Type Right by Claire Pedersen

TYPE RIGHT

CL AIRE PEDERSEN Typography 02 Spring 2012

CONTENTS

09 RULES 15 X-HEIGHT 31 HYPHENATION 43

PARAGRAPH ALIGNMENT

49 JUSTIFICATION 61

TYPEFACE COMBINATIONS

87 PUNCTUATION 97

SPECIAL CHARACTERS

101 BULLETS 104 NUMBERS 111

SMALL CAPS

117

PARAGRAPH BREAKS

131

HEADERS & SUB-HEADERS

141

CAPTIONS & NOTES

154

TYPE CLASSIFICATIONS

153

FONT SPECS

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RULES

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Use only one space between sentences. Use real quotation marks. Use real apostrophes. Make sure the apostrophes are where they belong. Hang the punctuation off the aligned edge. Use en or em dashes, use consistently. Kern all headlines where necessary. Never use the spacebar to align text, always set tabs and use the tab key. Leave no widows or orphans.

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Avoid more than 3 hyphenations in a row.

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Avoid too many hyphenations in any paragraph. Avoid hyphenating or line brakes of names and proper nouns. Leave a least 2 characters on the line and 3 following. Avoid beginning consecutive lines with the same word. Avoid ending consecutive lines with the same word. Avoid ending lines with the words: the, of, at, a. Never hyphenate a words in a headline and avoid hyphenation in a call out. Never justify the text on a short line. Keep the word spacing consistent. Tighten up leading in lines with all caps or few ascenders and descenders.

Use a one-em first-line indent on all indented paragraphs. Adjust the spacing between paragraphs. Indent the first line of paragraphs or add extra space between them not both. Use a decimal or right-aligned tab for the numbers in numbered paragraphs. Never have one line in a paragraph in the column or following. Never combine two serif fonts on one page. Rarely combine two sans serif fonts on one page. Rarely combine more than three typefaces on one page. Use the special characters when necessary, including super and subscript. Spend the time to create nice fraction or chose a font that has fractions. If a correctly spelled word needs an accent mark, use it.

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x x

x nice

x - height

x x x x x

x x x

DINSchrift neuzeit grotesk

bold condensed

engschrift

mittelschrift

DINCond-Light Rockwell neuzeit grotesk light

regular

condensed

bold condensed

light

light italic

X-HEIGHT readability and legability two key elements of printed text that typogra-

In typography, color can also describe the

pher strive to maximize. Readability extend-

balance between black and white on the

ed amount of text – such as an article, book,

page of text. A typeface’s color is deter-

or annual report – is easy to read. Legibility

mined by stroke width, x-height, charac-

refers to whether an refers to whether a short

ter width and serif styles.

burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable.

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

There are several factors that determine

following questions should be asked.

whether a text is readable. When deciding what typeface should be used for a job, consideration should be given to the typeface and its x-height. It is important to understand how a block of text can express a message through its texture/color, therefore suiting a particular design solution. Fonts set in the same size, same leading and column width will produce varying degrees of “color”.

WHO IS READING IT? Someone that wants to read it? Someone that has to read it?

HO W WILL IT BE READ?

Quickly. In passing. Focused. Near. Far.

) a g a g ag ag Futura:

Rockwell:

Interstate:

Memphis:

light condensed

condensed

light condensed

light

a g a g a g a g DiN Con:

Didot:

Univers:

MrsEaves:

light condensed

roman

condensed

roman

a g a g a g a g Trade Gothic:

Adobe Garamond:

Helvetica Neue:

Bembo:

condensed

regular

ultra light condensed

regular

a g a g a g a g ITC Officina Sans:

Sabon:

Gill Sans:

Melior:

book

roman

bold condensed

medium

a g a g a g ag Century Gothic:

Filosofia

Berthold Akzidenz Grotesk:

Volta T:

regular

medium

))))))))))))))))))))))))))

FUTURA paul renner

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x-height: AVERAGE character width: AVERAGE color: MEDIUM SAN S SE RI F : GEOMETRIC

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.

ROCKWELL morris fuller benton

Xxhg

CONDENSED

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x-height: SHORT character width: NARROW color: MEDIUM S ER IF : SLAB SERIF

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.

INTERSTATE tobais frere–jones

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x-height: LARGE character width: NARROW color: DARK SAN S SE RI F : NEO-GROTESQUE

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.

MEMPHIS rudolph weiss

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LIGHT

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

9/18

x-height: LARGE character width: AVERAGE color: MEDIUM S ER I F : SLAB SERIF

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.

DIN CON albert jan-pool

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x-height: LARGE character width: NARROW color: DARK SAN S SE RI F : GEOMETRIC

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.

DIDOT firmin didot

X xhg ROMAN

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x-height: AVERAGE character width: AVERAGE color: LIGHT S ER IF : MODERN

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.

UNIVERS adrian frutiger

X xhg CONDENSED

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x-height: LARGE character width: NARROW color: LIGHT SAN S SE RI F : NEO-GROTESQUE

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

MRS EAVES

movement.

zuzana licko

X xh g

ROMAN

9/18

x-height: SMALL character width: AVERAGE color: LIGHT S ER IF : TRANSISTIONAL

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.

TRADE GOTHIC jackson burke

Xxhg

CONDENSED

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x-height: LARGE character width: NARROW color: LIGHT SAN S SE RI F : GROTESQUE

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.

ADOBE GARAMOND claude garamond

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REGULAR

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x-height: AVERAGE character width: NARROW color: LIGHT S ER I F : OLD STYLE

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.

H E LV E T I C A N E U E max miedinger

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x-height: AVERAGE character width: NARROW color: DARK SAN S SE RI F : NEO-GROTESQUE

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.

BEMBO

stanley morrison

Xx h g REGULAR

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x-height: AVERAGE character width: WIDE color: LIGHT S ER I F : OLD STYLE

ITC Officina Sans eric spiekermann

X x hg BOOK

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x-height: SHORT character width: NARROW color: DARK SAN S SE RI F : HUMANIST

SABON

and movement.

jan tschichold

Xx hg ROMAN

9/18

x-height: LARGE character width: AVERAGE color: MEDIUM S ER I F : OLD STYLE

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.

GILL SANS eric gill

X xhg REGULAR

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x-height: VERY TALL character width: NARROW color: DARK SAN S SE RI F : HUMANIST

MELIOR

and movement.

herman zapf

Xxh g

MEDIUM

9/18

originality, and innovation in culture and society. Futurism

x-height: AVERAGE character width: NARROW color: LIGHT

rejected traditions and glorified contemporary life, mainly

S ER IF : TRANSISTIONAL

time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology

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 of the automobile and the beauty of its speed, power, and movement.

CENTURY GOTHIC mark simonson

X xh g REGULAR

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x-height: AVERAGE character width: WIDE color: LIGHT SAN S SE RI F : GEOMETRIC

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

FILOSOFIA

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.

zuzanna licko

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REGULAR

9/18

x-height: SMALL character width: NARROW color: LIGHT S ER IF : MODERN

BERTHOLD AKZIDENZ GROTESK gunter gerhand lange

Xxhg REGULAR

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x-height: AVERAGE character width: NARROW color: DARK SAN S SE RI F : GROTESK

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

V O LTA

beauty of its speed, power, and movement.

konrad f. bauer, walter baum

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REGULAR

9/18

of the past and celebrating change, originality, and

x-height: SHORT character width: WIDE color: DARK

innovation in culture and society. Futurism rejected

S ER I F : SLAB SERIF

depiction of several successive actions of a subject

traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the 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.

the hype with hypenation

Don’t Lose Your Self Respect

HYPHENATION the difficulty is making the ragged edge have a pleasing silhouette In unjustified text, the text block is set with

dates or words which are normally read

normal letter and word spacing. Because

together can stay together.

of the even word spacing the text will have an even texture â&#x20AC;&#x201C; no large spaces between

RULES

Keep in mind how the text is read (avoid widows)

Avoid hyphenating or line breaks of names and proper nouns

have a pleasing silhouette.

Leave at least two characters on the line and three following

When the first line in the text is longer than

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

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

the second, it becomes separate from the layout and creates a box-like shape. This destroys one of the advantages of unjustified text. The ragged edge needs to have a life, but a narrow column can be less active. Another advantage to ragged text is less

Never hyphenate a word in a headline

hyphenation is needed. Therefore, names,

Avoid hyphenation in a call out

HEADLINES

DON’T HYPHENATE HEADLINES. THAT’S A L AW.

Don Quixote de la Man cha WATCH WHERE THE FIRST LINE OF THE T W O-LINE HEADLINE ENDS. DOES IT CREATE A SILLY OR MISLEADING PHRASE? FIX IT.

Professor and Therapist to lecture

DON’T LEAVE WINDO W S IN HEADLINES.

Man Walks Barefoot Across Bay

Bridge FIX IT EITHER WAY, OR REWRITE!

Man walks barefoot across Bay Bridge

Man walks barefoot

acrossBay Brudge

What are bad line breaks anyways? Look for bad line breaks throughout every line of body copy. Of course, do this only on final copy, after all editing has been done. Check out the next page for several examples of the sorts of things to look for.

Casing A dder Bat Heresy borsch-boil starry a boarder borsch boil gam plate

1. Justify the headline so it stay s on one line.

2. Use a line break (shift+return) to bumpt “a” down to the next line, where it f its ver y nicely.

lung, lung a gore inner ladle wan-hearse torn coiled Mutt-

3. Kern the line a tiny bit to bring the rest of the

fill.

word up.

Mutt-fill worsen mush offter torn, butted hatter putty

4. Type a dischy in front of the word to bumpt it down.

gut borsch-boil tame, an off oiler pliers honor tame, door moist cerebrated worse Casing. Casing worsted sickened

5. Never hyphenate a person’s name. I had to go up a few lines, bump “off” down, which bumped the other line endings down.

basement, any hatter betting orphanage off .526 (fife toe sex).

6. Fix widow.

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 tow pore toe becalm Any-bally’s horsebarn. (Boil pliers honor Muttfill tame dint gat mush offer

7. There is plenty of room to squeeze “bought” on this line, perhaps by kerning the line a tiny bit. 8. “Horsebarn” is a good long word that could be hyphenated; type a dischy. Better yet, when “bought” moved up, it gave enough room to move “horsebarn” up. If not, tr y opening the text box a wee bit.

celery; infect, day gut nosing atoll.) Butt less gat earn pancake wetter starry.

9. Edit: to get ride of that terrible widow, exchange a short word for a long word.

Casing A dder 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 women much offer torn, butted hatter putty gut borsch-boil tame, an off oiler pliers honor tame, door moist cerebrated worse Casing. Casing 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 pancake wetter starry.

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+ ++ ++ + ++ +++ + + ++ ++ + ++ ++ ++ ++ ++

WIDOWS AND ORPHANS

NEVER AVOID

leave widows and orphans bereft on the page. both of these situations. If you have editing privileges,

rewrite the copy, or at least add or delete a word Sometimes you can remove spacing from the letters, words, or lines, depending on which program youâ&#x20AC;&#x2122;re working in.

SOMETIMES

widening a margin just a hair will do it. But it

must be done. Widows and orphans on a page are wrong.

WIDO W S When a paragraph ends and leaves fewer than seven characters on the last line, that line is called a widow. Worse than leaving one word at the end of a line is leaving part of a word, the other part being paraphrased on the one above.

ORPHANS When the last line of a paragraph, be it ever so long, wonâ&#x20AC;&#x2122;t fit at the bottom of a column and must end itself at the top of the next column, that is an orphan. Never let this happen.

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

a a a

when in doubt donâ&#x20AC;&#x2122;t center it!

â&#x20AC;&#x153;Right and wrong do not exist in graphic design. There is only effective and noneffective communication.â&#x20AC;?

— PETER BILAK

JUST, Justify it!

ALIGNMENT

alignment is only a small piece of the puzzle If someone insists that fully justified text is better than left-aligned text, tell them they are wrong. If someone else tells you that leftaligned text is better than justified text, tell them they are wrong.

If they are both wrong, then whatâ&#x20AC;&#x2122;s right? Alignment is only a small piece of the puzzle. What works for one design might be totally inappropriate for another layout. As with all layouts, it depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design.

ALIGNMENT

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 would look odd, even unpleasant. You may find that fully-justified text is a necessity either due to space constraints or expectations of the audience. If possible though, try to break up blocks of texts with ample subheadings, margins, or graphics.

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

Usually allows for more characters per line, packing more 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 space running through the text.

May be more familiar to readers in some types of publications, such as books and newspapers.

Some people are naturally drawn to the“neat- ness”of text that lines up perfectly on the left and right.

LEFT ALIGNED, RAGGED RIGHT

Often considered more informal, friendlier than justified text.

The ragged right edge adds an element of white space.

May require extra attention to hyphenation to keep right margin from being too ragged.

Generally type set left-aligned is easier to work with (i.e. requires less time, attention, and tweaking from the designer to make it look good).

CENTERED

There is nothing inherently wrong with centered text.

As with ragged right or fully-justified text alignment, what works for one design might be totally inappropriate for another layout.

There are simply fewer situations where centered text is appropriate.

When in doubt, don’t center it.

JUSTIFIED TEXT

LEFT ALIGNED, RAGGED RIGHT

CENTERED

J J

we demand justification!

FR RL

FL RR

FLUSH RIGHT, RAG LEFT

FLUSH LEFT, RAG RIGHT

JUSTIFICATION preventing awkward or inconsistent or strange word spacing The only time you can safely get away with

the newspaper column, but if your lines are

justifying text is if your type is small enough

relatively short, you will inevitably end up

and your line is long enough, as in books

with uncomfortable gaps in some lines, while

where the text goes all the way across the

other lines will be all squished together.

page. If your line is shorter, as in newsletter,

When your work comes out of the printer,

or if you don’t have many words on the line,

turn it upside down and squint at it. The

than as the type aligns to the margins the

rivers will be very easy to spot. Get rid of

words space themselves to accommodate it.

them. Try squinting at the example on the

It usually looks awkward.

bottom of the previous page.

You’ve seen newspaper columns where all

Here is a general guideline for determining

text is justified, often with a word stretching

if your line length is long enough to

all the way across the column, or a little

satisfactorily justify the text: the line length

word on either side of the column with a

in picas should be about twice the point size

big gap in the middle. Gross. But that’s what

of the type; that is, if the type you are using

can happen with justified type. When you

is 12 point, the line length should be at least

do it, the effect might not be as radical as

24 picas (24 picas is 4 inches-simply divide

JUSTIFICATION CONT. the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like.

Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and youâ&#x20AC;&#x2122;ll find thereâ&#x20AC;&#x2122;s a very strong trend to align type on the left and leave the right ragged.

When your work comes out of the printer, turn it upside down and squint at it. RIVERS WILL BE VERY EASY TO SPOT. GET RID OF THEM.

MIN: 80 % DES: 100% MAX: 133% SQUINT YOUR EYES AT THE BODY TEXT BELO W. THIS SETTING ISNâ&#x20AC;&#x2122;T HORRIBLE, BUT THERE ARE STILL QUITE A FEW SMALL RIVERS AND GAPS. I THINK WE CAN DO BETTER.

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sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit

nonumy eirmod tempor invidunt ut labore

amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor

et dolore magna aliquyam erat, sed diam

invidunt ut labore et dolore magna aliquyam erat, sed diam

voluptua. At vero eos et accusam et justo

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duo dolores et ea rebum. Stet clita kasd

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DIN CON LIGHT

ROCKWELL LIGHT

9 PT 14 PT LEADING

MIN: 100 % DES: 130% MAX: 200% A LOT OF GAPS AND RIVERS TRICKLE DO WN THE PAGE IN BOTH OF THESE PARAGRAPHS. VERY PROMINENT IN THE SERIF FONT ESPECIALLY.

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nonumy eirmod tempor invidunt ut labore et dolore magna

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aliquyam erat, sed diam voluptua. At vero eos et accusam et

mod tempor invidunt ut labore et do-

justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea

lore magna aliquyam erat, sed diam vo-

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luptua. At vero eos et accusam et justo

sum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy

duo dolores et ea rebum. Stet clita kasd

eirmod tempor invidunt ut labore et dolore magna aliquyam erat,

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sed diam voluptua. At vero eos et accusam et justo duo dolores

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et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus

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est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet,

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iquyam erat, sed diam voluptua. At vero

voluptua. At vero eos et accusam et justo duo dolores et ea

eos et accusam et justo duo dolores et ea

rebum. Stet clita kasd gubergren, no sea takimata sanctus est

rebum. Stet clita kasd gubergren, no sea

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DIN CON LIGHT

ROCKWELL LIGHT

9 PT 14 PT LEADING

DIN CON LIGHT

ROCKWELL LIGHT

9 PT 14 PT LEADING

Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam

Lorem ipsum dolor sit amet, consetetur

nonumy eirmod tempor invidunt ut labore et dolore magna

sadipscing elitr, sed diam nonumy eir-

aliquyam erat, sed diam voluptua. At vero eos et accusam et

mod tempor invidunt ut labore et do-

justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea

lore magna aliquyam erat, sed diam vo-

takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum

luptua. At vero eos et accusam et justo

dolor sit amet, consetetur sadipscing elitr, sed diam nonumy

duo dolores et ea rebum. Stet clita kasd

eirmod tempor invidunt ut labore et dolore magna aliquyam

gubergren, no sea takimata sanctus est

erat, sed diam voluptua. At vero eos et accusam et justo duo

Lorem ipsum dolor sit amet. Lorem ip-

dolores et ea rebum. Stet clita kasd gubergren, no sea takimata

sum dolor sit amet, consetetur sadipscing

sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit

elitr, sed diam nonumy eirmod tempor

amet, consetetur sadipscing elitr, sed diam nonumy eirmod

invidunt ut labore et dolore magna al-

tempor invidunt ut labore et dolore magna aliquyam erat, sed

iquyam erat, sed diam voluptua. At vero

diam voluptua. At vero eos et accusam et justo duo dolores et

eos et accusam et justo duo dolores et ea

ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est

rebum. Stet clita kasd gubergren, no sea

Lorem ipsum dolor sit amet.

GETTING THERE. THE SANS SERIF W ORKS A LITTLE BETTER THAN THE SERIF AT THIS SETTING. THE MINIMAL WHITE SPACE ALLO W S FOR BETTER READABILIT Y, ALTHOUGH THE SERIF MAY STILL HAVE TOO MANY GAPS.

MIN: 95 % DES: 100% MAX: 110%

MIN: 80% DES: 100% MAX: 125% THIS W ORKS BEST WITH THE SERIF, THE SANS SERIF HAS A LOT OF GAPS AND RIVERS THAT MAKE THE TEXT FLO W LESS SUCCESSFUL.

Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam

Lorem ipsum dolor sit amet, consetetur

nonumy eirmod tempor invidunt ut labore et dolore magna

sadipscing elitr, sed diam nonumy eir-

aliquyam erat, sed diam voluptua. At vero eos et accusam et

mod tempor invidunt ut labore et dolore

justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea

magna aliquyam erat, sed diam voluptua.

takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum

At vero eos et accusam et justo duo dolores

dolor sit amet, consetetur sadipscing elitr, sed diam nonumy

et ea rebum. Stet clita kasd gubergren,

eirmod tempor invidunt ut labore et dolore magna aliquyam

no sea takimata sanctus est Lorem ipsum

erat, sed diam voluptua. At vero eos et accusam et justo duo

dolor sit amet. Lorem ipsum dolor sit

dolores et ea rebum. Stet clita kasd gubergren, no sea takimata

amet, consetetur sadipscing elitr, sed diam

sanctus est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit

nonumy eirmod tempor invidunt ut labore

amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor

et dolore magna aliquyam erat, sed diam

invidunt ut labore et dolore magna aliquyam erat, sed diam

voluptua. At vero eos et accusam et justo

voluptua. At vero eos et accusam et justo duo dolores et ea rebum.

duo dolores et ea rebum. Stet clita kasd

Stet clita kasd gubergren, no sea takimata sanctus est Lorem

gubergren, no sea takimata sanctus est

ipsum dolor sit amet.

DIN CON LIGHT

ROCKWELL LIGHT

9 PT 14 PT LEADING

DIN CON LIGHT

ROCKWELL LIGHT

9 PT 14 PT LEADING

Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam

Lorem ipsum dolor sit amet, consetetur

nonumy eirmod tempor invidunt ut labore et dolore magna

sadipscing elitr, sed diam nonumy eir-

aliquyam erat, sed diam voluptua. At vero eos et accusam et

mod tempor invidunt ut labore et do-

justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea

lore magna aliquyam erat, sed diam vo-

takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum

luptua. At vero eos et accusam et justo

dolor sit amet, consetetur sadipscing elitr, sed diam nonumy

duo dolores et ea rebum. Stet clita kasd

eirmod tempor invidunt ut labore et dolore magna aliquyam erat,

gubergren, no sea takimata sanctus est

sed diam voluptua. At vero eos et accusam et justo duo dolores

Lorem ipsum dolor sit amet. Lorem ip-

et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus

sum dolor sit amet, consetetur sadipscing

est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet,

elitr, sed diam nonumy eirmod tempor

consetetur sadipscing elitr, sed diam nonumy eirmod tempor

invidunt ut labore et dolore magna al-

invidunt ut labore et dolore magna aliquyam erat, sed diam

vero eos et accusam et justo duo dolores

voluptua. At vero eos et accusam et justo duo dolores et ea rebum.

et ea rebum. Stet clita kasd gubergren,

Stet clita kasd gubergren, no sea takimata sanctus est Lorem

no sea takimata sanctus est Lorem ipsum

ipsum dolor sit amet.

dolor sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam nonumy eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum.

THIS SETTING ALSO IS WORKING ALRIGHT. THE BEGINNING OF THE SERIF PARAGRAPH IS A LITTLE â&#x20AC;?GAPPY,â&#x20AC;? BUT STILL VERY LEGIBLE.

MIN: 85% DES: 85% MAX: 95%

MIN: 92% DES: 92% MAX: 95% VERY NICE! THIS SETTING W ORKS WELL FOR BOTH THE SERIF AND SANS SERIF. THERE IS MINIMAL WHITE SPACE, AND THE TEXT FLO W S EASILY.

Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed diam

Lorem ipsum dolor sit amet, consetetur

nonumy eirmod tempor invidunt ut labore et dolore magna

sadipscing elitr, sed diam nonumy eir-

aliquyam erat, sed diam voluptua. At vero eos et accusam et

mod tempor invidunt ut labore et do-

justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea

lore magna aliquyam erat, sed diam vo-

takimata sanctus est Lorem ipsum dolor sit amet. Lorem ipsum

luptua. At vero eos et accusam et justo

dolor sit amet, consetetur sadipscing elitr, sed diam nonumy

duo dolores et ea rebum. Stet clita kasd

eirmod tempor invidunt ut labore et dolore magna aliquyam erat,

gubergren, no sea takimata sanctus est

sed diam voluptua. At vero eos et accusam et justo duo dolores

Lorem ipsum dolor sit amet. Lorem ip-

et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus

sum dolor sit amet, consetetur sadipscing

est Lorem ipsum dolor sit amet. Lorem ipsum dolor sit amet,

elitr, sed diam nonumy eirmod tempor

consetetur sadipscing elitr, sed diam nonumy eirmod tempor

invidunt ut labore et dolore magna al-

invidunt ut labore et dolore magna aliquyam erat, sed diam

iquyam erat, sed diam voluptua. At vero

voluptua. At vero eos et accusam et justo duo dolores et ea rebum.

eos et accusam et justo duo dolores et ea

Stet clita kasd gubergren, no sea takimata sanctus est Lorem

rebum. est Lorem ipsum dolor sit amet.

ipsum dolor sit amet.

Lorem ipsum dolor sit amet, consetetur sadipscing

elitr,

sed

diam

nonumy

eirmod tempor invidunt ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.

DIN CON REGULAR

ROCKWELL LIGHT

9 PT 14 PT LEADING

DIN CON REGULAR

ROCKWELL LIGHT

9 PT 14 PT LEADING

Lorem ipsum dolor sit amet, consetetur sadipscing elitr, sed

Lorem ipsum dolor sit amet, consetetur

diam nonumy eirmod tempor invidunt ut labore et dolore

sadipscing elitr, sed diam nonumy eir-

magna aliquyam erat, sed diam voluptua. At vero eos et

mod tempor invidunt ut labore et do-

accusam et justo duo dolores et ea rebum. Stet clita kasd

lore magna aliquyam erat, sed diam vo-

gubergren, no sea takimata sanctus est Lorem ipsum dolor

luptua. At vero eos et accusam et justo

sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing

duo dolores et ea rebum. Stet clita kasd

elitr, sed diam nonumy eirmod tempor invidunt ut labore et

gubergren, no sea takimata sanctus est

dolore magna aliquyam erat, sed diam voluptua. At vero eos

Lorem ipsum dolor sit amet. Lorem ip-

et accusam et justo duo dolores et ea rebum. Stet clita kasd

sum dolor sit amet, consetetur sadipscing

gubergren, no sea takimata sanctus est Lorem ipsum dolor

elitr, sed diam nonumy eirmod tempor

sit amet. Lorem ipsum dolor sit amet, consetetur sadipscing

invidunt ut labore et dolore magna al-

elitr, sed diam nonumy eirmod tempor invidunt ut labore et

iquyam erat, sed diam voluptua. At vero

dolore magna aliquyam erat, sed diam voluptua. At vero eos

eos et dolor sit amet. Lorem ipsum dolor

et accusam et justo duo dolores et ea rebum. Stet clita kasd

sit amet, consetetur sadipscing elitr, sed

gubergren, no sea takimata sanctus est Lorem ipsum dolor sit

diam nonumy eirmod tempor invidunt

amet.

ut labore et dolore magna aliquyam erat, sed diam voluptua. At vero eos et accusam et justo duo dolores et ea rebum. Stet clita kasd gubergren, no sea takimata sanctus est Lorem ipsum dolor sit amet.

PRETTY GOOD. THE SANS SERIF W ORKS BETTER THAN THE SERIF AT THIS SETTING BECAUSE THERE ARE LESS OBVIOUS RIVERS.

MIN: 85% DES: 85% MAX: 95%

t t

what a nice pair!

How to C OMBIN E TH E M without making your spread look like a RANSOM NOT E .

T YPE COMBINATIONS SANS SERIF FOR HEADINGS AND A SERIF FOR THE BODY COPY When combining serif and sans serif

{Using 2 different serif fonts or 2 different

text fonts, one shroud try and match the

sans serifs fonts in the same composition is

characteristics of form and type color:

never a good idea}

proportion, x-heights. When combining typefaces, don’t be a wimp. “There is not binding recipe for type

The key is to create contrast. If one face

combinations. It is a matter of typographic

is light, then contrast it with a dense, solid

sensitivity and experience. Expert

black one. Also consider size contrast: If one

typographers, as well as amateurs permit

is small, make the other large. If you set one

themselves combinations that would horrify

in all caps, set the other lowercase. If one is

colleagues with traditional sympathies.”

roman, pair it with a script.

Although there is not recipe there is a place

Be sure to avoid weak contrasts, such as a

to start: keep an eye on the characteristic

semi-bold type with a bold type. Also, avoid

shapes of the letterform. A well designed

combining a script with an italic, because

page contains no more than two different

they have a tendency to look too similar.

typefaces or four different type variations such as type size and bold or italic style.

â&#x20AC;&#x153;There is not binding recipe for type combinations. It is a matter of typographic sensitivity and experience. Expert typographers, as well as careless amateurs permit themselves combinations that would horrify colleagues with more traditional sympathies.â&#x20AC;?

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

EXPLORATION : ONE OLD ST YLE & HUMANIST SANS SERIF

aa BB ee GG gg frutiger 34 pt : humanist

garamond 34 pt : old style

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

EXPLORATION : TW0 OLD ST YLE & GROTESQUE SANS SERIF

aa BB ee GG gg akzidenz grotesk 34 pt : humanist

adobe caslon 34 pt : old style

WORD S I N L I B E RTY A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.The works were characterized by the depiction of several successive actions of a subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its 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.

EXPLORATION : THREE TRANSITIONAL & GEOMETRIC SANS SERIF

aa BB ee GG gg baskerville 34 pt : humanist

futura 34 pt : geometric

WO R D S I N L I B E RT Y A Prologue to Futurism:

Futurism was first

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

EXPLORATION : FOUR TRANSITIONAL & HUMANIST SANS SERIF

aa BB ee GG gg fruitger 34 pt : humanist

belizio 34 pt : transitional

WORD S 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. 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.

EXPLORATION : FIVE MODERN & GEOMETRIC SANS SERIF

aa BB ee GG gg bauer bodoni 34 pt: modern

futura 34 pt : geometric

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

EXPLORATION : SIX MODERN & GROTESQUE SANS SERIF

aa BB ee GG gg helvetica 34 pt: grotesque

linotype didot 34 pt : modern

WO RD S IN L IB E RT Y A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. 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.

EXPLORATION : SEVEN NEW TRANSITIONAL & GEOMETRIC SANS SERIF

aa BB ee GG gg century gothic 34 pt: geometric

mrs eaves 34 pt : new transitional

WORD S I N LI B E RT Y A Prologue to Futurism:

Futurism was first

EXPLORATION : EIGHT NEW TRANSITIONAL & GROTESQUE SANS SERIF

aa BB ee GG gg helvetica 34 pt: grotesque

clarendon 34 pt : new transitional

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

EXPLORATION : NINE SL AB SERIF & GROTESQUE SANS SERIF

aa BB ee GG gg DIN con 34 pt: grotesque

memphis 34 pt : slab serif

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

EXPLORATION : TEN SL AB SERIF & HUMANIST SANS SERIF

aa BB ee GG gg gill sans 34 pt: humanist

volta 34 pt : slab serif

p p

p use

“and’’ – not “and”

youâ&#x20AC;&#x2122;re new shirt is so sexy... YOUR

not sexy

PUNCTUATION Symbols which indicate the structure and organization Punctuation marks are symbols which

articles on specific punctuation marks.)

indicate the structure and organization of

The rules of punctuation vary with language,

written language, as well as intonation and

location, register and time and are constantly

pauses to be observed when reading aloud.

evolving. Certain aspects of punctuation are stylistic and are thus the author’s (or editor’s)

In written English, punctuation is vital to

choice. Tachygraphic language forms,

disambiguate the meaning of sentences.

such as those used in online chat and text

For example,“woman, without her man, is

messages, may have wildly different rules.

nothing” and“woman: without her, man is nothing”have greatly different meanings, as do“eats shoots and leaves”and“eats, shoots and leaves”.[“King Charles walked and talked half an hour after his head was cut off”is alarming;“King Charles walked and talked; half an hour after, his head was cut off”, less so. (For English usage, see the

QUOTATION 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 to tell your application to automatically set something like “typographer’s quotes,” “smart quotes,” or “curly quotes.” Then as you type using the standard ditto key (“), the software will set the correct quotation marks for you. But it is necessary to know how to set them yourself because sometimes the software doesn’t do it or does it wrong.

Use REAL quotation marks – NEVER those grotesque GENERIC MARKS that actually symbolize ditto inch or foot marks.

QUOTATION COMMANDS

“ ” ‘ ’

OPENING DOUBLE QUOTE:

“ Type: Option [

CLOSING DOUBLE QUOTE:

” Type: Option ]

OPENING SINGLE QUOTE:

‘ Type: Option [

CLOSING SINGLE QUOTE:

’ Type: Option [

HYPHENS & DASHES Use hyphens, en dashes, and em dashes appropriately.

You might have been taught to use a double hyphen to indicate a dash, like so : -- . This is a typewriter convention because typewriters didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hyphen—we have a professional em dash, the long one, such as you see in this sentence. We also have an en dash, which is a little shorter than the em dash.

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

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.

HYPHEN EN DASH – EM DASH —

REMEMBER Never use two hyphens instead of a dash. Use hyphens, en dashes, and em dashes appropriately.

EN DASH

EM DASH

An en dash is called an en dash because it’s

The em dash is twice as long as the en

approximately the width of a capital letter

dash—it’s about the size of a capital letter M

N in that particular font and size. It is used

in whatever size and typeface you’re using at

between words that indicate a duration, such

the moment. This dash is often used in place

as time or months or years. Use it where you

of a colon or parenthese, or it might indicate

might otherwise use the word “to.”

an abrupt change in thought, or it’s used in a spot where a period is too strong and a

Here are a few examples of places to use

comma is too weak (check our punctuation

the en dash. Notice that these are really not

style manual for the exact use of the dash).

hyphenated words, and a plain hyphen is not the logically correct character to use. Notice

Since you were properly taught, of course,

that you automatically read the en dash as

you know that the double hyphen is not

the word “to.”

supposed to have a space on either side of it—neither is the em dash, as you can see right here in this sentence.

TO TYPE AN EN DASH OPTION HYPHEN HOLD THE OPTION KEY DOWN, THEN TAP THE HYPHEN KEY

TO TYPE AN EM DASH SHIFT OPTION HYPHEN HOLD THE SHIFT AND OPTION KEYS DOWN, THEN TAP THE HYPHEN KEY.

Ex:

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

When using an—no space is used on either side.

Type plays a fundamental role in the communication process as much through shapes and the styling of the letters as the actual words that they form.

c c

cc c

c c

c i’m

spe©¡al

LIGATURE OF ‘F’ & ‘L’

ﬁnish the flan please… LIGATURE OF ‘F’ & ‘I’

SPECIAL CHARACTERS List of the most often-used special characters and their key combinations. OPENING DOUBLE QUOTE:

LIGATURE OF ‘F’ & ‘I’:

UPSIDE DOWN !

ﬁ

type: Option Shift 5

LIGATURE OF ‘F’ & ‘L’:

DIVISION SIGN

ﬂ

type: Option Shift 6

“ ” ‘ ’ – — … •

type: Option [

CLOSING DOUBLE QUOTE:

type: Option Shift [

OPENING SINGLE QUOTE:

type: Option ]

CLOSING SINGLE QUOTE:

type: Option Shift ]

EN DASH:

type: Option -

EM DASH:

type: Option Shift -

ELLIPSIS:

type: Option ;

BULLET:

type: Option 8

DEGREE SYMBOL:

° €

type: Option Shift 8

EURO SYMBOL:

type: Option Shift 2

type: Option g

TRADE MARK:

™

type: Option 2

REGISTRATION MARK:

type: Option r

CENT SYMBOL:

type: Option $

type: Option 1

type: Option ?

POUND SYMBOL

£ ç

type: Option 3

C-CEDILLA

type: Option c

CAPITAL C-CEDILLA

´´ ¨ ˜

type: Option Shift c

Option e Option ~ Option u Option u

b b

bite the bullet

Bridge Clearance: 16’7” The young man stood 6’ 2” The lenght of the wall is 153’ 9”

BULLETS used to draw attention to each item in a list or series

Simply put, a bullet is a large dot used to draw attention to each item in a list or series. The items can be single words, phrases, sentences or paragraphs. Even if you use the bullet that is part of your font, 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.

DINGBATS AS BULLETS Another occasion to take advantage of the baseline shift feature is when using dingbats or ornaments. Suppose you have a list of items and you really want to use a fancy dingbat from the Zapf Dingbats font, instead of using the boring round bullet (or—heaven forbid —a hyphen). But the Zapf Dingbat charater is too big. If you reduce its size, the

Bullets should be centered on either the cap height or x-height, depending on the nature of your copy. If all of your items begin with a cap, center the bullet on the cap, or a bit lower so it balances with the negative spaces created by the lowercase. If your items all begin with lowercase characters, center the bullets on the x-height. Insert some space after the bullet to avoid crowding.

dingbat is too low because the character is still sitting on the baseline. Select the character and shift it up above the baseline.

DINGBATS BULLETS CONT.

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 be more creative, substitute symbols or dingbats for the actual bullets. Try squares, triangles or check marks (just not all at once, as shown in the illustration!). Keep these simple and in proportion with the rest of your text.

101

PICK ANY THREE ADJECTIVES THAT

CHOOSE A DINGBAT INSTEAD OF

DESCRIBE YOURSELF:

A BULLET:

• lovely

lovely

surly

ghastly

• saintly

womenly

• ungodly

saintly

ungodly

[

stately

sprightly

• surly • ghastly • womenly

• stately • sprightly

DECREASE THE POINT SIZE OF THE

RAISE THE DINGBAT HIGHER OFF

BULLET:

THE BASELINE:

D lovely

D surly

D ghastly

D womenly

D saintly

D ungodly

D stately

D sprightly

n n

n n n

ay yo, can i get yo numba?

123456789 Adobe Garamond Regular 54 pt

105

NUMBERS old style figures are very useful and quite beautiful

Old style figures are a style of numeral

Old style figures are very useful and quite

which approximate lowercase letterforms by

beautiful when set within text. Unlike lining

having an x-height and varying ascenders

figures, they blend in without disturbing the

and descenders. They are considerably

color of the body copy. They also work well

different from the more common “lining” (or

in headlines since they’re not as intrusive as

“aligning”) figures which are all-cap height

lining figures. In fact, many people prefer

and typically monospaced in text faces so

them overall for most uses except charts and

that they line up vertically. Old style figures

tables. It’s well worth the extra effort to track

have more of a traditional, classic look. They

down and obtain typefaces with old style

are only available for certain typefaces,

numerals; the fonts that contain them might

sometimes as the regular numerals in a font,

well become some of your favorites.

but more often within a supplementary or

EXAMPLES

expert font. The figures are proportionately

result from monospaced lining figures,

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

especially around the numeral one.

These numnbers appear large and chunky.

spaced, eliminating the white spaces that

V S. Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505. These numnbers bleed beautifully right into the next.

s c

why arenâ&#x20AC;&#x2122;t you

cute!

The Wicked Are Very Weary MrsEaves

Small Caps 5 pt

109

SMALL CAPS uppercase (capital) letters

Small caps are uppercase (capital) letters

RULES

that are about the size of normal lowercase letters in any given typeface. Small caps

are less intrusive when all uppercase

USE SMALL CAPS FOR ACRONYMS. Set acronyms like NASA or NASDAQ in small caps when they appear in text or headlines.

appears within normal text or can be used for special emphasis. Computer programs

can generate small caps for a any typeface, but those are not the same as true small caps. True small caps have line weights that are proportionally correct for the typeface, which can be used within a body of copy without looking noticeably wrong. 3

USE SMALL CAPS FOR COMMON ABBREVIATIONS 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 SMALL CAPS FONTS Avoid simply resizing capital letters or using the small caps feature. Instead use typefaces that have been specifically created as small caps.

SMALL CAPS CONT.

EXAMPLES Harriet, an FBI agent, turned on CNN to get the dirt on the CIA before going to bed at 9:30 P.M. The capital letters in the middle of the sentence call too much attention to themselves. Notice how the small caps blend in with the text. The capital letters for P.M. are much too large – the abbreviation is not that important.

Harriet, an FBI agent, turned on CNN to get the dirt on the cia before going to bed at 9:30 P.M. Now FBI and CNN are streamline in the sentence and they blend into the text non-capital text. Also notice that P.M, no longer is the most important.

The Human Torch Took Out a Bank Loan Instead there are font famiies that include “mrseaves” small caps which have been redesigned to match the proportions and thickness of the uppercase. These families are often called “expert” sets or even “small cap” sets. The result is a smooth, uniform, undisturbing tone throughout the text.

111

pb p

p b

iâ&#x20AC;&#x2122;m sorry about your break up

PARAGRAPH BREAK

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

115

PARAGRAPH BREAKS uppercase (capital) letters

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

RULES IN T YPOGRAPHY THERE ARE 4 RULES REGARDING PARAGRAPH BREAKS:. 1

The first line at the beginning of an article should be flush left (do not indent first paragraph.

Block paragraphs are flush left and are sepa- rated by extra leading not a full return.

The amount indent is = to the leading (sometimes needs a bit more.)

4 Never hit two returns between paragraphs.

EXPLORATION 1 ROCKWELL

8.5/12

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

117

FUTURIS M WAS FIRS T ANNOU NCE D O N F E BRUARY 2 0 , 1 9 0 9 , when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. BUT IT IS THE MOVEMENTS WHI CH SURV I V E , oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avantgarde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE MARINETTI’S OPENING M ANI F E STO FO R I TAL I AN F UT URI SM bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the 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.”

EXPLORATION 2

ROCKWELL

8.5/12

EXPLORATION 13 ROCKWELL

8.5/12

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

119

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

EXPLORATION 4

ROCKWELL

8.5/12

EXPLORATION 15 ROCKWELL

8.5/12

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

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02 03

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

EXPLORATION 6 ROCKWELL

8.5/12

EXPLORATION 17 ROCKWELL

8.5/12

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

123

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the 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.”

EXPLORATION 8

ROCKWELL

8.5/12

EXPLORATION 19 ROCKWELL

8.5/12

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

125

FUTURISM WAS FIRST ANNOUNCED on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. B U T I T I S T H E M OV E M E N T S W H I C H S U R V I V E , oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avantgarde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within t hem the seed of all that we were later to become. WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the 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.”

ROCKWELL

8.5/12

EXPLORATION

s s

iâ&#x20AC;&#x2122;m important

too!

WORDS IN LIBERTY A Prolouge to Futurism

SUB HEADER

HEADER

129

HEADERS, SUB HEADERS the doors that invite a reader into the content

The main header orâ&#x20AC;&#x153;headlineâ&#x20AC;?is essential

The purpose of a subheader is to split up

to be bold and leap out as the main title of

body text so that a reader can find their

the page or chapter start. If it does not, the

way around the document with ease. It

reader may be confused as to where the

also makes the document more readable

document actually starts. So I always think

because the viewer is not faced with a

its a good rule to ensure the reader knows

page of block text. Each subheader needs

where a section starts and make it plain.

to be linked with the corresponding body text underneath it. This should be achieved

The main header should also look like it

by using correct spacing after and before

belongs to the first sentence. This can be

the subheader .

achieved by ensuring that its paragraph spacing (the space after a hard return) is smaller than the paragraph spacing of the first sentence. Paragraph spacing is not commonly used - even amongst designers,

RULES

but it is an extremely useful tool. Many people add spacing by hitting return but this does not give much control and cannot be styled from style sheets.

Never hyphenate words in a header.

Make subheaders either symmetrical or asymmetrical.

EXPLORATION 1 ROCKWELL

8.5/12

WORDS IN LIBERTY A Prologue to Futurism

//////FUTURISM was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

A Prologue to Futurism Radical Mix of Art and Life

FUTURISM WAS FIRST ANNOUNCED on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. B U T I T I S T H E M OV E M E N T S W H I C H S U R V I V E , oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avantgarde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within t hem the seed of all that we were later to become. WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the 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.”

EXPLORATION 2 ROCKWELL

WO R D S I N L I B E R T Y

131

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EXPLORATION 13 ROCKWELL

8.5/12

WORDS IN LIBERTY

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

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

A Radical Mix of Art and Life artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avantgarde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

133

Words in Liber ty

A PROLOGUE TO FUTURISM RADICAL MIX OF ART AND LIFE

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

EXPLORATION 4 ROCKWELL

8.5/12

EXPLORATION 15 ROCKWELL

8.5/12

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

135

WORDS IN LIBERTY: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. A PROLOGUE TO FUTURISM

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term-still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the 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.” RADICAL MIX OF ART AND LIFE

EXPLORATION 6

ROCKWELL

8.5/12

c c

c n

TAKE

note!

139

CAPTIONS & NOTES is distinct from the body text, yet still be in visual harmony with it. A caption is the brief text description accompanying a pho- tograph, illustration

Captions are slightly subordinate to the body text, so set them any where from .5 to 2 points smaller.

or cartoon, most often as part of a longer article. Neither body text nor display text, captions require special treatment to be set for optimal effectiveness. It’s worth the trouble, though: captions tend to be among the most-read portions of any printed piece.

FOOTNOTES & ENDNOTES Footnotes and endnotes are necessary components of scholarly and technical writing. They’re also frequently used by writers of fiction, from Herman Melville

HARMONY & CONTRAST A properly set caption should be distinct

(Moby-Dick) to contemporary novelists. Whether their intent is academic or artistic, footnotes present special challenges.

from the body text, yet still have visual harmony. To achieve this, try these approaches:

Specifically, a footnote is a text element

The most foolproof strategy is to use a corresponding italic or oblique of the body text.

at the bottom of a page of a book or

Try a corresponding bold weight. Make sure it’s heavy enough for good contrast with the body text, yet still readable.

information about a point made in the main

A clean, simple bold sans often works well as a caption font with serif body text.

chapter, article or book, rather than at the

manuscript that provides additional

text. Endnotes serve the same purpose but are grouped together at the end of a

bottom of each page.

FOOTNOTES & ENDNOTES

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.)

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

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

141

EXPLORATION 1 ROCKWELL

8.5/12

WORDS IN LIBERTY

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

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

Selbst - himself Parole in Liberta - words set free (liberty)

A Prologue to Futurism

FUTURISM WAS FIRST ANNOUNCED on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely Philip Meggs, History of Graphic Design, Van intended to inspire public anger and amazement, to arouse controversy, Nostrand Reinhold, 1988 and to attract widespread attention. B U T I T I S T H E M OV E M E N T S W H I C H S U R V I V E , oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avantgarde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, Selbst - himself Parole in Liberta - words set free indifference and engagement, to break the barriers between themselves (liberty) and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

Radical Mix of Art and Life

{

EXPLORATION 2 ROCKWELL

WO R D S I N L I B E R T Y

143

8.5/12

EXPLORATION 13 ROCKWELL

8.5/12

WORDS IN LIBERTY

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

A Prologue to Futurism Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988

But it is the movements which survive, oddly, here where we live and work as poets and

A Radical Mix of Art and Life artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avantgarde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation. and 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.” Selbst - himself Parole in Liberta - words set free (liberty)

145

Words in Liber ty

A PROLOGUE TO FUTURISM RADICAL MIX OF ART AND LIFE

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

EXPLORATION 4 ROCKWELL

8.5/12

EXPLORATION 15 ROCKWELL

8.5/12

PHILIP MEGGS, HISTORY OF GRAPHIC DESIGN, VAN NOSTRAND

REINHOLD, 1988 RADICAL MIX OF ART AND LIFE But 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 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.

SELBST - HIMSELF PAROLE IN LIBERTA - WORDS SET FREE (LIBERTY)

147

RADICAL MIX OF ART AND LIFE While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term-still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, like Mallarme. But the verbal liberation didn’t end Philip Meggs, History with the page; it moved, rather, toward a new performance art and a poetry of Graphic Design, Van Nostrand that “scurried off the page in all directions at once,” as Emmett Williams Reinhold, 1988 phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, Selbst - himself events and surroundings, indifference and engagement, to break the Parole in Liberta - words set free barriers between themselves and those who came to jeer or cheer them. (liberty) Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

EXPLORATION 6

QROCKWELL

8.5/12

Selbst - himself Parole in Liberta - words set free (liberty)

f one of a kind

a g a g ag ag Futura:

Rockwell:

Interstate:

Memphis:

light condensed

condensed

light condensed

light

151

FONT SPECS VARIATIONS IN STRESS

characteristic of little contrast between

As early typefaces were based on the written

thick and thin strokes of a letter. in

letterforms the scribes, it was important

transitional faces there is a tendency toward

that the type designer tries to capture

refinement and greater contrast between

as much as the written form as possible.

thick and thins. Bodoni has maximum

the letter o is a good example to study

contrast in these strokes (extreme contrast

the distribution of weight which creates a

of thick and thins, hairline serifs). With

vertical stress through the thinnest part of

serifa there is a return to very little contrast

the letterform. it was this characteristic that

(almost mono-weight. in univers the is an

the early typefaces tried to imitate. this is

absence of any noticeable thick and thin

quite clear in Garamond. as type evolved

strokes; there is a uniformity of strokes

and the designer was no longer influenced

(mono-weight).

by handwriting, the stress became more vertical as in Baskerville and later totally

VARIATION IN SERIFS

vertical with Bodoni. in univers you will find

Serifs also vary from one face to the next

no noticeable stress.

in their weight and in the way they are bracketed; that is the way in which the serif

VARIATION IN THICKS AND THINS

meets the vertical stroke of the letter. once again, you can

Faces also vary in degree of contrast

see the evolution of type from Garamond to

between thick and thin strokes of the letters.

Baskerville, to Bodoni this was followed by

in Garamond you can see a prominent

the return of the heavy serif in serifa and the elimination of the serif in univers

xoaengdp Humanist little contrast between thick and thin of strokes stroke weight has inflections similar to handwriting

strong diagonal stress such as on letter o

sloping bar on letter e

xoaengdp Didone (modern)

extreme contrast between thick and thin strokes hairline (strokes) serifs horizontal stress horizontal bar on e

Jenson, Goudyâ&#x20AC;&#x2122;s Kennerly, Bruce rogersâ&#x20AC;&#x2122; Centaur

Bodoni, Bauer Bodoni, Walbaum

xoaengdp

xoeangdp

Geralde

(also call old style)

contrast between thick and thin strokes is more pronounced horizontal bar on e diagonal stress is less prominent shorter x-height scooped serifs, sturdy without being heavy

Sabon, Garamond, Bembo, Times, Plantin, Caslon Old Style

xoeangdp

New Transitional

sturdy typefaces hold up under poor printing

little contrast between thick and think strokes

horizontal stress

horizontal bar on e

tall x-height

horter ascenders, descenders

Bookman, Century schoolbook, Cheltenham

xoeangdp

Transitional

egyptian or slab-serif

contrast between thick and thin strokes is pronounced

very slight diagonal stress bracketed serifs

mono weight square ended serifs horizontal stress horizontal bar on e

horizontal bar on e tall x-height

Baskerville, Caslon, Perpetua, (newer garamonds)

Memphis, Clarendon, Serifa, Rockwell

153

SERIF

xAag Humanist based on the proportions of the roman capitals

some contrast in the stroke weight

lowercase a and g are usually two story

Syntax, Frutiger, Praxis, Stone sans

xAag Geometric vary little contrast in the stoke weight (monoline)

a little wider set

upper case a has a pointed apex

constructed from simple shapes : circle and rectangle usually a one story lowercase a

Futura, Kabel, Metro

xAag Grotesque

slight contrast in the stoke weight

slight squareness to the curves usually a tall x-height : short ascenders and descenders

usually a two story lowercase a

capital G usually has a spur

capital r usually has a curled leg

helvetica, univers, akzidenz Grotesk, Folio

155

SANS SERIF

ARCHER

CLASSIFICATION: SLAB SERIF

MaxogGdQRst BOOK

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

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

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.

SEMI-BOLD

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

BOLD ITALIC

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

CLASSIFICATION: GROTESQUE

AKZIDENZ GROTESK

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

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

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

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

BASKERVILLE

CLASSIFICATION: TRANSITIONAL

MxaogGdQRt REGULAR

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

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

ITALIC

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

BOLD

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

CLASSIFICATION: SLAB SERIF

BELIZIO

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

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

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

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

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

BELL GOTHIC

CLASSIFICATION: GROTESQUE

MxagGdQrRI LIGHT

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

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

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

CLASSIFICATION: OLD STYLE

BEMBO

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

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

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

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

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

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

BOOKMAN

CLASSIFICATION: NEW TRANSITIONAL

MxaogGdQrR REGULAR

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

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

BOLD

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

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

CLASSIFICATION: MODERN (DIDONE)

BODONI

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

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

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

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

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

CASLON

CLASSIFICATION: TRANSITIONAL

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

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

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

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

SWASH

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

A a Bb C c D d Ee F f G g H h Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr S s Tt Uu Vv Ww X x y Z z 1 2 3 4

CLASSIFICATION: TRANSITIONAL

CENTURY SCHOOLBOOK

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

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

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

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

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

CHELTENHAM

CLASSIFICATION: OLD STYLE

MaxogGdQrRs REGULAR

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

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

BOLD

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

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

CLASSIFICATION: MODERN

CHOLLA

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

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

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

CLARENDON CLASSIFICATION: SLAB SERIF

MxagGdQrRt LIGHT

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

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

BOLD

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

CLICKER CLASSIFICATION: GRID BASED SANS SERIF

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

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

DIDOT

CLASSIFICATION: MODERN

MxaogGdQrRt REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr SsTt UuVvWw XxYy Zz 1234567890(){}?!@&*12345 6789 ITALIC

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

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.

BOLD

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

DIN

CLASSIFICATION: GROTESQUE

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

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

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

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

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

DIN

CLASSIFICATION: GROTESQUE

MaxngdQHAMBURG LIGHT CONDENSED

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

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

CLASSIFICATION: SERIF

DISTURBANCE

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

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

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

BOLD

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

FETTE FRAKTUR

CLASSIFICATION: BLACKLETTER

MxnaopQrRtfg REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4567890(){} ?!@&* Idunt aliquam adignim velit utat. Etuer accum dunt ad magniam, vendiat lam verostrud essi tetum illa facipisl utet endre feu faccum dit praessi. Ing ea feuguer aessenim atisi.Delessi. Sectet, sit, ver si. Alit ipit esequis exer adigna adignit aliquat lam dunt utpat aut nisisi. Tate conse nim adionsecte feuis etum dolobore molore verit veniss

CLASSIFICATION: MODERN

FILOSOFIA

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

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

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

UNICASE

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

FRANKLIN GOTHIC

CLASSIFICATION: GROTESQUE

MaxodQRtfGg BOOK

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

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

HEAVY

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

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

CLASSIFICATION: HUMANIST SANS SERIF

FRUTIGER

MaxodQRtfGg CONDENSED

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

REGULAR

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

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

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

FUTURA

CLASSIFICATION: GEOMETRIC SANS SERIF

MxaopQRstGg

BOOK

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

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

EXTRA BOLD

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

CLASSIFICATION: OLD STYLE

ADOBE GARAMOND

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

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

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

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

GILL SANS

CLASSIFICATION: HUMANIST SANS SERIF

MaxnbyogGQRt REGULAR

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

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

BOLD

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 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. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

CLASSIFICATION: MODERN

GOTHAM

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

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

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

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

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

HELVETICA

CLASSIFICATION: GROTESQUE

MaoygGdQrRt REGULAR

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

BOLD

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

BLACK EXTENDED

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

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

CLASSIFICATION: GROTESQUE

INTERSTATE

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

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

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

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

KUNSTLER SCRIPT

CLASSIFICATION: SCRIPT

MxyogGdQrRst REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ &* Pat. San ea consectet ad duis dolorem eu facil dit am, summy nisim ipit, quat, velit pratismodo diat. Et lorperi liquat lor sequam zzrilit, velese facin ut verosti nciduis modit, qui erosto odit ut verit nos nos amet iure doluptatisl digna facin hendre ming ea feum incilla ad dunt dunt ipit vulput lorper sumsand ionsenit num ip erit la feu feumsan henis exerci esto etumsan hent am, velit, quisit nummy nosto dolutat irit veniam zzrilit, qui tincilit wis eum zzriustis ex eraestrud delit lamcon vero exercidunt aliscidui bla facip et veniam eum illan veros dignit alit vullandiat nis nisl dunt aliquam consent alit etuero odionsecte dunt nulla faci et in vulla feugait lore eum zzril ullamco nsequi bla autpatet nummodipisi. Ed etummodit vullamcon utat ulluptat delendit nonsenim inciliqui tio odoloreet ver sum velis aliquis del irit aut nosto consequam zzrit aut ipsum diamcon sequam num et wisi tio dolorem elesto dolobor iuscilisci et, quis endre te dolobor sum volenibh exerit utpat. Uptat, vel dolese molorem eraessis nit niamcorperos autat, venit in etum erilissit irit eui bla feum iurem nonsequi e

CLASSIFICATION: TRANSITIONAL

MELIOR

MayogGdQrRt REGULAR

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

ITALIC

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

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

MEMPHIS

CLASSIFICATION: SLAB SERIF

MxagGdQrRt LIGHT

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

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

EXTRA BOLD

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

CLASSIFICATION: HUMANIST SANS SERIF