Typographic Guide by Danielle Self

guide

Typography

everything you need to know and more.

6 X-Height 14 Hyphenation Rules 21 Alignment 26 Justification 34 Combining Typefaces 40 Quotes, Apostrophes and Dashes 50 Special Characters 52 Bullets 56 Numerals / Figures 60 Small Caps 64 Paragraph Breaks 76 Headers, Subheads and Crossheads 84 Captions and Notes 88 Font Specs

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

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

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

legibility Who is going to read it?

• Someone that wants to read it? • Someone that has to read it?

How will it be read?

• Quickly • In passing • Focused • Near • Far 5

height

X x hg

Xxhg

• mrs eaves (Roman) 9/11

• univers (55 Roman) 9/11

• serif

• Sans Serif : neo-grotesque

• Zuzana Licko

• Adrian Frutiger

• TYPE COLOR

• Tall x-height : short ascenders

X xhg

Xxhg

• GIll Sans (Regular) 9/11

• DIN (Regular) 9/11

• Sans Serif : Humanist

• Sans Serif

• Eric Gill

• Linotype

• Slight contrast in stroke width : Light color

• Geometric : Mono weight : Dark color

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

• Memphis (Light) 9/11

• Memphis (Medium) 9/11

• Slab Serif

• Rudolf Weiss

• Narrow : Tall X-height : Light color

• Narrow : Tall X-height : Dark color

X xhg

X x hg

• Helvetica Neue (Regular) 9/11

• Futura (Medium) 9/11

• Sans Serif : Grotesque

• Sans Serif : Geometric

• Max Medinger

• Paul Renner

• Mono weight : Short ascenders & descenders

• Pointed apex : Ascenders are taller than capitals

Xxh g

Xx hg

• Interstate (Regular) 9/11

• Bembo (Regular) 9/11

• Sans Serif : Grotesque

• Old Style Humanist

• Tobias Frere-Jones

• Stanley Morrison

• Wide spacing : Short ascenders & descenders

• Small x-height : wide character width

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

• Serifa (55 Roman) 9/11

• Bauer Bodoni (Roman) 9/11

• Slab Serif

• Modern

• Adrian Frutiger

• Heinrich Jost

• Humanist qualities : Highly readable

• Extreme stroke contrast : Hairline serifs

In unjustified text, the text block is set with normal letter and word spacing. Because of

HYPHEN-

the even word spacing the text will have an even texture â&#x20AC;&#x201C; no large spaces between words. The lines will naturally vary in length. A ragged text block can integrate with the layout and add visual interest to the page. The difficulty is making the ragged edge have a pleasing silhouette.

When the first line in the text is longer than the second, it becomes separate from the layout and creates a box-like shape. This destroys one of the advantages of unjustified text. The ragged edge needs to have a life, but a narrow column can be less active. Another advantage to ragged text is less hyphenation is needed. Therefore, names, dates or words which are normally read together can stay together.

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

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

Widows and orphans on a page are wrong.

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

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

Rivers

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

Look for bad line breaks throughout every line of body copy. Here are several examples of the sorts of things to looks for:

Casing Adder Bat

Justify the headline so it stays in the line Use a line break (shift return) to bump “a” down tothe next line, where it fits very nicely

Hersey borsch-boil starry a boarder borsch boil gam plate lung, lung a gore inner ladle wan-hearse torn coiled Mutt-fill. Mutt-fill worsen mush offer torn, butted hatter putty guy 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 tow becalm Any-bally’s horsebarn. (Boil pliers honor Mutt-fill tame dint gat mush offer celery; infect, day gut nosing atoll.) Bought less gat earn wetterstarry.

Kern the line a tiny bit to bring the rest of the word up

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

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

[Above] also took care of the unappropriate widown here.

There is plenty of room to squeeze “bought” onthis line, perhaps by kerning the line a tiny bit. “Horsebarn” is a good long word that could be hyphenated; type a dischy. Better yet, with “bought” moved up, it gave enough room to move “horsebarn” up. If now, try opening th text block or text box a wee bit. Edit: to get rid of that terrible widow, exchange a short word for a long word

Casing Adder Bat

Hersey borsch-boil starry a boarder borsch boil gam plate lung, lung a gore inner ladle wan-hearse torn coiled Mutt-fill. Mutt-fill worsen mush offer torn, butted hatter putty guy 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 tow pore toe becalm Any-bally’s horsebarn. (Boil pliers honor Muttfill tame dint gat mush offer celery; infect, day gut nosing atoll.) Bought less gat earn wetter starry.

Of course, do this only on final copy, after all editing has been done.

Don’t hyphenate headlines. That’s a law

Don’t leave widows (very short last lines) in headlines. Man Walks Barefoot Across Bay Bridge

Don Quixote de la Mancha

Watch where the first line of a two-line headline ends - does it

Fix it either way, or rewrite!

Fix it.

Professor and Therapist to Lecture Don’t Lose Your Self Respect

Man Walks Barefoot Across Bay Bridge Man Walks Barefoot Across Bay Bridge

As with all layouts, alignment depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design. No matter what alignment you use, remember to pay close attention to hyphenation and word/character spacing as well to insure that your text is as readable as possible. There will undoubtedly be well-meaning friends, business associates, clients, and others who will question your choices. Be prepared to explain why you chose the alignment you did and be prepared to change it (and make necessary adjustments to keep it looking good) if the person with final approval still insists on something different.

Right and wrong do not exist in graphic design. There is only effective and non-effective communication. â&#x20AC;&#x201D; Peter Bilak, Illegibility

If someone insists that fully justified text is better than left-aligned text... If someone else tells you that left-aligned text is better than justified text...

tell them they are wrong.

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

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. • Often considered more formal, bur 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 leftaligned). • May require extra attention to word and character spacing

and hyphenation to avoid unsightly rivers of white space

running through the text.

• May be more familiar to readers in some types of publica

tions, such as books and newspapers.

• Some people are naturally drawn to the “neatness” of text

that lines up perfectly on the left and right.

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

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 text There is nothing inherently wrong with centered text. As with ragged right or fullyjustified 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.

The only time you can safely get away with

justifying text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page.

When your work comes out of the printer

turn it upside down and squint at it.

If your line is shorter, as in newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. Gross. But that’s what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squished together.

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

80 : 100 : 130 Here is a general guideline for determining if your line length

Justified text was the style for many years-we grew up

is long enough to satisfactorily justify the text: the line length in

on it. But there has been a great deal of research done on

picas should be about twice the point size of the type; that is, if the

readability (how easy something is to read) and it shoes

type you are using is 12 point, the line length should be at least 24

that those disruptive, inconsistent gaps between the words

picas (24 picas is 4 inches-simply divide the number of picas by

inhibit the flow of reading. Besides, they look dumb. Keep

6, as there are 6 picas per inch). Thus 9-point type should be on

your eyes open as you look at professionally printed work

an 18-pica line (3 inches) before you try to justify it, and 18-point

(magazines, newsletters, annual reports, journals) and

type should be on a 36-pica line (6 inches). The rulers in most

you’ll find there’s a very strong trend to align type on the

programs can be changed to picas, if you like.

left and leave the right ragged. This is an example of a typical justification setting. It provides easy readability and isn’t too distracting

65 : 150 : 400 Here is a general guideline for determining if your line length

Justified text was the style for many years-we grew up

is long enough to satisfactorily justify the text: the line length in

on it. But there has been a great deal of research done

picas should be about twice the point size of the type; that is,

on readability (how easy something is to read) and it

if the type you are using is 12 point, the line length should be

shoes that those disruptive, inconsistent gaps between

at least 24 picas (24 picas is 4 inches-simply divide the number

the words inhibit the flow of reading. Besides, they look

of picas by 6, as there are 6 picas per inch). Thus 9-point type

dumb. Keep your eyes open as you look at professionally

should be on an 18-pica line (3 inches) before you try to justify

printed work (magazines, newsletters, annual reports,

it, and 18-point type should be on a 36-pica line (6 inches). The

journals) and you’ll find there’s a very strong trend to

rulers in most programs can be changed to picas, if you like.

align type on the left and leave the right ragged.

There is slightly too much space between the words in this example. It remains readable but doesn’t flow very nicely.

40 : 80 : 120 Here is a general guideline for determining if your line length is

Justified text was the style for many years-we grew up on it.

long enough to satisfactorily justify the text: the line length in picas

But there has been a great deal of research done on readabil-

should be about twice the point size of the type; that is, if the type

ity (how easy something is to read) and it shoes that those

you are using is 12 point, the line length should be at least 24 picas

disruptive, inconsistent gaps between the words inhibit the

(24 picas is 4 inches-simply divide the number of picas by 6, as there

flow of reading. Besides, they look dumb. Keep your eyes

are 6 picas per inch). Thus 9-point type should be on an 18-pica

open as you look at professionally printed work (magazines,

line (3 inches) before you try to justify it, and 18-point type should

newsletters, annual reports, journals) and you’ll find there’s

be on a 36-pica line (6 inches). The rulers in most programs can be

a very strong trend to align type on the left and leave the

changed to picas, if you like.

The text in this example flows nicely and is easy to read. It is a very sucessful example, however there could be slightly more space beween the words, the san-serif font works better than the serif.

Here is a general guideline for determining if your line length is long

Justified text was the style for many years-we grew up on

enough to satisfactorily justify the text: the line length in picas should

it. But there has been a great deal of research done on read-

be about twice the point size of the type; that is, if the type you are

ability (how easy something is to read) and it shoes that those

using is 12 point, the line length should be at least 24 picas (24 picas is

disruptive, inconsistent gaps between the words inhibit the

4 inches-simply divide the number of picas by 6, as there are 6 picas

flow of reading. Besides, they look dumb. Keep your eyes

per inch). Thus 9-point type should be on an 18-pica line (3 inches)

open as you look at professionally printed work (magazines,

before you try to justify it, and 18-point type should be on a 36-pica

newsletters, annual reports, journals) and you’ll find there’s

line (6 inches). The rulers in most programs can be changed to picas,

a very strong trend to align type on the left and leave the

if you like.

This example is much too tight. Readability is compromised.

200 : 250 : 300 Here is a general guideline for determining if your line

Justified

length is long enough to satisfactorily justify the text: the

grew up on it. But there has been a great deal of

line length in picas should be about twice the point size

research done on readability (how easy something is

of the type; that is, if the type you are using is 12 point,

to read) and it shoes that those disruptive, incon-

the line length should be at least 24 picas (24 picas is 4

sistent gaps between the words inhibit the flow of

inches-simply divide the number of picas by 6, as there are

reading. Besides, they look dumb. Keep your eyes

6 picas per inch). Thus 9-point type should be on an 18-

open as you look at professionally printed work

pica line (3 inches) before you try to justify it, and 18-point

(magazines,

type should be on a 36-pica line (6 inches). The rulers in

and you’ll find there’s a very strong trend to align

most programs can be changed to picas, if you like.

type on the left and leave the right ragged.

text

was

the

newsletters,

style

for

annual

many

reports,

years-we

journals)

There is too much space between the words in this example. It not only looks awkward but the gaps created make it hard to read.

Here is a general guideline for determining if your line length

Justified text was the style for many years-we grew up

is long enough to satisfactorily justify the text: the line length in

on it. But there has been a great deal of research done

picas should be about twice the point size of the type; that is,

on readability (how easy something is to read) and it

if the type you are using is 12 point, the line length should be

shoes that those disruptive, inconsistent gaps between

at least 24 picas (24 picas is 4 inches-simply divide the number

the words inhibit the flow of reading. Besides, they look

of picas by 6, as there are 6 picas per inch). Thus 9-point type

dumb. Keep your eyes open as you look at professionally

should be on an 18-pica line (3 inches) before you try to justify

printed work (magazines, newsletters, annual reports,

it, and 18-point type should be on a 36-pica line (6 inches). The

journals) and you’ll find there’s a very strong trend to

rulers in most programs can be changed to picas, if you like.

align type on the left and leave the right ragged.

This is another decent example. It could be slightly tighter, however.

280 : 300 : 450 Here

general

guideline

for

determining

your

Justified

text

was

the

style

for

many

there

has

been

years-we

line length is long enough to satisfactorily justify the

grew

text: the line length in picas should be about twice

deal

the point size of the type; that is, if the type you are

something

using is 12 point, the line length should be at least

disruptive,

inconsistent

24 picas (24 picas is 4 inches-simply divide the number

inhibit

the

of picas by 6, as there are 6 picas per inch). Thus

dumb.

Keep

9-point type should be on an 18-pica line (3 inches)

professionally printed work (magazines, newsletters,

before you try to justify it, and 18-point type should be

annual reports, journals) and you’ll find there’s a

on a 36-pica line (6 inches). The rulers in most pro-

very strong trend to align type on the left and

up of

it.

But

research

done

read)

and

flow

your

readability it

gaps

reading. eyes

open

shoes

between

great

(how

easy

that

those

the

words

Besides, as

you

they look

look at

This is one of the worst examples. The gaps created are awful. They create more of a block of random words rather than a cohesive text box

20 : 35 : 45 Here is a general guideline for determining if your line length is long

Justified text was the style for many years-we grew up

enough to satisfactorily justify the text: the line length in picas should

on it. But there has been a great deal of research done on

be about twice the point size of the type; that is, if the type you are

readability(howeasysomethingistoread)anditshoesthatthose

using is 12 point, the line length should be at least 24 picas (24 picas is

disruptive, inconsistent gaps between the words inhibit the

4 inches-simply divide the number of picas by 6, as there are 6 picas

flow of reading. Besides, they look dumb. Keep your eyes

per inch). Thus 9-point type should be on an 18-pica line (3 inches)

open as you look at professionally printed work (magazines,

before you try to justify it, and 18-point type should be on a 36-pica

newsletters, annual reports, journals) and you’ll find there’s

line (6 inches). The rulers in most programs can be changed to picas,

a very strong trend to align type on the left and leave the

if you like. There isn’t enough word spacing in this example, creating run-on sentences and making it difficult to read.

25 : 200 : 1000 Here is a general guideline for determining if your line length

Justified text was the style for many years-we grew

is long enough to satisfactorily justify the text: the line length

up on it. But there has been a great deal of research

in picas should be about twice the point size of the type; that

done on readability (how easy something is to read)

is, if the type you are using is 12 point, the line length should

and it shoes that those disruptive, inconsistent gaps

be at least 24 picas (24 picas is 4 inches-simply divide the

between the words inhibit the flow of reading. Besides,

number of picas by 6, as there are 6 picas per inch). Thus

they look dumb. Keep your eyes open as you look at

9-point type should be on an 18-pica line (3 inches) before

professionally printed work (magazines, newsletters,

you try to justify it, and 18-point type should be on a 36-pica

annual reports, journals) and youâ&#x20AC;&#x2122;ll find thereâ&#x20AC;&#x2122;s a very

line (6 inches). The rulers in most programs can be changed

strong trend to align type on the left and leave the

to picas, if you like.

This example is sucessful. The spacing could be slightly tighter but they flow nicely.

100 : 101 : 260 Here

line

length

general is

guideline

long

enough

for to

determining satisfactorily

your

Justified text was the style for many years-we grew up

justi-

on it. But there has been a great deal of research done on

fy the text: the line length in picas should be about twice

readability

the point size of the type; that is, if the type you are

using is 12 point, the line length should be at least 24 picas

disruptive, inconsistent gaps between the words in-

(24 picas is 4 inches-simply divide the number of picas by 6, as

hibit the flow of reading. Besides, they look dumb.

there are 6 picas per inch). Thus 9-point type should be on an

Keep your eyes open as you look at profession-

18-pica line (3 inches) before you try to justify it, and 18-point

ally

(how read)

printed

and

work

easy it

something

shoes

(magazines,

that

newsletters,

those

an-

type should be on a 36-pica line (6 inches). The rulers in most The lines spaces in this example a extremely awkward and inconsistent.

combining typefaces Although there is not recipe there is a place to start:

Using 2 different serif fonts or 2 different sans serifs fonts in the same composition is never a good idea. When combining serif and sans serif text fonts, one shroud try and match the characteristics of form and type color: proportion, x-heights. Keep an eye on the characteristic shapes of the letterform. A well designed page contains no more than two different typefaces or four different type variations such as type size and bold or italic style.

Very good example of a large contrast between a serif body copy font and san-serif headline font. Futura and Mrs

WORDS IN LIBERTY

Eaves work well together and provide an

A PROLOGUE TO FUTURISM: Futurism was first announced on February

easily readable contrast. Geometric Sans / New Transitional • Futura Extra Bold 14/16 • Futura Extra Bold 10/12 • Mrs Eaves 9/12

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

aa BB ee GG gg

Both the Helvetica and Memphic font are mono weight, having a serif font with varying stroke widths might have

WORDS IN LIBERTY

provided more of a contrast.

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the

Slab Serif / Humanist Sans • Helvetica Medium 14/16 • Helvetica Medium 9/12 • Memphis Light 8/12

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

aa BB ee GG gg

A good combination of a bold typeface with a serif font. Gill Sans stroke had to be bumped up to bold in order to contrast more with the Bodoni Book font.

Old Style / Humanist Sans • Gill Sans Bold 14/16 • Gill Sans Bold Italic 10/12 • Bodoni Book 9/12

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. 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.

aa BB ee GG gg

There is already a large difference in the Medium and Bold font in the typeface of Trade Gothic. The contrast is

WORDS IN LIBERTY

extremely evident in this example.

A Prologue to Futurism:

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

paper 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

Old Style / Grotesque Sans • Trade Gothic Medium 14/16 • Trade Gothic Bold 10/12 • Garamond 9/12

past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

aa BB ee GG gg

Futura Bold had a commanding presence in this example, when paired with Caslon. Caslon or the subhead could even be slightly smaller to add more emphasis Traditional / Geometric Sans • Furtura Bold 14/16 • Futura Bold 10/12 • Adobe Caslon 9/12

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. 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.

aa BB ee GG gg

The san-serif font, Frutiger, with the serif font, Belizio, pair nicely together. Nothing in this example is overly loud

WORDS IN LIBERTY

but still provides enough of a contrast.

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 em-

Traditional / Humanist Sans

phasis 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

• Frutiger Bold 14/16

traditions and glorified contemporary life, mainly by emphasizing two dominant themes,

• Frutiger Bold 9/12

cessive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-

• Belizio 7/12

the machine and motion. The works were characterized by the depiction of several sucnology 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.

aa BB ee GG gg

The verticalness of Helvetica’s letter forms and the horizontalness of Mrs Eaves’ letterforms offer an interesting contrast in letter spacing.

Grotesque / Transitional • Helvetica Bold 14/16 • Helvetica 12/12 • Mrs Eaves 9/12

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. 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.

aa BB ee GG gg

Futura bold’s commanding presence is evident when paired with the serif, Bauer Bodoni. The two work well together providing a nice contrast, without competing for attention. Geometric Sans / Modern • Furtura Bold 14/16 • Futura Bold 9/12 • Bauer Bodoni 9/12

aa BB ee GG gg

Univers condensed is a mono-weight font and when paired with Didot Regular that has a large variety of stroke weight, the contrast is dynamic.

WORDS IN LIBERTY A Prologue to Futurism:

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

Grotesque Sans / Modern • Univers Condensed 14/16 • Univers Light Condensed 10/12 • Didot Regular 7/12

static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

aa BB ee GG gg

This is an interesting example of a bold, san-serif font paired with a heavily weighted serif. While they both have

WORDS IN LIBERTY

heavey stroke widths it is nice to see

A Prologue to Futurism: Futurism was first announced on February 20,

the contrast soley in the serif. Slab Serif / Geometric Sans • Futura Bold 14/16 • Futura Bold 10/12 • Rockwell 9/12

aa BB ee GG gg

Quotes Apostrophies Dashes

It is necessary to know how to set them yourself because sometimes the software doesnâ&#x20AC;&#x2122;t do it or does it wrong.

Use real quotation marks – never those grotesque generic marks that actually symbolize ditto/inch or foot marks: use “and” – not “and”. Most software applications will convert the typewriter quotes to the real quotes for you automatically as you type. Check the preferences for your application – you’ll find a check box to tell your application to automatically set something like “typographer’s quotes,” “smart quotes,” or “curly quotes.” Then as you type using the standard ditto key (“), the software will set the correct quotation marks for you.

Bridge Clearance 16' 7" The young man stood 6' 2" The length of the wall is 153'9" Opening double quote: “ Type: Option [ Closing double quote: ” Type: Option Shift [ Opening single quote: ‘ Type: Option ] Closing single quote: ’ Type: Option Shift ]

As an aside, people often are confused about where the

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

In a phrase such as House o’ Fashion, the apostrophe takes the place of the f. There is not earthly reason for an apostrophe to be set before the o. In a phrase such as Gone Fishin’ the same pattern is followed — the g is missing.

For omission of letters: In a phrase such

as Rock ’n’ Roll, there should be an apostrophe before and after the n, because the a and the d are both left out. And don’t turn the first apostrophe around — just because it appears in front of the letter does not mean you need to use the opposite single quote. An apostrophe is still the appropriate mark (not ‘n’). In a date when part of the year is left out, an apostrophe needs to indicate the missing year. In the 80s would mean the temperature; In the ’80s would mean the decade. (Notice there is no apostrophe before the s! Why would there be? It is

not possessive, nor is it a contraction — it is simply plural.

Apostrophe: ’ option shift ]

For possessives: Turn the phrase around.

The apostrophe will be placed after whatever word you end up with. For example, in the phrase the boys’ camp, to know where to place the apostrophe say to yourself, “The camp belongs to the boys.” The phrase the boy’s camp says “The camp belongs to the boy.” “The big exception to this is “its.” “Its” used as a possessive

never has an apostrophe! The word it only has an apostrophe as a contraction. It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes — and neither

should its.

“it’s” always means “it is” or “it has.” Always.

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

Everyone knows what a hyphens is—that tiny little dash that belongs in some words, like mother-in-law, or in phone numbers. It’s also used to break a word at the end of a line, of course. You might have been taught to use a double hyphen to indicate a dash, 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.

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

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.

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

October – December 6:30 – 8:45 A.M. 4 – 6 years of age To type an en dash en dash – Option Hyphen hold the Option key down, then tap the hyphen key

The em dash is twice as long as the en dash—it’s about the size of a capital letter M in whatever size and typeface you’re using at the moment. This dash is often used in place of a colon or parentheses, or it might indicate an abrupt change in thought, or it’s used in a spot where a period is too strong and a comma is too weak. Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Using two hyphens (or worse, one) where there should be an em dash makes your look very unprofessional.

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

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

The following is a list of the most often-used

special characters

and accent marks. On the following pages are the key combinations for just about every accent you might need.

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

´ Option e ` Option ~ (upper-left or next to the Spacebar) ¨ Option u ˜ Option n ˆ Option i

“

Option [ opening double quote

”

Option Shift [ closing double quote

‘

Option ] opening single quote

’

Option Shift ] closing single quote; apostrophe

–

Option Hyphen en dash

—

Option Shift Hyphen em dash

…

Option ; ellipsis (this character can’t be separated at the end of a line as

three periods can)

•

Option 8 bullet (easy way to remember as it’s the asterisk key)

ﬁ

Option Shift 5 ligature of f and i

ﬂ

Option Shift 6 ligature of f and l

Option g

™

Option 2

Option r

Option Shift 8 degree symbol (e.g., 102°F)

Option $

€

Option Shift 2 Euro symbol

⁄

Option Shift 1 (one) fraction bar (this doesn’t descend below the line like

the slash does)

Option 1 (one)

Option Shift ?

Option 3

Option c

Option Shift c

bullet, of course 52

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, donâ&#x20AC;&#x2122;t automatically assume itâ&#x20AC;&#x2122;s the right size: it might need to be altered in scale or position to make it look balanced next to the text. Bullets should be centered on either the cap height or xheight, 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. 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.

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 ol’ round bullet (or—heaven forbid—a hyphen). But the Zapf Dingbat character is too big. If you reduce its size, the dingbat is too low because the character is still sitting on the baseline. So select the character and shift it up above the baseline.

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.

Pick any three adjectives that

describe yourself:

• lovely

v lovely

• surly

a surly

• ghastly

t ghastly

• womanly

, womanly

• saintly

3 saintly

• ungodly

5 ungodly

• stately

V stately

choose a dingbat instead of the dumb ol’bullet (the bullet is Option 8)

You have lots of dingbats to choose from, but they are usually too big.

Pick any three adjectives that

describe yourself:

describe yourself: , lovely

, lovely

, surly , ghastly

, womanly , saintly

, ungodly , stately

, ungodly , stately You can decrease the point size of the bullet, but then it sits too low.

Raise the dingbat higher off the baseline.

Numerals Figures

Itâ&#x20AC;&#x2122;s well worth the extra effort to track down and obtain typefaces with oldstyle numerals

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

Notice how large and clunky these numbers appear:

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

Notice how beautifully these numbers blend into the text:

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

Small Caps

There are quite a few font families that include “true-drawn” small caps—letterforms that have been redesigned to match the proportions and thicknesses of the uppercase. These families are often called “experts” sets or perhaps “small cap” sets (see Chapter 8).

The result is a smooth, uniform, undisturbing tone throughout the text.

If you set acronyms in regular all caps, their visual presence is unnecessarily overwhelming. One standard and practical place to use small caps is in acronyms such as FBI, NCR, CBS, or SIMM. Traditionally, “A.M.” and “P.M.” are set with small caps. If you were taught on a typewriter (of if you were taught on a keyboard by someone who was taught on a typewriter), you probably learned to set these abbreviations in all caps because there were no small caps on typewriters. But now that you have the capability, you can and should set the properly.

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

The Wicked Are Very Weary. The weight of the computer-drawn small caps is thinner than the weight of the regular initial (first letter) caps. Typeface is Eurostile.

There Is No Rest For The Wicked The Wicked Are Very Weary. True-drawn small caps are specially drawn to match the weight of the capital letters in the same face. Typefaces are Caslon Semibold, Caslon Expert Semibold, Caslon Regular amd Caslon Expert Regular.

Paragraph Breaks Paragraph breaks set a rhythm for the reader. The breaks have a relationship with the column of text as well as the page margins. A break may be introduced as an indentation, as a space or both.

In typography there are four rules regarding paragraph breaks:

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

The over all page feel will be influenced by your choice.

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

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 avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance ifavor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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

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

! !

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

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

Headers subheads Crossheads Headers are used to indicate the subject matter and subheads are used to emphasise the header.

A Prologue to Futurism

Words in Liberty

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

Words in Liberty: A Prologue to Futurism

a radical mix of art and life

Words in Liberty: A Prologue to Futurism

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. 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 avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance ifavor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-theworld, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

A radical mix of art and life

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

A Prologue to Futurism

a radical mix of art and life

Words in Liberty:

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 avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

A radical mix of art and life While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance ifavor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-ofthe-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

A Prologue to Futurism

A radical mix of art and life

Words in Liberty

Captionsnotes Whether their intent is academic or artistic, footnotes present special typographic challenges.

Footnotes and endnotes are necessary components of scholarly and technical writing. Theyâ&#x20AC;&#x2122;re also frequently used by writers of fiction, from Herman Melville (Moby-Dick) to contemporary novelists. Specifically, a footnote is a text element at the bottom of a page of a book or manuscript that provides additional information about a point made in the main text. The footnote might provide deeper background, offer an alternate interpretation or provide a citation for the source of a quote, idea or statistic. Endnotes serve the same purpose but are grouped together at the end of a chapter, article or book, rather than at the bottom of each page.

These general guidelines will help you design footnotes and endnotes that are readable, legible and economical in space. (Note that academic presses and journals can be sticklers for format: before proceeding, check with your client or publisher to see if they have a specific stylesheet that must be followed.)

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

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

A Prologue to Futurism

Words in Liberty

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

parole in liberta = words set free (liberty) selbst = himself 2

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

Words in Liberty: A Prologue to Futurism 1

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

a radical mix of art and life

parole in liberta = words set free (liberty)

selbst = himself

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

A radical mix of art and life

Words in Liberty 1

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

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

A Prologue to Futurism 2

parole in liberta = words set free (liberty)

a radical mix of art and life 3

selbst = himself

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

Words in Liberty:

parole in liberta = words set free (liberty)

selbst = himself

A Prologue to Futurism 1

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

parole in liberta = words set free (liberty) 3

selbst = himself

A radical mix of art and life

Words in Liberty

Font specs

Serif HUMANIST

xoaengdp • 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 Jenson, Goudy’s Kennerly, Bruce Rogers’ Centaur

DIDONE (MODERN)

xoaengdp • extreme contrast between thick and thin strokes • hairline (strokes) serifs • horizontal stress • horizontal bar on e Jenson, Goudy’s Kennerly, Bruce Rogers’ Centaur

NEW TRANSITIONAL GERALD (OLD STYLE)

xoaengdp

• scooped serifs, sturdy without being heavy

• sturdy typefaces hold up under poor printing • little contrast between thick and think strokes • horizontal stress • horizontal bar on e • tall x-height • shorter ascenders, descenders

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

Bookman, Century Schoolbook, Cheltenham

• contrast between thick and thin strokes is more pronounced • horizontal bar on e • diagonal stress is less prominent • shorter x-height

EGYPTIAN OR SLAB SERIF TRANSITIONAL

xoeangdp •contrast between thick and thin strokes is pronounced • very slight diagonal stress • bracketed serifs • horizontal bar on e • tall x-height

xoeangdp • mono weight • square ended serifs • horizontal stress • horizontal bar on e Baskerville, Caslon, Perpetua, (newer garamonds)

Baskerville, Caslon, Perpetua, (newer garamonds)

Sans Serif GROTESQUE

xAag • slight contrast in the stroke weight • slight squareness to the curves • usually a tall x-height : short ascenders and descenders • usually a two story lowercase a • capital R usually has a curled leg • capital G usually has a spur Helvetica, Univers, Akzidenz Grotesk, Folio

GEOMETRIC

xAag • vary little contrast in the stroke weight (monoline) • a little wider set • constructed from simple shapes : circle and rectangle • usually a one story lowercase a • upper case A has a pointed apex Futura, Kabel, Metro

HUMANIST

xAag • 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

Font List

HAMBURGERQ hamburgerq?!& akzidenz grotesk

designer: gunter gerhard lange

characteristics: spur on g, tall x-height, short ascenders and descenders, short tail on q

classification: grotesque

HAMBURGERQ hamburgerq?!& baskerville

designer: john baskerville

classification: transitional

characteristics: diagonal stress, bracketed serifs , tall x-height

HAMBURGERQ hamburgerq?!& belizio designer: david berlow

classification: slab serif

characteristics: monoweight, square serifs, ball terminals

HAMBURGERQ hamburgerq?!& bembo designer: stanley morison

classification: old style

characteristics: high contrast between thick and thin strokes

HAMBURGERQ hamburgerq?!& bookman

designer: alexander phemister

classification: new transitional

characteristics: horizontal stress, tall x-height

HAMBURGERQ hamburgerq?!& bodoni (bauer bodoni) designer: giambattista bodoni

classification: didone (modern)

characteristics: extreme contrast between thick and thin strokes

HAMBURGERQ hamburgerq?!& caslon (adobe caslon) designer: carol twombly

classification: transitional

characteristics: long tail on q, slight diagonal stress

HAMBURGERQ hamburgerq?!& cholla

designer: sibylle hagmann

characteristics: squared curves, short ascenders and descenders

classification: n/a

HAMBURGERQ hamburgerq?!& clarendon

designer: robert besley

classification: slab serif

characteristics: monoweight, large ball terminals

HAMBURGERQ hamburgerq?!& clicker designer: greg thompson

classification: grid based san-serif

characteristics: little stroke contrast, technology based, tall x-height

HAMBURGERQ hamburgerq?!& didot

designer: firmin didot

classification: modern

characteristics: high contrast stroke weight, tall x-height

HAMBURGERQ hamburgerq?!& DIN designer: albert jan-pool

classification: grotesque

characteristics: no stroke contrast, tall x-height, short ascenders and descenders

HAMBURGERQ hamburgerq?!& disturbance

designer: jeremy tankard

classification: new transitional

characteristics: mix of upper and lowercase, unique g and q, bracketed serif

HAMBURGERQ hamburgerq?!& filosofia

designer: zuzana licko

classification: modern

characteristics: bracketless serif, contrasting stroke

HAMBURGERQ hamburgerq?!& frutiger

designer: adrian frutiger

classification: humanist

characteristics: low contrast, short ascenders and descenders

HAMBURGERQ hamburgerq?!& futura

designer: paul rennerz

classification: geometric

characteristics: circular bowls/counters, monoweight, wide

HAMBURGERQ hamburgerq?!& garamond (adobe garadesigner: claude garamond

classification: old style

characteristics: bracketed serifs, short x-height, variable weight

HAMBURGERQ hamburgerq?!& gill sans

designer: eric gill

classification: humanist

characteristics: minimal stroke width, wide character width

HAMBURGERQ hamburgerq?!& goudy designer: frederic w. goudy

classification: old style

characteristics: short x-height, diagonal stress, stroke variation

HAMBURGERQ hamburgerq?!& helvetica

designer: max medinger

characteristics: tall x-heights, two-story a, squared leg kicks

classification: grotesque

HAMBURGERQ hamburgerq?!& interstate designer: tobias frere-jones

classification: grotesque

characteristics: short ascenders/descenders, angled finials

HAMBURGERQ hamburgerq?!& k端nstler script designer: hans bohn

classification: script

characteristics: different line weights, ball terminals, goudy caps

HAMBURGERQ hamburgerq?!& melior

designer: herman zapf

classification: transitional serif

100

characteristics: high stroke contrast, square serif ending

HAMBURGERQ hamburgerq?!& memphis designer: emil rudolf weiss

characteristics: mono weight, square serifs, horizontal stress

classification: slab serif

HAMBURGERQ hamburgerq?!& mrs eaves

designer: zuzana licko

classification: transitional

characteristics: vertical stress, g has no open counter, thick and thin strokes

HAMBURGERQ hamburgerq?!& news gothic

designer: morris fuller benton

classification: grotesque

characteristics: tall x-height, shallow descenders

HAMBURGERQ hamburgerq?!& platelet

designer: conor mangat

classification: geometric

characteristics: no stroke variation, half upper/ half lower

HAMBURGERQ hamburgerq?!& rockwell

designer: monotype corporation

classification: slab serif

characteristics: mono weight, square serifs

HAMBURGERQ hamburgerq?!& rotis sans serif

designer: otl aicher

classification: humanist sans serif

characteristics: tall x-height, two story a, Q tail is above baseline

HAMBURGERQ hamburgerq?!& rotis serif

designer: otl aicher

classification: humanist serif

characteristics: bracketed serifs, tall x-height, subtle stroke contrast

HAMBURGERQ hamburgerq?!& sabon

designer: jan tschichold

classification: old style

characteristics: thicks and thins, short x-height, scooped serifs

101

HAMBURGERQ hamburgerq?!& memphis designer: emil rudolf weiss

characteristics: mono weight, square serifs, horizontal stress

classification: slab serif

HAMBURGERQ hamburgerq?!& shelley

designer: matthew carter

classification: script

characteristics: all characters connect, consistent loop

HAMBURGERQ hamburgerq?!& snell roundhand

designer: matthew carter (charles snell)

classification: script

characteristics: calligraphy influenced, strong stroke variation

HAMBURGERQ hamburgerq?!& swift

designer: gerard unger

classification: new transitional/humanist

characteristics: sturdy, tall x-height, short ascenders/descenders

HAMBURGERQ hamburgerq?!& trade gothic

designer: jackson burke

classification: humanist san serif

characteristics: tall x-height, short ascenders/ descenders

HAMBURGERQ hamburgerq?!& univers

designer: adrian frutiger

classification: grotesque

characteristics: monoweight, heavy, short ascenders/descenders

HAMBURGERQ hamburgerq?!& volta

designer: konrad bauer, walter baum

classification: slab serif

characteristics: thick/thin strokes, large square serifs

HAMBURGERQ hamburgerq?!& walbaum

designer: justus erich walbaum

classification: modern

characteristics: extreme contrast, hairline serifs, horizontal stress

102

Font details 103

Archer

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

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

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

SEMI-BOLD 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 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 { } ? ! @ & * 104

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

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(){}?!@&*

105

Baskerville

MxaogGdQRt 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 ( ) { } ? ! @ &* 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 ( ) { } ?!@&* 106

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 ( ) { } ?!@&* 107

Bell Gothic

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

108

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(){}?!@&* 109

Bookman

MxaogGdQrR 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

Aa Bb Cc Dd Ee Ff Gg Hh Ii 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(){}?!@&* 110

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(){}?! @&* 111

Caslon

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 123 4567890(){}?!@&* ITALIC

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 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 4 112

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 (){}?!@&* 113

Cheltenham

MaxogGdQrRs 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 threemain groups correspondroughlytothe 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 123 4567890(){}?!@&* ITALIC

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 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 ( ) {}?!@&* 114

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(){}?!@&*

115

Clarendon

MxagGdQrRt 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 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(){}?!@&*

116

Clicker

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 ( ) { } ? ! @ & *

117

Didot

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 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 ( ){}?!@&*

118

DIN

MaxnogGdQrRt 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 ( ) { } ? ! @ & *123456789 REGULAR

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

MEDIUM 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 { ? ! @ & * 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 { ? ! @ & *

119

DIN

MaxngdQHAMBURG LIGHT CONDENSED 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 CONDENSED

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

BOLD CONDENSED 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 ( ){}?!@&* BLACK CONDENSED

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

120

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(){}?!@&*

121

Fette Fraktur

MxnaopQrRtfg 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(){} ?!@&* 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 122

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 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 ( ) { } ? !@&*

123

Franklin Gothic

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

124

Frutiger

MaxodQRtfGg CONDENSED 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 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(){}?!@&* 125

Futura

MxaopQRstGg 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

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

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

126

Helvetica

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 ( ) { }?!@&* 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 ( ) { } ? ! @ & * 127

Gill Sans

MaxnbyogGQRt 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 123 4567890(){}?!&*

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

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

128

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(){}?!@&* 129

Helvetica

MaoygGdQrRt REGULAR

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

BOLD

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

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

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(){}?!@&*

131

Kunstler Script

xyogGdQrRst 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 ( ) { } ? ! @ &*

132

Melior

MayogGdQrRt 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

Aa Bb Cc Dd Ee Ff Gg Hh Ii 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(){}?!@&* 133

Memphis

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

134