type workbook by Jamie Housh

heard that. word.

table of contents

rules ........................................................................................................ 7 x-height .................................................................................................. 9 hyphenation........................................................................................... 26 justification............................................................................................ 30 alignment................................................................................................ 33 combining typefaces............................................................................ 40 quotes, apostrophes, & dashes.......................................................... 48 bullets..................................................................................................... 55 numbers.................................................................................................. 58 small caps............................................................................................... 6 1 paragraph breaks.................................................................................. 65 headers & subheads............................................................................. 76 captions & notes................................................................................... 86 design manifesto.................................................................................. 94

The following is a compendium of the rules established in this book. Check through them each time you complete a publication.

—Use only one space between sentences. —Use real quotation marks. —Use real apostrophes. —Make sure the apostrophes are where they belong. —Hang the punctuation off the aligned edge. —Use en or em dashes and use them consistently. —Kern all headlines where necessary. —Never use the spacebar to align text, always set tabs and use the tab key. —Leave no widows or orphans. —Avoid more than 3 hyphenations in a row. —Avoid too many hyphenations in any paragraph. —Avoid hyphenating or line brakes of names and proper nouns. —Leave a least 2 characters on the line and 3 following. —Avoid beginning consecutive lines with the same word. —Avoid ending consecutive lines with the same word. —Avoid ending lines with the words: the, of, at, a, by.. —Never hyphenate a words in a headline and avoid hyphenation in a callout. —Never justify the text on a short line. —Keep the word spacing consistent. —Tighten up the leading in lines with all caps or with few ascenders and descenders. —Use a one-em first-line indent on all indented paragraphs. —Adjust the spacing between paragraphs. —Either indent the first line of paragraphs or add extra space between them. —Use a decimal or right-aligned tab for the numbers in numbered paragraphs. —Never have one line in a paragraph in the column or following. —Never combine two serif fonts on one page. —Rarely combine two sans serif fonts on one page. —Rarely combine more than three typefaces on one page. —Use the special characters whenever necessary, including super– and subscript. —Spend the time to create nice fraction or chose a font that has fractions. —If a correctly spelled word needs an accent mark, use it.

DJ ag ag ag ag EK ag DJ ag EK ag ag ag DJ ag ag 8

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

serifs

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Bembo Stanley Morrison

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x-height: tall character width: narrow color: dark

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

X x hg Xx h g Clarendon Robert Besley

Bodoni Giambattista Bodoni

x-height: average character width: large color: dark

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

X x hg < \LK Memphis Rudolf Wolf

(MHSX *MVQMR (MHSX

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x-height:short character width: average color: dark

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

Xxhg Filosofia Zuzana Licko

Xx hg Adobe Garamond Claude Garamond

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

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

X xhg Mrs. Eaves Zuzana Licko

Xxhg Caslon William Caslon

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

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

sans serifs

Xx hg

Xxhg

Akzidenz Grotesk Gunter Gerhand Lange

Bell Gothic Chauncey Griffith

x-height: average character width: narrow color: dark

x-height: tall character width: narrow color: dark

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Interstate Tobais Frere-Jones

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

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

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Scala Sans Martin Majoor

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

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

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Helvetica Neue 43 Max Miedinger

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

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

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x-height: tall character width: narrow color: dark

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

?nmnkZ IZne K^gg^k

Univers Adrian Frutiger

Readability and legibility are two key elements of printed text that typographers strive to maximize.

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

As a designer, if you are only asked to make the text readable on the page the following questions should be asked... Who is to read it? Someone that wants to read it? Someone that has to read it? How will it be read? Quickly. In passing. Focused. Near. Far.

hyphenation

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 – 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.

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

Don’t hyphenate headlines. That’s a law.

Don Quixote de la Mancha Watch where the first line of a two-line headline ends. Does it create a silly or misleading phrase? Fix it.

Professor and Therapist to Lecture Don’t leave widows (very short last lines) in headlines.

Man Walks Barefoot Across Bay Bridge Fix it either way, or rewrite.

Man walks barefoot across Bay Bridge Man walks barefoot across Bay Bridge

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 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.

\\ 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.

\\ 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.

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

JUSTIFY THE HEADLINE SO IT STAYS ON ONE LINE. USE A LINE BREAK (SHIFT+RETURN) KERN THE LINE A TINY BIT TO BRING THE REST OF THE WORD UP. TYPE A DISCHY IN FRONT OF THE WORD TO BUMP IT DOWN. NEVER HYPHENATE A PERSON’S NAME. FIX WIDOW.

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

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

—Often considered more formal, less friendly than leftaligned 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.

Left-Aligned, Ragged Right —Often considered more informal, friendlier than justified. —The ragged right edge adds an element of white space. —May require extra attention to hyphenation to keep right margin from being too ragged. —Generally type set left-aligned is easier to work with (i.e. requires less time, attention, and tweaking from the designer to make it look good). Centered There is nothing inherently wrong with centered text. As with ragged right or fully-justified text alignment, what works for one design might be totally inappropriate for another layout. There are simply fewer situations where centered text is appropriate. When in doubt, don’t center it. 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.

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.

alignment If someone insists that fully justified text is better than left-aligned text, tell them they are wrong. If someone else tells you that left-aligned text is better than justified text, tell them they are wrong.

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

The only time you can safely get away with justifying text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. 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. Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

MINIMUM DESIRED MAXIMUM

Weâ&#x20AC;&#x2122;re designers because itâ&#x20AC;&#x2122;s fun and exciting. A God given talent. A skill, we sometimes take for granted. Most people in the business world donâ&#x20AC;&#x2122;t have a skill to hold tight to their chest. They may have the intelligence and a degree, but not a skill. We have something tangible. A portfolio. A gallery of designs. NOT many people have this. A skill that we can tap into to manufacture extra money for our families. Which reminds me of an enlightening conversion around the fire pit. I was talking to a friend a couple weeks ago and he said â&#x20AC;&#x153;You know Todd, I really envy you.â&#x20AC;? I said, â&#x20AC;&#x153;Really? Why?â&#x20AC;? He says, â&#x20AC;&#x153;You have a skill. And you have the opportunity to use that skill at home to make extra money anytime you like.â&#x20AC;? He continuesâ&#x20AC;Ś â&#x20AC;&#x153;Your lucky. I would love to have something like that.â&#x20AC;? Then it hit me. Heâ&#x20AC;&#x2122;s exactly right. Sometimes we quickly forget what we have.

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:HÂˇUH GHVLJQHUV EHFDXVH LWÂˇV IXQ DQG H[FLWLQJ $ *RG JLYHQ WDOHQW $ VNLOO ZH VRPHWLPHV WDNH IRU JUDQWHG 0RVW SHR SOH LQ WKH EXVLQHVV ZRUOG GRQÂˇW KDYH D VNLOO WR KROG WLJKW WR WKHLU FKHVW 7KH\ PD\ KDYH WKH LQ WHOOLJHQFH DQG D GHJUHH EXW QRW D VNLOO :H KDYH VRPHWKLQJ WDQJLEOH $ SRUWIROLR $ JDOOHU\ RI GHVLJQV 127 PDQ\ SHRSOH KDYH WKLV $ VNLOO WKDW ZH FDQ WDS LQWR WR PDQXIDFWXUH H[WUD PRQH\ IRU RXU IDPLOLHV :KLFK UHPLQGV PH RI DQ HQOLJKWHQ LQJ FRQYHUVLRQ DURXQG WKH Ă&#x20AC;UH SLW , ZDV WDONLQJ WR D IULHQG D FRXSOH ZHHNV DJR DQG KH VDLG Â´<RX NQRZ 7RGG , UHDOO\ HQY\ \RX Âľ , VDLG Â´5HDOO\" :K\"Âľ +H VD\V Â´<RX KDYH D VNLOO $QG \RX KDYH WKH RSSRUWXQLW\ WR XVH WKDW VNLOO DW KRPH WR PDNH H[ WUD PRQH\ DQ\WLPH \RX OLNH Âľ +H FRQWLQXHVÂŤ Â´<RXU OXFN\ , ZRXOG ORYH WR KDYH VRPHWKLQJ OLNH WKDW Âľ 7KHQ LW KLW PH +HÂˇV H[DFWO\ ULJKW 6RPHWLPHV ZH TXLFNO\ IRUJHW ZKDW ZH KDYH

80 87 110

combining

typefaces

When combining serif and sans serif text fonts, one shroud try and match the characteristics of form and type color: proportion, x-heights. â&#x20AC;&#x153;There is not 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 or sans serif fonts in the same composition is never a good idea}

WORDS IN LIBERTY A Prologue to Futurism:

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Â·V PDQLIHVWR JORULILHG WKH QHZ WHFKQRORJ\ RI WKH DXWRPRELOH DQG WKH EHDXW\ RI LWV VSHHG SRZHU DQG PRYHPHQW +H H[DOWHG YLROHQFH DQG FRQIOLFW DQG FDOOHG IRU WKH VZHHSLQJ UHSXGLDWLRQ RI WUDGLWLRQDO FXO WXUDO VRFLDO DQG SROLWLFDO YDOXHV

Da %B He *G Jg

Garamond 16pt : old style and Syntax 24pt: humanist

Garamond 16pt : old style and Univers Bold 24pt: grotesque

I would argue that this is the most successful couple. The similarity in

Though this is not the best combination, it works. The difference in

their weights is great and pleasing to the eye. There will not be a divorce

typographic color create a nice contrast on the page.

any time in the near future.

WORDS IN LIBERTY A Prologue to Futurism:

WORDS IN LIBERTY

.]\]ZQ[U _I[ NQZ[\ IVVW]VKML WV .MJZ]IZa ! ! _PMV \PM 8IZQ[ VM_[XIXMZ 4M .QOIZW X]JTQ[PML I UIVQNM[\W Ja \PM 1\ITQIV XWM\ IVL MLQ\WZ .QTQXXW <WUUI[W 5IZQVM\\Q <PM VIUM .]\]ZQ[U KWQVML Ja 5IZQVM\\Q ZMNTMK\ML PQ[ MUXPI[Q[ WV LQ[KIZLQVO _PI\ PM KWVKMQ^ML \W JM \PM [\I\QK IVL QZZMTMÎV\ IZ\ WN \PM XI[\ IVL KMTMJZI\QVO KPIVOM WZQOQVITQ\a IVL QVVWÎ\QWV QV K]T\]ZM IVL [WKQM\a .]\]ZQ[U ZMRMK\ML \ZILQ\QWV[ IVL OTWZQNQML KWV\MUXWZIZa TQNM UIQVTa Ja MUXPI[QbQVO \_W LWUQVIV\ \PMUM[ \PM UIKPQVM IVL UW\QWV <PM _WZS[ _MZM KPIZIK \MZQbML Ja \PM LMXQK\QWV WN [M^MZIT []KKM[[Q^M IK\QWV[ WN I []JRMK\ I\ \PM [IUM \QUM 5IZQVM\\QÂ¼[ UIVQNM[\W OTWZQNQML \PM VM_ \MKPVWTWOa WN \PM I]\WUWJQTM IVL \PM JMI]\a WN Q\[ [XMML XW_MZ IVL UW^MUMV\ 0M MÌT\ML ^QWTMVKM IVL KWVNTQK\ IVL KITTML NWZ \PM [_MMXQVO ZMX]LQI \QWV WN \ZILQ\QWVIT K]T\]ZIT [WKQIT IVL XWTQ\QKIT ÎT]M[ IVL \PM LM[\Z]K \QWV WN []KP K]T\]ZIT QV[\Q\]\QWV[ I[ U][M]U[ IVL TQJZIZQM[

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Â·V PDQLIHVWR JORULILHG WKH QHZ WHFKQRORJ\ RI WKH DXWRPRELOH DQG WKH EHDXW\ RI LWV VSHHG SRZHU DQG PRYHPHQW +H H[DOWHG YLROHQFH DQG FRQIOLFW DQG FDOOHG IRU WKH VZHHSLQJ UHSXGLDWLRQ RI WUDGLWLRQDO FXOWXUDO VRFLDO DQG SROLWLFDO YDOXHV DQG WKH GHVWUXFWLRQ RI VXFK FXOWXUDO LQVWLWXWLRQV DV PXVHXPV

I a * B M e / G O g

Da %B He *G Jg

A Prologue to Futurism:

Baskerville 16pt : transitional and Futura 24pt: geometric

Perpetua 16pt : transitional and Syntax 24pt: humanist

These two fonts have a strong visual contrast to them. The hierarchy is

This combination would be more successful with the body text being a bit

very distinct between the two. The x-height of the two fonts is similar,

bigger, as it becomes lost in contrast to the header. Their relation is not in

but not too similar, making them a good match.

sync. Something just doesnâ&#x20AC;&#x2122;t feel right.

WORDS IN LIBERTY A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

aa BB ee GG gg

Bauer Bodoni Bold 16pt: modern and Futura Extra Bold 24pt: geometric

Walbaum Bold 16pt: modern and Univers Blsck 24pt: grotesque

Bodoni is very mathematical and geometric with its contrast of thin and

A recent discovery by me, Walbaum has been added to my list of Jamie

thick serifs that create angles. This paired with the simplicity of Futura is

approved fonts. With several variations and weights of Univers, it is easy

a winning combination. The sophistication of the fonts compliment each

to pair it with just about anything. Univers has a large x-height that

other nicely.

helps with legibility when used in a smaller size or even as large as billboard size.

WORDS IN LIBERTY A Prologue to Futurism:

D a % B H e * G J g

Da %B He *G Jg

Century Schoolbook 16pt: new transitional and Futura 24pt: geometric

Bookman 16pt: new transitional and Univers Black 24pt: grotesque

As stated previously, Futura is a generally a good match with serifs.

Bookman could work very nicely as body text in combination with another

Though the sizes can be adjusted, the combination is not terrible.

typeface besides Univers. The small x-height of Bookman feels awkward

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Â·V PDQLIHVWR JORULILHG WKH QHZ WHFKQRORJ\ RI WKH DXWRPRELOH DQG WKH EHDXW\ RI LWV VSHHG SRZHU DQG PRYHPHQW +H H[DOWHG YLROHQFH DQG FRQIOLFW DQG FDOOHG IRU WKH VZHHSLQJ UHSX GLDWLRQ RI WUDGLWLRQDO FXOWXUDO VRFLDO DQG SROLWLFDO YDOXHV DQG WKH GHVWUXFWLRQ RI VXFK FXOWXUDO LQVWLWXWLRQV DV PXVHXPV DQG OLEUDULHV

)XWXULVP ZDV ILUVW DQQRXQFHG RQ )HEUXDU\ ZKHQ WKH 3DULV QHZV SDSHU /H )LJDUR SXEOLVKHG D PDQLIHVWR E\ WKH ,WDOLDQ SRHW DQG HGLWRU )LOLSSR 7RPPDVR 0DULQHWWL 7KH QDPH )XWXULVP FRLQHG E\ 0DULQHWWL UHIOHFWHG KLV HPSKDVLV RQ GLVFDUGLQJ ZKDW KH FRQFHLYHG WR EH WKH VWDWLF DQG LUUHOHYDQW DUW RI WKH SDVW DQG FHOHEUDWLQJ FKDQJH RULJL QDOLW\ DQG LQQRYDWLRQ LQ FXOWXUH DQG VRFLHW\ )XWXULVP UHMHFWHG WUDGLWLRQV DQG JORULILHG FRQWHPSRUDU\ OLIH PDLQO\ E\ HPSKDVL]LQJ WZR GRPLQDQW WKHPHV WKH PDFKLQH DQG PRWLRQ 7KH ZRUNV ZHUH FKDUDFWHUL]HG E\ WKH GHSLFWLRQ RI VHYHUDO VXFFHVVLYH DFWLRQV RI D VXEMHFW DW WKH VDPH WLPH 0DULQHWWLÂ·V PDQLIHVWR JORULILHG WKH QHZ WHFKQRORJ\ RI WKH DXWRPRELOH DQG WKH EHDXW\ RI LWV VSHHG SRZHU DQG PRYH PHQW +H H[DOWHG YLROHQFH DQG FRQIOLFW DQG FDOOHG IRU WKH VZHHSLQJ UHSXGLDWLRQ RI WUDGLWLRQDO FXOWXUDO VRFLDO DQG SROLWLFDO YDOXHV DQG WKH GHVWUXFWLRQ RI VXFK FXOWXUDO LQVWL WXWLRQV DV PXVHXPV DQG OLEUDULHV

with the taller, more profound x-height of Univers Black.

OGJ<K AF DA:=JLQ 9 Hjgdg_m] lg >mlmjake2 Futurism was

first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

aY B: e] G? g_ Memphis 16pt: slab serif and Futura Condensed Extra Bold 24pt: geometric

aa BB ee GG gg

Clarendon Light 16pt: slab serif and Scala Sans Bold 24pt: humanist

These two fonts feel mismatched. Their weight is not similar in any way,

Clarendon compliments both serif and sans-serif typefaces. It has soft

and it is confusing to the eye. I hope they signed a pre-nup.

curves, as well as varied weights, making it a winner in any situation of combining faces.

quotes apostrophes dashes

Quotation Marks Use real quotation marks—never those grotesque generic marks that actually symbolize ditto/inch or foot marks: use “and” —not “and”. (Though Interstate, used throughout this book, has quotes that resemble foot marks.) Most software applications will convert the typewriter quotes to the real quotes for you automatically as you type. Check the preferences for your application— you’ll find a check box to tell your application to automatically set something like “typographer’s quotes,” “smart quotes,” or “curly quotes.” Then as you type using the standard ditto key (“), the software will set the correct quotation marks for you. But it is necessary to know how to set them yourself because sometimes the software doesn’t do it or does it wrong.

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

hyphen en dash – em dash —

Apostrophe: ’ option shift ] For possessives: Turn the phrase around. The apostrophe will be placed after whatever word you end up with. For example, in the phrase the boys’ camp, to know where to place the apostrophe say to yourself, “The camp belongs to the boys.” The phrase the boy’s camp says “The camp belongs to the boy.” “The big exception to this is “its.” “Its” used as a possessive never has an apostrophe! The word it only has an apostrophe as a contraction — “it’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. As previously noted, it’s means “it is”; the apostrophe is indicating where the i is left out. Don’t means “do not”; the apostrophe is indicating where the o is left out. For omission of letters: In a phrase such as Rock ’n’ Roll, there should be an apostrophe before and after the n, because the a and the d are both left out. And don’t turn the first apostrophe around — just because it appears in front of the letter does not mean you need to use the opposite single quote. An apostrophe is still the appropriate mark (not ‘n’). 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.

Dashes Never use two hyphens instead of a dash. Use hyphens, en dashes, and em dashes appropriately. You might have been taught to use a double hyphen to indicate a dash, like so : -- . This is a typewriter convention because typewriters didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hyphen—we have a professional em dash, the long one, such as you see in this sentence. We also have an en dash, which is a little shorter than the em dash.

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 To type an en dash en dash – Option Hyphen hold the Option key down, then tap the hyphen key An en dash is half of the em rule (the width of a capital N) and is used between words that indicate a duration, such as time or months or years. Use it where you might otherwise use the word “to.” In a page layout application, the en dash can be used with a thin space on either side of it. If you want you can kern it so it is not a full space. October – December 6:30 – 8:45 A.M. 4 – 6 years of age Em dash To type an em dash em dash — Shift Option Hyphen hold the Shift and Option keys down, then tap the hyphen key. The em dash is twice as long as the en dash—it’s about the size of a capital letter M in whatever size and typeface you’re using at the moment. This dash is often used in place of a colon or parentheses, or it might indicate an abrupt change in thought, or it’s used in a spot where a period is too strong and a comma is too weak. Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Using two hyphens(or worse, one) where there should be an em dash makes your look very unprofessional. When using an—no space is used on either side.

special characters

“ ” ‘ ’

option [ option shift [ option ] option shift ]

– — … •

option hyphen option shift hyphen option ; option 8

en dash em dash ellipsis bullet

fi fl

option shift 5 option shift 6

ligature of f and i ligature of f and l

option g option 2 option r option shift 8 option $ option shift 2 option shift 1 option 1 option shift ? option 3 option c option shift c

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

Remember, to set an accent mark over a letter, press the Option key and the letter, then press the letter you want under it. é ` ü ñ î

Option e Option ~ Option u Option n Option i

W bullets

Bullets are very useful typographic element can add emphasis, clarity and visual interest to all kinds of copy. Simply put, a bullet is a large dot used to draw attention to each item in a list or series. The items can be single words, phrases, sentences or paragraphs. Even if you use the bullet that is part of your font, donâ&#x20AC;&#x2122;t automatically assume itâ&#x20AC;&#x2122;s the right size: it might need to be altered in scale or position to make it look balanced next to the text. Bullets should be centered on either the cap height or x-height, depending on the nature of your copy. If all of your items begin with a cap, center the bullet on the cap, or a bit lower so it balances with the negative spaces created by the lowercase. If your items all begin with lowercase characters, center the bullets on the x-height. Insert some space after the bullet to avoid crowding. The preferred way to align bullets is with the left margin. You can also have the bullets overhang the margin, and keep all your text aligned with the left margin. Whichever style you choose, your listing will look best if items that run more than one line are indented so that the copy aligns with itself, and not with the bullet on the first line. To be more creative, substitute symbols or dingbats for the actual bullets. Try squares, triangles or check marks (just not all at once, as shown in the illustration!). Keep these simple and in proportion with the rest of your text. abcdefghijklm nopqrstuvwxyz ABCDEFGHIJKLM NOPQRSTUVWXYZ 1234567890 !@#$%^&*()_+ []\;',./{}|:"<>?

DEFGHIJKLMNOP QRSTUVWXYZ[\] $%&'()*+,-./0 123456789:;<= # A bcB >@? no_ !"

Another occasion to take advantage of the baseline shift feature is when using dingbats or ornaments. If you reduce the size of the ornament or character, the dingbat is too low because the character is still sitting on the baseline. Select the character and shift it up above the baseline. Pick any three adjectives that describe yourself: â&#x20AC;˘ lovely â&#x20AC;˘ beautiful â&#x20AC;˘ womanly â&#x20AC;˘ saintly â&#x20AC;˘ jewish â&#x20AC;˘ godly â&#x20AC;˘ outrageous â&#x20AC;˘ nutty

Pick any three adjectives

Pick any three adjectives that describe yourself:

lovely beautiful womanly saintly beautiful godly outrageous nutty

that describe yourself:

lovely M beautiful W womanly E saintly $ jewish 2 godly outrageous nutty

lovely beautiful womanly saintly beautiful godly

outrageous nutty

You can decrease the point size of

Raise the dingbat higher off

the bullet, but then it sits too low.

the baseline.

924 numbers

Oldstyle figures are a style of numeral which approximate lowercase letterforms by having an x-height and varying ascenders and descenders. They are considerably different from the more common “lining” (or “aligning”) figures which are all-cap height and typically monospaced in text faces so that they line up vertically on charts. Oldstyle figures have more of a traditional, classic look. They are only available for certain typefaces, sometimes as the regular numerals in a font, but more often within a supplementary or expert font. The figures are proportionately spaced, eliminating the white spaces that result from monospaced lining figures, especially around the numeral one. Oldstyle figures are very useful and quite beautiful when set within text. Unlike lining figures, they blend in without disturbing the color of the body copy. They also work well in headlines since they’re not as intrusive as lining figures. In fact, many people prefer them overall for most uses except charts and tables. It’s well worth the extra effort to track down and obtain typefaces with oldstyle numerals. Large and chunky numbers: Dear Pizza Shuttle, please deliver a two-fer to 924 Alabama, zip code 66044. We’re starving. Please call us at 669-9550 to talk details. Great, thanks.

Numbers that blend into the text:

Dear Pizza Shuttle, please deliver a two-fer to 924 Alabama, zip code 66044. We’re starving. Please call us at 669-9550 to talk details. Great, thanks.

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.

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.

If you set acronyms in regular all caps, their visual presence is unnecessarily overwhelming. Traditionally, “A.M.” and “P.M.” are set with small caps. Harriet, an FBI agent, turned on CNN to get the dirt on the CIA before going to bed at 9:30 P.M.

harriet, an fbi agent, turned on cnn to get the dirt on the cia before going to bed at 9:30 p.m. The capital letters in the middle of the sentence call too much attention to themselves. Notice how the small caps blend in with the text. The capital letters for P.M. are much too large—the abbreviation is not that important.

<0-:- 1; 67 :-;< .7: <0- ?1+3-, The weight of the computer-drawn small caps is thinner than the weight of the regular initial (first letter) caps.

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

8,)6) -7 23 6)78 *36 8,) ;-'/)( There Is No Rest For The Wicked True-drawn small caps are specially drawn to match the weight of the capital letters in the same face.

paragraph breaks

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

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

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. F u t u r i s m rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. W h i l e 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.

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance 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.

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. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance 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.

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. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance 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.

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. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance 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.

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. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance 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.

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifestoflected 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. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance 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.

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. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance 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.

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance 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.

header subhea

The main header or “headline” is essential to be bold and leap out as the main title of the page or chapter start. If it does not the reader may be confused as to where the document actually starts. So I always think its a good rule to ensure the reader knows where a section starts and make it quite plain. The main header should also look like it belongs to the first sentence. This can be achieved by ensuring that its paragraph spacing (the space after a hard return) is smaller than the paragraph spacing of the first sentence. Paragraph spacing is not commonly used – even amongst designers, but it is an extremely useful tool. Many people add spacing by hitting return but this does not give much control and cannot be styled from style sheets. (Note: I’m not a web expert but I know that if you add padding to your paragraph tag this same effect is achieved). As we’ve mentioned it here, I think its worth giving a few comments on what are termed “hard” returns in comparison with “soft” returns. A hard return is the what happens when you hit your enter key on your key board. This type of return will start a new paragraph and use the paragraph settings (e.g. space after = 3mm). A “soft” return is when you press shift key and enter key together. This type of return will start a new line but will keep the text within the same paragraph. So what you get is the ability to break up text lines within paragraphs, which is useful when dealing with single words at the end of paragraphs.

Sub headers & body text is the area in which I find the majority of designers most lacking. The purpose of a subheader is to split up body text so that a reader can find their way around the document with ease. it also makes the document more readable because the viewer is not faced with a page of block text. Each subheader needs to be linked with the corresponding body text underneath it. This should be achieved by using correct spacing after and before the subheader (You find these settings in most “Paragraph” tool pallets and the example below demonstrates how it looks when executed)

Insufficient white space surrounding headlines and subheads makes them hard to find, hard to read and—thus— they fail to attract your reader into reading your publication.

rs & ads Introduction paragraphs are a useful way to entice the reader to continue on reading. They also help not to waste a readers time if they are not interested in reading further. Typographically speaking these into paragraphs need to be easy to read but more distant than the body text below. They are not the main article and need to be distinguished from it.

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

A Prologue to Futurism The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

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.

A Prologue to Futurism

The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

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.

Words in Liberty

A Prologue to Futurism

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.

Words in Liberty F u t u r i s m 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.

A Prologue to Futurism

F u t u r i s m rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

Radical mix of art and life

W h i l e 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.

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

A Prologue to Futurism Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

captions & notes

Footnotes and endnotes are necessary components of scholarly and technical writing. Theyâ&#x20AC;&#x2122;re also frequently used by writers of fiction, from Herman Melville (Moby-Dick) to contemporary novelists. Whether their intent is academic or artistic, footnotes present special typographic challenges. Specifically, a footnote is a text element at the bottom of a page of a book or manuscript that provides additional information about a point made in the main text. The footnote might provide deeper background, offer an alternate interpretation or provide a citation for the source of a quote, idea or statistic. Endnotes serve the same purpose but are grouped together at the end of a chapter, article or book, rather than at the bottom of each page. These general guidelines will help you design footnotes and endnotes that are readable, legible and economical in space. (Note that academic presses and journals can be sticklers for format: before proceeding, check with your client or publisher to see if they have a specific stylesheet that must be followed.) Numbers or Symbols: Footnotes are most often indicated by placing a superscript numeral immediately after the text to be referenced. The same superscript numeral then precedes the footnoted text at the bottom of the page. Numbering footnotes is essential when there are many of them, but if footnotes are few they can be marked with a dagger, asterisk, or other symbol instead. Endnotes should always use numerals to facilitate easy referencing. 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.

Words in Liberty

A Prologue to Futurism

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

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

Radical mix of art and life

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

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

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

A Prologue to Futurism The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflamma1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988

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

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

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.

Words in Liberty F u t u r i s m 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. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988

A Prologue to Futurism

Radical mix of art and life

W h i l e 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. 2. parole in liberta = words set free (liberty) 3. selbst = himself

BRUCE MAU’S INCOMPLETE MANIFESTO FOR GROWTH

The Incomplete Manifesto for Growth is an articulation of statements that exemplify Bruce Mau’s beliefs, strategies and motivations.

Allow events to change you. You have to be willing to grow. Growth is different from something that happens to you. You produce it. You live it. The prerequisites for growth: the openness to experience events and the willingness to be changed by them. Drift. Allow yourself to wander aimlessly. Explore adjacencies. Lack judgment. Postpone criticism. Slow down. Desynchronize from standard time frames and surprising opportunities may present themselves. Don’t borrow money. By maintaining financial control, we maintain creative control. It’s not exactly rocket science, but it’s surprising how hard it is to maintain this discipline, and how many have failed. ____________________. Intentionally left blank. Allow space for the ideas you haven’t had yet, and for the ideas of others. Think with your mind. Forget technology. Creativity is not device-dependent. Take field trips. The bandwidth of the world is greater than that of your TV set, or the Internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic–simulated environment. Stand on someone’s shoulders. You can travel farther carried on the accomplishments of those who came before you. And the view is so much better. Collaborate. The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential. Don’t enter awards competitions. Just don’t. It’s not good for you.

Remember— Growth is only possible as a product of history. Without memory, innovation is merely novelty. History gives growth a direction. But a memory is never perfect. Every memory is a degraded or composite image of a previous moment or event. That’s what makes us aware of its quality as a past and not a present. It means that every memory is new, a partial construct different from its source, and, as such, a potential for growth itself.

Coffee breaks, cab rides, & green rooms. Real growth often happens outside of where we intend it to, in the interstitial spaces. â&#x20AC;&#x201D;Bruce Mau

Stay up late. Strange things happen when you’ve gone too far, been up too long, worked too hard, and you’re separated from the rest of the world. —Bruce Mau

People visiting the studio often comment on how much we laugh. Since Iâ&#x20AC;&#x2122;ve become aware of this, I use it as a barometer of how comfortably we are

Lau expressing ourselves.

â&#x20AC;&#x201D;Bruce Mau

ugh.

Designed by Jamie Housh. Class project for Professor Herstowski’s Typography 02 at the University of Kansas, Spring 2011. Text for the book 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.