Type workbook 3 21 by Annica Anderson

TYPOGRAPHIA:

a typographic curation Annica Anderson, University of Kansas, 2015

TABLE OF CONTENTS

足 1. Typography Rules 2. Special Characters 3. Using A Grid 4. Quotes & Apostrophes 5. Dashes & Hyphens 6. Small Caps 7. Numerals & Figures 8. Typographic Color 9. Paragraph Breaks 10. Headers & Footers 11. Column Width 12. Leading 13. Kerning 14. Alignment & Justification 15. Font Combinations 16. Font Specs

CHAPTER ONE: Typography Rules

THE DO’S OF GREAT DO Use only one space between sentences. • Use real quotation marks. • Use real apostrophes, and make sure they’re where they belong. • Hang the punctuation off the aligned edge. • Use en or em dashes, use consistently. • Kern all headlines where necessary. • Leave a least 2 characters on the line and 3 following. • Keep the word spacing consistent. • Tighten up the leading in lines with all caps or with few ascenders and descenders. • Use a one-em first-line indent on all indented paragraphs. • Adjust the spacing between paragraphs. • Either indent the first line of paragraphs or add extra space between them – not both. • Use a decimal or right-aligned tab for the numbers in numbered paragraphs. • Use the special characters whenever necessary, including super- and subscript. • Spend the time to create a nice fraction or choose a font that has fractions. • If a correctly spelled word needs an accent mark, use it. •

CHAPTER ONE

& DON’T’S TYPOGRAPHY DON’T • Use the spacebar to align text, always set tabs and use the tab key. • Use more than 3 hyphenations in a row. • Use too many hyphenations in any paragraph. • Use hyphenating or line breaks of names and proper nouns. • Begin consecutive lines with the same word. • End consecutive lines with the same word. • End lines with the words: the, of, at, a, by… • Hyphenate words in a headline and avoid hyphenation in a callout. • Justify the text on a short line. • Have one line in a paragraph in the column or following. • Combine two serif fonts on one page. • Rarely combine two sans serif fonts on one page. • Rarely combine more than three typefaces on one page. • Leave widows or orphans.

TYPOGRAPHY RULES

1. INSERT ONLY A SINGLE SPACE AFTER ALL PUNCTUATION

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

2. USE PROPER ‘EM’ DASHES, ‘EN’ DASHES, AND HYPHENS

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

3. USE PROPER QUOTE AND APOSTROPHE MARKS

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

CHAPTER ONE

4. USE TRUE SMALL CAPS

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

5. ADD LETTER SPACING TO CAPITALIZED TEXT AND 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 nonlining 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.

TYPOGRAPHY RULES

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. 8. USE COPYRIGHT, REGISTER, AND TRADEMARK MARKS PROPERLY

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

9. ELLIPSIS CHARACTER

Use the ellipsis character and NOT three periods. You can access the ellipsis by typing Option + : (colon). Allow a small amount of space before and after. However if it is not crowding the text, leave no space at all.

CHAPTER ONE

10. AVOID UNDERLINED TEXT

This was useful back in the days of the typewriter to draw attention to the text. With digital type and their families, you should not need to use underlined text.

11. INCREASE LINE SPACING TO IMPROVE READABILITY IN BODY 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.

12. BODY COPY SIZE

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

13. ALTERING FONTS

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

TYPOGRAPHY RULES

14. LEGIBILITY OF FONTS

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

15. DECREASE LINE LENGTH AND INCREASE MARGINS

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

16. 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.

17. WORD SPACING SHOULD BE FAIRLY CLOSE

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

CHAPTER ONE

18. IDEAL COLUMN WIDTH

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

20. JUSTIFICATION OF TEXT

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

21. CHOOSE THE ALIGNMENT THAT FITS

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

TYPOGRAPHY RULES

22. RULES OF HYPHENATION

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.

23. 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.

24. ALWAYS SPELL CHECK!

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.

CHAPTER ONE

25. AVOID WIDOWS AND ORPHANS

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

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.’)

TYPOGRAPHY RULES

CHAPTER TWO: Special Characters

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. ´

Option e

acute

Option ~

grave

Option u

umlaut

Option n

tilda

Option i

circumflex

USE COPYRIGHT, REGISTER, AND TRADEMARK MARKS PROPERLY

ELLIPSIS CHARACTER

CHAPTER TWO

SPECIAL CHARACTERS

“

Option [

opening double quote

”

Option Shift [

closing double quote

‘

Option ]

opening single quote

’

Option Shift ]

closing single quote; apostrophe

–

Option Hyphen

en dash

—

Option Shift Hyphen

em dash

…

Option ; ellipsis

•

Option 8 (asterisk)

bullet

ﬁ

Option Shift 5

ligature of f and i

ﬂ

Option Shift 6

ligature of f and l

Option g copyright

™

Option 2 trademark

Option r registered

Option Shift 8

Option $ cent symbol

€

Option Shift 2

Euro symbol

⁄

Option Shift 1 (one)

fraction bar

Option 1 (one)

inverted exclamation point

Option Shift ?

inverted question mark

Option 3 pound sign

Option c

Option Shift c uppercase cedilla

degree symbol (e.g., 102°F)

lowercase cedilla

SPECIAL CHARACTERS

“THE GRID SYSTEM IS AN AID, NOT A GUARANTEE. IT PERMITS A NUMBER OF POSSIBLE USES AND EACH DESIGNER CAN LOOK FOR A SOLUTION APPROPRIATE TO HIS PERSONAL STYLE. BUT ONE MUST LEARN HOW TO USE THE GRID; IT IS AN ART THAT REQUIRES PRACTICE.” JOSEF MÜLLER-BROCKMANN

CHAPTER THREE:

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

TSCHICHOLD (SYMMETRICAL) GRID

CHAPTER THREE

FIBONACCI GOLDEN SECTION

USING A GRID

COLUMN GRID

CHAPTER THREE

MODULAR GRID

USING A GRID

ASYMMETRICAL GRID

CHAPTER THREE

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 typesize 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 in your document preferences. 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 numer 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.

USING A GRID

CHAPTER FOUR:

Quotes & Apostrophes 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.

QUOTES

“

Option [

Opening double quote

”

Option Shift ]

Closing double quote

‘

Option [

Opening single quote

’

Option Shift ]

Closing single quote

EXAMPLES

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

APOSTROPHE

’

option shift ]

CHAPTER FOUR

Apostrophe

RULES OF APOSTROPHES As as aside, people often are confused

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

FOR POSSESSIVES: Turn the phrase around. The apostrophe will

be placed after whatever word you end up with. For example, in the phrase the boys’ camp, to know where to place the apostrophe say to yourself, “The camp belongs to the boys.” The phrase the boy’s camp says “The camp belongs to the boy.” “The big exception to this is “its.” “Its” used as a possessive never has an apostrophe! The word it only has an apostrophe as a contraction — “it’s” always means “it is” or “it has.” Always. It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes — and neither should its.

QUOTES & APOSTROPHES

FOR CONTRACTIONS: The apostrophe replaces the missing letter.

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

FOR 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’).

CHAPTER FOUR

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

QUOTES & APOSTROPHES

CHAPTER

F IV E : Dashes & Hyphens

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 or given text that uses a double hyphen -- to indicate a dash. This is a typewriter convention because typewriters didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hyphen— we have a professional em dash, the long one, such as you see in this sentence. We also have an en dash, which is a little shorter than the em dash. 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.)

- 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. 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.

HYPHENATION RULES PAY ATTENTION TO:

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

CHAPTER FIVE

EN DASH –

–

Option Hyphen

en dash

An en dash is half of the em rule (the width of a capital N) and is used between words that indicate a duration, such as time or months or years. Use it where you might otherwise use the word “to.” In a page layout application, the en dash can be used with a thin space on either side of it. If you want you can kern it so it is not a full space.

October – December 6:30 – 8:45 A.M. 4 – 6 years of age

EM DASH —

—

Shift Option Hyphen

em dash

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 you look very unprofessional. When using an—no space is used on either side.

DASHES & HYPHENS

CHAPTER SIX:

Small Caps

Small caps are uppercase (capital) letters that are about the size of normal lowercase letters in any given typeface. Small caps are less intrusive when all uppercase appears within normal text or can be used for special emphasis. Computer programs can generate small caps for a any typeface, but those are not the same as true small caps. True small caps have line weights that are proportionally correct for the typeface, which mean that they can be used within a body of copy without looking noticeably wrong. When setting text that contains acronyms, select a typeface with small caps as a family. Selecting small caps from the style menus is a poor choice because the compute reduces the overall size of the type by 80%. This changes the stroke weight and the feel of the font. Expert sets in the Adobe Type Library have small caps options. Use small caps for acronyms. Set acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines. Use small caps for common abbreviations. Set common abbreviations such as AM or PM in small caps so they donâ&#x20AC;&#x2122;t overpower the accompanying text. Use small caps for A.M. and P.M.; space once after the number, and use periods. (if the font does not have small caps reduce the font size slightly) Use true small caps fonts. Avoid simply resizing capital letters or using the small caps feature in some programs. Instead use typefaces that have been specifically created as small caps.

SERIF SMALL CAPS MRS. EAVES

GOUDY

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

WALBAUM

META SERIF

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

BAUER BODONI

FILOSOFIA

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

CHAPTER SIX

SANS SERIF SMALL CAPS SCALA SANS

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.

META PLUS NORMAL

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.

NEUTRA TEXT

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.

SMALL CAPS

CHAPTER SEVEN: Numerals/Figures 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. 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.

GOUDY

OLD STYLE FIGURES

134

1023

323

12.5

134.0

17.8

1023.4

323.0

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

LINING FIGURES

134

1023

323

12.5

134.0

17.8

1023.4

323.0

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

CHAPTER SEVEN

BAUER BODONI

OLD STYLE FIGURES

134

1023

323

12.5

134.0

17.8

1023.4

323.0

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

LINING FIGURES

134

1023

323

12.5

134.0

17.8

1023.4

323.0

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

NUMERALS/FIGURES

META SERIF

OLD STYLE FIGURES

134

1023

323

12.5

134.0

17.8

1023.4

323.0

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

LINING FIGURES

134

1023

323

12.5

134.0

17.8

1023.4

323.0

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

CHAPTER SEVEN

META PLUS BOOK

OLD STYLE FIGURES

134

1023

323

12.5

134.0

17.8

1023.4

323.0

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

LINING FIGURES

134

1023

323

12.5

134.0

17.8

1023.4

323.0

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

NUMERALS/FIGURES

SCALA SANS

OLD STYLE FIGURES

134

1023

323

12.5

134.0

17.8

1023.4

323.0

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

LINING FIGURES

134

1023

323

12.5

134.0

17.8

1023.4

323.0

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

CHAPTER SEVEN

NEUTRA TEXT

OLD STYLE FIGURES

134

1023

323

12.5

134.0

17.8

1023.4

323.0

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

LINING FIGURES

134

1023

323

12.5

134.0

17.8

1023.4

323.0

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

NUMERALS/FIGURES

CHAPTER EIGHT:

Typographic Color 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 ASKED...

– Who is to read it? Someone that wants to read it? Someone that has to read it?

– How will it be read? Quickly. In passing. Focused. Near. Far.

X xhg

Xxhg

DIN albert jen pool

helvetica

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

CHAPTER EIGHT

max miedinger

Xx hg

X xhg

akzidenz grotesk

futura

72 point

ferdinand theinhardt

paul renner

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

TYPOGRAPHIC COLOR

X xhg

Xxh g

mrs eaves zuzana licko

baskerville

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

CHAPTER EIGHT

john baskerville

X xhg Xxhg

72 point

archer tobias frere-jones

clarendon

robert besley

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

8/12 x-height: average character width: wide color: dark

TYPOGRAPHIC COLOR

Xxhg

rotis sans

univers

otl aicher

adrian frutiger

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

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

CHAPTER EIGHT

X xhg

X xh g

trade gothic

scala sans

jackson burke

martin majoor

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

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

72 point

TYPOGRAPHIC COLOR

X x h g X xhg rotis serif

filosofia

otl aicher

zuzana licko

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

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

CHAPTER EIGHT

X xhg X x hg

72 point

walbaum justus erich walbaum

didot

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

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

firmin didot

TYPOGRAPHIC COLOR

X xh g Xxhg interstate

tobias frere-jones

frutiger

adrian frutiger

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

CHAPTER EIGHT

Xxhg Xxhg

72 point

gill sans

avenir

adrian frutiger

eric gill

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

8.5/12 x-height: small character width: narrow color: dark

TYPOGRAPHIC COLOR

Xxhg

X xhg

goudy frederic goudy

melior

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

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

CHAPTER EIGHT

hermann zapf

X x h g Xx hg

72 point

volta

memphis

walter baum

rudolph wolf

8/12 x-height: average character width: wide color: dark

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

TYPOGRAPHIC COLOR

CHAPTER NINE: Paragraph Breaks

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

IN TYPOGRAPHY THERE ARE 4 RULES REGARDING PARAGRAPH BREAKS:

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

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 avantgarde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term – still resonant today ‑ was parole in 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.”

CHAPTER NINE

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.”

PARAGRAPH BREAKS

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But 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 avantgarde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term – still resonant today – was parole in 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.”

CHAPTER NINE

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.”

PARAGRAPH BREAKS

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. • But 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-ofthe-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

CHAPTER NINE

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 avantgarde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term – still resonant today – was parole in 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.”

PARAGRAPH BREAKS

CHAPTER NINE

PARAGRAPH BREAKS

CHAPTER NINE

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 avantgarde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term – still resonant today – was parole in 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.”

PARAGRAPH BREAKS

CHAPTER TEN: Headers & Footers

HEADER & SUBHEAD HEADER a word, phrase, etc., that is placed at the beginning of a

document, passage, etc., or at the top of a page SUBHEAD a subordinate caption, title, or headline

2. explain any rules associated with header and subhead spacing assignment: using 6 solutions from your the paragraph break investigation add the header and subhead to the the text. Important questions to ask yourself: How are the headers/subheads treated? How to they relate to the text? How to the react to the page?

FOOTNOTES & ENDNOTES

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.

FOOTNOTES are text elements at the bottom of a page of a book

or manuscript that provide 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.

CHAPTER TEN

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.)

NUMBERS OR SYMBOLS

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

SIZE

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

HEADERS & FOOTERS

1. Philip Meggs, History

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

of Graphic Design, Van

The manifesto’s rhetoric was passionately bombastic; its tone was aggres-

Nostrand Reinhold, 1988

sive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

2. parole in liberta =

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

words set free (liberty)

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.”

CHAPTER TEN

3. selbst = himself

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 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

HEADERS & FOOTERS

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

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

CHAPTER TEN

WORDS IN LIBERTY: A PROLOGUE TO FUTURISM Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism

1. Philip Meggs, History

rejected traditions and glorified contemporary life, mainly by emphasizing

of Graphic Design, Van

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

Nostrand Reinhold, 1988

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.

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

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

3. selbst = himself

of any value is theatrical.”

HEADERS & FOOTERS

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.

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

3. selbst = himself

who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

CHAPTER TEN

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

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.

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

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

3. selbst = himself

of any value is theatrical.”

HEADERS & FOOTERS

CHAPTER ELEVEN:

Column Width

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

20 CHARACTERS/LINE Futurism

was

40 CHARACTERS/LINE

first

nant themes, the machine

Futurism was first announced on February

announced on February 20,

and motion. The works

20, 1909, when the Paris newspaper Le

1909, when the Paris news-

were characterized by the

Figaro published a manifesto by the Italian

paper Le Figaro published

depiction of several succes-

poet and editor Filippo Tommaso Marinetti.

a manifesto by the Italian

sive actions of a subject at

The name Futurism, coined by Marinetti,

poet and editor Filippo

the same time. Marinettiâ&#x20AC;&#x2122;s

reflected his emphasis on discarding what he

Tommaso Marinetti. The

manifesto glorified the new

conceived to be the static and irrelevant art

name

coined

technology of the automo-

of the past and celebrating change, original-

by Marinetti, reflected his

bile and the beauty of its

ity, and innovation in culture and society.

emphasis on discarding

speed, power, and move-

Futurism rejected traditions and glorified

what he conceived to be

ment. He exalted violence

contemporary life, mainly by emphasiz-

the static and irrelevant art

and conflict and called

ing two dominant themes, the machine and

of the past and celebrat-

for the sweeping repudia-

motion. The works were characterized by the

ing change, originality, and

tion of traditional cultural,

depiction of several successive actions of a

innovation in culture and

social, and political val-

subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifes-

society. Futurism rejected

ues and the destruction of

to glorified the new technology of the auto-

traditions

glorified

such cultural institutions

mobile and the beauty of its speed, power,

contemporary life, mainly

as museums and libraries.

and movement. He exalted violence and

Futurism,

and

by emphasizing two domi-

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

CHAPTER ELEVEN

60 CHARACTERS/LINE Futurism was first announced on February 20, 1909, when the

DETERMINING LINE LENGTH FOR JUSTIFIED TYPE

Paris newspaper Le Figaro published a manifesto by the Italian

A general guideline for deter-

poet and editor Filippo Tommaso Marinetti. The name Futurism,

mining if your line length is

coined by Marinetti, reflected his emphasis on discarding what

long enough to satisfactorily

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

justify the text: the line length

celebrating change, originality, and innovation in culture and

in picas should be about twice

society. Futurism rejected traditions and glorified contemporary

the point size of the type; that

life, mainly by emphasizing two dominant themes, the machine

is, if the type you are using

and motion. The works were characterized by the depiction of

is 12 point, the line length

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

should be at least 24 picas (24

manifesto glorified the new technology of the automobile and

picas is 4 inches-simply divide

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

the number of picas by 6, as

lence and conflict and called for the sweeping repudiation of

there are 6 picas per inch).

traditional cultural, social, and political values and the destruc-

Thus 9-point type should be

tion of such cultural institutions as museums and libraries.

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

80 CHARACTERS/LINE

changed to picas, if you like.

COLUMN WIDTH

CHAPTER TWELVE:

Leading

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

NEGATIVE LEADING: 11PT/9PT

CHAPTER TWELVE

SOLID LEADING: 11PT/11PT

LEADING

NORMAL LEADING: 11PT/15PT

CHAPTER TWELVE

EXTREME LEADING: 11PT/24PT

LEADING

CHAPTER THIRTEEN:

Ke r nin 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.

KERNING (METRIC) METRIC KERNING

uses the kerning tables that are built into the typeface. When you select metric kerning in your page layout program, you are using the spacing that was intended by the type designer. Metric kerning usually looks good, especially at small sizes. Cheap novelty fonts often have little or no built-in kerning and will need to be optically kerned.

OPTICAL KERNING

is executed automatically by the page layout program. Rather than using the pairs addressed in the 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.

CHAPTER THIRTEEN

KERNING (OPTICAL) METRIC KERNING

OPTICAL KERNING

KERNING

CHAPTER FOURTEEN:

Alignment & Justification 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 boxlike 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.

LEFT ALIGNED, RAGGED RIGHT

Speaking just in terms of alignment, left aligned (Flush Left, Ragged Right) text is the most readable. Left aligned text uses the optimum word spacing and letter spacing that the designer built into the font, and the spacing is very consistent so you do not have to struggle through the words at all. And as you read, your eye can quickly find the beginning of the next line. Often considered more informal, friendlier than justified text. The ragged right edge adds an element of white space. May require extra attention to hyphenation to keep right margin from being too ragged. Generally type set leftaligned 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 step 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 affecting 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...

CHAPTER FOURTEEN

102

CENTER ALIGNED

There is nothing inherently wrong with centered text. As with ragged right or fully-justified text alignment, what works for one design might be totally inappropriate for another layout. There are simply fewer situations where centered text is appropriate. When in doubt, don't center it. As with all layouts, alignment depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design. No matter what alignment you use, remember to pay close attention to hyphenation and word/character spacing as well to insure that your text is as readable as possible. There will undoubtedly be well-meaning friends, business associates, clients, and others who will question your choices. Be prepared to 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.

103

ALIGNMENTS & JUSTIFICATION

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. One simple rule for determining whether 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.

CHAPTER FOURTEEN

104

JUSTIFICATION

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. 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.

REMINDER:

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

105

ALIGNMENTS & JUSTIFICATION

RIVERS

In typography, rivers, or rivers of white, are visually unattractive gaps appearing to run down a paragraph of text. They can occur with any spacing, though they are most noticeable with wide word spaces caused by either full text justification or monospaced fonts.

WIDOWS AND ORPHANS

Never leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program 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.

WIDOW

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

ORPHAN

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

CHAPTER FOURTEEN

106

MELIOR: 85/100/115

These justification set-

even spacing, while preventing rivers and awkward gaps.

These justification set-

107

tings provide a nice

tings provide a nice even spacing, while preventing rivers and awkward gaps. Set in Interstate, however, it becomes very dark.

ALIGNMENTS & JUSTIFICATION

These justification settings are far too tight, causing words to run together. There's no breathing room.

Again, these settings are

MELIOR: 30/50/70

INTERSTATE: 30/50/70

too tight. The words have no breathing room, and often run together.

CHAPTER FOURTEEN

108

MELIOR: 75/80/85

This spacing is fairly

even, though perhaps slightly too tight. All in all, it's not bad.

For Interstate, these settings are perhaps

109

a little snug, and the dark typeface appears even darker without enough space.

ALIGNMENTS & JUSTIFICATION

This spacing is probably too large, and causes distracting rivers to form through the paragraph.

Again, this spacing is perhaps a tad too big, though it looks slightly better set in a darker typeface than a lighter one. However, it's still prone to rivers.

MELIOR: 100/150/200

CHAPTER FOURTEEN

110

MELIOR: 50/100/150

This spacing is not

it is prone to a wide variety of spacing sizes. Some words are too close, and some are too far, but only slightly.

This spacing is a bit

111

bad overall, though

inconsistent, but not terrible. Some words are too close together, and some too far apart, but it's not terribly distracing.

ALIGNMENTS & JUSTIFICATION

CHAPTER FIFTEEN:

Font Combinations

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 a 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.}

TYPEFACE: ARCHER

36PT: HEADER

Words in Liberty TYPEFACE: TRADE

18PT: SUBHEAD

A PROLOGUE TO FUTURISM TYPEFACE: ARCHER

18/18PT: INTRO TEXT, PULL QUOTES

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

9/12PT: BODY TEXT

The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

FONT COMBINATION These two fonts work nicely together because of their similar weights. While Trade Gothic has a large x-height, it’s width is somewhat narrower, which makes the color lighter. Archer, with its small x-height and average width, also has a lighter color. The ball-shaped finials and slab serifs of Archer add a playful contrast to the solemnity of Trade Gothic.

CHAPTER FIFTEEN

114

TYPEFACE: ROTIS SERIF

36PT: HEADER

Words in Liberty TYPEFACE: ROTIS SANS

18PT: SUBHEAD

A PROLOGUE TO F U T URISM TYPEFACE: ROTIS SERIF

18/18PT: INTRO TEXT, PULL QUOTES

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

9/12PT: BODY TEXT

FONT COMBINATION RATIOI’ll admit, this one is a gimme. The two fonts work so well together first of all because they’re designed to go together. Secondly, they both have average x-heights and widths. However, Rotis Sans Serif is lighter than Rotis Serif, which brings a nice contrast to the two typefaces.

115

FONT COMBINATIONS

TYPEFACE: FILOSOFIA

36PT: HEADER

Words in Liberty TYPEFACE: UNIVERS

18PT: SUBHEAD

A PROLOGUE TO FUT URISM TYPEFACE: FILOSOFIA

18/18PT: INTRO TEXT, PULL QUOTES

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

9/12PT: BODY TEXT

FONT COMBINATION RATIOThese two fonts work together because of their contrast. Filosofia’s high contrast hairline serifs work as an opposite of Univers’ even, geometric letterforms. Filosofia is a lighter weight, and Univers is darker. However, there’s a certain austerity and well-established feel to both fonts that makes them work well together.

CHAPTER FIFTEEN

116

TYPEFACE: GOUDY

36PT: HEADER

Words in Liberty TYPEFACE: FUTURA

18PT: SUBHEAD

A PRO LOGUE TO FUT URISM TYPEFACE: GOUDY

18/18PT: INTRO TEXT, PULL QUOTES

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

9/12PT: BODY TEXT

FONT COMBINATION RATIOThese two fonts work together because of the geometric angles and shapes employed by each typeface. Futura, the epitome of a geometric sans serif, is a darker color, in contrast to Goudy’s lighter weight. While at first glance the high contrast nature of Goudy is starkly different than Futura, there are certain geometric elements that tie the two together, such as the diamond-shaped dots above Goudy’s eyes, lending a geometric flair to the typeface.

117

FONT COMBINATIONS

TYPEFACE: MRS. EAVES

36PT: HEADER

Words in Liberty TYPEFACE: INTERSTATE

18PT: SUBHEAD

A PROLOGUE TO FUTURISM TYPEFACE: MRS. EAVES

18/18PT: INTRO TEXT, PULL QUOTES

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

9/12PT: BODY TEXT

FONT COMBINATION RATIOThese two fonts work together because of their multiple contrasts. Interstate is dark, because of its tall x-height, and Mrs. Eaves is fairly light, due to its small x-height. Interstate is has some modern twists, such as the angles found on the ends of glyphs such as “l” and “b,” whereas Mrs. Eaves is a transitional typeface with a fairly traditional feel.

CHAPTER FIFTEEN

118

TYPEFACE: CLARENDON

36PT: HEADER

Words in Liberty TYPEFACE: AKZIDENZ

18PT: SUBHEAD

A P RO LO G U E TO F U T U R I S M TYPEFACE: CLARENDON

18/18PT: INTRO TEXT, PULL QUOTES

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

9/12PT: BODY TEXT

FONT COMBINATION RATIOThese two fonts work together because of their similar x-heights. The width of Clarendon’s letters is wider than that of Akzidenz Grotesk, which adds some contrast between the two typefaces. While their x-heights are nearly identical, the wider letterforms of Clarendon make it a slightly heavier color on the page.

119

FONT COMBINATIONS

TYPEFACE: MEMPHIS

36PT: HEADER

Words in Liberty TYPEFACE: AVENIR

18PT: SUBHEAD

A PROLOGUE TO FU T URISM TYPEFACE: MEMPHIS

18/18PT: INTRO TEXT, PULL QUOTES

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

9/12PT: BODY TEXT

The works were characterized by the depiction of several successive actions of a subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifestoâ&#x20AC;&#x2122;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.

FONT COMBINATION RATIOThese two fonts work together because they have similar x-heights, and therefore similar colors. Memphis is a bit more spread out, however, with wider letterforms, and therefore slightly lighter than Avenir. Both are fairly geometric fonts, with Avenir falling in the categorization of a geometric sans serif. While Museo is a slab serifs, its letterforms are geometric enough to feel right at home next to Avenir.

CHAPTER FIFTEEN

120

TYPEFACE: DIDOT

36PT: HEADER

Words in Liberty TYPEFACE: SCALA SANS

18PT: SUBHEAD

A PROLOGUE TO FUTURISM TYPEFACE: DIDOT

18/18PT: INTRO TEXT, PULL QUOTES

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

9/12PT: BODY TEXT

FONT COMBINATION RATIOThese two fonts work together because of the light and airy feel they both have. Didot has a low x-height, which combined with its hairline serifs and high contrast letterforms, lends it a sense of being grounded and established without being heavy. Scala Sans is similarly light, with an average x-height and average width.

121

FONT COMBINATIONS

TYPEFACE: BASKERVILLE

36PT: HEADER

Words in Liberty TYPEFACE: DIN

18PT: SUBHEAD

A P R OLOGUE T O F U T UR I SM TYPEFACE: BASKERVILLE

18/18PT: INTRO TEXT, PULL QUOTES

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

9/12PT: BODY TEXT

FONT COMBINATION RATIOThese two fonts work together because of the high contrast between the two. DIN is a heavy typeface, with a tall x-height and thick strokes. Baskerville, a transitional typeface, has a smaller x-height and smooth contrast between thick vertical strokes and thin horizontal ones.

CHAPTER FIFTEEN

122

TYPEFACE: WALBAUM

36PT: HEADER

Words in Liberty TYPEFACE: FRUTIGER

18PT: SUBHEAD

A PROLOGUE TO FU TURI SM TYPEFACE: WALBAUM

18/18PT: INTRO TEXT, PULL QUOTES

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

9/12PT: BODY TEXT

FONT COMBINATION RATIONAL Frutiger and Walbaum are both slightly on the darker side, both with average widths. Frutiger’s taller x-height makes it slightly darker than Walbaum, but both have a certain weightiness to them. It is for this reason that they work together, although the contrast between Walbaum’s modern hairline serifs and Frutiger’s neo-grotesque letterforms adds interest and contrast to the pair.

123

FONT COMBINATIONS

CHAPTER SIXTEEN:

Font Specs

Archer

MaxogGdQRst BOOK

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

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

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

SEMI-BOLD

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

BOLD ITALIC

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { } ? ! @ & * 126

Akzidenz Grotesk

MaxogGdQRst ROMAN

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

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

127

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

Baskerville

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

REGULAR

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ){}?!@&* 128

Belizio

MxagGdQrR REGULAR

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

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

129

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

Bembo

MxnogGdQrRst REGULAR

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0(){}?!@&* 130

Bookman

MxaogGdQrR REGULAR

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

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

131

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

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

Bodoni

MxaogGdQrRst REGULAR

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

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

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

132

Caslon

MxanogGdQRt REGULAR

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

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

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

133

SWASH

ABCDEFGHIJKLMNOPQ RSTUVWXYZ 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 XxyZz123 4

Clarendon

MxagGdQrRt LIGHT

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

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

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

134

Didot

MxaogGdQrRt REGULAR

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

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

135

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

DIN

MaxnogGdQrRt LIGHT

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { ? ! @ & * 136

DIN

MaxngdQHAMBURG LIGHT CONDENSED

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

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

BOLD CONDENSED

137

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

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

Disturbance

MxnatQbWFGdR REGULAR

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

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

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

BOLD

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

138

Filosofia

MxnaopQrRtfGg REGULAR

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

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

UNICASE

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

139

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

Frutiger

MaxodQRtfGg CONDENSED

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 567890(){}?!@&* 140

Futura

MxaopQRstGg BOOK

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

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

141

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

Helvetica

MaoygGdQrRt

REGULAR

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

MEDIUM

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 142

Gill Sans

MaxnbyogGQRt REGULAR

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

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

BOLD

143

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

Gotham

MayogGdQRt BOOK

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 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(){}?!@&* 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(){}?!@&* 144

Interstate

MaoygGdQrRt REGULAR

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

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

145

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

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

Melior

MayogGdQrRt REGULAR

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

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

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

146

Memphis

MxagGdQrRt LIGHT

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

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

147

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