Typographic Handbook by Ashley Kieffer

Typographic Handbook Ashley Kieffer

The University of Kansas | Typographic Systems | Spring 2013

Colophon Designed by Ashley Kieffer. Class project for Typographic Systems at the University of Kansas, Spring 2013. The text was compiled from the following sources: Elements of Typographic Style by Robert Bringhurst, Getting it Right with Type: the Do's and Don'ts of Typography by Victoria Square, Mac is Not A Typewriter by Robin Williams. This book is not to be sold to the public and to only be used by the designer for their reference and student design portfolio.

Table of Contents 01 The Basics: An Overview

6 12

02 Special Characters

03 Typographic Rules Defined

04 Grids

05 Quotes & Apostrophes

06 Dashes

4 46 50

07 Small Caps

08 Numerals & Figures

09 x-height

10 Column Width

11 Leading

88 92

12 Kerning

13 Alignments

100 104

14 Hyphenation

15 Justification

112 122

16 Combining Typefaces

17 Paragraph Rules

136 150

18 Headers

19 Captions & Notes

160 192

20 Font Spec Sheets

21 Typographic Glossary

The Basics: An Overview

[ch 01] The Basics: An Overview

The following is a compendium of the rules established in this book. You might want to check through them each time you complete a publication.

[ch 01] The Basics: An Overview

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 & 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 & 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 words in headlines & avoid hyphenation in callouts. 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 & descenders. Use a one-em first-line indent on all indented paragraphs. Adjust the spacing between paragraphs. Either indent the first line of paragraphs or add extra space between them â&#x20AC;&#x201C; not both. Use a decimal or right-aligned tab for the numbers in numbered paragraphs. Never have one line in a paragraph in the column or following. Never combine two serif fonts on one page. Rarely combine two sans serif fonts on one page. Rarely combine more than three typefaces on one page. Use the special characters whenever necessary, including super- & 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.

Special Characters

[ch 02] Special Characters

The following is a list of most often-used special characters. On the next page is the key combinations for just about every accent you might need.

“

Option [

opening double quote

”

Option Shift [

closing double quote

‘

Option ]

opening single quote

’

Option Shift ]

closing single quote; apostrophe

–

Option Hyphen

en dash

—

Option Shift Hyphen

em dash

…

Option ;

ellipsis

•

Option 8

bullet (remember: it's the asterisk key)



Option Shift 5

ligature of f and i



Option Shift 6

ligature of f and l

Option g

™

Option 2

trademark

Option r

registered

Option Shift 8

degree symbol (e.g., 102°F)

Option $

cent symbol

€

Option Shift 2

Euro symbol

∕

Option Shift 1 (one)

fraction bar

Option 1 (one)

Option Shift ?

Option 3

Option c

Option Shift c 15

[ch 02] Special Characters

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

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

Option e

Option ~

Option u

Option n

Option i

Typographic Rules Defined

[ch 03] Typographic Rules Defined

1. Insert only a single space after all punctuation

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

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

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

4. Use True Small Caps

7. Use caps properly

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

With options given to you by almost any type family (bold, point size, etc) you will seldom need to use all caps to draw attention to your text. Not all typefaces are legible when set in all caps; esp. true for script and decorative typefaces. Short headlines may be the once exception to this rule.

5. Add letter spacing to capitalized text and small caps

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

Letterspacing is the amount of space between characters in a word. Some software programs caller letterspacing tracking. Use positive number values (to about 2 or 3) to open up letterspacing to capitalized text and small caps, except when periods are used between characters.

6. Use old style figures when appropriate Old style figures, also known as non-lining figures do not line up on the baseline as regular or lining numerals do. They can be found in various fonts. If the body text has a significant amount of numbers, research a font family where they are included. If non-lining numerals are not available, use a slightly smaller point size for the lining numbers. Think of lining numbers as upper case numbers and non-lining numbers as lower case numbers.

8. Use copyright, register, and trademark marks properly

[ch 03] Typographic Rules Defined

9. Ellipsis Character

14. Altering fonts

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

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

10. Avoid underlined text

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

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

11. Increase line spacing to improve readability in body text Line spacing (aka leading) refers to the space between lines of text. It is important for readability and appearance. Leading is measured from baseline to baseline. As a rule of thumb, allow leading that is 120% of the point size. For sans serif, you may need 130% or more. When setting headlines, solid leading (leading = point size, 12/12) or negative leading (leading =< point size, 12/10) may be appropriate.

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

15. Legibility of fonts

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

17. Avoid letterspacing lowercase body copy

21. Choose the alignment that fits

Don’t letterspace body copy as it really hampers legibility. Use letterspacing when working with caps. small caps, numbers and display text where looser type spacing may increase legibility.

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

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

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

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

22. Rules of hyphenation Don’t rely on the software to judge where hyphens should be placed. At the end of lines, leave at least two characters behind and take at least three forward. For example, “ele-gantly” is acceptable, but “elegant-ly” is not because it takes too little of the word to the next line. Avoid leaving the stub end of a hyphenated word or any word shorter then four letters as the last line of a paragraph. Avoid more then 3 consecutive hyphenated lines. Avoid hyphenating or breaking proper names and titles. Creating a non-breaking space before and after the name will ensure that the name will not break.

[ch 03] Typographic Rules Defined

23. Avoid beginning three consecutive lines with the same word Since software programs deal with line breaks automatically based upon a number of variables, it is possible to have paragraphs with consecutive lines beginning with the same word. When this happens simply adjust the text to avoid/fix the problem.

24. Always spell check! Once you are finished with your design, spell check the text using both of the following: a. Use spell check option that comes with the software you are using for the project. b. Print the document and read it. The monitor and design of the document will make text look perfect when it may not be. Even if text is given to you by a client, check it. Never ever assume that it is correct. Keep a dictionary close as well.

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

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

27. Indents In continuous text, mark all paragraphs after the first with an indent of at least one “em” (3 spaces). Do NOT use three spaces but rather use the tabs or indents option in your software.

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

Grids

[ch 04] Grids

“The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice.” – Josef Müller-Brockmann

[ch 04] Grids

When designing a layout and working with text and images the use of a grid is essential, as it is the basis on which information is organized and clarified, ensuring legibility. The grid provides a framework were text, image & space can be combined into a cohesive manner.

A grid subdivides a page vertically and horizontally into margins, columns, inter-column spaces, lines of type, and spaces between blocks of type and images. These subdivisions form the basis of a modular and systematic approach to the layout, particularly for multipage documents, making the design process quicker, and ensuring visual consistency between related pages. At its most basic, the sizes of a gridâ&#x20AC;&#x2122;s component parts are determined by ease of reading and handling. From the sizes of type to the overall page or sheet size, decision-making is derived from physiology and the psychology of perception as much as by aesthetics. Type sizes are generally determined by hierarchyâ&#x20AC;&#x201D; captions smaller than body text and so onâ&#x20AC;&#x201D;column widths by optimum word counts of eight to ten words to the line, and overall layout by the need to group related items. This all sounds rather formulaic, and easy. But designers whose grids produce dynamic or very subtle results take these rules as a starting point only, developing flexible structures in which their sensibility can flourish.

Grids often need to be designed to give more flexibility than the single column of text per page (Jan Tschichold's grid). This is due to to a change in our reading patterns. Grid structures have to accommodate a greater variety of material such as photographs, illustrations, headings, captions, references, charts; they need to be more complicated than a grid using only text and may utilize more modules. The design of the grid had to be relevant to the purpose.

[ch 04] Grids

Baseline Grid Modular grids are created by positioning horizontal guidelines in relation to a baseline grid that governs the whole document. Baseline grids serve to anchor all (or nearly all) layout elements to a common rhythm. Create a baseline grid by choosing the typesize and leading of your text, such as 10-pt Scala Pro with 12 pts leading (10/12). Avoid auto leading so that you can work with whole numbers that multiply and divide cleanly. Use this line space increment to set the baseline grid in your document preferences.

Adjust the top or bottom page margin to absorb any space left over by the baseline grid. Determine the number of horizontal page units in relation to the numer of lines in your baseline grid. Count how many lines fit in a full column of text and then choose a number that divides evenly into the line count to create horizontal page divisions. A column with forty-two lines of text divides neatly into seven horizontal modules with six lines each. If your line count is not neatly divisible, adjust the top and/or bottom page margins to absorb the leftover lines.

[ch 04] Grids

Simple (Column) Grid These may consist simply of a number of vertical columns used to position text and image matter, and may include the space between columnsâ&#x20AC;&#x201D;the guttersâ&#x20AC;&#x201D;and the margins of the page, which must be given consideration. It may be necessary to produce grids with narrower subcolumns to enable a greater degree of flexibility in the design and layout of pages. Text widths can be set to

multiples of the narrower columns, allowing the design to accommodate different matter thus allowing for a change of pace, rhythm and style from one page or section to the next, while still relating the content.

Modular Grid Modular grids are associated with Swiss typography or the 'International Style' of the 1950s and 60s. As well as a vertical division of space, modular grids divide space horizontally too, creating units or cells. The depth of the cell may depend upon the size of the text type and leading being used. Multiples of the line depth (leading size) form a good basis on which to construct the cells.

For example, ten lines of 10pt type type on 12pt leading could allow for a cell height of 120pt within the grid. Again, each cell division is spaced by the equivalent of a gutter both vertically and horizontally. Vertical columns still appear, but further rationalization as to the position of text and image in relation to the depth of the page can be made via the grid.

[ch 04] Grids

Symmetric Grid Symmetric grids sit centrally on a single page (folio) so that the left and right margins are equal. The term can also be applied to a grid system used across facing pages where the position of the margins and text areas are symmetrically reflected or mirrored. Margins are not necessarily equal but run both left and right of the text area on single pages and are mirrored across the spread.

Asymmetric Grid These grids may have an off-centre appearance either as single pages or combined in spreads. If used in spreads, the grid is not mirrored from one page to the next as in symmetrical grids, but is more likely to appear repeated in a single position from page to page. Again, as with all grid systems, attention

to the relationship of the margins is important. It can be this element alone that determines the success of the eventual layout.

[ch 04] Grids

Tschichold's Grid Firstly, the 2:3 ratio is present—the inner margin is 2 to a 3 of the upper margin. The outer margin and bottom margin follows the ratio at 4 to the outer and 6 to the bottom. And the modules of the grid echo the 2:3 ratio. Then there is the fact that on a spread, the textblocks on both pages will be the same distance apart, over the gutter, as they are from the outer edge of the page. The height of the textblock module is equal to the width of the page.

The textblock sits in the upper section of the page, which is more inline with where our eyes rest on a page, as well as giving space at the bottom for our hands to hold the book open without covering any content. “… because we hold the book by the lower margin when we take it in the hand and read it” — Paul Renner.

Golden Section Grid No book about typography would be complete without a discussion of the golden section, a ratio (relationship between two numbers) that has been used in Western art and architecture for more than two thousand years. The formula for the golden section is a : b = b : (a+b). This means that the smaller of two elements (such as the shorter side of a rectangle) relates to the larger element in the

same way that the larger element relates to the two parts combined. In other words, side a is to side b as side b is to the sum of both sides. Expressed numerically, the ratio for the golden section is 1 : 1.618. Some graphic designers are fascinated with the golden section and use it to create various grids and page formats-indeed, entire books have been written on the subject. Other designers believe that the golden section is no more valid as a basis for deriving sizes and proportions than other methods, such as beginning from standard industrial paper sizes, or dividing surfaces into halves or squares, or simply picking whole-number page formats and making logical divisions within them.

Quotes & Apostrophes

[ch 05] Quotes & Aposrophes

Use true quotation marks and apostrophes instead of using inch marks and feet marks. Place all punctuations inside the quotation marks. Use real quotation marks – never those grotesque generic marks that actually symbolize ditto/inch or foot marks: use “and” – not "and." Most software applications will convert the typewriter quotes to the real quotes for you automatically as you type. Check the preferences for your application – you’ll find a check box to tell your application to automatically set something like “typographer’s quotes,” “smart quotes,” or “curly quotes.” Then as you type using the standard ditto key ("), the software will set the correct quotation marks for you. It is necessary to know how to set smart quotes/real quotes yourself because sometimes the software doesn’t do it or does it wrong.

[ch 05] Quotes & Aposrophes

Quotes Opening double quote: “ Type: Option [ Closing double quote: ” Type: Option Shift ] Opening single quote: ‘ Type: Option ] Closing single quote:

’ Type: Option Shift [

Bridge Clearance:

16' 7" The young man stood

6' 2" The length of the wall is

153' 9"

Apostrophe

Apostrophe: ’ option shift ] As as aside, people often are confused about where the apostrophe belongs. There are a couple of rules that work very well. For possessives: Turn the phrase around. The apostrophe will be placed after whatever word you end up with. For example, in the phrase the boys’ camp, to know where to place the apostrophe say to yourself, “The camp belongs to the boys.” The phrase the boy’s camp says “The camp belongs to the boy.” “The big exception to this is “its.” “Its” used as a possessive never has an apostrophe! The word it only has an apostrophe as a contraction — “it’s” always means “it is” or “it has.” Always. It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes — and neither should its. 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.

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

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.

Dashes

[ch 06] Dashes

Dashes Use proper ‘em’ dashes, ‘en’ dashes, and hyphens. Never use two hyphens instead of a dash. Everyone knows what a hyphens is —that tiny little dash that belongs in some words, like mother-in-law, or in phone numbers. It’s also used to break a word at the end of a line. You might have been taught to use or given text that uses a double hyphen -- to indicate a dash. This is a typewriter convention because typewriters didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hyphen—we have a professional em dash, the long one, such as you see in this sentence. We also have an en dash, which is a little shorter than the em dash. An em is a unit of measure equal to the point size that you are using. An em dash is a type of punctuation used to offset clauses in a sentence or to indicate an abrupt change in thought. An en dash is equal to half the length of an em dash. En dashes are used to denote duration (time.)

Hyphen 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.

En dash –

en dash – Option Hyphen 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.

Em dash —

em dash — Shift Option Hyphen The em dash is twice as long as the en dash—it’s about the size of a capital letter M in whatever size and typeface you’re using at the moment. This dash is often used in place of a colon or parentheses, or it might indicate an abrupt change in thought, or it’s used in a spot where a period is too strong and a comma is too weak. It is also used for attribution of text. —Mac is not a Typewriter Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Using two hyphens(or worse, one) where there should be an em dash makes your look very unprofessional. When using an—no space is used on either side.

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

Small Caps

[ch 07] Small Caps

Small Caps Small caps are uppercase (capital) letters that are about the size of normal lowercase letters in any given typeface. Small caps are less intrusive when all uppercase appears within normal text or can be used for special emphasis. Computer programs can generate small caps for a any typeface, but those are not the same as true small caps. True small caps have line weights that are proportionally correct for the typeface, which me and that they can be used within a body of copy without looking noticeably wrong. When setting text that contains acronyms, select a typeface with small caps as a family. Selecting small caps from the style menus is a poor choice because the compute reduces the overall size of the type by 80%. This changes the stroke weight and the feel of the font. Expert sets in the Adobe Type Library have small caps options. Use small caps for acronyms. Set acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines.

Use small caps for common abbreviations. Set common abbreviations such as AM or PM in small caps so they don't overpower the accompanying text. Use small caps for A.M. and P.M.; space once after the number, and use periods. (if the font does not have small caps reduce the font size slightly) Use true small caps fonts. Avoid simply resizing capital letters or using the small caps feature in some programs. Instead use typefaces that have been specifically created as small caps.

Meta

Cholla

Scala Sans

New Baskerville

Bodoni

Caslon

Corperate A

Didot

Garamond

Fake Small Caps

Real Small caps

Aa Bb Cc Dd

Aa Bb Cc Dd Aa Bb Cc Dd Aa Bb Cc Dd

Aa Bb Cc Dd

Numerals & Figures

[ch 08] Numerals & Figures

Oldstyle figures Also known as non-lining figures, these do not line up on the baseline as regular or lining numerals do. They can be found in various fonts. Oldstyle figures are a style of numeral which approximate lowercase letterforms by having an x-height and varying ascenders and descenders. They are considerably different from the more common “lining” (or “aligning”) figures which are all-cap height and typically monospaced in text faces so that they line up vertically on charts. Oldstyle figures have more of a traditional, classic look and are very useful and quite beautiful when set within text. They are only available for certain typefaces, sometimes as the regular numerals in a font, but more often within a supplementary or expert font. The figures are proportionately spaced, eliminating the white spaces that result from monospaced lining figures, especially around the numeral one.

Unlike lining figures, Oldstyle figures blend in without disturbing the color of the body copy. They also work well in headlines since they’re not as intrusive as lining figures. In fact, many people prefer them overall for most uses except charts and tables. It’s well worth the extra effort to track down and obtain typefaces with oldstyle figures; the fonts that contain them might well become some of your favorites. If the body text has a significant amount of numbers, research a font family where they are included. If non-lining numerals are not available, use a slightly smaller point size for the lining numbers. Think of lining numbers as upper case numbers and non-lining numbers as lower case numbers.

1234567890 1234567890

Old Style Capital

Meta

Cholla

Scala Sans

188

102

Bodoni

Garamond

New Baskerville

12.5

12.5 12.5

134.0

134.0 134.0

19.9

19.9 19.9

54.1

54.1 54.1

[ch 08] Numerals & Figures

Sans Serif Fonts with Oldstyle Figures

Meta

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

Scala Sans

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

Cholla

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

Serif Fonts with Oldstyle Figures

Caslon

Goudy Old Style

Bodoni

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

x-height

[ch 09] x-height

Readability & legibility are two key elements of printed text that typographers strive to maximize. Readability in terms of an extended amount of text – such as an article, book, or annual report – means it is easy to read. Legibility refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable to the viewer.

[ch 09] x-height

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 ...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.

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

Who is to read it? Someone that wants to read it? Someone that has to read it? How will it be read? Quickly. In passing. Focused. Near. Far.

[ch 09] x-height

X xhg

Xxhg

72 point

Mrs Eaves Zuzana Licko

Univers Adrian Frutiger

9/11 x-height: small character width: narrow color: light

9/11 x-height: large character width: wide color: dark

X xh g

Xxhg

72 point

Bembo Stanley Morison

Akzidenz Grotesk GĂźnter Gerhard Lange

9/11 x-height: small character width: average color: light

9/11 x-height: large character width: average color: light

[ch 09] x-height

Xxhg

X xhg

72 point

Garamond Claude Garamond

Futura Book Paul Renner

9/11 x-height: small character width: narrow color: light

9/11 x-height: average character width: average color: light

Xxh g

Xx hg

72 point

Bodoni Giambattista Bodoni

Frutiger Adrian Frutiger

9/11 x-height: small character width: average color: light

9/11 x-height: large character width: wide color: dark

[ch 09] x-height

X xh g X xh g

72 point

Palatino Hermann Zapf

Scala Sans Martin Majoor

9/11 x-height: average character width: average color: medium

Xx h g

Xxhg

72 point

Adobe Caslon William Caslon I

Gill Sans Eric Gill

9/11 x-height: small character width: average color: light

9/11 x-height: average character width: wide color: medium

[ch 09] x-height

X x hg

X xhg

72 point

Goudy Frederic Goudy

Helvetica Neue Max Miedinger

9/11 x-height: small character width: average color: light

9/11 x-height: large character width: wide color: very dark

Xx h g

X x hg

72 point

Memphis Emil Rudolf Wolf

Interstate Tobias Frere-Jones

9/11 x-height: average character width: wide color: medium

9/11 x-height: large character width: wide color: dark

[ch 09] x-height

Xx h g Xxh g

72 point

Baskerville John Baskerville

Clicker Greg Thompson

9/11 x-height: small character width: average color: light

9/11 x-height: large character width: average color: dark

X xh g

Xxhg

72 point

Sabon Jan Tschichold

Cholla Sibylle Hagmann

9/11 x-height: small character width: average color: dark

9/11 x-height: average character width: wide color: dark

Column Width

[ch 10] Column Width

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

Proper Line Lengths (According to the Formula)

Size 12 4 inches

Size 9 3 inches

Size 6 2 inches

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

Leading

[ch 11] Leading

leading refers to the distance between the baselines of successive lines of type. The term originated in the days of hand-typesetting, when thin strips of lead were inserted into the formes to increase the vertical distance between lines of type. The term is still used in modern page layout software such as QuarkXPress and Adobe InDesign. In consumer-oriented word processing software, this concept is usually referred to as “line spacing” or “interline spacing.” Text set “solid” (no leading) appears cramped, with ascenders almost touching descenders from the previous line. The lack of white space between lines makes it difficult for the eye to track from one line to the next, makes rivers more obvious, and hampers readability.

[ch 11] Leading

The Importance of Linespacing Linespacing within a paragraph should be consistent. We often set an initial cap or a word in a larger point size than the rest of the text. This affects the linespacing, or leading (the space between the lines of type); if even one letter or word is larger, the linespacing adjusts to fit the larger character(s), creating uneven spacing, The history of the term leading (pronounded ledding) may give you a better grasp of what leading itself accomplishes and how you can best adjust it. Until the early '70s (yes, the 1970s), all printed type was set in hot metal. Each letterâ&#x20AC;&#x201D;each and every little letterâ&#x20AC;&#x201D;was cast onto a tiny piece of lead backwards so when printed the letter would be facing the right direction. All these letters were lined up in a row, with other tiny pieces of blank metal stuck between the words to seperate them. Even the newer linotype machines (which composed these little pieces of type whole lines at a time instead of one letter at a time) used the same principle. Between each line of type another piece of blank lead was inserted to seperate the linesâ&#x20AC;&#x201D;this was called the leading.

Now, the type was measured in points, just like the type on the computer (72 points per inch). THe leading was also measured in points. If the type was 10 points high and the little piece of lead inserted between the lines was 2 points high, then the 2 points was added onto the point size of the type and the leading was called 12 point. 10 point type on 2 points of linespace makes 12 point leading

2 points of leading

Adjust leading with all caps You'll find extra, awkward leading between lines of all capital letters (on those rare occassions when you use all caps!). That's because caps have no descenders. To tighten up the leading, figure out what the auto leading is, then set the leading less than that. Usually on caps, you can actually reduce the leading to less than the number of the point size of the type. This is also true of a line, generally a headline, that has few descenders. Lacking descenders, lines with no visual interruption in them can create space that looks larger than necessary.

TOO MUCH SPACING BETTER SPACING

Note: Typically, the standard unit of measure for the leading between lines is 20 percent of the point size and this is called auto leading.

[ch 11] Leading

Negative, Normal, and Extreme Leading

11/10 pt

11/14 pt

11/24 pt

spacing to produce typeset artwork in physical or digital form.

11/10 pt

11/14 pt

physical or digital form.

11/10 pt

11/14 pt

Typography (Greek: typos “form”, graphein “to write”) is the art and technique of setting written subject matter in type using a combination of typeface styles, point sizes, line lengths, line leading, character spacing, and word spacing to produce typeset artwork in physical or digital form. Typography (Greek: typos “form”, graphein “to write”) is the art and technique of setting written subject matter in type using a combination of typeface styles, point sizes, line lengths, line lead-

11/24 pt

ing, character spacing, and word spacing to produce typeset artwork in physical or digital form.

Kerning

[ch 12] Kerning

Visual Spacing Adjust the space between letters according to your sensitive visual perception. One of the most important things a professional typesetter does for a client is kern the type. Kerning is the process of removing small units of space between letters in order to create visually-consistent letterspacing; the larger the letters, the more critical it is to adjust their spacing. Awkward letterspacing not only looks unprofessional, it can disrupt the communication of the words. The secret of kerning is that it is totally dependent on your eye, not on the machine. In the first example, each letter has mechanically the same amount of space on either side of it. Some spaces appear to be larger because the shape of the letterâ&#x20AC;&#x201D; angled or rounded, In the second example, the computer application was set to adjust, or kern, the letters and it did a fairly good job, but the letters still needed some manual adjusting. Type needs a human eye for the fine tuning.

Remember, the point is to keep the spacing visually consistentâ&#x20AC;&#x201D;there should visually appear to be the same amount of space between all the letters. It's not critical how muchâ&#x20AC;&#x201D;it's critical that whatever it is be consistent. You can usually focus better on that white space if you look at the text with your eyes squinted. Kerning is not possible in all applications; typically you'll find it in page layout programs or in applications where text manipulation is a primary feature. You won't usually find it possible to control the kerning in a word processor. In those applications where it is possible, each character and space is broken down into little sections, called units; 48 units per character is a common breakdown. Using the kerning function, it is possible to take out one of those units as a time between letters, allowing for very precise positioning. Checking the manual for the particular method for kerning in your application.

Characters with verticals next to each other need the most amount of space; this can often be used as a guideline with which to keep the spacing consistent.

A vertical next to a curve needs less space.

A curve next to a curve needs very little space.

A curve can actually overlap into the white space under or above the bar or stem of a character, and vice versa.

The closest kerning is done where both letters have a great deal of white space around them.

unkerned

kerned

WASHINGTON WASHINGTON

Alignments

[ch 13] Alignments

“Right and wrong do not exist in graphic design. There is only effective and non-effective communication.”

—Peter Bilak (Illegibility)

[ch 13] Alignments

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

If they are both wrong, then what'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 • Often considered more formal, less friendly than left-aligned text. • Usually allows for more characters per line, packing more into the same amount of space (than the same text set left-aligned). • May require extra attention to word and character spacing and hyphenation to avoid unsightly rivers of white space running through the text. • May be more familiar to readers in some types of publications, such as books and newspapers. • Some people are naturally drawn to the “neatness” of text that lines up perfectly on the left and right.

Typography traces its origins to the first punches and dies used to make seals and currency in ancient times. The typographical principle, the creation of a complete text by reusing identical characters, was first realized in the Phaistos Disc, an enigmatic Minoan print item from Crete, Greece, which dates between 1850 and 1600 BC. It has been proposed that Roman lead pipe inscriptions were created by movable type printing, but German typographer Herbert Brekle recently dismissed this view.

[ch 13] Alignments

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). Typography traces its origins to the first punches and dies used to make seals and currency in ancient times. The typographical principle, the creation of a complete text by reusing identical characters, was first realized in the Phaistos Disc, an enigmatic Minoan print item from Crete, Greece, which dates between 1850 and 1600 BC. It has been proposed that Roman lead pipe inscriptions were created by movable type printing, but German typographer Herbert Brekle recently dismissed this view.

Centered There is nothing inherently wrong with centered text. As with ragged right or fully-justified text alignment, what works for one design might be totally inappropriate for another layout. There are simply fewer situations where centered text is appropriate. When in doubt, don't center it. Typography traces its origins to the first punches and dies used to make seals and currency in ancient times. The typographical principle, the creation of a complete text by reusing identical characters, was first realized in the Phaistos Disc, an enigmatic Minoan print item from Crete, Greece, which dates between 1850 and 1600 BC. It has been proposed that Roman lead pipe inscriptions were created by movable type printing, but German typographer Herbert Brekle recently dismissed this view.

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.

Hyphenation

[ch 14] Hyphenation

Hyphenation Rules Don’t rely on the software to judge where hyphens should be placed. At the end of lines, leave at least two characters behind and take at least three forward. For example, “ele-gantly” is acceptable, but “elegant-ly” is not because it takes too little of the word to the next line. Avoid leaving the stub end of a hyphenated word or any word shorter then four letters as the last line of a paragraph.   Avoid more then 3 consecutive hyphenated lines. Avoid hyphenating or breaking proper names and titles. Creating a non-breaking space before and after the name will ensure that the name will not break. Avoid beginning three consecutive lines with the same word Since software programs deal with line breaks automatically based upon a number of variables, it is possible to have paragraphs with consecutive lines beginning with the same word. When this happens simply adjust the text to avoid/fix the problem.

102

A few things to remember: • 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

103

Justification

[ch 15] Justification

Justification Justify text only if the line is long enough to prevent awkward and inconsistent word spacing. The only time you can safely justify text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newsletter, or if you don't have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You've seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. Gross. But that's what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squished together. When your work comes out of the printer, turn it upside down and squint at it. The rivers will be very easy to spot. Get rid of them. Try squinting at the example on the bottom of the previous page.

106

Rivers

Widow

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

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

Widows and Orphans

Orphan

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

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

107

[ch 15] Justification

108

This is the default Adobe InDesign setting for justification. For the most part, the words are spaced well. No rivers are visible in this copy.

Meta 9/12 pt

Here the word spacing hasn't shifted as much as anticipated, but some of the lines are starting to get too crowded.

Meta 9/12 pt

Minimum: 80% Desired: 110% Maximum: 133%

Minimum: 50% Desired: 60% Maximum: 80%

The words are more spacious here and clear to read. There are no rivers visible.

Minimum: 90% Desired: 100% Maximum: 120%

Meta 9/12 pt

in the Phaistos Disc, an enigmatic Minoan print item from Crete, Greece, which dates between 1850 and 1600 BC. It has been proposed that Roman lead pipe inscriptions were created by movable type

The words are even more spacious here and clear to read. The rivers are minimal.

Minimum: 100% Desired: 110% Maximum: 150%

This is pretty extreme word spacing, and the rivers are more obvious here. The words are too wide and it become a hassle to read.

Minimum: 150% Desired: 160% Maximum: 175%

Just to make a point, the column size has been reduced to half with all the same settings as the previous paragraph (with extreme word spacing). The rivers here are clearly visible.

109

[ch 15] Justification

This is the default Adobe InDesign setting for justification. For the most part, the words are spaced well. No rivers are visible in this copy.

Baskerville 9/12 pt

Here the word spacing hasn't shifted as much as anticipated, but some of the lines are starting to get too crowded.

Baskerville 9/12 pt

110

Minimum: 80% Desired: 110% Maximum: 133%

Minimum: 50% Desired: 60% Maximum: 80%

The words are more spacious here and clear to read. There are no rivers visible.

Minimum: 90% Desired: 100% Maximum: 120%

Baskerville 9/12 pt

realized in the Phaistos Disc, an enigmatic Minoan print item from Crete, Greece, which dates between 1850 and 1600 BC. It has been proposed that Roman lead pipe inscriptions were created by

The words are even more spacious here and clear to read. The rivers are minimal.

Minimum: 100% Desired: 110% Maximum: 150%

This is pretty extreme word spacing, and the rivers are more obvious here. The words are too wide and it become a hassle to read.

Minimum: 150% Desired: 160% Maximum: 175%

Just to make a point, the column size has been reduced to half with all the same settings as the previous paragraph (with extreme word spacing). The rivers here are clearly visible.

111

Combining Typefaces

[ch 16] Combining Typefaces

114

Often, two typefaces work well together if they have one thing in common but are otherwise greatly different. This shared common aspect can be visual (similar x-height or stroke weight) or it can be chronological. Typefaces from the same period of time have a greater likelihood of working well togetherâ&#x20AC;Ś and if they are by the same designer, all the better.

â&#x20AC;&#x201D;Dan Mayer

115

[ch 16] Combining Typefaces

Combining Typefaces Unless you have a background in design and typography, never combine more than two typefaces on the same page. Never combine two serif on the same page or two sans serif fonts on the same page. â&#x20AC;&#x153;There is not binding recipe for type combinations. It is a matter of typographic sensitivity and experience. Expert typographers, as well as careless amateurs permit themselves combinations that would horrify colleagues with more traditional sympathies.â&#x20AC;? Although there is not recipe there is a place to start: keep an eye on the characteristic shapes of the letterform. A well designed page contains no more than two different typefaces or four different type variations such as type size and bold or italic style. {Using 2 different serif fonts or 2 different sans serifs fonts in the same composition is never a good idea} You should just about never combine two sans serif typefaces in a document. There needs to be more contrast between typefaces on one

116

page. If you do insist on setting your body text in a sans serif, you should consider using a shorter line length, setting no more than seven or eight words on the line, and avoid manipulating the type style to make it even less readable. A particularly good combination is to use a sans serif for headings and a serif for the for body copy. Within each typeface, it's fine to make some of it bold or italic or playful occasionally (try to keep the style you choose consistent with the purpose and meaning of the text).

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced

A Prologue to Futurism: Futurism was first announced on

on February 20, 1909, when the Paris newspaper Le Figaro

February 20, 1909, when the Paris newspaper Le Figaro published

published a manifesto by the Italian poet and editor Filippo

a manifesto by the Italian poet and editor Filippo Tommaso

Tommaso Marinetti. The name Futurism, coined by Marinetti,

Marinetti. The name Futurism, coined by Marinetti, reflected his

reflected his emphasis on discarding what he conceived to be

emphasis on discarding what he conceived to be the static and

the static and irrelevant art of the past and celebrating change,

irrelevant art of the past and celebrating change, originality, and

originality, and innovation in culture and society. Futurism

innovation in culture and society. Futurism rejected traditions and

rejected traditions and glorified contemporary life, mainly by

glorified contemporary life, mainly by emphasizing two dominant

emphasizing two dominant themes, the machine and motion.

themes, the machine and motion. The works were characterized

The works were characterized by the depiction of several

by the depiction of several successive actions of a subject at the

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

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

manifesto glorified the new technology of the automobile and

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

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

He exalted violence and conflict and called for the sweeping repu-

violence and conflict and called for the sweeping repudia-

diation of traditional cultural, social, and political values and the

aa BB ee GG gg

Meta 16pt : humanist // Garamond 24pt: old style

Akzidenz-Grotesk 16pt : grotesque // Goudy 24pt: old style

These 2 fonts work together based on the similar stroke weight and contrasting character width. Because Meta has such a large x-height, Garamond had to be used at a much larger size to make the 2 fonts more opically similar. To increase hierarchy and to have a quick read I used Meta Small Caps (bold) for the subhead.

These 2 fonts work together based on the similar x-heights and contrast in stroke width variation. To create more contrast, I used a larger all-caps header of Akzidenz-Grotesk and a bold sub header of Akzidenz-Grotesk.

117

[ch 16] Combining Typefaces

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on

A Prologue to Futurism: Futurism was first announced on February

February 20, 1909, when the Paris newspaper Le Figaro pub-

20, 1909, when the Paris newspaper Le Figaro published a manifesto

lished a manifesto by the Italian poet and editor Filippo Tommaso

by the Italian poet and editor Filippo Tommaso Marinetti. The name

Marinetti. The name Futurism, coined by Marinetti, reflected his

Futurism, coined by Marinetti, reflected his emphasis on discarding what

emphasis on discarding what he conceived to be the static and

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

irrelevant art of the past and celebrating change, originality, and

change, originality, and innovation in culture and society. Futurism reject-

innovation in culture and society. Futurism rejected traditions and

ed traditions and glorified contemporary life, mainly by emphasizing two

glorified contemporary life, mainly by emphasizing two dominant

dominant themes, the machine and motion. The works were characterized

themes, the machine and motion. The works were characterized

by the depiction of several successive actions of a subject at the same time.

by the depiction of several successive actions of a subject at the

Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and

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

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

of the automobile and the beauty of its speed, power, and move-

conflict and called for the sweeping repudiation of traditional cultural,

ment. He exalted violence and conflict and called for the sweeping

social, and political values and the destruction of such cultural institutions

repudiation of traditional cultural, social, and political values and

as museums and libraries.

aa BB ee GG gg

Futura 16pt : geometric // Perpetua 24pt: transitional

Scala Sans 16pt : humanist // Caslon 24pt: old style

These 2 fonts work together in their differences. Because Futura has such a large x-height, Perpetua had to be used at a much larger size to make the 2 fonts more opically similar. The shape of the fonts contrast well together, with Futura being very clean and round while Perpetua is varied and creates much more interesting negative space.

These 2 fonts work together based on the similar x-heights and character visual weight (both being medium dark). To create more contrast, I used a larger all-caps header of Scala Sans and a bold italics sub header of Scala Sans. Calson is used at a smaller font size so the body doesn't appear to heavy or dense. This also helps with contrast.

118

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on

A PROLOGUE TO FUTURISM: Futurism was first announced

February 20, 1909, when the Paris newspaper Le Figaro

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 cul-

ture and society. Futurism rejected traditions and glorified

contemporary life, mainly by emphasizing two dominant

themes, the machine and motion. The works were charac-

themes, the machine and motion. The works were char-

terized by the depiction of several successive actions of a

acterized by the depiction of several successive actions of

subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified

a subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified

the new technology of the automobile and the beauty of

the new technology of the automobile and the beauty of its

its speed, power, and movement. He exalted violence and

speed, power, and movement. He exalted violence and con-

aa BB ee GG gg

Univers 16pt : grotesque // Bodoni 24pt: modern

Futura 16pt : geometric // Didot 24pt: modern

These 2 fonts work together based on the similar stroke weight (Univers overall compared to the thicker sections of Bodoni) and character width. Univers has a much larger x-height so I had to decrease the font size to more better align with Bodoni. To increase contrast I used Univers condensed roman for the header and Univers bold for the subheader.

These 2 fonts work together based on the similar x-heights and contrast in stroke width variation. To create a little contrast I made the header and subheader all-caps in Futura. The font size is the same because the x-heights are comparable.

119

[ch 16] Combining Typefaces

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced

A Prologue to Futurism: Futurism was first announced on February

on February 20, 1909, when the Paris newspaper Le

20, 1909, when the Paris newspaper Le Figaro published a man-

Figaro published a manifesto by the Italian poet and editor

ifesto by the Italian poet and editor Filippo Tommaso Marinetti.

Filippo Tommaso Marinetti. The name Futurism, coined

The name Futurism, coined by Marinetti, reflected his emphasis on

by Marinetti, reflected his emphasis on discarding what

discarding what he conceived to be the static and irrelevant art of the

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

past and celebrating change, originality, and innovation in culture

and celebrating change, originality, and innovation in cul-

and society. Futurism rejected traditions and glorified contemporary

ture and society. Futurism rejected traditions and glorified

life, mainly by emphasizing two dominant themes, the machine and

contemporary life, mainly by emphasizing two dominant

motion. The works were characterized by the depiction of several suc-

themes, the machine and motion. The works were charac-

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

terized by the depiction of several successive actions of a

glorified the new technology of the automobile and the beauty of its

subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the

speed, power, and movement. He exalted violence and conflict and

new technology of the automobile and the beauty of its

called for the sweeping repudiation of traditional cultural, social,

speed, power, and movement. He exalted violence and con-

and political values and the destruction of such cultural institutions

aa BB ee GG gg

Futura 16pt : geometric // Bell 24pt: transitional

DIN 16pt : grotesque // Baskerville 24pt: transitional

These 2 fonts work together because of their similar character stroke weight and contrast in character width. Futura has a very large x-height which constrasted nicely with Bell as the body text and Futura as the subheader. To create more heirarchy, I made the header all-caps Futura.

These 2 fonts work together based on the similar stroke weight (when comparing DIN overall to the thicks in Baskerville). There is a nice contrast created in character width because DIN is heavy, but narrow while Baskerville has a lighter visual appearance and wider stance.

120

WORDS IN LIBERTY

A PROLOGUE TO FUTURISM: Futurism was first

A Prologue to Futurism:

announced on February 20, 1909, when the Paris

February 20, 1909, when the Paris newspaper Le Figaro pub-

newspaper Le Figaro published a manifesto by the

lished a manifesto by the Italian poet and editor Filippo Tommaso

Italian poet and editor Filippo Tommaso Marinetti.

Marinetti. The name Futurism, coined by Marinetti, reflected his

The name Futurism, coined by Marinetti, reflected his

emphasis on discarding what he conceived to be the static and

emphasis on discarding what he conceived to be the

irrelevant art of the past and celebrating change, originality, and

static and irrelevant art of the past and celebrating

innovation in culture and society. Futurism rejected traditions and

change, originality, and innovation in culture and

glorified contemporary life, mainly by emphasizing two dominant

society. Futurism rejected traditions and glorified con-

themes, the machine and motion. The works were characterized

temporary life, mainly by emphasizing two dominant

by the depiction of several successive actions of a subject at the

themes, the machine and motion. The works were

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

characterized by the depiction of several successive

the automobile and the beauty of its speed, power, and move-

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

ment. He exalted violence and conflict and called for the sweep-

ifesto glorified the new technology of the automobile

ing repudiation of traditional cultural, social, and political values

aa BB ee GG gg

Futura 16pt : geometric // Clarendon 24pt: slab serif

Officina Sans 16pt : humanist // Memphis 24pt: slab serif

These 2 fonts work together because of their similar character stroke weight and x-height. For more contrast and to create a greater sense of heirarchy, I made the header and subheader all-caps Futura and used Clarendon Light for the body text.

These 2 fonts work together because of their similar x-height and contrasting character width. To create a more obvious heirarchy, I made the header all-caps Officina Sans, subheader bold italics Officina Sans and used Memphis Light for the body text.

Futurism was first announced on

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Paragraph Rules

[ch 17] Paragraph Breaks

Break It Up Every word processor and page layout application gives you control to change the space between your paragraphs. Be smart. Look smart. Use it. Paragraph breaks set a rhythm for the reader. The breaks have a relationship with the column of text as well as the page margins. A break may be introduced as an indentation, as a space or both. The over all page feel will be influenced by your choice. Do not indent the first paragraph! The purpose of an indent is to warn the reader that a new paragraph is about to begin. Indenting the first paragraph is therefore redundant because the reader doesn't need that additional clue.

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You should never use the default half inch tab or 5 space indention. That amount of space was meant for a typewriter which had paragraph lines that spanned the full page. But you are rarely setting lines that long on your computer, and besides, the standard typographic indent is one em space. An em space is a blank space as wide as the point size of the type; in 12-point type, an em space is 12 points, for example. If you can set an indent with a measurement, set one em space. Otherwise fake itâ&#x20AC;&#x201D;an em space is more like two spaces, not five.

Overview of 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 equal to the leading (sometimes needs a bit more) 4. never hit two returns between paragraphs

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[ch 17] Paragraph Breaks

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

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[ch 17] Paragraph Breaks

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

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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 a life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in 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.”

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[ch 17] Paragraph Breaks

FUTURISM WAS FIRST ANNOUNCED on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. BUT 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 a life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE MARINETTI’S OPENING manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in 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.”

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

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[ch 17] Paragraph Breaks

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

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

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[ch 17] Paragraph Breaks

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.

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.”

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

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Headers

[ch 18] Headers

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A head is a line or lines of text usually set in a larger typeface than body copy that introduce articles or sub-sections of articles and stories in books, newsletters, newspapers, magazines, Web pages, and other publications. Head usually refers to the main headline or title of a story although there are several classes of heads: main heads, secondary heads, headers, running heads, continuation heads, subheads or subheadings differentiated within a publication by placement, usage, and font size or style.

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[ch 18] Headers

Header In typography, a page header (or simply header) is text that is separated from the main body of text and appears at the top of a printed page. Word processing programs usually provide for the creation and maintenance of page headers, which are often the same from page to page, with merely small differences in information, such as page number. In publishing and certain types of academic writing, a running header or running headline is a header that appears on each page. Typical running heads in a book might consist of the book title on the left-hand (verso) page, and the chapter title on the right-hand (recto) page, or chapter title on the verso and subsection title on the recto. In academic writing, the running head usually contains a page number and the author's last name or an abbreviated version of the title.

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When using multiple sizes of headlines, create an obvious hierarchy with size. Make sure there is a distinct difference between each headline or subhead level. As an alternative to size only, create contrast with both size (perhaps less difference in size) by using different fonts within the same font family, such as bold for the main headlines and condensed for the secondary headlines.

Subhead A subhead is a line of text that is called-out typically to describe a section of body text. If a subhead is to be set at the same size as the body text then it is up to spacing above and below to give it strength (plus a little flare if you’re daring, but we’ll get to that). The space above and below works best when it is equal to that of a line of text (the leading value), or a clean multiple of it.

The other option is to set the subhead at a larger size and, for arguments sake in this case, giving it some styling. There are an infinite list of options really, but it’s always best to keep it simple. Typographers craft their fonts and a lot of work has gone into them before we load up our copy of InDesign. More work than we could ever imagine. They are strong as they are if you’ve chosen right and don’t need to have layers and layers of make-up on them. Treat them gingerly and with a little respect.

Don’t forget that our subhead belongs on the shoulders of our body – don’t put more space after it than before unless you’ve thought it through a smidge and are doing something more. It’s often also nice to have a little space after our subhead, but not much, just something of a chin.

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[ch 18] Headers

Keep the Following in Mind: Match headline fonts to tone of document. Choose a font for headlines that is appropriate to the tone and purpose of your publication. Does the font say fun or serious to you?

Use contrasting font styles for headlines. Serif body copy and sans serif headlines provide good contrast. Avoid using headline and body copy fonts that are too similiar in style, such as two different serif or sans serif fonts.

Use bold headline fonts to add contrast. If using the same font for body copy and headlines, create contrast by setting headlines bolder and much larger than body text.

Make headlines a different color than other text. Use color in the headline to create contrast but make sure there is enough contrast not only between the headline and the body text but also between the headline color and the background.

Make headlines larger than body copy. Display and headline fonts are more readable at larger sizes than body copy fonts. For extremely decorative or elaborate fonts use even larger display sizes of 32 points or more in headlines. Create a headline hierarchy with headline fonts that look good in multiple sizes.

Limit use of decorative headline fonts. Extremely decorative or elaborate display fonts, even at headline font sizes, are harder to read. Use decorative headline fonts in moderation and for shorter headlines.

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Set all caps headlines in sans serif fonts. Serif, scripts, and elaborate decorative fonts are much harder to read set in all caps. For headlines set in all caps, stick with sans serif fonts.

Kern your headlines. Adjust the spacing of type set at display sizes to eliminate distracting gaps between certain pairs of letters. Gaps in headlines stand out like sore thumbs.

Tips: Don't let headlines be squished. If you don't want to spend time kerning your headlines, try fonts that have better letterspacing and don't need kerning. It varies from typeface to typeface.

Use headline fonts consistently. Try to use the same headline fonts throughout a publication, using variations consistently as well -- such as one style for major stories, another for secondary or sidebar articles.

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[ch 18] Headers

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 a 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.

Radical mix of art and life WHILE MARINETTI’S OPENING manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets 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.”

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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 a 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.

Radical mix of art and life While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets 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.”

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[

[ch 18] Headers

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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 a 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.

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[ch 18] Headers

Radical mix of art and life While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets 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.”

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Captions & Notes

[ch 19] Captions & Notes

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

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Numbers or Symbols:

Choice of typeface

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.

Keep footnotes and endnotes within the same type family as the body text. Depending on the typeface, a heavier weight or even an italic can be used for better legibility, readability and fit.

Tips: Important questions to ask yourself: am I using the rule correctly, if am not: why? How they are treated? How do they relate to the text? How do they react to the page?

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.

Line spacing Line spacing for footnotes and endnotes is usually tighter than that of the body text: they might typically be set with one point leading, or even set solid (that is, with no extra space between lines). Once again, the legibility and proportions of the typeface will determine optimal line spacing.

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[ch 19] Captions & Notes

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

154

Radical mix of art and life

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

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

155

[

[ch 19] Captions & Notes

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

2. parole in liberta = words set free (liberty) 3. selbst = himself

156

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

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

3. selbst = himself

157

[ch 19] Captions & Notes

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. 1. 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 a 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.

Radical mix of art and life While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets 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.” 2. parole in liberta = words set free (liberty) 3. selbst = himself

158

WORDS IN LIBERTY A Prologue to Futurism 1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988

Radical mix of art and life 2. parole in liberta = words set free (liberty)

3. selbst = himself

159

Font Specs Sheets

CLASSIFICATION: SLAB SERIF

Museo

(similar to 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 ( ) { }?!@&* SEMI-BOLD

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

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

CLASSIFICATION: GROTESQUE

Akzidenz Grotesk

MaxogGdQRst ROMAN

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

CLASSIFICATION: TRANSITIONAL

Baskerville

MxaogGdQRt REGULAR

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

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

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

BOLD

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

CLASSIFICATION: SLAB SERIF

Belizio

MxagGtrQR REGULAR

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

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

CLASSIFICATION: GROTESQUE

Bell Gothic

MxagGdQrRI LIGHT

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

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

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

CLASSIFICATION: OLD STYLE

Bembo

MxnogGdQrRs REGULAR

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

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

BOLD

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

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

CLASSIFICATION: NEW TRANSITIONAL

Bookman

MxaogGdQrR REGULAR

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

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

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

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

CLASSIFICATION: MODERN (DIDONE)

Bodoni

MxaogGdQrRst REGULAR

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

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

CLASSIFICATION: TRANSITIONAL

Caslon

MxanogGdQRt REGULAR

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

ITALIC

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

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

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

CLASSIFICATION: TRANSITIONAL

Century Schoolbook

MxaogGdQrR REGULAR

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

CLASSIFICATION: OLD STYLE

Cheltenham

MaxogGdQrRs REGULAR

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

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

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

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

CLASSIFICATION: MODERN

Cholla

MaxnogGdQrRst UNICASE

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

CLASSIFICATION: SLAB SERIF

Clarendon

MxagGdQrRt LIGHT

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

CLASSIFICATION: GRID BASED SANS SERIF

Clicker

MaxnogGdQRs 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 ( ) { } ? ! @ & *

CLASSIFICATION: MODERN

Didot

MxaogGdQrRt REGULAR

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

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

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

CLASSIFICATION: OLDSTYLE

Goudy

MaxnogGdQrR OLD STYLE

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

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

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

CLASSIFICATION: GROTESQUE

DIN

MaxngdelHABUGER 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

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

Disturbance

MxnatQbWFGdR REGULAR

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

CLASSIFICATION: BLACKLETTER

Fette Fraktur

MxnapQrRtfg REGULAR

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

CLASSIFICATION: MODERN

Filosofia

MxnaopQrRtfGg REGULAR

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

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

UNICASE

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

CLASSIFICATION: GROTESQUE

Franklin Gothic

MaxodQRtfGg BOOK

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

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

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

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

CLASSIFICATION: HUMANIST

Frutiger

MaxodQRtfGg CONDENSED

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

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

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

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

CLASSIFICATION: GEOMETRIC

Futura

MxaopQRstGg BOOK

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

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

CLASSIFICATION: MODERN

Helvetica Neue

MaoygGdQr REGULAR

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

CLASSIFICATION: HUMANIST

Gill Sans

MaxnbyogGQRt REGULAR

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

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

CLASSIFICATION: GEOMETRIC

Gotham

MayogGdQRt BOOK

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

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

CLASSIFICATION: SLAB SERIF

Memphis

MxangGdQRt REGULAR

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

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

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

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

Meta

CLASSIFICATION: HUMANIST

MxaogGdQrR BOOK

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3 456789 ITALIC

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

BOLD

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

BOLD ITALIC

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

CLASSIFICATION: OLD STYLE

Palatino

MxangGdQRt REGULAR

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

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

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

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

CLASSIFICATION: SLAB SERIF

Rockwell

MxaogGdQrR BOOK

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

Typographic Glossary

[ch 21] TypographicGlossary

Ascender: The part of certain lowercase letters that extends above the x-height of a font.

Ascender Line: A line marking the topmost point of the cap line.

Back Matter: Material, such as indices or appendices, that comes after the main text. Also called "end matter".

Base Line: The line along which the bases of all capital letters (and most lowercase letters) are positioned.

Boldface Type: A thick, heavy variety of type, often used for emphasis.

Cap Height: The height of the uppercase letters within a font.

Cap Line: A line marking the height of uppercase letters within a font.

Condensed Type: Type that is narrow in width proportionate to its height.

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Descender:

Flush:

The part of certain lowercase letters that extends b elow the base line of the letter.

Aligned to the margin, i.e., with no indention.

Descender Line:

A page number.

A line marking the lowest point of the descenders within a font.

Display Type: Type intended to catch the eye, usually of a large size and distinctive typeface.

Em: A unit of measurement equal to the current type size, e.g., an em in 12-point type is equal to 12 points. Originally derived from the width of the upper-case M.

Folio: Font: Traditionally, a complete set of characters for one typeface at one particular type size. Often used more loosely as a synonym for "typeface".

Front Matter: Material, such as a title page, a copyright page, a table of contents, etc., that comes before the main text.

Full Measure: Type that extends across the full width of the page or column, without indention.

En: A unit of measurement equal to half of one em.

End Matter: See back matter.

Expanded Type: Type that is elongated in width proportionate to its height.

Extended Type: See expanded type.

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[ch 21] Typographic Glossary

Golden Section:

Indention:

The ideal proportion according to the ancient Greeks. It is visualized as the division of a line into two unequal segments in such a way that the ratio of the smaller segment to the larger segment is equal to the ratio of the larger to the whole. It is usually defined as 21:34, that is, 21/34 and 34/(21+34) both equal approximately 0.618. A rectangle whose sides are of this proportion is called a "golden rectangle". Golden rectangles can be found in the proportions of the Parthenon and many medieval manuscripts.

The amount by which a line of type is set less than a full measure, as when the first line of a paragraph is begun with a blank space of some fixed width.

Gutter: The inner margin of a page, closest to the binding.

Italic: A slanted variety of typeface, often substituted for underlining.

Justification: Slight adjustments made to the space bands within a line of type so that it fully extends to a particular line length.

Kerning: Hanging Indention: Type set with the first line of the paragraph flush left, and the subsequent lines indented.

Reducing the space between letters that can overlap, such as AWAY To etc.. Now a function of our computers, formerly accomplished by cutting the corners off lead type.

Leaders: Strings of a character, usually periods or dashes, to lead the eye across the space between items in adjacent columns. Usually found in tables, such as tables of contents.

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Leading:

Pica:

(Pronounced "ledding") The amount of vertical space between lines of type.

Letterspacing:

A unit of measurement traditionally equal to about 1/6 inch. (In some modern typesetting systems, a pica is treated as exactly 1/6 inch.) There are 12 points to a pica.

Extra space inserted between letters in a word.

Point:

Ligature: A special double character in a font representing two letters as one.In modern typography, the most common ligatures are: fi, fl, ffi, ffl,and sometimes ff. Others include the vowel pairs ae and oe, and morerarely, ct, st, and sp.

Margins: The blank areas beyond the edges of the type page.

Matrix: The mold used to cast a letter of type in hot-metal composition. pl. matrices

A unit of measurement, often used to measure type size, equal to 0.013837 inch. Some modern typesetting systems consider the point to be 1/72 of an inch, or 0.013888... inch.

Recto Pages: The odd numbered, right-hand pages of a book.

Rule: A line added to a page for emphasis or decoration.

Running Foot: Material, such as book title, chapter title, authorâ&#x20AC;&#x2122;s name, or folio, printed below the main text of a page.

Running Head: Material, such as book title, chapter title, authorâ&#x20AC;&#x2122;s name, or folio, printed above the main text of a page.

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[ch 21] Typographic Glossary

San-Serif Type:

Verso Pages:

Text using typefaces that have no serifs, such as Helvetica, Optima, or Futura.

The even numbered, left-hand pages of a book.

Serif: A small cross stroke accentuating the end of the main stroke of a letter in some typefaces.

Widow: The last line of a paragraph occurring at the top of a page.

Serif Type: Text using typefaces that have serifs, such as Times, Baskerville, or Courier. Also called "roman," although "roman" is also used to describe type that is neither italic nor bold.

The height of those lowercase letters such as "x", which have no ascenders or descenders.

Swash Letters:

X Line:

Elaborate italic letters used for decorative initials and headings.

A line marking the top of those lowercase letters, such as "x",having no ascenders. The upper boundary of x-height.

Type Page: The area of the page which includes all printed matter, including running heads, running footers, and folios, but not including margins.

Type Size: The size of type, measured in points between the bottom of the descender and the top of the ascender.

198

X-Height:

“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery – celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to.”

—Jim Jarmusch

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