, the machine and

the beauty of its speed, power, and movement. He exalted

motion. The works were characterized by

violence and conflict and called for the sweeping repudiation

the depiction of several successive actions

of traditional cultural, social, and political values and the

of a subject at the same time. Marinettiâ&#x20AC;&#x2122;s

destruction of such cultural institutions as museums.

manifesto glorified the new technology of

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

the automobile and the beauty of its speed,

newspaper Le Figaro published a manifesto by the Italian poet and editor

power, and movement. He exalted violence

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

and conflict and called for the sweeping

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

repudiation of traditional cultural, social,

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

and political values and the destruction of

innovation in culture and society. Futurism rejected traditions and glorified

such cultural institutions as museums and

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 mani-

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The following pages discuss kerning, which is the amount of space between letters within text. Sometimes a girl just needs to be kerned. She’ll come home from a bad day after work, and all she’ll need is a nice kerning. Know when its right kern your typeface, she’ll appreciate you so much more.

KERNING

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kern

k e r n

kern

n r e k kern k e r n

kern

Kerning is an adjustment of the amount of space between two different letters. The characters of the Latin alphabet emerged over time; they were never designed with mechanical or automated spacing in mind. Thus some letter combinations look awkward without special spacing considerations. Gaps occur, for example, around letters whose forms angle outward or frame an open space (W, Y, V, T). In metal type, a kerned letter extends past the lead slug that supports it, allowing two letters to fit more closely together. In digital fonts, the space between letter pairs is controlled by a kerning table created by the type designer, which specifies spaces between problematic letter combinations. Working in a page layout program, a designer can choose to use metric kerning or optical kerning as well as adjusting the space between letters manually where desired. A well-designed typeface requires little or no additional kerning, especially at text sizes. metric kerning uses the kerning tables that are built into the typeface. When you select metric kerning in your page layout program, you are using the spacing that was intended by the type designer. Metric kerning usually looks good, especially at small sizes. Cheap novelty fonts often have little or no built-in kerning and will need to be optically kerned. optical kerning is executed automatically by the page layout program. Rather than using the pairs addressed in the fontâ&#x20AC;&#x2122;s kerning table, optical kerning assesses the shapes of all characters and adjusts the spacing wherever needed. Some graphic designers apply optical kerning to headlines and metric kerning to text. You can make this process efficient and consistent by setting kerning as part of your character styles.

k e r n

kern

nre

kern

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Left aligned, ragged right, center aligned, justified, and everything else that’s important. The alignment of a girl is the like the part in her hair: it can be parted on the left or the right. Find a true babe who knows what looks natural. You don’t want a honey with a nasty middle part if it don’t look natural on her.

ALIGNMENTS

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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. 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.

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Left Aligned, Ragged Right Speaking just in terms of alignment, left aligned (Flush Left, Ragged Right) text is the most readable. Left aligned text uses the optimum word spacing and letter spacing that the designer built into the font, and the spacing is very consistent so you do not have to struggle through the words at all. And as you read, your key can quickly find the beginning of the next line. Often considered more informal, friendlier than justified text. The ragged right edge adds an element of white space. May require extra attention to hyphenation to keep right margin from being too ragged. Generally type set left-aligned is easier to work with (i.e. requires less time, attention, and tweaking from the designer to make it look good). If you bump (soft return) words down), be sure to do it as the last south in your final layout. Otherwise when you edit the text, change the type size or column width, alter the layout in any way, you will end up with tab spaces, empty spaces or line breaks in the middle of your sentences. Fortunately, in flush left alignments you can easily make type corrections and adjust lines, often without effecting the rest of the text. Because you can control where lines end you can try to avoid beginning consecutive lines with the same word. Avoid ending consecutive lines with the same word. And avoid ending lines with the words: the, of, at, a, by...

Center Aligned There is nothing inherently wrong with centered text. As with ragged right or fully-justified text alignment, what works for one design might be totally inappropriate for another layout. There are simply fewer situations where centered text is appropriate. When in doubt, donâ&#x20AC;&#x2122;t center it. 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 insists on something different.

Justified When you justify text, the computer forces the lines to extend to a certain length by adding or deleting space between the words, and sometimes between the letters. Some programs let you specify the minimum and maximum amounts the spacing can adjust, but the computer will override your specifications if necessary. The greatest problem with justified text, both in terms of readability and aesthetics, is the uneven word spacing and letter spacing: some lines have extra spacing, some less. This irregularity is visually disturbing and interrupts reading. The shorter the line length in relation to the size of the type, the worse this problem becomes because there are fewer words between which to add or delete space. * Please make an example of this in your workbook) One simple rule for determining whiter a line length is “long enough” to justify is this: The line length in picas should be twice the point size of the type. If you are using 12 point type, the minimum line length you should try to justify is 24 picas (6 picas = 1 inch). For many years, justified type reigned supreme as the way to set most text. But the trend over the past couple of decades has been to allow the natural spacing of flush left text to dominate, losing the structured look of the “block” of text and maximizing readability.

Notice how awkward the spaces between wordslooks. It’s very hard to read. The shorter the line length in relation to the type size, the worse the problem. The type size used here is 8.5, and the line length is about one inch.

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Justifying text is tricky. Many people want to jump into justification without realizing that there are many easy mistakes that can bemade. It’s like rushing into a relationship with someone you don’t know. Unless you really know the person, you’re bound to fail. Come on now. You’re better than that. Learn the rules.

JUSTIFICATION

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Justify text only if the line is long enough to prevent awkward & inconsistent word spacing. The only time you can safely justify 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. Reminder: 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 Rivers 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. Widows and Orphans Never leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program you’re working in. Sometimes widening a margin just a hair will do it. But it must be done. Widows and orphans on a page are wrong. Widow When a paragraph ends and leaves fewer than seven characters (not words, characters) on the last line, that line is called a widow. Worse than leaving one word at the end of a line is leaving part of a word, the other part being paraphrased on the line above. Orphan When the last line of a paragraph, be it ever so long, won’t fit at the bottom of a column and must end itself at the top of the next column, that is an orphan. ALWAYS correct this.

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Font: Baskeville, 1 Column, Left Justified Word Spacing: 20 | 60| 65 Letter spacing: 0 | 0 | 2 20% word spacing is too tight Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Word Spacing: 120 | 135 | 150 Letter spacing: 0 | 0 | 10 There is a good amount of space between letters, but the word spacing between words is too large. Lots of rivers. 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

Word Spacing: 40 | 5 0 | 60 Letter spacing: 0 | 0 | 2 Everything feels too tight here. Hard to read. Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Word Spacing: 80 |110 | 250 Letter spacing: 0 | 0 | 4 This feels the best out of all the trials. Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Word Spacing: 50 | 60| 70 Letter spacing: 0 | 0 | 2 Even tighter than before. Hard to focus on words. Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

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Font: Interstate Light, 1 Column, Left JustiWord Spacing: 20 | 60| 65 Letter spacing: 0 | 0 | 2 Word spacing is too tight. Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction

Word Spacing: 120 | 135 | 150 Letter spacing: 0 | 0 | 10 There are a lot of rivers here. Too much word spacing for the eye. 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.

Word Spacing: 40 | 5 0 | 60 Letter spacing: 0 | 0 | 2 Word spacing is too tight. 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,

Word Spacing: 50 | 60| 70 Letter spacing: 0 | 0 | 2 Word spacing is a little better, but still feels too tight to read. My eyes are confused. 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,

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Hyphenation also plays a critical role on the readability of your text. Let’s get serious for a second. Hyphenation matters in a boo. No one wants a typeface that’s choppy and hard to read. AND No one wants a boo with bad hyphenation. She’ll never shut up because her stories will just drag on for hours on end with hyphenation all over the place.

HYPHENATION RULES

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Don’t rely on the software to judge where hyphens should be placed. At the end of lines, leave at least two characters behind and take at least three forward. For example, “ele-gantly” is acceptable, but “elegant-ly” is not because it takes too little of the word to the next line. Avoid leaving the stub end of a hyphenated word or any word shorter then four letters as the last line of a paragraph. Avoid more then 3 consecutive hyphenated lines. Avoid hyphenating or breaking proper names and titles. Creating a non-breaking space before and after the name will ensure that the name will not break. Avoid beginning three consecutive lines with the same word Since software programs deal with line breaks automatically based upon a number of variables, it is possible to have paragraphs with consecutive lines beginning with the same word. When this happens simply adjust the text to avoid/fix the problem.

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Hyphenation rules pay attention to: *how the text is read avoid widows (one word on the last line) *avoid hyphenating or line brakes of names and proper nouns *leave a least 2 characters on the line and 3 following *avoid beginning consecutive lines with the same word *avoid ending consecutive lines with the same word *avoid ending lines with the words: the, of, at, a, by... *never hyphenate a words in a headline and avoid in callouts

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When combining serif and sans serif text fonts, one should try and match the characteristics of form and type color: proportion, x-heights, etc. If you donâ&#x20AC;&#x2122;t know your honey well enough to match her up right and bring her best qualities to light, youâ&#x20AC;&#x2122;re sunk man.

COMBINING TYPEFACES

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D F I K

â&#x20AC;&#x153;There is not 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;? 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}

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Words in Liberty A PROLOGUE TO FUTURISM: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto

Futurism rejected traditions and glorified

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

contemporary life, mainly by emphasizing two

Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrel-

dominant themes,

evant art of the past and celebrating change, originality, and innovation in culture and soci-

the machine and motion.

ety. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He

Eurostile + Mrs Eaves

Headline: Subhead: Intro Text: Body Text: Call Out:

24pt Eurostile,medium 12pt Eurostile, regular 9pt MrsEaves, italic 9pt MrsEaves, roman 12pt Eurostile, oblique

These two fonts work together based on the typographic color and character width. They seem to complement each other nicely because they seem very similar when put together on a page.

Words in Liberty

C D I

H J

A PROLOGUE TO FUTURISM: FUTURISM WAS FIRST ANNOUNCED ON FEBRUARY 20, 1909, WHEN THE

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.

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 automo-

Scala Sans + Garamond

Headline: Subhead: Intro Text: Body Text: Call Out:

24pt Scala Sans, bold 12pt Scala Sans, bold, caps 9pt Garamond, bold, all caps 9pt Garamond, regular 12pt Garamond, Italic

These two fonts work together based on the typographic color and character width. They seem to complement each other nicely because they seem very similar when put together on a page.

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Words in Liberty A PROLOGUE TO FUTURISM: FUTURISM WAS FIRST ANNOUNCED ON FEBRUARY 20, 1909, WHEN THE PARIS

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.

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 glori-

News Gothic + Rotis Serif

Headline: Subhead: Intro Text: Body Text: Call Out:

30pt News Gothic, 30bold 12pt News Gothic, medium 9pt Rotis Serif, 55, all caps 9pt Rotis Serif, 55, regular 12pt Rotis Serif, 56 Italic

These two fonts both have a narrow character width and a large x height. With that in mind, they both have a similar look when placed onto the page together.

Words in Liberty A PROLOGUE TO FUTURISM: FUTURISM WAS FIRST ANNOUNCED ON FEBRUARY 20, 1909,

Futurism rejected traditions

when the Paris newspaper Le Figaro published a manifesto by the

and glorified contemporary

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

life, mainly by emphasizing

coined by Marinetti, reflected his emphasis on discarding what he con-

two dominant themes, the

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

machine and motion.

I HJ

Headline: 24pt Gotham,ultra Subhead: 12pt Gotham, light italic Intro Text: 9pt Volta T, regular caps Body Text: 9pt Volta T regular Call Out: 12pt Volta T, medium italic

Gotham + Volta T

These two fonts both have a wide character width. They both take up a lot of room on the page, and that makes them look as if they are a set.

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Words in Liberty A PROLOGUE TO FUTURISM: Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.

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

C F

Headline: Subhead: Intro Text: Body Text: Call Out:

30pt Univers, 65bold 12pt Univers, 55roman, caps 9pt Goudy Old Style, all caps 9pt Goudy Old Style, regular 12pt Goudy Old Style, Italic

Goudy + Univers

These two fonts differ in x height, character width and color, but the contrast between the two of them is nice. I think the difference between them is interesting to look at.

WORDS IN LIBERTY A PROLOGUE TO FUTURISM:

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

Futurism rejected traditions

per Le Figaro published a manifesto by the Italian poet and editor Filippo

and glorified contemporary

Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his

life, mainly by emphasizing

emphasis on discarding what he conceived to be the static and irrelevant art

two dominant themes, the

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

machine and motion.

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

Bodoni + Frutiger

Headline: 24pt Bodoni,bold italic Subhead: 12pt Bodoni, book Intro Text: 9pt Frutiger, 56 italic, caps Body Text: 9pt Frutiger, 55 roman Call Out: 12pt Frutiger, 66 Bold Italic

What I find interesting about these two fonts in combination is how well they both pop off of the page. The typographic color for both of this is quite dark, and it really makes the page stand out.

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WORDS IN LIBERTY A PROLOGUE TO FUTURISM: Futurism was first announced on February 20, 1909, when the Paris newspaper Le

Futurism rejected traditions

Figaro published a manifesto by the Italian poet and editor Filippo Tommaso

and glorified contemporary

Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on dis-

life, mainly by emphasizing

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

two dominant themes, the machine and motion.

brating 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

Rockwell + DIN

Headline: Subhead: Intro Text: Body Text: Call Out:

24pt Rockwell, extra bold 12pt Rockwell, light 9pt DIN, italic 9pt DIN, regular 12pt DIN, medium italic

Both of these fonts have a dark typographic color, which I like because everything on the page really contrasts with the white background. The whole page just pops in a nice, appealing way.

A G

WORDS IN LIBERTY A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le

Futurism rejected traditions and

Figaro published a manifesto by the Italian poet and editor Filippo Tommaso

glorified contemporary life, main-

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

ly by emphasizing two dominant

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

themes, the machine and motion.

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.

Akzdenkz Grotesk + Janson Text

Headline: Subhead: Intro Text: Body Text: Call Out:

24pt Akzdenkz, bold 12pt Akzdenkz, regular 9pt Janson, 56 italic 9pt Janson, T 75 bold 12pt Janson, medium italic

What I like about the combinaton of these two fonts is the striking contrast between them. The character width and the x height are both very different.

156

Words in Liberty

C I F D HJ F H

A PROLOGUE TO FUTURISM: FUTURISM WAS FIRST ANNOUNCED ON FEBRUARY 20, 1909, WHEN THE

Futurism rejected traditions

Paris newspaper Le Figaro published a manifesto by the Italian poet and editor

and glorified contemporary

Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his

life, mainly by emphasizing

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

two dominant themes, the machine and motion.

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.

Swift + Helvetica

Headline: Subhead: Intro Text: Body Text: Call Out:

30pt Swift, extra bold 12pt Swift, bold, all caps 9pt Helvetica, regular all caps 9pt Helvetica regular 12pt Helvetica, oblique

The typographic color is consistent between the two is consistent, and that creates a sense of unity and uniform with the combincaiton of these two fonts.

D I F DI K

Futurism rejected traditions and

WORDS IN LIBERTY A PROLOGUE TO FUTURISM: FUTURISM WAS FIRST ANNOUNCED ON FEBRUARY 20, 1909, WHEN THE Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo

glorified contemporary life, main-

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

ly by emphasizing two dominant

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

themes, the machine and motion.

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

Futura + Baskerville

Headline: 24pt Futura, heavy oblique Subhead: 12pt Futura, medium Intro Text: 9pt Baskerville, all caps Body Text: 9pt Baskverville, regular Call Out: 12pt Baskerville, SemiBold italic

The typographic color is so different between these two fonts. They create an appealing contrast, and you are really able to see the header and subhead from afar. So the typographic color here really helps with the hierarchy of the page.

158

Your girl is gonna thank you later in life for doing these things. Prepare yourself for the future and all the ladies are going to want you.

FONT SPECS

160

CLASSIFICATION:

Archer

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

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

BOLD ITALIC

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

CLASSIFICATION: GROTESQUE

Akzidenz Grotesk

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

162

CLASSIFICATION: TRANSITIONAL

Baskerville

MxaogGdQRt REGULAR

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

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

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

BOLD

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

CLASSIFICATION: SLAB SERIF

Belizio

MxagGdQrR REGULAR

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

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

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

164

CLASSIFICATION: GROTESQUE

Bell Gothic

MxagGdQrRI 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.

LIGHT

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

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

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

CLASSIFICATION: OLD STYLE

Bembo

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

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(){}?!@&*

166

CLASSIFICATION: NEW TRANSITIONAL

Bookman

MxaogGdQrR REGULAR

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

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

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

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

CLASSIFICATION: MODERN (DIDONE)

Bodoni

MxaogGdQrRst REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3456789 ITALIC

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 168

Caslon

CLASSIFICATION: 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

CLASSIFICATION: TRANSITIONAL

Century Schoolbook

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 7 890(){}?!@&* BOLD ITALIC

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (){}?!@&* 170

CLASSIFICATION: OLD STYLE

Cheltenham

MaxogGdQrRs REGULAR

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

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

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

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

CLASSIFICATION: SLAB SERIF

Clarendon

MxagGdQrRt LIGHT

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

172

CLASSIFICATION: GROTESQUE

DIN

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 { ? ! @ & * BLACK

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

CLASSIFICATION: MODERN

Didot

MxaogGdQrRt REGULAR

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

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

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

174

CLASSIFICATION: MODERN

Filosofia

MxnaopQrRtfGg REGULAR

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

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

UNICASE

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

CLASSIFICATION: GROTESQUE

Franklin Gothic

MaxodQRtfGg BOOK

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

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

HEAVY

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

176

CLASSIFICATION: HUMANIST

Frutiger

MaxodQRtfGg CONDENSED

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

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

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

ULTRA BLACK

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

CLASSIFICATION: GEOMETRIC

Futura

MxaopQRstGg BOOK

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

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

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

178

CLASSIFICATION: MODERN

Helvetica

MaoygGdQrRt

REGULAR

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

BOLD

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

ULTRA 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 ( ) { } ? ! @ & *

CLASSIFICATION: GROTESQUE HUMANIST

Gill Sans

MaxnbyogGQRt REGULAR

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

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

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 ( ) {}?!@&*

180