Nuance by annaclaire

N U A N C E DETAILS IN TYPOGRAPHY

A. CLAIRE ZIMMERMAN UNIVERSITY OF KANSAS 2014

Table of Contents

CHECKLIST RULES SPECIAL CHARACTERS QUOTES & APOSTROPHES DASHES GRID STRUCTURES SMALL CAPS NUMERALS & FIGURES X-HEIGHT COLUMN WIDTH LEADING KERNING ALIGNMENTS JUSTIFICATION HYPHENATION RULES COMBINING TYPEFACES PARAGRAPH BREAKS HEADERS, SUBHEADS & CROSSHEADS CAPTIONS & NOTES FONTS SPECS

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1

1 1 2 2 3 3 3 2 5 5 5 6 6 7 8 9 0 1

5 7 3 6 0 5 1 4 7 8 3 4 7 0 8 2 5 7 5 3

CHAPTER 1

C H E C K L I S T

z USE ONLY ONE SPACE BETWEEN SENTENCES. z AVOID ENDING LINES WITH THE WORDS: THE, OF, AT, A, BY.. z MAKE SURE THE APOSTROPHES ARE WHERE THEY BELONG. z EITHER INDENT THE FIRST LINE OF PARAGRAPHS OR ADD EXTRA SPACE BETWEEN THEM NOT BOTH. z EVER HAVE ONE LINE IN A PARAGRAPH IN THE COLUMN OR FOLLOWING. z HANG THE PUNCTUATION OFF THE ALIGNED EDGE. z NEVER USE THE SPACEBAR TO ALIGN TEXT, ALWAYS SET TABS AND USE THE TAB KEY. z USE EN OR EM DASHES, USE CONSISTENTLY. z KERN ALL HEADLINES WHERE NECESSARY. z USE THE SPECIAL CHARACTERS WHENEVER NECESSARY, INCLUDING SUPER- AND SUBSCRIPT. z SPEND THE TIME TO CREATE NICE FRACTION OR CHOSE A FONT THAT HAS FRACTIONS. z IF A CORRECTLY SPELLED WORD NEEDS AN ACCENT MARK, USE IT. z USE A DECIMAL OR RIGHT-ALIGNED TAB FOR THE NUMBERS IN NUMBERED PARAGRAPHS. z LEAVE NO WIDOWS OR ORPHANS. z TIGHTEN UP THE LEADING IN LINES WITH ALL CAPS OR WITH FEW ASCENDERS AND DESCENDERS. z USE A ONE-EM FIRST-LINE INDENT ON ALL INDENTED PARAGRAPHS. z USE REAL APOSTROPHES. z RARELY COMBINE TWO SANS SERIF FONTS ON ONE PAGE. z AVOID MORE THAN 3 HYPHENATIONS IN A ROW. z AVOID TOO MANY HYPHENATIONS IN ANY PARAGRAPH. z AVOID HYPHENATING OR LINE BRAKES OF NAMES AND PROPER NOUNS. z LEAVE A LEAST 2 CHARACTERS ON THE LINE AND 3 FOLLOWING. z AVOID BEGINNING CONSECUTIVE LINES WITH THE SAME WORD. z NEVER HYPHENATE A WORDS IN A HEADLINE AND AVOID HYPHENATION IN A CALLOUT. z AVOID ENDING CONSECUTIVE LINES WITH THE SAME WORD. z NEVER JUSTIFY THE TEXT ON A SHORT LINE. z KEEP THE WORD SPACING CONSISTENT. z ADJUST THE SPACING BETWEEN PARAGRAPHS. z NEVER COMBINE TWO SERIF FONTS ON ONE PAGE. z RARELY COMBINE MORE THAN THREE TYPEFACES ON ONE PAGE. z AVOID ENDING CONSECUTIVE LINES WITH THE SAME WORD. z USE REAL QUOTATION MARKS.

CHAPTER 2

“R” BEMBO FRANCESCO GRIFFO

R U L E S

1 Insert only a single space after 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 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.

CHAPTER 2

4 Use True Small Caps

8 Copyright, register, and trademark marks

When setting text that contains acronyms, select a typeface with small caps. Selecting small caps from the style menus is a poor choice because the computer 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.

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.

5 Add spacing to capitalized text, small caps 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.

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9 Use the ellipsis character 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.

11 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. 12 Increase leading to improve readability in text 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.

“U” AVENIR ADRIAN FRUTIGER

13 Body text is set any 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.

14 Altering fonts Don’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.

15 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.)

16 Decrease line length, 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.

17 Avoid letterspacing lowercase body copy 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.

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CHAPTER 2

18 Word spacing should be fairly close

22 Rules of hyphenation

For text meant for extended reading, the amount of Don’t rely on the software to judge where hyphens should space between words in a paragraph should be fair- be placed. At the end of lines, leave at least two characly close–about the width of a lowercase “i.” If the word ters behind and take at least three forward. For example, spacing is too close, it appears as one giant word and “ele-gantly” is acceptable, but “elegant-ly” is not because legibility is decreased. Keep the spaces between words it takes too little of the word to the next line. Avoid leavfairly thin, consistent and even! ing the stub end of a hyphenated word or any word shorter then four letters as the last line of a paragraph. Avoid 19 Ideal column width more then 3 consecutive hyphenated lines. Avoid hyphenating or breaking proper names and titles. Creating For single-column pages, 4.25 " is ideal. For two-column a non-breaking space before and after the name will enwidth, columns can be as narrow as 2 inches. Turning on sure that the name will not break. the hyphenation feature can improve word spacing.

20 Justification of text

23 Avoid starting 3 lines with the same word

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 solutions.

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.

21 Choose the alignment that fits

24 Always spell check!

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.

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.

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25 Avoid widows and orphans

“L” BODONI GIAMBATTISTA BODONI

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.

26 Kerning in headlines Adjust the space between two particular letters to allow for more consistent negative space.

27 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.

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

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CHAPTER 3

“£” WALBAUM JUSTUS ERICH WALBAUM

01 4

S P E C I A L C H A R A C T E R S

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

OPTION [ OPTION SHIFT [ OPTION ] OPTION SHIFT ] OPTION HYPHEN OPTION SHIFT HYPHEN OPTION ; OPTION 8 OPTION SHIFT 5 OPTION SHIFT 6 OPTION G OPTION 2 OPTION R OPTION SHIFT 8 OPTION $ OPTION SHIFT 2 OPTION SHIFT 1 OPTION 1 OPTION SHIFT ? OPTION 3 OPTION C OPTION SHIFT C

OPENING DOUBLE QUOTE CLOSING DOUBLE QUOTE OPENING SINGLE QUOTE CLOSING SINGLE QUOTE; APOSTROPHE EN DASH EM DASH ELLIPSIS BULLET LIGATURE OF F AND I LIGATURE OF F AND L COPYRIGHT TRADEMARK REGISTERED DEGREE SYMBOL (E.G., 102°F) CENT SYMBOL EURO SYMBOL FRACTION BAR INVERTED EXCLAMATION POINT INVERTED QUESTION MARK BRITISH POUND LOWERCASE CÉDILLE CÉDILLE

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CHAPTER 3

“®” GARAMOND CLAUDE GARAMOND

01 6

“˜” FUTURA PAUL RENNER

´ ` ˆ ¨ ˜

OPTION E OPTION ~ OPTION I OPTION U OPTION N

ACUTE ACCENT ACCENT GRAVE CIRCUMFLEX UMLAUT TILDE

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 than other marks. If you choose to superscript ®, reduce it to about 60% of the size.

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.

Accent Marks Remember, to set an accent mark over a letter, press the Option key and the letter, then press the letter you want under it.

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CHAPTER 4

Q U O T E S & A P O S T R O P H E S

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

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BRIDGE CLEARANCE: 16' 7" THE YOUNG MAN STOOD 6' 2" THE LENGTH OF THE WALL IS 153' 9"

“ ” ‘ ’

OPTION [ OPTION SHIFT ] OPTION [ OPTION SHIFT ]

OPENING DOUBLE QUOTE CLOSING DOUBLE QUOTE OPENING SINGLE QUOTE CLOSING SINGLE QUOTE

““” HELVETICA MAX MIEDINGER

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020

CHAPTER 4

OPTION SHIFT ]

APOSTROPHE

“‘” CASLON WILLIAM CASLON

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

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.”

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’).

“The big exception to this is “its.” “Its” used as a possessive never has an apostrophe! The word it only has an apostrophe as a contraction—“it’s” always means “it is” or “it has.” Always. It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes— and neither should its. For contractions: The apostrophe replaces the missing letter. For example: your’re always means you are; the apostrophe is replacing the a from are. That’s an easy way to distinguish it from your as in your house and to make sure you don’t say: Your going to the store.

In a phrase such as House o’ Fashion, the apostrophe takes the place of the f. There is no reason for an apostrophe to be set before the o. In a phrase such as Gone Fishin’ the same pattern is followed—the g is missing. In a date when part of the year is left out, an apostrophe needs to indicate the missing year. In the 80s would mean the temperature; In the ’80s would mean the decade. (Notice there is no apostrophe before the s! Why would there be? It is not possessive, nor is it a contraction—it is simply plural.

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CHAPTER 5

D A S H E S

Use proper ‘em’ dashes, ‘en’ dashes, and hyphens. Never use two hyphens instead 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 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. 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 a change in thought. An en dash is equal to half the length of an em dash. En dashes are used to denote a duration of time.

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“ --- ” UNIVERS ADRIAN FRUTIGER

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CHAPTER 5

En dash –

Em dash —

To type an en dash, 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

To type an em dash, Hold the Shift and Option keys down, then tap the hyphen key.

The em dash is twice as long as the en dash—it’s about the size of a capital letter M in whatever size and typeface you’re using at the moment. This dash is often used in place of a colon or parentheses, or it might indicate an abrupt change in thought, or it’s used in a spot where a period is too strong and a comma is too weak. It is also used for attribution of text. —Mac is not a Typewriter 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.

024

– —

OPTION HYPHEN SHIFT OPTION HYPHEN

EN DASH EM DASH

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.

ABOVE: T, ROCKWELL, MORRIS BENTON BELOW: T, UNIVERS, ADRIAN FRUTIGER

ABOVE: T, GOUDY, FREDERIC W. GOUDY BELOW: T, DIDOT, FIRMIN DIDOT

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CHAPTER 6

A G

JAN TSCHIOLD’S GRID

COLUMNAL GRID

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G R I D

S T R U C T U R E S

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 where text, image and space can be combined in a cohesive manner. A grid subdivides a page vertically and horizontally into margins, columns, inter-column spaces, lines of type, and spaces between blocks of type and images. These subdivisions form the basis of a modular and systematic approach to the layout, particularly for multi-page documents, making the design process quicker, and ensuring visual consistency between related pages. At its most basic, the sizes of a gridâ&#x20AC;&#x2122;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 hierarchyâ&#x20AC;&#x201D;captions smaller than body text and so onâ&#x20AC;&#x201D;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 (see Jan Tschichold's grid left). 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.

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CHAPTER 7

Baseline Grid Modular grids are created by positioning horizontal guidelines in relation to a baseline grid that governs the whole document. Baseline grids serve to anchor all (or nearly all) layout elements to a common rhythm. Create a baseline grid by choosing the type size and leading of your text, such as 10-pt Scala Pro with 12 pts leading (10/12). Avoid auto leading so that you can work with whole numbers that multiply and divide cleanly. Use this line space increment to set the baseline grid. Adjust the top or bottom page margin to absorb any space left over by the baseline grid. Determine the number of horizontal page units in relation to the number of lines in your baseline grid. Count how many lines fit in a full column of text and then choose a number that divides evenly into the line count to create horizontal page divisions. A column with forty-two lines of text divides neatly into seven horizontal modules with six lines each. If your line count is not neatly divisible, adjust the top and/or bottom page margins to absorb the leftover lines.

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BASELINE GRID: THIS BOOK USES A 4PT BASELINE GRID.

MODULAR GRID THIS BOOK USES A GRID WITH 7 COLUMNS AND 6 ROWS WITH A 0.1667 INCH GUTTER

ASYMMETRICAL GRID

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CHAPT7R 7

The Golden Ratio In mathematics, the Fibonacci numbers or Fibonacci series or Fibonacci sequence are the numbers in the following integer sequence: 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144 By definition, the first two numbers in the Fibonacci sequence are 1 and 1, or 0 and 1, depending on the chosen starting point of the sequence, and each subsequent number is the sum of the previous two. The Fibonacci sequence is named after Fibonacci. His 1202 book Liber Abaci introduced the sequence to Western European mathematics, although the sequence had been described earlier in Indian mathematics. By modern convention, the sequence begins either with F0 = 0 or with F1 = 1.

030

RECTANGLES FIBONACCI SERIES PROPORTIONS

3:5 - 5:8 - 8:13 - 13:21 - 21:34 - 34:55 - 55:89 - 89:144 - 144:233 - 233:377 - 377:610 3 - 5 -8 - 13 - 21 - 34 - 55 - 89 - 144 - 233 - 377 - 610 1:1.667 1:1.618

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CHAPTER 8

“Y” META ERIK SPIEKERMANN

032

S M A L L

C A P S

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

033

03 4

CHAPTER 8

“P” GARAMOND CLAUDE GARAMOND

True-Drawn Small Caps There are quite a few font families that include “truedrawn” small caps – letterforms that have been redesigned to match the proportions and thicknesses of the uppercase. These families are often called “expert” sets or perhaps “small cap” sets. The result is a smooth, uniform, disturbing tone throughout the text. True-drawn small caps are specially drawn to match the weight of the capital letters in the same face.

Harriet, an FBI agent, turned on CNN to get the dirt on the CIA before going to bed at 9:30 P.M. Harriet, an fbi agent, turned on cnn to get the dirt on the cia before going to bed at 9:30 p.m.

There is no rest for the wicked.

The wicked are very weak.

THE CAPITAL LETTERS IN THE MIDDLE OF THE SENTANCE CALL TOO MUCH ATTENTION TO THEMSELVES. THE CAPITAL LETTERS FOR P.M. ARE MUCH TOO LARGE — THE ABBREVIATION IS NOT THAT IMPORTANT.

SCALA, FAKE SMALL CAPS

SCALA, REAL SMALL CAPS

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CHAPTER 9

N U M E R A L S

Oldstyle 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. Oldstyle figures are a style of numeral which approximate lowercase letterforms by having an x-height and varying ascenders and descenders. They are considerably different from the more common “lining” (or “aligning”) figures which are all-cap height and typically monospaced in text faces so that they line up vertically on charts. Oldstyle figures have more of a traditional, classic look and are very useful and quite beautiful when set within text. 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.

036

F I G U R E S

Unlike lining figures, Oldstyle figures blend in without disturbing the color of the body copy. They also work well in headlines since they’re not as intrusive as lining figures. In fact, many people prefer them overall for most uses except charts and tables. It’s well worth the extra effort to track down and obtain typefaces with oldstyle figures; the fonts that contain them might well become some of your favorites. 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. Baskerville, Mrs. Eaves, Garamond, Scala, Meta and Din all have small caps options.

12 134 17 1023 323

12.5 134.0 17.8 1023.4 323.0

Dear John, please call me at 438-9762 to discuss marriage. Or write me at Route 916, zip code 87505. Dear John, please call me at 438-9762 to discuss marriage. Or write me at Route 916, zip code 87505. NOTICE HOW BASKERVILLE'S OLDSTYLE NUMBERS BLEND INTO THE TEXT.

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CHAPTER 10

“X” CHELTANHAM BERTRAM GOODHUE

038

X - H E I G H T

Readability and legibility are two key elements of printed text that typographer strive to maximize. Readability extended amount of text – such as an article, book, or annual report – is easy to read. Legibility refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable. There are several factors that determine whether a text is readable. When deciding what typeface should be used for a job, consideration should be given to the typeface and its x-height. It is important to understand how a block of text can express a message through its texture/ color, therefore suiting a particular design solution. Fonts set in the same size, same leading and column width will produce varying degrees of “color”. In typography, color can also describe the balance between black and white on the page of text. A typeface’s color is determined by stroke width, x-height, character width and serif styles.

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

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

039

MRS. EAVES ZUZANA LICKO

AKZIDENZ GROTESK GUNTER GERHARD LANGE

X-HEIGHT: SMALL CHARACTER WIDTH: NARROW COLOR: LIGHT

X-HEIGHT: LARGE CHARACTER WIDTH: WIDE COLOR: DARK

040

32 POINT

72 POINT

CHAPTER 10

X xhg Xxhg

Xx hg Xxh g ROCKWELL MORRIS FULLER BENTON

KABEL RUDOLF KOCH

X-HEIGHT: AVERAGE CHARACTER WIDTH: WIDE COLOR: LIGHT

X-HEIGHT: SMALL CHARACTER WIDTH: NARROW COLOR: LIGHT

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CHAPTER 10

Xxhg Xxhg GOUDY OLD STYLE FREDERIC W. GOUDY

FUTURA PAUL RENNER

X-HEIGHT: SMALL CHARACTER WIDTH: AVERAGE COLOR: LIGHT

X-HEIGHT: AVERAGE CHARACTER WIDTH: NARROW COLOR: DARK

042

X xh g Xxh g SABON JAN TSCHICHOLD

HELVETICA MAX MIEDINGER

X-HEIGHT: AVERAGE CHARACTER WIDTH: AVERAGE COLOR: LIGHT

X-HEIGHT: LARGE CHARACTER WIDTH: AVERAGE COLOR: DARK

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CHAPTER 10

X xhg Xxhg BODONI GIAMBATTISTA BODONI

TRADE GOTHIC JACKSON BURKE

X-HEIGHT: SMALL CHARACTER WIDTH: AVERAGE COLOR: LIGHT

X-HEIGHT: LARGE CHARACTER WIDTH: AVERAGE COLOR: DARK

044

X xhg Xxhg GRANJON GEORGE WILLIAM JONES

SCALA SANS MARTIN MAJOOR

X-HEIGHT: SMALL CHARACTER WIDTH: NARROW COLOR: LIGHT

X-HEIGHT: AVERAGE CHARACTER WIDTH: NARROW COLOR: DARK

0 45

CHAPTER 10

Xxh g Xxhg BEMBO FRANCESCO GRIFFO

GILL SANS ERIC GILL

X-HEIGHT: SMALL CHARACTER WIDTH: NORMAL COLOR: LIGHT

X-HEIGHT: AVERAGE CHARACTER WIDTH: WIDE COLOR: DARK

046

X x h g X xhg GEORGIA MATTHEW CARTER

INTERSTATE TOBIAS FRERE-JONES

X-HEIGHT: AVERAGE CHARACTER WIDTH: AVERAGE COLOR: LIGHT

X-HEIGHT: LARGE CHARACTER WIDTH: NORMAL COLOR: DARK

0 47

CHAPTER 10

Xxh g Xxhg FILOSOFIA ZUZANA LICKO

UNIVERS ADRIAN FRUTIGER

X-HEIGHT: SMALL CHARACTER WIDTH: NARROW COLOR: LIGHT

X-HEIGHT: LARGE CHARACTER WIDTH: WIDE COLOR: DARK

048

X x hg X xhg MUSEO JOS BUIVENGA

META ERIK SPIEKERMANN

X-HEIGHT: AVERAGE CHARACTER WIDTH: AVERAGE COLOR: LIGHT

X-HEIGHT: SMALL CHARACTER WIDTH: AVERAGE COLOR: DARK

0 49

CHAPTER 11

C O L U M N

W I D T H

Determining Line Length A general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like.

050

“W” MUSEO JOS BUIVENGA

0 51

CHAPTER 11

24 PICA, TOO WIDE

16 PICA, JUST RIGHT

8 PICA, TOO NARROW

“I” DIDOT FIRMIN DIDOT

052

Typography originated after the invention of printing from movable type in the mid 15th century. The three major type families in the history of Western printing are roman, italic, and black letter (Gothic). All had their origin in the scripts of the calligraphers whose work was ultimately replaced by printing. In the succeeding centuries typographers have created some 10,000 typefaces.

0 53

CHAPTER 12

“G” FILOSOFIA ZUZANA LICKO

“G” MELIOR HERMANN ZAPF

054

L E A D I N G

Leading describes the space between two or more baselines of text. The term stems from the the days of printing presses, when pieces of lead were used for vertical spaces between lines.

TYPOGRAPHY: NOUN 1. THE STYLE AND APPEARANCE OF PRINTED MATTER, THE ART OR PROCEDURE OF ARRANGING TYPE OR PROTYPOGRAPHY: NOUN 1. THE STYLE AND APPEARANCE OF PRINTED MATTER, THE ART OR PROCEDURE OF ARRANGING TYPE OR PROCESSING DATA AND PRINTING FROM IT.

8/6, TOO CLOSE

8/12, JUST RIGHT

TYPOGRAPHY: NOUN 1. THE STYLE AND AP8/20, TOO WIDE

PEARANCE OF PRINTED MATTER, THE ART OR PROCEDURE OF ARRANGING TYPE OR PROCESSING DATA AND PRINTING FROM IT.

0 55

CHAPTER 13

K E R N I N G

Kerning is an adjustment of the space between two 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.

056

“K” CLARENDON ROBERT BESLEY

Metric Kerning Use 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 font’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.

0 57

CHAPTER 14

"A" BRAGGEDOCIO W. A. WOOLLEY

058

A L I G N M E N T S

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.

0 59

CHAPTER 14

Left Aligned, Ragged Right

Center Aligned

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.

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.

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 ed 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...

060

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.

LEFT ALIGNED

CENTERED

JUSTIFIED

TYPOGRAPHY: NOUN 1. THE STYLE AND APPEARANCE OF PRINTED MATTER, THE ART OR PROCEDURE OF ARRANGING TYPE OR PROCESSING DATA AND PRINTING FROM IT. TYPOGRAPHY: NOUN 1. THE STYLE AND APPEARANCE OF PRINTED MATTER, THE ART OR PROCEDURE OF ARRANGING TYPE OR PROCESSING DATA AND PRINTING FROM IT. TYPOGRAPHY: NOUN 1. THE STYLE AND APPEARANCE OF PRINTED MATTER, THE ART OR PROCEDURE OF ARRANGING TYPE OR PROCESSING DATA AND PRINTING FROM IT.

Justified Text 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 you can find an example in the folder) 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.

0 61

CHAPTER 15

J U S T I F I C A T I O N

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

062

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 type on the bottom of the previous page. A general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like.

"J" OCR STD ADRIAN FRUTIER

Rivers

Widow

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.

When a paragraph ends and leaves fewer than seven characters (not words, characters) on the last line, that line is called a widow. Worse than leaving one word at the end of a line is leaving part of a word, the other part being paraphrased on the line above.

Widows and Orphans

Orphan

Never leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program youâ&#x20AC;&#x2122;re working in. Sometimes widening a margin just a hair will do it. But it must be done. Widows and orphans on a page are wrong.

When the last line of a paragraph, be it ever so long, wonâ&#x20AC;&#x2122;t fit at the bottom of a column and must end itself at the top of the next column, that is an orphan. ALWAYS correct this.

063

CHAPTER 15

Trade Gothic 60 - 300 - 500 0 - 0 - 20 SPACE BETWEEN WORDS IS EXCESSIVE.

Bodoni 60 - 300 - 500 0 - 0 - 20 WORDS ARE TOO FAR APART.

064

Meta 40 - 50 - 60 2-3-4 LETTERS TOO CLOSE.

Mrs. Eaves 40 - 5 0 - 60 2-3-4 WORD SPACING TOO CLOSE.

0 65

CHAPTER 15

Filosofia 75 - 90 - 95 0 - 0 - 10 SMALL COLUMN WIDTH REVEALS RIVERS.

Univers 75 - 90 - 95 0 - 0 - 10 WORDS FAR APART AT TOP OF WIDE COLUMN.

066

Georgia 90 - 100 - 110 0 - 0 - 25 EVEN SPACING IN WIDE COLUMN

Interstate 90 - 100 - 110 0 - 0 - 25 THIN RIVERS IN BOTTOM CENTER LINES.

0 67

CHAPTER 15

"F" CLARENDON ROBERT BESLEY

068

Helvetica 85 - 100 - 115 0-0-4 MAY NEED MORE SPACE BETWEEN LETTERS.

Sabon 85 - 100 - 115 0-0-4 SLIGHT RIVERS THROUGH MIDDLE OF BOTH.

0 69

CHAPTER 16

H Y P H E N A T I O N R U L E S

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.

070

"R" BASKERVILLE JOHN BASKERVILLE

"H" VOLTA KONRAD F. BAUER

07 1

CHAPTER 16

“L” INTERSTATE TOBIAS FRERE-JONES

072

Hyphenation Rules z Avoid widows (one word on the last line of a paragraph) z Avoid hyphenating or line brakes of names and proper nouns z Leave a least 2 characters on the line and 3 following z Avoid beginning consecutive lines with the same word z Avoid ending consecutive lines with the same word z Avoid ending lines with the words: the, of, at, a, by z Never hyphenate a words in a headline and avoid hyphenation in a callout

073

CHAPTER 17

C O M B I N I N G T Y P E FA C E S

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

074

“&” SABON JAN TSCHISCHOLD

075

CHAPTER 17 TY PE FACE : B E MBO - EXTRA BOLD

U SAGE : T I T L ES

72/72 Type originated TYPEFACE: FRUTIGER - 45 LIGHT

USAGE: BODY COPY

9/14 Typography originated after the invention of printing from movable type in the mid 15th century. The three major type families in the history of Western printing are roman, italic, and black letter (Gothic).

TYPEFACE: FRUTIGER - 47 LIGHT CONDENSED

USAGE: PULL QUOTES

18/24 TYPOGRAPHY ORIGINATED AFTER THE INVENTION OF PRINTING FROM MOVABLE TYPE IN THE MID 15TH CENTURY. THE THREE MAJOR TYPE FAMILIES IN THE HISTORY OF WESTERN TYPEFACE: BEMBO - REGULAR

USAGE: CAPTIONS

7/12 Typography originated after the invention of printing from movable type in the mid 15th century. The three major type families in the history of Western printing are roman, italic, and black letter (Gothic). All had their origin in the scripts of the calligraphers whose work was ultimately replaced by printing. In the succeeding centuries typographers have created some 10,000 typefaces.

076

BEMBO (OLD STYLE SERIF) WITH FRUTIGER (HUMANIST SANS SERIF)

T YPE FACE : U N I V E R S 49 U LT RA CON DE N S E D

U SAG E : TITLES

48/48 TYPE ORIGINATED AFTER TYPEFACE: SABON - ROMAN

USAGE: BODY COPY

10/15 Typography originated after the invention of printing from movable type in the mid 15th century. The three major type families in the history of Western printing are roman, italic, and black letter (Gothic). All had their origin in the scripts of the TYPEFACE: SABON - ITALIC

USAGE: PULL QUOTES

18/24 Typography originated after the invention of printing from movable type in the mid 15th century. The three major type families in the TYPEFACE: UNIVERS 45 LIGHT ITALIC

USAGE: CAPTIONS

SABON (OLD STYLE SERIF) WITH UNIVERS (GROTESQUE SANS SERIF)

077

CHAPTER 17 TY PE FACE : CE NT URY SCHOOLBOOK - BOLD

U SAGE : T I T L ES

36/36 Type originated after TYPEFACE: AVENIR NEXT - REGULAR

USAGE: BODY COPY

9/12 Typography originated after the invention of printing from movable type in the mid 15th century. The three major type families in the history of Western printing are roman, italic, and black letter (Gothic).

TYPEFACE: AVENIR NEXT - DEMI BOLD

USAGE: PULL QUOTES

1 5/22 TY POGRAPHY ORIGINATED AFTER THE INVENTION OF P RINTING FROM MOVABLE TYPE IN THE MID 15TH CENTURY. THE TYPEFACE: AVENIR NEXT - ITALIC

USAGE: CAPTIONS

078

CENTURY SCHOOLBOOK (TRANSITIONAL SERIF) WITH AVENIR NEXT (GEOMETRIC SANS SERIF)

T YPE FACE : ME TA PLU S BL ACK

U SAG E : T I T L ES

48/48 T Y PE TYPEFACE: BASKERVILLE

USAGE: BODY COPY

10/14 Typography originated after the invention of printing from movable type in the mid 15th century. The three major type families in the history of Western printing are roman, italic, and black letter (Gothic).

TYPEFACE: BASKERVILLE - BOLD ITALIC

USAGE: PULL QUOTES

18/24 Typography originated after the invention of printing from movable type in the mid 15th century. The three major type families in the history of TYPEFACE: META - ROMAN

USAGE: CAPTIONS

6/10 Typography originated after the invention of printing from movable type in the mid 15th century. The three major type families in the history of Western printing are roman, italic, and black letter (Gothic). All had their origin in the scripts of the calligraphers whose work was ultimately replaced by printing. In the succeeding centuries typographers have created some 10,000 typefaces.

BASKERVILLE (TRANSITIONAL SERIF) WITH META (HUMANIST SANS SERIF)

079

CHAPTER 17 TY PE FACE : L I NOT YPE DIDOT - BO LD

U SAGE : T I T L ES

48/48 TYPE ORIGINATED TYPEFACE: FUTURA - BOOK

USAGE: BODY COPY

10/16 Typography originated after the invention of printing from movable type in the mid 15th century. The three major type families in the history of Western printing are roman, italic, and black letter (Gothic).

TYPEFACE: FUTURA - BOLD

USAGE: PULL QUOTES

1 5 / 2 2 T Y P E O R I G I N AT E D A F T E R THE INVENTION OF PRINTING F R O M M O VA B L E T Y P E I N T H E M I D 1 5 T H C E N T U R Y. T H E T H R E E

TYPEFACE: FUTURA - LIGHT

USAGE: CAPTIONS

080

DIDOT (MODERN SERIF) WITH FUTURA (GEOMETRIC SANS SERIF)

T YPE FACE : BE L L MT - I TA L I C

U SAG E : TITLES

30/30 TYPE ORIGINATED AFTER THE TYPEFACE: BELL GOTHIC - ITALIC

USAGE: BODY COPY

8/14 TYPOGRAPHY ORIGINATED AFTER THE INVENTION OF PRINTING FROM MOVABLE TYPE IN THE MID 15TH CENTURY. THE THREE MAJOR TYPE FAMILIES IN THE HISTORY OF WESTERN PRINTING ARE ROMAN, ITALIC, AND BLACK LETTER (GOTHIC). ALL HAD THEIR ORIGIN IN THE

TYPEFACE: BELL MT - REGULAR

USAGE: PULL QUOTES

14/20 T Y POG RAPH Y ORIG INATED AFT ER T H E INVENT ION OF PR INTING FROM MOVABLE T Y PE IN THE MID 15T H C ENT U RY. T H E T H R EE MAJ OR T Y PE FAMILIES IN T H E TYPEFACE: BELL MT - ITALIC

USAGE: CAPTIONS

7/12 Typography originated after the invention of printing from movable type in the mid 15th century. The three major type families iWn the history of Western printing are roman, italic, and black letter (Gothic). All had their origin in the scripts of the calligraphers whose work was ultimately replaced by printing. In the succeeding centuries typographers have created some 10,000 typefaces.

BELL MT (MODERN SERIF) WITH BELL GOTHIC (GROTESQUE SANS SERIF)

0 81

CHAPTER 17 TY PE FACE : N E UT RA - TILTING

U SAGE : T I T L ES

40/40 TYPE ORIGINATED TYPEFACE: GEORGIA - REGULAR

USAGE: BODY COPY

USAGE: PULL QUOTES

18/22 T Y PO GRAPHY O RIG INAT ED AF T E R T H E INV EN T I O N O F PR I N T I N G FROM MOVABL E T YPE I N TYPEFACE: GEORGIA - ITALIC

USAGE: CAPTIONS

6/11 TYPOGRAPHY ORIGINATED AFTER THE INVENTION OF PRINTING FROM MOVABLE TYPE IN THE MID 15TH CENTURY. THE THREE MAJOR TYPE FAMILIES IN THE HISTORY OF WESTERN PRINTING ARE ROMAN, ITALIC, AND BLACK LETTER (GOTHIC). ALL HAD THEIR ORIGIN IN THE SCRIPTS OF THE CALLIGRAPHERS WHOSE WORK WAS ULTIMATELY REPLACED BY PRINTING. IN THE SUCCEEDING CENTURIES TYPOGRAPHERS HAVE CREATED SOME 10,000 TYPEFACES.

082

GEORGIA (NEW TRANSITIONALH SERIF) WITH NEUTRA (GEOMETRIC SANS SERIF)

T YPE FACE : T I MES N EW ROMA N - BOL D I TA L I C

U SAG E : TITLES

TYPEFACE: HELVETICA NEUE - 35 THIN

USAGE: BODY COPY

48/48 Type originated

USAGE: PULL QUOTES

18/24 TYPOGRA PHY ORI GI NATED A FTER THE I NVE NTI ON OF P RI NTI NG FROM MOVA BLE TYP E I N THE MI D 15TH CENTURY. THE THREE MA JO R TYP E FA MI LI ES I N THE HI STORY OF TYPEFACE: UNIVERS 45 LIGHT ITALIC

USAGE: CAPTIONS

TIMES NEW ROMAN (NEW TRANSITIONAL SERIF) WITH HELVETICA (GROTESQUE SANS SERIF)

0 83

CHAPTER 17 TY PE FACE : SCAL A SANS

U SAGE : T I T L ES

36/40 TYPE ORIGINATED TYPEFACE: SERIFA - 45 LIGHT

USAGE: BODY COPY

TYPEFACE: SERIFA - 55 ROMAN

USAGE: PULL QUOTES

15/22 TYPOGRAPHY ORIGINATED AFTER THE INVENTION OF PRINTING FROM MOVABLE TYPE IN THE MID 15TH CENTURY. TYPEFACE: SCALA SANS - CAPS

USAGE: CAPTIONS

7/11 Typography originated after the invention of printing from movable type in the mid 15th century. The three major type families in the history of Western printing are roman, italic, and black letter (Gothic). All had their origin in the scripts of the calligraphers whose work was ultimately replaced by printing. In the succeeding centuries typographers have created some 10,000 typefaces.

084

SERIFA (SLAB SERIF) WITH SCALA SANS (GEOMETRIC SANS SERIF)

T YPE FACE : ROCKW E L L - BOL D CON DE N S E D

U SAG E : TITLES

46/46 TYPE TYPEFACE: ROCKWELL - ROMAN

USAGE: BODY COPY

USAGE: PULL QUOTES

18/24 TYPOGRAPHY ORIGINATED AFTER THE INVENTION OF PRINTING FROM MOVABLE TYPE IN THE MID 15TH CENTURY. THE THREE TYPEFACE: ROCKWELL - LIGHT

USAGE: CAPTIONS

11/11 Typography originated after the invention of printing from movable type in the mid 15th century. The three major type families in the history of Western printing are roman, italic, and black letter (Gothic). All had their origin in the scripts of the calligraphers whose work was ultimately replaced by printing. In the succeeding centuries typographers have created some 10,000 typefaces.

ROCKWELL (SLAB SERIF) WITH TW CEN MT (GEOMETRIC SANS SERIF)

0 85

CHAPTER 18

"E" ROTIS SERIF OTL AICHER

"B" PALATINO HERMANN APF

086

P A R A G R A P H B R E A K S

Paragraph breaks set a rhythm for the reader. The breaks have a relationship with the column of text as well as the page margins. A break may be introduced as an indentation, as a space or both. The over all page feel will be influenced by your choice. In typography there are 4 rules regarding paragraph breaks: 1 FIRST LINE AT THE BEGINNING OF AN ARTICLE SHOULD BE FLUSH LEFT 2 BLOCK PARAGRAPHS ARE FLUSH LEFT AND ARE SEPARATED BY EXTRA LEADING, NOT A FULL RETURN 3 THE AMOUNT INDENT IS = TO THE LEADING 4 NEVER HIT TWO RETURNS BETWEEN TWO PARAGRAPHS

0 87

CHAPTER 18

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, 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 liberta2, 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.”

088

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 liberta2, 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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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 liberta2, 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.”

090

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 liberta2, 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.”

091

CHAPTER 18

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, 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 liberta2, 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.”

092

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 liberta2, 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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CHAPTER 18

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, 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 liberta2, 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.”

094

uturism 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 liberta2, 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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CHAPTER 18

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 liberta2, 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.”

096

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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-theworld, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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CHAPTER 19

“S” MRS EAVES ZUZANA LICKO

098

H E A D E R S , S U B H E A D S & C R O S S H E A D S

The main header or “headline” is essential to be bold and leap out as the main title of the page or chapter start. If it does not the reader may be confused as to where the document actually starts. The main header should also look like it belongs to the first sentence. This can be achieved by ensuring that its paragraph spacing (the space after a hard return) is smaller than the paragraph spacing of the first sentence. Paragraph spacing is not commonly used – even amongst designers, but it is an extremely useful tool. Many people add spacing by hitting return but this does not give much control and cannot be styled from style sheets. The purpose of a subheader is to split up body text so that a reader can find their way around the document with ease. it also makes the document more readable because the viewer is not faced with a page of block text. Each subheader needs to be linked with the corresponding body text underneath it. This should be achieved by using correct spacing after and before the subheader.

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CHAPTER 19

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

RADICAL MIX OF ART 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 liberta2, 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.”

01 00

Words in Liberty 01 A P R OL OGUE T O F UT U R I S M 02 R AD I C AL M I X OF ART AN D LI FE

01 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. 02 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 liberta 2 , by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-theworld, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915), “Everything of any value is theatrical.”

0 10 1

CHAPTER 19

WORDS IN LIBERTY A P R O L OGU E T O F U T U R IS M

R A D IC AL MIX OF ART A N D L IF E

01 02

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 liberta2, 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.”

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

A PROLOGUE TO FUTURISM

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.

A RADICAL MIX OF ART AND LIFE

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

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CHAPTER 19

WORDS IN LIBERTY

A P ROLOGU E TO FU T URISM 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.

R ADI C AL M I X O F ART AN D L I F E

01 04

WORDS IN LIBERTY A PROLOGUE TO FUTURISM

RADICAL 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 liberta2, 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.”

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CHAPTER 20

C A P T I O N S

N O T E S

Footnotes and endnotes are necessary components of scholarly and technical writing. Theyâ&#x20AC;&#x2122;re also frequently used by writers of fiction, from Herman Melville (Moby-Dick) to contemporary novelists. Whether their intent is academic or artistic, footnotes present special typographic challenges. Specifically, a footnote is a text element at the bottom of a page of a book or manuscript that provides additional information about a point made in the main text. The footnote might provide deeper background, offer an alternate interpretation or provide a citation for the source of a quote, idea or statistic. Endnotes serve the same purpose but are grouped together at the end of a chapter, article or book, rather than at the bottom of each page. These general guidelines will help you design footnotes and endnotes that are readable, legible and economical in space. (Note that academic presses and journals can be sticklers for format: before proceeding, check with your client or publisher to see if they have a specific stylesheet that must be followed.)

01 06

“N” AVENIR ADRIAN FRUTIGER

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

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CHAPTER 20

RADICAL 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 liberta2, 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 1. PHILIP MEGGS, HISTORY OF GRAPHIC DESIGN, VAN NOSTRAND REINHOLD, 1988 2. PAROLE IN LIBERTA = WORDS SET FREE (LIBERTY) 3. SELBST = HIMSELF

01 08

Words in Liberty 01 A P R OL OGUE T O F UT U R I S M 02 R AD I C AL M I X OF ART AN D LI FE

01 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. 02 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 liberta 2 , by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of 1. PHILIP MEGGS, HISTORY OF GRAPHIC DESIGN, VAN NOSTRAND REINHOLD, 1988 image juxtaposition, more fully explored the 2. PAROLE IN LIBERTA = WORDS SET FREE (LIBERTY) use of innovative and expressive typography 3. SELBST = HIMSELF 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 3 (circa 1915), “Everything of any value is theatrical.”

0 10 9

CHAPTER 20

WORDS IN LIBERTY A P R O L OGU E T O F U T U R IS M

R A D IC AL MIX OF ART A N D L IF E

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 liberta2, 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.” 1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988 2. parole in liberta = words set free (liberty) 3. selbst = himself

01 10

A Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988 B parole in liberta = words set free (liberty) C selbst = himself

A PROLOGUE TO FUTURISM

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.

A RADICAL MIX OF ART AND LIFE

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

0 111

CHAPTER 20

WORDS IN LIBERTY

01 12

R ADI C AL M I X O F ART AN D L I F E

WORDS IN LIBERTY A PROLOGUE TO FUTURISM

RADICAL MIX OF ART AND LIFE

1. PHILIP MEGGS, HISTORY OF GRAPHIC DESIGN, VAN NOSTRAND REINHOLD, 1988 2. PAROLE IN LIBERTA = WORDS SET FREE (LIBERTY) 3. SELBST = HIMSELF

0 113

F O N T

S P E C S

A R C H E R CLASSIFICATION: SLAB SERIF

MaxogGdQRst BOOK

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

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

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

A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist vletterforms 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.

01 16

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

A K Z I D E N Z

G R O T E S K CLASSIFICATION: GROTESQUE SANS-SERIF

MaxogGdQRst ROMAN

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

0 117

B A S K E R V I L L E CLASSIFICATION: TRANSITIONAL SERIF

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 67890(){}?!@&* 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 567890(){}?!@&* ITALIC

01 18

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

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

B E L I Z I O CLASSIFICATION: SLAB SERIF

MxagGdQrR REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 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 4567890(){}?!@&* BOLD

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 90(){}?!@&* 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 ( ){}?!@&* 0 119

B E L L

G O T H I C

CLASSIFICATION: REALIST SANS SERIF

MxagGdQrRI LIGHT

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

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

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

01 20

B E M B O CLASSIFICATION: OLD STYLE SERIF

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 7890(){}?!@&* 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(){}?!@&* 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 123 4567890(){}?!@ &* 0 121

B O O K M A N CLASSIFICATION: OLD STYLE SERIF

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 23 4567890(){}?!@ ITALIC

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

01 22

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

B O D O N I CLASSIFICATION: MODERN SERIF

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 567890(){}?!@&*123 ITALIC

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

AaBbCcDdEeFfGgHhIiJjKkLl MmNnOoPpQqRrSsTtUuVv WwXxYyZz1234567890(){ }?!@&* 0 123

C A S L O N CLASSIFICATION: OLD STYLE SERIF

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 67890(){}?!@&* 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.

01 24

SWASH

A B C D EFGH IJKL MN O P Q R S T U V W X Y Z ORNAMENT

A a Bb C c D d Ee F f G g H h Ii Jj Kk Ll Mm Nn o Pp Qq r S s t Uu Vv Ww X x y Z

C E N T U R Y

S C H O O L B O O K CLASSIFICATION: TRANSITIONAL SERIF

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 34567890(){}?!@&*1 23456789

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 34567890(){}?!@&* 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 4567890(){}?!@&* 0 125

C H E LT E N H A M CLASSIFICATION: SLAB SERIF

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 ITALIC

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

01 26

Aa Bb Cc Dd Ee Ff 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 4567890(){}?!@&*

C H O L L A CLASSIFICATION: GEOMETRIC SANS SERIF

MaxnogGdQrRst UNICASE

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

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

0 127

C L A R E N D O N CLASSIFICATION: SLAB SERIF

MxagGdQrRt LIGHT

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

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

01 28

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

D I D O T CLASSIFICATION: MODERN SERIF

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 67890(){}?!@&* ITALIC

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

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

0 129

D I N CLASSIFICATION: REALIST SANS SERIF

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 MEDIUM

01 30

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 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 7 890{?!@&*

F I L O S O F I A CLASSIFICATION: MODERN SERIF

MxnaopQrRtfGg REGULAR

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

0 131

F U T U R A CLASSIFICATION: GEOMETRIC SANS SERIF

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 67890(){}?!@&* 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

01 32

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

H E LV E T I C A CLASSIFICATION: GEOMETRIC SANS-SERIF

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 567890(){}?!@&*

BOLD

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

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 7 8 9 0 ( ) { } ? ! @ & * 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 90(){}?!@&* 0 133

G I L L

S A N S

CLASSIFICATION: HUMANIST SANS SERIF

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 90(){}?!@&* ITALIC

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

BOLD

01 34

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

G O T H A M CLASSIFICATION: GEOMETRIC SANS-SERIF

MayogGdQRt BOOK

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 23 4567890(){}?! @&* BOLD

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 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 4567890(){}?!@ &* 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 23 4567890(){}?!@ 0 135

I N T E R S T A T E CLASSIFICATION: NEO-GROTESQUE SANS-SERIF

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 567890(){}?!@&* BOLD

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

01 36

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 23 4567890(){}?! @&* BOLD CONDENSED

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

M E L I O R CLASSIFICATION: SLAB SERIF

MayogGdQrRt REGULAR

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4567890(){}?!@& 0 137

M E M P H I S CLASSIFICATION: SLAB SERIF

MxagGdQrRt LIGHT

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 67890(){}?!@&* 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 567890(){}?!@&* EXTRA BOLD

01 38

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

M E T A CLASSIFICATION:HUMANIST SANS SERIF

MaxogGdQrRst REGULAR

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {}?!@&* 0 139

M R S

E AV E S

CLASSIFICATION: TRANSITIONAL SERIF

MaxogGdQrRst REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 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 4567890(){}?!@&*

BOLD

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

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 01 40

N E W S

G O T H I C CLASSIFICATION: REALIST SANS SERIF

MaxogGdQrRst REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 90(){}?!@&*1234567 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 4 567890(){}?!@&*

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O C R

CLASSIFICATION: GEOMETRIC SANS SERIF

MaopQRfGg REGULAR

01 42

Aa Bb Gg Hh Mm Nn Ss Tt Yy Zz 7 8 9 @ & *

Cc Dd Ii Jj Oo Pp Uu Vv 1 2 3 0 ( )

Ee Ff Kk Ll Qq Rr Ww Xx 4 5 6 { } ? !

O P T I M A CLASSIFICATION: HUMANIST SANS-SERIF

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 67890(){}?!@&* 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

BOLD

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

0 14 3

P A L A T I N O CLASSIFICATION: OLD STYLE SERIF

MxaopQRstGg LIGHT

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

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

MEDIUM

01 44

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

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

P L A T E L E T CLASSIFICATION: GEOMETRIC SANS-SERIF

MaxbyogGQrRt THIN

Aa Bb Kk Ll Uu Vv 7 8 9

Cc Dd Mm Nn Ww Xx 0 ( )

Ee Ff Oo Pp Yy Zz { } ?

Gg Hh Qq Rr 1 2 3 ! @ &

Ii Jj Ss Tt 4 5 6 * 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

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

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R O T I S CLASSIFICATION: NEW TRANSITIONAL SANS-SERIF

MxanopQrRtGg (55) SANS

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

SERIF

01 46

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7

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

S A B O N CLASSIFICATION: OLD STYLE SERIF

MxayogGQfR REGULAR

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4567890(){}?!@&* 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(){}?!@&* 0 147

S C A L A

S A N S

CLASSIFICATION: HUMANIST SANS SERIF

MxabyogGdQrR REGULAR

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

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

01 48

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

S E R I FA CLASSIFICATION: SLAB SERIF

MxaoygGdQR REGULAR

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4567890(){}?!@&* 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 ( ) { } ? ! @&* 0 149

S W I F T CLASSIFICATION: NEW TRANSITIONAL SERIF

MxaoygGdQrR BOLD CONDENSED

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

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

01 50

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

S Y N T A X CLASSIFICATION: HUMANIST SANS-SERIF

MxaoygGdQrR REGULAR

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7890(){}?!@&* 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 123 4567890(){}?! @&* 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 123 4567890(){}?! @&* 0 151

T R A D E

G O T H I C

CLASSIFICATION: GOTHIC SANS SERIF

MxanyogGdQrR CONDENSED

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

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 567890(){}?!@&* BOLD

01 52

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll 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 NO.2

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

W A L B A U M CLASSIFICATION: MODERN SERIF

MxyagGdQrR REGULAR

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @&* 0 153

DESIGNED BY A. CLAIRE ZIMMERMAN. SET IN INTERSTATE AND CENTURY SCHOOLBOOK USING ADOBE INDESIGN CS6. PRINTED ON 8.25 X 10.75 INCH PAGES. CLASS PROJECT FOR TYPOGRAPHIC SYSTEMS AT THE UNIVERSITY OF KANSAS, SPRING 2014. THE TEXT WAS COMPILED FROM THE FOLLOWING SOURCES: ELEMENTS OF TYPOGRAPHIC STYLE BY ROBERT BRINGHURST, GETTING IT RIGHT WITH TYPE: THE DO’S AND DON’TS OF TYPOGRAPHY BY VICTORIA SQUARE, MAC IS NOT A TYPEWRITER BY ROBIN WILLIAMS. THIS BOOK IS NOT TO BE SOLD TO THE PUBLIC AND TO ONLY BE USED BY THE DESIGNER FOR THEIR REFERENCE AND STUDENT DESIGN PORTFOLIO.

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