Anthem by Caleb Newberg

anthem

anthem a manual of typography Caleb Newberg A MANUAL OF TYPOGRAPHY.

A MANUAL OF TYPOGRAPHY.

-70째

Table of Contents 2

rules.

x-height.

hyphenation.

alignment.

justification.

combining typefaces.

quotes. apostrophes. dashes.

special characters.

bullets.

numerals. figures.

small caps.

paragraph breaks.

headers. subheads. crossheads.

captions. notes.

100

font specs.

C=100 | M=51 | Y=100 | K=32

C=100 | M=50 | Y=96 | K=36

C=100 | M=50 | Y=91 | K=41

C=100 | M=49 | Y=87 | K=45

C=100 | M=49 | Y=82 | K=49

C=100 | M=48 | Y=78 | K=53

C=100 | M=48 | Y=73 | K=58

C=100 | M=47 | Y=69 | K=62

C=86 | M=40 | Y=59 | K=67

C=71 | M=34 | Y=49 | K=73

C=57 | M=27 | Y=39 | K=78

C=43 | M=20 | Y=30 | K=84

C=29 | M=13 | Y=20 | K=89

C=14 | M=7 | Y=10 | K=95

C=0 | M=0 | Y=0 | K=100

rules

rul

RULES.

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111.3째

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

R U L E S .

The following is a compendium of the rules established in this book. Check through them each time you complete a publication. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

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

10.6째

79.4째

DESIGN IS WHERE SCIENCE AND ART BREAK EVEN. 111.3째

Robin Mathew

x-height

x-heig X-HEIGHT.

X-HEIGHT.

10.85°

5.6388 × 10-5 km

90°

19 pt

X-H E I G HT.

When deciding what typeface should be used for a project, consideration should be given to the typeface and its x-height. X-height plays an important role in a typeface’s readability and legibility. These are two key elements in printed text that typographers must strive to maximize. Readability applies to an extended amount of text – such as an article, book, or annual report – and how easy it is to read. Legibility refers to short bursts of text – such as a headline, catalog listing, or stop sign – and whether or not it’s instantly recognizable. There are several factors that determine whether a text is readable. It is important to understand how a block of text can express a message through its typographic texture/ color, therefore suiting a particular design solution. Fonts set in the same size, same leading and column width will produce varying degrees of typographic 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 you must address the following questions. Who’s gonna 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- H E I G HT.

X xhg Xxhg Mrs. Eaves

Melior

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

transitional serif

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

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

ZUZANA LICKO (1996)

HERMANN ZAPF (1952)

X xh g Xxhg Garamond

Volta T

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

old style serif

modern serif

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

x-height: medium character width: wide color: heavy

CLAUDE GARAMOND (1561)

WALTER BAUM & KONRAD BAUER (1955)

X- H E I G HT.

X x hg Xxh g Goudy

Bodoni

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

old style serif

modern serif

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

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

FREDERIC W. GOUDY (1916)

GIAMBATTISTA BODONI (1789)

Xx h g Xx hg Rotis Serif

Memphis

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

new transitional serif

slab serif

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

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

OTL AICHER (1988)

RUDOLF WOLF (1929)

X- H E I G HT.

Xxhg Xxhg Archer

Swift

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

slab serif

new transitional serif

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

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

HOEFLER & FRERE-JONES (2001)

GERARD UNGER (1985)

X x hg Xxhg Helvetica Neue

Scala Sans

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

MAX MIEDINGER (1957)

MARTIN MAJOOR (1993)

neo-grotesque sans-serif

humanistic sans-serif

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

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

X- H E I G HT.

X xh g Xxh g Trade Gothic

Syntax

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

grotesque sans-serif

humanistic sans-serif

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

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

JACKSON BURKE (1948)

HANS EDUARD MEIER (1968)

Xxhg Xxh g Meta

Eurostile

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

humanistic sans-serif

geometric sans-serif

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

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

ERIK SPIEKERMANN (1989)

ALDO NOVARESE (1962)

X- H E I G HT.

X xh g Xx h g Interstate

Gotham

TOBIAS FRERE-JONES (1999)

TOBIAS FRERE-JONES (2000)

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

humanistic sans-serif

geometric sans-serif

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

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

Xxhg Xxhg Univers

Futura

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

neo-grotesque sans-serif

geometric sans-serif

x-height: large character width: wide color: heavy

x-height: medium character width: narrow color: medium

ADRIAN FRUTIGER (1954)

PAUL RENNER (1927)

hyphenation HYPHENATION.

HYPHENATION.

hyp -20.5°

90° hyphen = 4.6482 × 10-5 km

H YP H E NATI O N.

Nothing ruins a headline more than hyphens. Make yours beautiful by paying attention to the following rules. 1 2 3 4 5 6 7

Avoid widows (one word on the last line of a paragraph). Avoid hyphenating or line-breaks of names and proper nouns. Leave atleast two characters on the line and three 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, and so on. Never hyphenate words in a headline and avoid hyphenation in a callout.

In unjustified text, the text block is set with normal letter and word spacing. Because of the even word spacing the text will have an even texture â&#x20AC;&#x201C; no large spaces between words. The lines will naturally vary in length. A ragged text block can integrate with the layout and add visual interest to the page. The difficulty is making the ragged edge have a pleasing silhouette. When the first line in the text is longer than the second, it becomes separate from the layout and creates a box-like shape. This destroys one of the advantages of unjustified text. The ragged edge needs to have a life, but a narrow column can be less active. Another advantage to ragged text is that less hyphenation is needed. Therefore, names, dates or words which are normally read together can stay together.

H Y P H E N AT I O N S E T T I N G S Hyphenate Words with at Least:

letters

After First:

letters

Before Last:

letters

Hyphen Limit:

hyphens

Hyphenation Zone:

0 in

Better Spacing

Hyphenate Capitalised Words Hyphenate Across Column

Fewer Hyphens

Hyphenate Last Word

OK Cancel Preview

H Y P H E N ATI O N .

Be careful with your headlines. Hyphenation ruins their cohesiveness and clarity. It just looks wrong. example:

Don Quixote de la ManCha Don’t do this.

Professor and Therapist to Lecture

Notice where the first line of a two line headline breaks. Make sure it doesn’t create a silly or misleading phrase.

After fixing hyphenation and line-break issues, double check and make sure everything’s right. Never leave widows and orphans on the page. Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program you’re working in. Sometimes widening a margin just a hair will do it. Widows and orphans on a page are unsightly and wrong.

WIDOW: When a paragraph ends and leaves fewer than seven characters on the last line. ORPHAN: When the last line of a pargraph doesn’t fit at the bottom of the column, stretching to the next one. RIVERS: Visually unattractive gaps appearing in between words often due to justification or monospaced fonts.

Look for bad line breaks throughout every line of body copy. Do this only on final copy, after all the editing has been done. example:

Casing Adder Bat Heresy borsch-boil starry a boarder borsch boil gam plate lung, lung a gore inner ladle wan-hearse torn coiled Mutt-fill. Mutt-fill worsen mush offer torn, butted hatter putty gut borsch-boil tame, an off oiler pliers honor tame, door moist cerebrated worse Jackson. Jackson worsted sickened basement, any hatter betting orphanage off .526 (fife toe sex). Casing worse gut lurking an furry poplar—spatially wetter gull coiled Any-bally. Any-bally worse Casing’s sweat-hard, any harpy cobble wandered toe gat merit, bought Casing worse toe pore toe becalm Any-bally’s horsebarn. (Boil pliers honor Mutt-fill tame dint gat mush offer celery; infect, day gut nosing atoll.) Butt less gat earn wetter starry.

Justify the headline so it stays on one line. Bump ‘a’ down to the next line for a better fit. Slightly kern ‘inner’ to bring it up a line.

Bump ‘often’ down to avoid the hyphen.

Never hyphenate a person’s name.

Adjust kerning above to avoid widow-ing.

There is room to bring ‘bought’ up to balance the rag. ‘Horsebarn’ is an appropriate word to hyphenate. Bring it up to this line.

Get rid of the widow by adjusting the text.

ALIGNMENT.

alignment ALIGNMENT.

ALIGNMENT.

-65.4째

90째

ALIGNMENT.

ALI G N M E NT.

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.

Come on! Just tell me whoâ&#x20AC;&#x2122;s right! 110Â°

Fine. The guy who prefers left alignment is right. Just Kidding. Alignment is only a small piece of the puzzle. What works for one design might be totally inappropriate for another layout. Donâ&#x20AC;&#x2122;t forget about the purpose of the piece, the audience and its expectations as well as the fonts, margins white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design.

A LI G N M E NT.

Justified Text Traditionally, many books, newsletters, and newspapers use full-justification as a means of packing as much information onto the page as possible to cut down on the number of pages needed. While the alignment was chosen out of necessity, it has become so familiar to us that those same types of publications set in left-aligned text might look odd and even unpleasant. You may find that fully-justified text is a necessity either due to space constraints or expectations of the audience. If possible, try to break up dense blocks of texts with ample subheadings, margins, or graphics.

Often considered more formal and less friendly than left-aligned text. Usually allows for more characters per line, packing more into the same amount of space than the same text set left-aligned. May require extra attention to word and character spacing and hyphenation to avoid unsightly rivers of white space running through the text. May be more familiar to your typical reader. Some people are naturally drawn to the neatness of text that lines up perfectly on the left and right.

example: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.

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

Left Aligned Text Left Aligned text is almost as common as justified. Although it doesnâ&#x20AC;&#x2122;t fit as much information on a page as justified text, it has a more natural flow as the text is not confined to a certain space. Left-Alignment is often appropriate for general audiences as readersâ&#x20AC;&#x2122; eyes are accustomed to reading left-to-right. It also leaves a nice element of negative space for the type-oriented designer and the ragged right edge breaks up the monotony of text blocks. Type setters can easily avoid widows and rivers due to the easy nature of left-alignment adjustment.

Often considered more informal and friendly than justified text. Has an element of negative space added by ragged right edge. May require extra attention to hyphenation to keep right margin from being too ragged. Generally easier to work with and more accessible to the audience. Requires less time, attention, and tweaking from the designer to make it look good.

A LI G N M E NT.

Right Aligned Text Although not as popular, right aligned text can serve many purposes alongside its justified and left-aligned partners. However, right aligned paragraphs are better served as small pieces of information rather than long winded columns. Right aligned paragraphs and headlines can help balance a page or add an asymmetrical element to a static one. Right aligned text is easy to overdo, and can be more difficult for the reader to comprehend. Avoid using only right aligned text on one pageâ&#x20AC;&#x201D;try coupling it with left aligned elements of text.

Often considered dynamic, informal, less friendly than left-aligned text. Has the same white space and river-avoiding benefits as left aligned text. More difficult to handle and use well due to reader infamiliarity. Can add a lively twist to a boringly type-set page.

Centered Text There is nothing inherently wrong with centered text. As with ragged right or fully-justified text alignment, what works for one design might be totally inappropriate for another layout. There are simply fewer situations where centered text is appropriate. When in doubt, donâ&#x20AC;&#x2122;t center it. Remember that with all design choices and justification decisions, there will undoubtedly be well-meaning friends, business associates, clients, and others who will question your moves. 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.

Often considered the easy way out of justification decisions. Loses the advantages of left aligned, right aligned, and justified text blocks because there are no perfect edges. Often has overwhelming ragging. Generally easier to work with and more accessible to the audience. Requires less time, attention, and tweaking from the designer.

LI GATU R E D ETE CTE D

X=4.16IN, Y=1.38IN

60% / 64% / 68% / 72% / 76% 165% / 180% / 195% / 210% 285% / 286% / 287% / 288% / 289%

justification JUSTIFICATION.

JUSTIFICATION.

justi 79.6째

J U STI F I CATI O N AT X=1.09IN, Y=5.56IN 85% / 110% / 250% 0% / 0% / 4% 100% / 100% / 100%

J U STI F I CATI O N.

Justify text only if the line is long enough to prevent awkward and inconsistent word spacing. No one likes awkward. The only time you can safely get away with justifying text is if your type is small enough and your line is long enough—such as in books where the text goes all the way across the page. If your line is shorter, as in a newsletter, or if you don’t have enough words on the line to comfortably space it, don’t justify it. There are too many newspaper columns with words and short sentences stretching all the way across due to the justified alignment. If you justify your text and your lines are relatively short, chances are that there will be some uncomfortable spacing between words. Don’t forget to adjust your justifiation settings in your program. Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type. If the type you are using is 12 point, the line length should be at least 24 picas (there are 6 picas per inch). Thus, 9-point type should be on an 18-pica line before you try to justify it, and 18-point type should be on a 36-pica line. Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

To check for rivers in justified text, print your document, turn it upside down and squint at it.

10.4°

J U STI F I CATI O N .

What is the ideal space between words? If text is left aligned, the wordspace (space between words) stays fixed and doesnâ&#x20AC;&#x2122;t scatter. If the text is justified, the word spacing changes based on the length of the line. In either case, the size of the wordspace varies from one circumstance to another, depending on factors such as letterfit, type weight, and size. A loosely fitted or bold typeface needs more space between words. At large sizes, when letterfit is tightened, the spacing of the words can be tightened as well.

What is the Justification Panel? What do the numbers in the dialog box do? WORD SPACING: the space between words that results from pressing the spacebar. The word spacing can range from 0% â&#x20AC;&#x201D; 1000%, at 100%; no additional space is added to the words. LETTER SPACING: the distance between letters, including kerning or tracking values. Letterspacing values can range from -100% to 500%; at 0%, no spacing is added between letters. At 100%, an entire space width is added between letters. GLYPH SCALING: the width of characters (a glyph is any font character). Glyph scaling values can range from 50% to 200%.

J U S T I F I CAT I O N Minimum

Desired

Maximum

Word Spacing: 85%

110%

250%

Letter Spacing: 0%

Glyph Scaling: 100%

100%

Auto Leading: 120% Single Word Justification: Full Justify Composer: Adobe Paragraph Composer

OK Cancel Preview

example 1:

Interstate Light two column / two & a half column / left-justified, set to 8/12 word spacing: 80% / 85% / 90% letter spacing: 0% / 0% / 2% result: Rivers slightly noticeable on two-column, barely noticeable on two-and-a-half. Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18- pica line (3 inches) before you try to justify it.

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

example 2:

Adobe Garamond Roman two column / two & a half column / left-justified, set to 8/12

word spacing: 80% / 110% / 250% letter spacing: 0% / 0% / 4% result: 250% maximum wordspacing results in unpleasant rivers. Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18- pica line (3 inches) before you try to justify it.

Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inchessimply 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.

J U STI F I CATI O N .

example 3:

Memphis Medium two column / two & a half column / left-justified, set to 8/12 word spacing: 20% / 60% / 65% letter spacing: 0% / 0% / 2% result: 20% minimum word spacing is too tight. Sentences stumble upon each other. Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18- pica line (3 inches) before you try to justify it.

Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inchessimply 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.

example 4:

Helvetica Neue 55 Roman two column / two & a half column / left-justified, set to 8/12 word spacing: 50% / 60% / 70% letter spacing: 0% / 0% / 2% result: Slightly tight, but not bad. Rivers only noticeable to a trained eye. Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18pica line (3 inches) before you try to justify it.

example 5:

Trade Gothic Medium two column / two & a half column / left-justified, set to 8/12 word spacing: 120% / 135% / 150% letter spacing: 0% / 0% / 10% result: 120% minimum is too wide of spacing. Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inchessimply 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.

example 6:

ITC Bookman Light two column / two & a half column / left-justified, set to 8/12 word spacing: 40% / 55% / 60% letter spacing: 0% / 0% / 2% result: Very satisfying justified type. Tight but not too tight. Narrow rivers. Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18- pica line (3 inches) before you try to justify it.

Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inchessimply 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.

J U STI F I CATI O N .

example 7:

Franklin Gothic Book two column / two & a half column / left-justified, set to 8/12 word spacing: 70% / 80% / 105% letter spacing: 0% / 0% / 6% result: Also a satisfying setting. Slightly tight becasue of Franklin Gothic proportions. Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18- pica line (3 inches) before you try to justify it.

example 8:

Goudy Old Style two column / two & a half column / left-justified, set to 8/12 word spacing: 30% / 110% / 200% letter spacing: 0% / 0% / 0% result: Unpleasant rivers. Gaps are too varied. Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18- pica line (3 inches) before you try to justify it.

example 9:

Meta Book two column / two & a half column / left-justified, set to 8/12 word spacing: 200% / 200% / 200% letter spacing: 0% / 0% / 0% result: Pointless. No reason to use the justification palette on this setting. Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18- pica line (3 inches) before you try to justify it.

example 10:

Gotham Book two column / two & a half column / left-justified, set to 8/12 word spacing: 80% / 110% / 250% letter spacing: 0% / 0% / 4% result: Same settings as first example. Gotham typeface is wide enough to help against rivers. Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inchessimply 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)

104째

DESIGNERS ARE MEANT TO BE LOVED, NOT TO BE UNDERSTOOD. 90째

14째

Fabien Barral

COMBINING TYPEFACES.

swift + akzidenz grotesk = AKZIDENZ SWIFT

COMBINING TYPEFACES.

combining typefaces 91°

+++

90°

90° + 91° = 181°

C O M B I N I N G

TYP E FAC E S.

When combining serif and sans-serif fonts, try to match the characteristics of form, typographic color, proportion and x-heights. There is no binding recipe for type combinations. It is a matter of typographic sensitivity and experience. Expert typographers, as well as careless amateurs permit themselves combinations that would horrify colleagues with more traditional sympathies. Although there is no recipe, there is a place to start: keep an eye on the characteristic shapes of the letterform. A well designed page contains no more than two different typefaces or four different type variations such as type size and bold or italic style. You can’t go too wrong if you keep it down to two typefaces in a document. A particularly good combination is to use a sans serif for headings and a serif for the body copy, be careful though — Using 2 different serif fonts or 2 different sans serifs fonts in the same composition is never a good idea. The basic principle here is to embrace contrast. If you choose too similar of typefaces there are subtle conflicts that make you and your document look tacky and unprofessional. Sticking to one serif and one sans serif typeface in a project keeps you on a safe route. However, don’t be afraid to experiment. Every time you create a project, you’re designing a page that will be put into existence. If it’s a newsletter, a poster, an ad, a thesis paper, an essay, or even a letter to Grandma, you’re designing that page. The decisions you make on that page gives an impression on the reader. There’s no reason on earth not to make that page look good.

C O M B I N I N G

TYP E FAC E S.

Scala Sans humanistic sans-serif

BOLD 8PT

Garamond old style serif

REGULAR 9PT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

example 1:

aa GG RR example 2:

WORDS IN LIBERTY A PROLOGUE TO FUTURISM: Futurism was first announced

The Legacy of Futurism: In conclusion, it is

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

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.

Goudy old style serif

EXTRA BOLD 9PT

Univers neo-grotesque sans-serif

LIGHT 8PT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

aa GG RR example 1:

example 2:

Words in Liberty A PROLOGUE TO FUTURISM: Futurism was first

THE LEGACY OF FUTURISM:

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

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

C O M B I N I N G

TYP E FAC E S.

Eurostile geometric sans-serif

BOLD 8PT

Mrs. Eaves transitional serif

ROMAN 9PT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

aa GG RR example 1:

example 2:

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

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

ITC Bookman old style serif

BOLD 8PT

Knockout grotesque sans-serif

JUNIOR MIDDLEWEIGHT 9PT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

aa GG RR example 1:

example 2:

WORDS IN LIBERTY A Prologue to Futurism: Futurism was first

THE LEGACY OF FUTURISM: In conclusion,

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

C O M B I N I N G

TYP E FAC E S.

Gotham geometric sans-serif

ULTRA 9PT

Volta T modern serif

REGULAR 9PT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

aa GG RR example 1:

example 2:

WORDS IN LIBERTY A PROLOGUE TO FUTURISM: Futurism

The Legacy of Futurism: In conclu-

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

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

Bodoni modern serif

POSTER ITALIC 8PT

Frutiger humanistic sans-serif

LIGHT 9PT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

aa GG RR example 1:

example 2:

WORDS IN LIBERTY A Prologue to Futurism: Futurism was

THE LEGACY OF FUTURISM:

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

C O M B I N I N G

TYP E FAC E S.

Akzidenz Grotesk grotesque sans-serif

SUPER 8PT

Janson Text old style serif

ROMAN 8PT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

aa GG RR example 1:

example 2:

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

Rockwell slab serif

EXTRA BOLD 9PT

DIN neo-grotesque sans-serif

LIGHT 9PT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

aa G G R R example 1:

example 2:

WORDS IN LIBERTY A Prologue to Futurism: Futurism was first

THE LEGACY OF FUTURISM:

C O M B I N I N G

TYP E FAC E S.

Futura geometric sans-serif

BOLD 8PT

Baskerville transitional serif

REGULAR 8PT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

example 1:

aa GG RR example 2:

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

Swift new transitional serif

EXTRA BOLD 9PT

Helvetica neo-grotesque sans-serif

45 LIGHT 9PT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

aa GG RR example 1:

example 2:

Words in Liberty

A Prologue to Futurism: Futurism was first

THE LEGACY OF FUTURISM:

C O M B I N I N G

TYP E FAC E S.

Trade Gothic grotesque sans-serif

BOLD 8PT

Memphis slab serif

LIGHT 9PT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

a a GG RR example 1:

example 2:

Archer slab serif

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

BOLD 9PT

Interstate humanistic sans-serif

LIGHT 8PT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

aa GG RR example 1:

example 2:

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

quotes apostrophes dashes

QUOTES. APOSTROPHES. DASHES.

da 11.6째

Q U OTE S.

AP O STR O P H E S.

DAS H E S.

Neatness counts in graphic design. Carefully type-setting your quotes, apostrophes, and dashes is a good place to start. Quotation Marks Use real quotation marks – not those grotesque generic marks that actually symbolize inch and foot marks. 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 that automatically sets 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. Regardless, it is necessary to know how to set them yourself because sometimes the software itself won’t cut it. option + [ option + shift + [ option + ] option + shift + ]

opening double quote closing double quote opening single quote; apostrophe closing single quote

example:

royce ‘da 5 9

inch mark

real quotation mark

Q U OTE S.

AP O STR O P H E S.

DAS H E S.

Apostrophes option + shift + ] The main place where people struggle with apostrophes is the word its. When used as a possessive, its never has an apostrophe! The word it only has an apostrophe as a contraction. It’s always means it is or it has. It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes — and neither should its. For contractions: The apostrophe replaces the missing letter. For example: 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. 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. In a phrase such as House o’ Fashion, there is only one apostrophe because it only takes the place of the f, 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. It is not possessive, nor is it a contraction — it’s simply plural.

Dashes Never use two hyphens instead of a dash. Use hyphens, en dashes, and em dashes. Everyone knows what a hyphen 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. The double hyphen is a typewriter convention because they didn’t have the real dash used in professional typesetting. It’s 2012. We have a professional em dash—the long one—such as you see in this sentence. We also have an en dash, which is a little shorter than the em dash.

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

En Dash

examples: “x-height”, “sans-serif” “run-of-the-mill”

option + hyphen An en dash is half of the em dash (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 space on either side of it. If you want, you can kern it so it is not a full space.

n examples: “6:30 – 8:45 pm” “October – December” “4 – 6 years of age”

Em Dash option + shift + hyphen The em dash is twice as long as the en dash (about the size of a capital letter M). It’s often used in place of a colon or parentheses, or it might indicate an abrupt change in thought, or it’s used in a spot where a period is too strong and a comma is too weak. Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Using two hyphens—or worse, one— where there should be an em dash is a rookie mistake. When using an em dash, don’t put any space between it, unlike with the en dash.

m examples: “Yeeeeaaah!” —Lil’ Jon “Both of them—Adam and Steve.”

SPECIAL CHARACTERS.

special characters SPECIAL CHARACTERS.

SPECIAL CHARACTERS.

char 164.5째

S P E C I AL

C HARACTE R S.

option + [ option + shift + [ option + ] option + option + shift + option + ; option + 8 option + g option + 2 option + r option + shift + 8 option + $ option + 3 option + shift + 1 option + 1 option + shift + ? option + c option + e option + ~ option + u option + n option + i

opening double quote closing double quote closing single quote; apostrophe en dash em dash ellipsis (canâ&#x20AC;&#x2122;t be line-broken) bullet copyright symbol trademark symbol registered trademark symbol degree symbol cent symbol pounds fraction bar reverse exclamation point reverse question mark

47.5째

15.5째

BEING A FAMOUS DESIGNER IS LIKE BEING A FAMOUS DENTIST. 63째

Noreen Morioka

bullets

bul BULLETS.

BULLETS.

-27.1째

BULLETS.

B U LLETS.

Using bullets can add emphasis, clarity, and visual interest to all kinds of copy. Organize your text with custom made bullets. If you do use the bullet that comes with your font, don’t automatically assume it’s the right size: it might need to be altered in scale or position to make it look balanced next to the text. Bullets should be centered on either the cap height or x-height, depending on the nature of your copy. If all of your items begin with a cap, center the bullet on the cap, or a bit lower so it balances with the negative spaces created by the lowercase. If your items all begin with lowercase characters, center the bullets on the x-height. The preferred way to align bullets is with the left margin. You can also have the bullets overhang the margin, and keep all your text aligned with the left margin. Whichever style you choose, your listing will look best if items that run more than one line are indented so that the copy aligns with itself, and not with the bullet on the first line. To exercise creativity, substitute symbols or dingbats for the actual bullets. Try squares, triangles or check marks, but keep them consistent throughout the entire project. With bullets, less is more.

examples: Get creative. Use an accent color. • 100% cyan • 0% magenta • 0% yellow • 0% black • swift small caps • regular, 8/12 • tracking: 20 Try dingbats instead of bullets. a 0% cyan a 0% magenta a 0% yellow a 80% black a swift small caps a regular, 8/12 a tracking: 20

Make your own shape. 86% cyan 40% magenta 59% yellow 67% black Try dingbats and an accent color. U 100% cyan U 0% magenta U 0% yellow U 0% black U swift small caps U regular, 8/12 U tracking: 20

numerals figures

NUMERALS. FIGURES.

3. 5

∞

N U M E RALS.

F I G U R E S.

Old-Style numerals have an elegant and traditional look to them. Choose the classic and go with Old-Style or Small Caps. Oldstyle figures are a style of numeral which combine well with lowercase letterforms by having an x-height and varying ascenders and descenders. They are considerably different from the more common “lining” (or “aligning”) figures which are all cap height and typically monospaced in text faces so that they line up vertically on charts. Oldstyle figures have more of a traditional, classic look. They are only available for certain typefaces, sometimes as the regular numerals in a font, but more often within a supplementary or expert font. The figures are proportionately spaced, eliminating the white spaces that result from monospaced lining figures, especially around the numeral one. Oldstyle figures are very useful and quite beautiful when set within text. Unlike lining figures, they blend in without disturbing the color of the body copy. They also work well in headlines since they’re not as intrusive as lining figures. It’s well worth the extra effort to track down and obtain typefaces with oldstyle numerals; the fonts that contain them might well become some of your favorites.

example:

Dear Gary, please call me at 438-9762 at 3:00 to discipline our problematic child. Or write to me at Route 916, 87505 zip. Dear Gary, please call me at 438-9762 at 3:00 to discipline our problematic child. Or write to me at Route 916, 87505 zip.

Notice how large and clunky the standard numbers appear.

Notice how beautifully these numbers blend into the text.

SMALL CAPS.

SMALL CAPS

SMALL CAPS.

small caps

10.5째

S MALL

CAP S.

Faux-small caps create inconsistent weight. Respect type-designers and user their Small Cap set. Small caps are 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 typeface, but those are not the same as true small caps. True small caps have line weights that are proportionally correct for the typeface, allowing them to be used within a body of copy without looking noticeably wrong. 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. Use fonts that have been specifically created as small caps.

example:

THE WICKED ARE VERY WEARY The Wicked Are Very Weary

Notice how inconsistent the line weight is.

Typefaces with a Small Caps or Old Style set are specifically designed to have an even stroke weight.

S M ALL

CAP S.

Where to use Small Caps If you set acronyms in regular all caps, their visual presence is unnecessarily overwhelming. One standard and practical place to use small caps is in acronyms such as nba, nfl, cia, cnbam, or bet. Traditionally, “a.m.” and “p.m.” are set with small caps. If you were taught to type on a typewriter (or if you were taught on a keyboard by someone who has taught on a typewriter), you probably learned to set these abbreviations in all caps because there were no small caps on typewriters. But now that you have the capability, you can and should set them properly.

no small caps:

Harriet, an FBI Agent, turned on CNN to get the dirt on the CIA before going to bed at 9:30 PM. small caps:

Harriet, an fbi Agent, turned on cnn to get the dirt on the cia before going to bed at 9:30 pm.

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

True Drawn Small Caps There are quite a few font families that include “true-drawn” small caps—letterforms that have been redesigned to match the proportions and thicknesses of the uppercase. These famillies are often called expert sets or small cap sets. The result is a smooth, uniform, undisturbing tone throughout the text.

The Wicked Are Very Weary The Wicked Are Very Weary The Wicked Are Very Weary Some examples of typefaces with small caps are: Baskerville Bodoni Caslon Century Cholla Didot Filosofia Garamond Goudy Melior Meta Mrs. Eaves Palatino Priori Sabon Scala Sans Swift Walbaum

Small caps aren’t limited to serif typefaces. Many sans-serifs include them as well.

PARAGRAPH BREAKS.

paragraph breaks PARAGRAPH BREAKS.

PARAGRAPH BREAKS.

brea 180째

PARAG RAP H

B R EAKS.

Paragraph breaks give the designer a unique opportunity to to set the rhythm for the reader. Always use this opportunity to your advantage.

In typography there are 4 rules regarding paragraph breaks: First line at the beginning of an article should be flush left (do not indent first paragraph.) Block paragraphs are flush left and are separated by extra leading, not a full return. Indent is equal to the leading, and sometimes needs a bit more space. Never hit two returns between paragraphs.

1 2 3 4

examples:

PARAG RAP H

B R E AKS.

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. 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 popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term – still resonant today – was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti (circa 1915), “Everything of any value is theatrical.”

PARAG RAP H

B R E AKS.

PARAG RAP H

B R E AKS.

PARAG RAP H

B R E AKS.

F u t u r i s m w a s f i r s t a n n o u n c e d o n F e b r u a r y 2 0 , 19 0 9 , w h e n t h e Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, ref lected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cele b r a t i n g c h a n ge , o r i g i n a l i t y, a n d i n n ov a t i o n i n c u l t u r e a n d s o c i e t y. F u t u r i s m r e j e c te d t r a d i t i o n s a n d g l o r i f i e d c o n te mp o r a r y l i fe , mainly by emphasizing two dominant t hemes, t he machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inf lammator y and was purposely intended to i n s p i r e p u b l i c a n ge r a n d a m a z e m e n t , to a r o u s e c o n t r ove r s y, a n d to attract widespread attention. B u t is is t h e move me nts whi c h survi ve , oddly, h e re w h e re we l i ve an d wo r k as p oet s and ar t ist s: or, i f not t he move me nts, t h e n t h e i r se n se o f ar t as an l i fe i tse l f . A l l o f wh ic h , a s f uturi sm, had come sharply in to fo c u s by t h e st ar t o f t h e wo r l d war: a f ir st rad ical mi x of ar t and l i fe , t he e p i to me i n t h e po pu l ar mi n d o f an av ant - ga rd e. I t was, on bot h i ts Russi an & It al i an si d e s, t h e f i r st g re at “ ar t” move m ent led by p o ets; and i f i ts me ans now some ti me s se e m e xagge rate d o r u n r i pe i n re t ros p ec t , t h ey car r y wi t hi n t he m t he se e d of al l t h at we we re l ate r to be c o me . While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term – still resonant today – was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé.

PARAG RAP H

B R E AKS.

90째

COMPUTERS ARE TO DESIGN AS MICROWAVES ARE TO COOKING. 90째

Milton Glaser

HEADERS. SUBHEADS. CROSSHEADS.

headers subheads crossheads

HEADERS. SUBHEADS. CROSSHEADS.

cros -69째

180째

H E AD E R S.

S U B H EAD S.

C R O S S H EAD S.

Headers live at the top of the page, serving as an introductory tool, grabbing the reader’s attention. Subheads put that attention in focus — guiding the reader down the story’s path. Crossheads are a unique kind of header found in between paragraphs, breaking up longer passages of text.

The header or headline needs to be bold, or else it wont jump out at the reader. Headers give the reader a starting point and help eliminate confusion. They are first in hierarchy and set the organizational tone of the page. Headers should also be well written and clever, because first impressions count. Other types of headers include running headers, which is a header that appears on each page —such as a the book title on the right hand page and the chapter title on the left hand page. Designers should embrace headers as organization is a primary focus of typography and graphic design.

-69°

H E A D E R S.

S U B H E AD S.

C R O S S H EAD S.

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

A RADICAL MIX OF ART & 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 popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term – still resonant today – was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti (circa 1915), “Everything of any value is theatrical.”

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

A Radical Mix of Art & 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 popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term – still resonant today – was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-theworld, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti (circa 1915), “Everything of any value is theatrical.”

H E A D E R S.

S U B H E AD S.

C R O S S H EAD S.

WORDS IN LIBERTY Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. 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 popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term – still resonant today – was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti (circa 1915), “Everything of any value is theatrical.”

A PROLOGUE TO FUTURISM

A RADICAL MIX OF ART AND LIFE

A RADICAL MIX OF ART & 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 popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term – still resonant today – was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”

H E A D E R S.

S U B H E AD S.

C R O S S H EAD S.

WORDS IN LIBERTY gue

rolo

rism

utu

to f

x of

l mi

dica

a ra

art fe & li

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

CAPTIONS. NOTES.

captions notes CAPTIONS. NOTES.

CAPTIONS. NOTES.

X=3.19IN, Y=3.20IN

not X=7.95IN, Y=3.98IN

CAPTI O N S.

N OTE S.

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

Numbers & 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.

Sizing 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.

CAP TI O N S.

N OTE S.

WORDS IN LIBERTY Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. 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 popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term – still resonant today – was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst (circa 1915), “Everything of any value is theatrical.”

A PROLOGUE TO FUTURISM

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

A RADICAL MIX OF ART AND LIFE

words set free

himself

WORDS IN LIBERTY 1

Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988 2

words set free 3

himself

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.

A Radical Mix of Art & 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 popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term – still resonant today – was parole in libertà,2 by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-theworld, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915), “Everything of any value is theatrical.”

CAP TI O N S.

N OTE S.

WORDS IN LIBERTY gue

rolo

*Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988

rism

utu

to f

*parole in libertà = words set free (liberty)

x of

l mi

dica

a ra

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

art

fe & li

*selbst = himself

WORDS IN LIBERTY 1

selbst = himself

Parole in libertà = “Words set free (liberty)”.

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

A PROLOGUE TO FUTURISM

A RADICAL MIX OF ART & 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 popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term – still resonant today – was parole in libertà,2 by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-theworld, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915), “Everything of any value is theatrical.”

CAP TI O N S.

N OTE S.

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. 1 Philip Meggs, History of Graphic The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he Design, Van Nostrand Reinhold, 1988 conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. 1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

A RADICAL MIX OF ART & 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 popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term – still resonant today – was parole in libertà,2 by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of juxtaposition, 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 cheer them. Wrote Marinetti selbst 3 (circa 1915), “Everything of any value is theatrical.”

parole in libertà = words set free (liberty)

selbst = himself

WORDS IN LIBERTY A P ROL OGU E TO F U TUR I S M

A R AD ICAL M IX OF AR T & L I F E But is is the movements which survive, 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 popular 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 libertà, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of juxtaposition, explored the use of 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 cheer them. Wrote Marinetti selbst (circa 1915), “Everything of any value is theatrical.”

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

parole in libertà = words set free (liberty)

selbst = himself

FOR ME, DESIGN IS LIKE CHOOSING WHAT I’M GOING TO WEAR FOR THE DAY ONLY MUCH MORE COMPLICATED AND NOT REALLY THE SAME AT ALL. 110° 46.45°

Robynne Raye

font specs

fon

FONT SPECS.

18째

FONT SPECS.

FO N T

101

S P E C S.

Akzidenz Grotesk font classification: grotesque sans-serif

MaxogGdQRst A basic system for classifying typefaces was

REGULAR

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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

LIGHT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces

BOLD ITALIC

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

SUPER

correspond roughly to the Renaissance,

ABCDE FG H IJ KLM NOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

F O N T

102

S P E C S.

American Typewriter font classification: slab serif

MaxogGdQRst A basic system for classifying typefaces was

REGULAR

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

LIGHT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces

BOLD ITALIC

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

SUPER

correspond roughly to the Renaissance,

ABCDE FG H IJ KLM NOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

103

Archer

font classification: slab serif

MaxogGdQRst A basic system for classifying typefaces was

BOOK

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

THIN

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces was

BOLD ITALIC

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

SEMI-BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

F O N T

104

S P E C S.

Armada

font classification: display sans-serif

MaxogGdQRst A basic system for classifying typefaces

REGULAR

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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

BLACK

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in the

REGULAR CONDENSED

nineteenth century, when printers sought to identify a heritage for

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

BOLD COMPRESSED

ABCDEFGHIJKLMNOPQRSTUAVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

105

Avant Garde Gothic font classification: geometric sans-serif

MaxogGdQRst A basic system for classifying typefaces

BOOK

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

EXTRA-LIGHT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

typefaces based on historic characteristics.

A basic system for classifying typefaces

BOLD

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

MEDIUM OBLIQUE

correspond roughly to the Renaissance,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces.

F O N T

106

S P E C S.

Avenir

font classification: geometric sans-serif

MaxogGdQRst A basic system for classifying typefaces was

ROMAN

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BLACK

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

A basic system for classifying typefaces was

HEAVY OBLIQUE

devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

LIGHT

the Renaissance, Baroque, and Enlighten-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

ment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

107

Baskerville font classification: transitional serif

MaxogGdQRst A basic system for classifying typefaces was

ROMAN

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

ers 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.

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces was devised in

ITALIC

the nineteenth century, when printers sought to iden-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

tify 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

SMALL CAPS

twentieth and twenty-first centuries have continued to

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

create new typefaces based on historic characteristics.

F O N T

108

S P E C S.

Belizio

font classification: new transitional serif

MaxogGdQRst

A basic system for classifying typefaces

REGULAR

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BLACK

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

A basic system for classifying typefaces was

ITALIC

devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BLACK ITALIC

Renaissance, Baroque, and Enlightenment

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

109

Bell Gothic font classification: humanistic sans-serif

MaxogGdQRst A basic system for classifying typefaces was

LIGHT

devised in the nineteenth century, when printers

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BLACK

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

F O N T

110

S P E C S.

Bembo

font classification: old-style serif

MaxogGdQRst A basic system for classifying typefaces was devised

REGULAR

in the nineteenth century, when printers sought to

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in the

ITALIC

nineteenth century, when printers sought to identify a heritage

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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

EXTRA BOLD

based on historic characteristics.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

111

Berthold Script font classification: script

MaxogGdQRst A basic system for classifying typefaces was devised in the

REGULAR

nineteenth century, when printers sought to identify a heritage

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

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.

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.

F O N T

112

S P E C S.

Bodoni

font classification: modern serif

MaxogGdQRst A basic system for classifying typefaces was

ROMAN

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

POSTER

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

A basic system for classifying typefaces was

ITALIC

devised in the nineteenth century, when printers

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

SMALL CAPS

and Enlightenment periods in art and literature.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

113

Bookman font classification: old style serif

MaxogGdQRst A basic system for classifying typefaces

MEDIUM

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

LIGHT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

typefaces based on historic characteristics.

A basic system for classifying typefaces

LIGHT ITALIC

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD

roughly to the Renaissance, Baroque, and

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on history.

F O N T

114

S P E C S.

Brothers

font classification: display sans-serif

MaxogGdQRst A basic system for classifying typefaces was

REGULAR

devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

REGULAR ALTERNATES

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

A basic system for classifying typefaces was

BOLD

devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

SUPER SLANT

roughly to the Renaissance, Baroque, and

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

115

Caslon

font classification: old style serif

MaxogGdQRst A basic system for classifying typefaces was devised

REGULAR

in the nineteenth century, when printers sought to

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

ITALIC SWASHES

A B C D E F G H I J K L N O P Q R S T U V W X Y Z

A basic system for classifying typefaces was devised in

ITALIC

the nineteenth century, when printers sought to identify

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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

SMALL CAPS

twenty-first centuries have continued to create new

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

typefaces based on history.

F O N T

116

S P E C S.

Century

font classification: transitional serif

MaxogGdQRst A basic system for classifying typefaces was

BOOK

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

ULTRA

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was

LIGHT ITALIC

devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD CONDENSED

Renaissance, Baroque, and Enlightenment

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

117

Cheltenham font classification: transitional serif

MaxogGdQRst A basic system for classifying typefaces was de-

BOOK

vised in the nineteenth century, when printers

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces was

BOOK ITALIC

devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOOK CONDENSED

Baroque, and Enlightenment periods in art

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on history.

F O N T

118

S P E C S.

Cholla

font classification: geometric sans-serif

MaxogGdQRst A basic system for classifying typefaces was devised

OLD STYLE WIDE

in the nineteenth century, when printers sought to

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

UNICASE

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

signers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was

SLAB THIN

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

SMALL CAPS

and Enlightenment periods in art and literature.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

119

City

font classification: semi-slab serif

MaxogGdQRst A basic system for classifying typefaces was devised

MEDIUM

in the nineteenth century, when printers sought to

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

LIGHT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces was

BOLD

devised in the nineteenth century, when printers

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

STENCIL

periods in art and literature. Designers in the

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

twentieth and twenty-first centuries have continued to create new typefaces based on history.

F O N T

120

S P E C S.

Clarendon font classification: slab serif

MaxogGdQRst A basic system for classifying typefaces

LIGHT

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

EXTRA BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces

ROMAN

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD EXPANDED

correspond roughly to the Renaissance,

ABCDEFGHIJKLMNOPQRSTUVWXYZ

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.

abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

121

Clicker

font classification: geometric sans-serif

MaxogGdQRst A basic system for classifying typefaces

REGULAR

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

F O N T

122

S P E C S.

Comic Sans font classification: joke sans-serif

MaxogGdQRst A basic system for classifying typefaces

REGULAR

was devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

123

Commercial Script font classification: script

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

F O N T

124

S P E C S.

Courier New font classification: monospaced slab serif

MaxogGdQRst A basic system for classifying type-

REGULAR

faces was devised in the nineteenth

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

A basic system for classifying type-

LIGHT M

faces was devised in the nineteenth

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

BOLD M

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

125

Diamante font classification: geometric sans-serif

MaxogGdQRst A basic system for classifying typefaces was devised in

LIGHT

the nineteenth century, when printers sought to identify

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

EXTRA BOLD

based on historic characteristics.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces was devised in

ITALIC

the nineteenth century, when printers sought to identify

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

ﾆ段rst centuries have continued to create new typefaces

DEMI BOLD

ﾆ段rst centuries have continued to create new typefaces

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

based on historic characteristics.

F O N T

126

S P E C S.

Didot

font classification: modern serif

MaxogGdQRst A basic system for classifying typefaces was

ROMAN

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

A basic system for classifying typefaces was

ITALIC

devised in the nineteenth century, when printers

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

SMALL CAPS

in art and literature. Designers in the twentieth

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

and twenty-first centuries have continued to create new typefaces based on historic characteristics.

127

Din

font classification: neo-grotesque sans-serif

MaxogGdQRst A basic system for classifying typefaces was

REGULAR

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

CONDENSED

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces was

ITALIC

devised in the nineteenth century, when printers

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BLACK

in art and literature. Designers in the twentieth and

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

twenty-first centuries have continued to create new typefaces based on historical characteristics.

F O N T

128

S P E C S.

Dispatch font classification: slab serif

MaxogGdQRst A basic system for classifying typefaces

LIGHT

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BLACK

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces

REGULAR

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD

correspond roughly to the Renaissance,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

129

Disturbance font classification: display serif

MaxofGdQRst 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.

REGULAR

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces was devised in

ITALIC

the nineteenth century, when printers sought to identify

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

F O N T

130

S P E C S.

Eagle

font classification: geometric sans-serif

MaxogGdQRst A basic system for classifying typefaces

NUMMER ZWEI

was devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

NUMMER EINS

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

131

Egyptienne font classification: old style serif

MaxogGdQRst A basic system for classifying typefaces

ROMAN

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

typefaces based on historic characteristics.

A basic system for classifying typefaces was

ITALIC

devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD EXTENDED

roughly to the Renaissance, Baroque, and

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

F O N T

132

S P E C S.

Englische Schreibschrift font classification: script

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 67890(){}?!@&* 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.

133

Eurostile

font classification: geometric sans-serif

MaxogGdQRst A basic system for classifying typefaces

MEDIUM

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

typefaces based on historic characteristics.

A basic system for classifying typefaces was devised

CONDENSED

in the nineteenth century, when printers sought to

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD EXTENDED

Designers in the twentieth and twenty-first centuries

ABCDEFGHIJKLMNOPQRSTUVWXYZ

have continued to create new typefaces based on

abcdefghijklmnopqrstuvwxyz

historic characteristics.

1234567890 ( ) { } ? ! @ & *

F O N T

134

S P E C S.

Fette Fraktur font classification: blackletter serif

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 (){}?!@&* 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.

135

Filosofia font classification: modern serif

MaxogGdQRst A basic system for classifying typefaces was devised

REGULAR

in the nineteenth century, when printers sought to

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD

create new typefaces based on historic characteristics.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces was devised in

ITALIC

the nineteenth century, when printers sought to identify

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

twentieth and twenty-first centuries have continued to

SMALL CAPS

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

F O N T

136

S P E C S.

Formata

font classification: humanistic sans-serif

MaxogGdQRst A basic system for classifying typefaces was

LIGHT

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

enment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was

REGULAR

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD CONDENSED

and Enlightenment periods in art and literature.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

137

Franklin Gothic font classification: grotesque sans-serif

MaxogGdQRst A basic system for classifying typefaces was

BOOK

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

HEAVY

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces

BOOK OBLIQUE

was devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

NO. 2

Baroque, and Enlightenment periods in art and

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

F O N T

138

S P E C S.

Frutiger

font classification: humanistic sans-serif

MaxogGdQRst A basic system for classifying typefaces was

LIGHT

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

ULTRA BLACK

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

lightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was

ROMAN

devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

EXTRA BLACK CONDENSED

the Renaissance, Baroque, and Enlighten-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

ment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

139

Futura

font classification: geometric sans-serif

MaxogGdQRst A basic system for classifying typefaces was

BOOK

devised in the nineteenth century, when printers

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces was

LIGHT

devised in the nineteenth century, when printers

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

EXTRA BOLD

in art and literature. Designers in the twentieth and

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

twenty-first centuries have continued to create new typefaces based on historic characteristics.

F O N T

140

S P E C S.

Garamond font classification: old style serif

MaxogGdQRst A basic system for classifying typefaces was devised in

REGULAR

the nineteenth century, when printers sought to iden-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in

ITALIC

the nineteenth century, when printers sought to identify

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

SMALL CAPS

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

141

Gill Sans

font classification: humanistic sans-serif

MaxogGdQRst A basic system for classifying typefaces was devised

REGULAR

in the nineteenth century, when printers sought to

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

ULTRA BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces was devised

LIGHT

in the nineteenth century, when printers sought to

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD CONDENSED

signers in the twentieth and twenty-first centuries

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

have continued to create new typefaces based on historic characteristics.

F O N T

142

S P E C S.

Gotham

font classification: geometric sans-serif

MaxogGdQRst A basic system for classifying typefaces

MEDIUM

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOOK CONDENSED

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces

LIGHT

was devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

ULTRA

the Renaissance, Baroque, and Enlighten-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

ment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

143

Goudy

font classification: old style serif

MaxogGdQRst A basic system for classifying typefaces was devised

OLD STYLE

in the nineteenth century, when printers sought to

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

HEAVYFACE

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces was devised in

OLD STYLE ITALIC

the nineteenth century, when printers sought to identify

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

SMALL CAPS

twenty-first centuries have continued to create new

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

typefaces based on historic characteristics.

F O N T

144

S P E C S.

Granjon

font classification: old style serif

MaxogGdQRst A basic system for classifying typefaces was devised

ROMAN

in the nineteenth century, when printers sought to

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in

ITALIC

the nineteenth century, when printers sought to identify

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

SMALL CAPS

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

145

Grenoble

font classification: humanistic sans-serif

MaxogGdQRst A basic system for classifying typefaces was devised

LIGHT

in the nineteenth century, when printers sought to

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

HEAVY

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces was devised

EXTRA LIGHT ITALIC

in the nineteenth century, when printers sought to

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

EXTRA BOLD ITALIC

ers in the twentieth and twenty-first centuries have

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

continued to create new typefaces based on historic characteristics.

A DESIGN ISN’T FINISHED UNTIL SOMEBODY IS USING IT. 83.5°

24.5°

Brenda Laurel

108°

F O N T

148

S P E C S.

Helvetica

font classification: neo-grotesque sans-serif

MaxogGdQRst A basic system for classifying typefaces was

55 ROMAN

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BLACK

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

lightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in

CONDENSED

the nineteenth century, when printers sought to identify

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD EXTENDED

twenty-first centuries have continued to create new

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

typefaces based on historic characteristics.

149

Hermes

font classification: neo-grotesque sans-serif

MaxogGdQRst A basic system for classifying typefaces was

REGULAR

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BLACK

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces was devised

THIN

in the nineteenth century, when printers sought to

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD

signers in the twentieth and twenty-first centuries

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

have continued to create new typefaces based on historic characteristics.

F O N T

150

S P E C S.

Hoefler Text font classification: old style serif

MaxogGdQRst A basic system for classifying typefaces was

REGULAR

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BLACK

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

lightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was

ITALIC

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BLACK ITALIC

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

151

Interstate

font classification: humanistic sans-serif

MaxogGdQRst A basic system for classifying typefaces

REGULAR

was devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BLACK

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

historic characteristics.

A basic system for classifying typefaces was

LIGHT

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD CONDENSED

and Enlightenment periods in art and literature.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

F O N T

152

S P E C S.

Janson Text font classification: transitional serif

MaxogGdQRst A basic system for classifying typefaces was

ROMAN

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

A basic system for classifying typefaces was devised in

ITALIC

the nineteenth century, when printers sought to iden-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

SMALL CAPS

twentieth and twenty-first centuries have continued to

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

create new typefaces based on historic characteristics.

153

Kabel

font classification: geometric sans-serif

BOOK

LIGHT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BLACK

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

HEAVY

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

F O N T

154

S P E C S.

Knockout

font classification: multi-width grotesque sans-serif

MaxogGdQRst A basic system for classifying typefaces was

JUNIOR MIDDLEWEIGHT

devised in the nineteenth century, when printers

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

FULL HEAVYWEIGHT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefac-

JUNIOR SUMO

es was devised in the nineteenth cen-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

tury, 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.

ULTIMATE WELTERWEIGHT

These three main groups correspond

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

155

Kunstler Script font classification: script

MaxogGdQRst A basic system for classifying typefaces was devised in

MEDIUM

the nineteenth century, when printers sought to identify

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

F O N T

156

S P E C S.

Leitura

font classification: new transitional serif

MaxogGdQRst A basic system for classifying typefaces was

ROMAN 2

devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

NEWS: ROMAN 3

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

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.

A basic system for classifying typefaces was

DISPLAY: ITALIC

devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

ROMAN 4

Renaissance, Baroque, and Enlightenment

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

157

Leitura Sans font classification: humanistic sans-serif

MaxogGdQRst A basic system for classifying typefaces was

GROT 1

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

HEADLINE

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces was

ITALIC 3

devised in the nineteenth century, when print-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

HEADLINE SERIF

lightenment periods in art and literature. Design-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

ers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

F O N T

158

S P E C S.

Letter Gothic font classification: monospaced sans-serif

MaxogGdQRst A basic system for classifying type-

MEDIUM

faces was devised in the nineteenth

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BLACK

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying type-

BOLD

faces was devised in the nineteenth

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

SLANTED

organic. These three main groups cor-

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

respond 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.

159

Melior

font classification: transitional serif

MaxogGdQRst A basic system for classifying typefaces was

MEDIUM

devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

historic characteristics.

A basic system for classifying typefaces was

ITALIC

devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD ITALIC

Renaissance, Baroque, and Enlightenment

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

F O N T

160

S P E C S.

Memphis font classification: slab serif

MaxogGdQRst A basic system for classifying typefaces

MEDIUM

was devised in the nineteenth century,

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

EXTRA BOLD

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

A basic system for classifying typefaces was

LIGHT ITALIC

devised in the nineteenth century, when

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

BOLD ITALIC

Renaissance, Baroque, and Enlightenment

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ( ) { } ? ! @ & *

periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

161