Jennifer Faucett Typebook by Jennifer Faucett

SIMPLICITY the basics of typography

jennifer faucett university of kansas 2016

Designed by Jennifer Faucett. Class project for Typographic Systems at the University of Kansas, Spring 2016. The text was compiled from the following sources: Elements of Typographic Style by Robert Bringhurst, Getting it Right with Type: the Doâ&#x20AC;&#x2122;s and Donâ&#x20AC;&#x2122;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.

07 Rules Check Sheet 13 Typographic Rules 21 Special Characters 27 Quotes and Apostrophes

85 Grid Structures

39 Hyphens and Dashes

97 Column Width

47 Small Caps

103 Leading

53 Numerals/Figures

113 Hyphenation Rules

61 Kerning

117 Justification

69 Combining Typefaces

127 Legibility 137 Paragraph Breaks 151 Headers & Subheads 159 Captions and Notes

R U LES CH ECKSH E ET chapter one The following is a compendium of the rules established in this book. Check through the checksheet before when you are doing the final refinements of a project.

1. Use only one space between sentences. 2. Use real quotation marks. 3. Use real apostrophes. 4. Make sure the apostrophes are where they belong. 5. Hang the punctuation off the aligned edge. 6. Use en or em dashes, use consistently. 7. Kern all headlines where necessary. 8. Never use the spacebar to align text, always set tabs and use the tab key. 9. Leave no widows or orphans. 10. Avoid more than 3 hyphenations in a row.

11. Avoid too many hyphenations in any paragraph. 12. Avoid hyphenating or line brakes of names and proper nouns. 13. Leave a least 2 characters on the line and 3 following. 14. Avoid beginning consecutive lines with the same word. 15. Avoid ending consecutive lines with the same word. 16. Avoid ending lines with the words: the, of, at, a, by...

16. Never hyphenate a words in a headline and avoid hyphenation in a callout. 17. Never justify the text on a short line. 18. Keep the word spacing consistent. 19. Tighten up the leading in lines with all caps or with few ascenders and descenders. 20. Use a one-em first-line indent on all indented paragraphs. 21. Adjust the spacing between paragraphs. 22. Either indent the first line of paragraphs or add extra space between them â&#x20AC;&#x201C; not both. 23. Use a decimal or right-aligned tab for the numbers in numbered paragraphs. 24. Never have one line in a paragraph in the column or following. 25. Never combine two serif fonts on one page. 26. Rarely combine two sans serif fonts on one page. 27. Rarely combine more than three typefaces on one page. 28. Use the special characters whenever necessary, including superand subscript. 29. Spend the time to create nice fraction or chose a font that has fractions. 30. If a correctly spelled word needs an accent mark, use it.

TYPOG RAPHY R U LES chapter two The following is a list of the rules vital to be followed in order to achieve using typography successfully.

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 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.

5. Add letter spacing to capitalized text and small caps 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.

7. Use caps properly 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.

8. Use copyright, register, and trademark marks properly 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% and 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.

9. 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.

10. Avoid underlined text. 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.

13. Altering fonts 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.

14. Legibility of fonts 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.)

15. 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.

16. Avoid letterspacing lowercase body copy 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.

20. Choose the alignment that fits 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.

17. 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!

18. 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.

19. 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 hyphenation and manually hyphenating the text are all examples of possible solutions.

21. 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.

22. 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.

23. 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.

24. 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.

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

26. 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.

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

S P EC IAL C HAR ACTE R S chapter three The following is a list of the most often-used special characters and accent marks in typography.

fi fl © ™ ® ° ¢

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 x Option ; ellipsis Option 8 bullet (easy way to remember as it’s the asterisk key) Option Shift 5 ligature of f and i Option Shift 6 ligature of f and l Option g copyright Option 2 trademark Option r registered Option Shift 8 degree symbol (e.g., 102°F) Option $ cent symbol

Option Shift 2 Euro symbol ⁄ ¡ ¿ £ ç Ç

“ ” ‘ ’ – — •

Option Shift 1 (one) fraction bar Option 1 (one) Option Shift ? Option 3 Option c Option Shift c

Use copyright, register, and trademark marks properly 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% and 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.

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.

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

Q U OTES & APOSTR O P H ES chapter four 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.

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 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.

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 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.

HYPH E NS & DASH ES chapter five The hyphen and the dash deserve a lot of attention as they are often misused. They come in a variety of sizes. hyphen en dash – em dash —

Hyphens (-) Hyphens are, first off, used as a symbol to break words. Although every software program has a setting for automatic hyphenation most designers will turn off this setting to avoid multiple hyphenation. The reason for manual hyphenation is that compound words are best divided into their components, as in infra-red or job-center. The next step is to hyphenate prefixes and suffices like pre-school. The second use of a hyphen is a trait d’union. A hyphen is added when two consonants or vowels are pronounced separately rather than as a diphthong, for instance in bowllike or anti-intellectual.

Finally the hyphen is sometimes used in dates 9-8-2016 or phone numbers 785-666-2525 although full stops are more frequently used. 9.8.2016 or 785.666.2525. You might have been 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.

En Dash (–) option An en dash is half of the em rule (the width of a capital N).

The en dash is longer than the hyphen ash is used to demarcate a parenthetical thought or to indicate a sudden change of direction as in, for instance: ‘Unfortunately the document to be discussed – which you received via email – is no longer up to date’. Typically these dashes can be replaced by commas, or the phrase can be bracketed. Therefore it is very important to decide which option is best. If dashes frequently occur – thereby disturbing the reading comfort – using a comma might be a better option. If a sentence really needs to stand out, and if they are not used to open, dashes are the best choice.

The end says is used to indicate a range of values, such as those between dates, times and numbers and approximately replace the word ‘to’:

1914 – 1918 May 2 – 8 6:30 – 8:45 A.M. or in the meaning ‘from…to’ the New York – New Haven train. 1. the en dash is used to indicate parenthetical thought 2. as a replacement for the word ‘to’ 3. in the meaning ‘from…to’ 4. as a minus sign 5. as a bullet sign

Em Dash (—) option shift An em is a unit of measure equal to the point size that you are using.

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.

S MALL CAPS chapter six Small caps are uppercase (capital) letters that are about the size of normal lowercase letters in any given typeface.

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 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.

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 donâ&#x20AC;&#x2122;t overpower the accompanying text. Use small caps for A.M. and P.M.; space once after the number, and use periods.

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.

Serif Fonts with Small Caps Mrs Eaves Garamond Baskerville Bodoni Goudy Sabon

Sans Serif Fonts with Small Caps Meta Scala Sans Cholla

Mrs Eaves Small Caps Harriet, an fbi agent, turned on cnn to get the dirt on the cia before going to bed at 9:30 pm. There is No Rest for the Wicked. The Wicked are Very Weary.

Computer Generated Small Caps Harriet, an FBI agent, turned on CNN to get the dirt on the CIA before going to bed at 9:30 PM. THERE IS NO REST FOR THE WICKED. THE WICKED ARE VERY WEARY.

N U M E R A LS / F I G U R E S chapter seven In typography, the symbols used to represent numbers are commonly referred to as figures or numerals.

Oldstyle Figures

Lining Figures Lining figures (also called aligning, cap, or modern figures) approximate capital letters in that they are uniform in height, and generally align with the baseline and the cap height. In some traditional typefaces, certain numerals extend slightly above and/or below the baseline and/or the cap height.

Oldstyle figures (also known as non-lining figures) do not line up on the baseline as regular or lining numerals do. Oldstyle figures 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. They have more of a traditional, classic look and are very useful and quite beautiful when set within text. However, 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.

MrsEaves Old Style Numerals

1234567890 Georgia Old Style Numerals

1234567890 Bodoni Old Style Numerals

1234567890 Corbel Old Style Numerals

1234567890 Scala Sans Old Style Numerals

1234567890 Candara Old Style Numerals

1234567890

MrsEaves Dear John, please call me at 438. 9762 at 3:00 to discuss marriage or write me at Route 916, zipcode 87505.

Garamond Dear John, please call me at 438. 9762 at 3:00 to discuss marriage or write me at Route 916, zipcode 87505.

MrsEaves

Garamond

12 134 17 1023 323

12.5 134.76 17.8567 1023.4 323.12

Unlike lining figures, Oldstyle figures blend in without disturbing the color of the body copy. They also work well in headlines since theyâ&#x20AC;&#x2122;re not as intrusive as lining figures. In fact, many people prefer them overall for most uses except charts and tables. Itâ&#x20AC;&#x2122;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.

KERNING chapter eight Kerning is an adjustment of the space between two letters and helps with legibility.

Kerning Kerning is an adjustment of the space between two letters. The characters of the Latin alphabet emerged over time; they were never designed with mechanical or automated spacing in mind. Thus some letter combinations look awkward without special spacing considerations. Gaps occur, for example, around letters whose forms angle outward or frame an open space (W, Y, V, T). In metal type, a kerned letter extends past the lead slug that supports it, allowing two letters to fit more closely together. In digital fonts, the space between letter pairs is controlled by a kerning table created by the type designer, which specifies spaces between problematic letter combinations. Working in a page layout program, a designer can choose to use metric kerning or optical kerning as well as adjusting the space between letters manually where desired. A well-designed typeface requires little or no additional kerning, especially at text sizes.

Metric Kerning Metric Kerning uses the kerning tables that are built into the typeface. When you select metric kerning in your page layout program, you are using the spacing that was intended by the type designer. Metric kerning usually looks good, especially at small sizes. Cheap novelty fonts often have little or no built-in kerning and will need to be optically kerned.

Optical Kerning Optical Kerning is executed automatically by the page layout program. Rather than using the pairs addressed in the fontâ&#x20AC;&#x2122;s kerning table, optical kerning assesses the shapes of all characters and adjusts the spacing wherever needed. Some graphic designers apply optical kerning to headlines and metric kerning to text. You can make this process efficient and consistent by setting kerning as part of your character styles.

Optical 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, ref lected 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 conf lict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Metric 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.

C O M B I N I N G T Y P E FA C E S chapter nine When combining serif and sans serif text fonts, one shroud try and match the characteristics of form and type color: proportion, x-heights.

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 no recipe there is a place to start: keep an eye on the characteristic shapes of the letterform. A well designed page contains no more than two different typefaces or four different type variations such as type size and bold or italic style. (Using 2 different serif fonts or 2 different sans serifs fonts in the same composition is never a good idea}

Typeface: Georgia

36pt: Header

Swiss Bliss Typeface: Geneva

18pt: Subhead

E X P L O R E TH E SW I S S A L P S Typeface: Geneva

16/16pt: Intro Text, Pull Quotes

Defying conventional wisdom with a 1,400mile circumnavigation of this mountainous kingdom to open the door to real adventure.

Typeface: Georgia

9/12pt: Body Text

The age of real adventure is not over. I found the real thingâ&#x20AC;&#x201D;and then someâ&#x20AC;&#x201D;on a hikeclimb-paddle-bike journey around the Swiss border. The idea of circumnavigating Switzerland has been with me so long that the goal seems simultaneously vague and vividly clear, like my memories of living in a Swiss mountain village almost five decades ago, when I was 10 years old. The journey stared at me every time I opened a map of Europe: the perfect loop trip. Mountain travel? Tracing the exact border on a topo map revealed a staggering 600,000 feet of vertical ascent. Discovery? The complete border covers 1,400 miles along the edges of five countries, most of it far from anything described in a guidebook. Font Combination Rational These two fonts work together because they both contrast and balance each other out very nicely.

Typeface: Caslon

36pt: Header

Swiss Bliss Typeface: Thonburi

18pt: Subhead

E X P L O R E TH E SW I S S A L PS Typeface: Caslon

16/16pt: Intro Text, Pull Quotes

Defying conventional wisdom with a 1,400-mile circumnavigation of this mountainous kingdom to open the door to real adventure.

Typeface: Caslon

9/12pt: Body Text

The age of real adventure is not over. I found the real thingâ&#x20AC;&#x201D;and then someâ&#x20AC;&#x201D;on a hike-climb-paddle-bike journey around the Swiss border. The idea of circumnavigating Switzerland has been with me so long that the goal seems simultaneously vague and vividly clear, like my memories of living in a Swiss mountain village almost five decades ago, when I was 10 years old. The journey stared at me every time I opened a map of Europe: the perfect loop trip. Mountain travel? Tracing the exact border on a topo map revealed a staggering 600,000 feet of vertical ascent. Discovery? The complete border covers 1,400 miles along the edges of five countries, most of it far from anything described in a guidebook. Font Combination Rational These two fonts work together because they contrast a lot which creates intriguing tension.

Typeface: Frutiger

36pt: Header

Swiss Bliss Typeface: Baskerville

18pt: Subhead

E X PLO R E T H E SWI SS A L PS Typeface: Frutiger

17/17pt: Intro Text, Pull Quotes

Defying conventional wisdom with a 1,400-mile circumnavigation of this mountainous kingdom to open the door to real adventure. Typeface: Baskerville

9/12pt: Body Text

The age of real adventure is not over. I found the real thingâ&#x20AC;&#x201D;and then someâ&#x20AC;&#x201D;on a hike-climbpaddle-bike journey around the Swiss border. The idea of circumnavigating Switzerland has been with me so long that the goal seems simultaneously vague and vividly clear, like my memories of living in a Swiss mountain village almost five decades ago, when I was 10 years old. The journey stared at me every time I opened a map of Europe: the perfect loop trip. Mountain travel? Tracing the exact border on a topo map revealed a staggering 600,000 feet of vertical ascent. Discovery? The complete border covers 1,400 miles along the edges of five countries, most of it far from anything described in a guidebook.

Font Combination Rational These two fonts work together because they create very clear and understandable hierarchy.

Typeface: Belizio

36pt: Header

Swiss Bliss Typeface: Scala Sans

18pt: Subhead

E X PL OR E T HE SWI SS A LP S Typeface: Scala Sans

15/15pt: Intro Text, Pull Quotes

Defying conventional wisdom with a 1,400-mile circumnavigation of this mountainous kingdom to open the door to real adventure.

Typeface: Belizio

9/12pt: Body Text

The age of real adventure is not over. I found the real thingâ&#x20AC;&#x201D;and then someâ&#x20AC;&#x201D;on a hike-climb-paddle-bike journey around the Swiss border. The idea of circumnavigating Switzerland has been with me so long that the goal seems simultaneously vague and vividly clear, like my memories of living in a Swiss mountain village almost five decades ago, when I was 10 years old. The journey stared at me every time I opened a map of Europe: the perfect loop trip. Mountain travel? Tracing the exact border on a topo map revealed a staggering 600,000 feet of vertical ascent. Discovery? The complete border covers 1,400 miles along the edges of five countries, most Font Combination Rational These two fonts work together because there is less contrast which makes them work cohesively and fluidly.

Typeface: Garamond

36pt: Header

Swiss Bliss Typeface: Avenir

18pt: Subhead

EXP L O RE T HE S WI S S A L P S Typeface: Avenir

17/17pt: Intro Text, Pull Quotes

Defying conventional wisdom with a 1,400mile circumnavigation of this mountainous kingdom to open the door to real adventure. Typeface: Garamond

9/12pt: Body Text

Font Combination Rational These two fonts work together because they both have a light weight which flows together naturally.

Typeface: Frutiger

36pt: Header

Swiss Bliss Typeface: Bembo

18pt: Subhead

EX P LO RE TH E S W IS S A L P S Typeface: Frutiger

14/14pt: Intro Text, Pull Quotes

Defying conventional wisdom with a 1,400-mile circumnavigation of this mountainous kingdom to open the door to real adventure.

Typeface: Bembo

9/12pt: Body Text

Font Combination Rational These two fonts work together because their weights contrast a lot which makes them visually interesting.

Typeface: Corbel

36pt: Header

Swiss Bliss Typeface: Corbel

18pt: Subhead

E X P LO R E T H E S W I S S A L P S Typeface: Goudy Old Style

16/16pt: Intro Text, Pull Quotes

Defying conventional wisdom with a 1,400-mile circumnavigation of this mountainous kingdom to open the door to real adventure.

Typeface: Goudy Old Style

9/12pt: Body Text

Font Combination Rational These two fonts work together because they are equally contrasting and balanced.

Typeface: Bodoni

36pt: Header

Swiss Bliss Typeface: Berthold Akzidenz Grotesk

18pt: Subhead

E X P LO R E THE S WI SS A L P S Typeface: Bodoni

16/16pt: Intro Text, Pull Quotes

Defying conventional wisdom with a 1,400-mile circumnavigation of this mountainous kingdom to open the door to real adventure. Typeface: Bodoni

9/12pt: Body Text

The age of real adventure is not over. I found the real thingâ&#x20AC;&#x201D;and then someâ&#x20AC;&#x201D;on a hike-climb-paddlebike journey around the Swiss border. The idea of circumnavigating Switzerland has been with me so long that the goal seems simultaneously vague and vividly clear, like my memories of living in a Swiss mountain village almost five decades ago, when I was 10 years old. The journey stared at me every time I opened a map of Europe: the perfect loop trip. Mountain travel? Tracing the exact border on a topo map revealed a staggering 600,000 feet of vertical ascent. Discovery? The complete border covers 1,400 miles along the edges of five countries, most of it far from anything described in a guidebook.

Font Combination Rational These two fonts work together because they create tension that is aesthetically pleasing.

Typeface: Mrs Eaves

36pt: Header

Swiss Bliss Typeface: Lucida Sans

18pt: Subhead

E X PL O RE TH E S W IS S A L P S Typeface: Lucida Sans

16/16pt: Intro Text, Pull Quotes

Defying conventional wisdom with a 1,400mile circumnavigation of this mountainous kingdom to open the door to real adventure.

Typeface: Mrs Eaves

9/12pt: Body Text

Font Combination Rational These two fonts work together because their styles are visually cohesive.

Typeface: Geneva

36pt: Header

Swiss Bliss Typeface: Athelas

18pt: Subhead

E X PLO R E T H E SW I S S A L P S Typeface: Geneva

16/16pt: Intro Text, Pull Quotes

Defying conventional wisdom with a 1,400mile circumnavigation of this mountainous kingdom to open the door to real adventure.

Typeface: Athelas

9/12pt: Body Text

Font Combination Rational These two fonts work together because their contrasting weights create interesting tension.

G R I D STR U CTU R ES chapter ten Designing with a grid is essential so that information is organized and clarified legibly on a page.

Grid Structures When designing a layout and working with text and/or 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 and 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 multi-page 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.

“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

Fibonacci’s Sequence: Golden Section Fibonacci’s Sequence occurs throughout nature, art, music, and mathematics. Each term in the series is produced by adding together the two previous terms, so that 1+1=2, 1+2=3, 2+3=5, and so on. The sequence takes its name from a famous thirteenth-century European mathematician, Fibonacci. We can use Fibonacci’s equation in design to create structured grids that yield to order and balance.

Tschicholdâ&#x20AC;&#x2122;s Symmetrical Grid This example shows a grid where the proportions of the text area are established from the shape of the page, i.e. the height of the text area is the same as the width of the full page. Note that the text area will always remain the same, regardless of the scale of the page.

Asymmetrical Grid Asymmetrical grids may have an off center appearance either as single pages or combined in spreads. If used in spreads, the grid is not mirrored from 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.

Modular Grid Modular grids are associated with Swiss typography or the ‘’International Style’ of the 1950’s and 60’s. 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 line depth (leading size) form a good basis on which to construct the cells.

For example, ten lines of 10 pt type on 12 pt leading could allow for a certain 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.

Baseline Grid Baseline 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 type size 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 number 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.

Column Grid When layouts for books or magazines are designed, text is positioned on the grid within columns, which are formed by modules, allowing for more than one module or columns per page. Using columns enables the designer to maintain consistent line length. Before a layout and number of columns can be established for a printed work it is essential to consider the following: How many pages will there be? What is the page size? Is the publication text heavy or image heavy? What is the optimum line length for the text? What leading will be used? What will the binding be like?

C O LU M N WI DTH chapter eleven It is important to check the amount of characters on each line so that a body of text is readable.

Having the right amount of characters on each line is key to the readability of your text. It shouldn’t merely be your design that dictates the width of your text, it should also be a matter of legibility. The optimal line length for your body text is considered to be 50-60 characters per line, including spaces. Reading takes place in small leaps of 5–10 characters at a time. 55–60 characters per line could be considered an appropriate line length, allowing the eye 6–12 quick stops on each line. Narrower lines would cause the reader to have to switch from line to line unnecessarily often, and they also cause problems with the way justified columns appear.

If a line of text is too long the visitor’s eye will have a hard time focusing on the text. This is because the length makes it difficult to get an idea of where the line starts and ends. Furthermore it can be difficult to continue from the correct line in large blocks of text. If a line is too short the eye will have to travel back too often, breaking the reader’s rhythm. Too short lines also tend to stress people, making them begin on the next line before finishing the current one (hence skipping potentially important words).

Reminder: 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.

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

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

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

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

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LEADI NG chapter twelve Leading is vital to allow for space in the text block so that the information is easy to read.

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Line spacing is the vertical distance between lines of text. Leading is the hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them accurately. Leading is specified in points and refers now days to the space between lines of a text block. Leading introduces space into the text block and allows characters to “breathe” so that the information is easy to read.

To achieve a balanced and and wellspaced text block, leading usualy has a higher point size than the text it is associated with, for example 9pt text maybe set with 12pt leading. Most writers use either double-spaced lines or single-spaced lines—nothing in between—because those are the options presented by word processors. These habits are held over from the typewriter era. Originally, a typewriter’s carriage could only move vertically in units of a single line. Therefore, linespacing choices were limited to one, two, or more lines at a time. Double spacing became the default because single-spaced typewritten text is dense and hard to read. But double-spacing is still looser than optimal.

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Negative / 7pt.9pt 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.

Solid / 9pt.9pt 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.

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Normal / 9pt.12pt 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.

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Extreme / 9pt.20pt 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.

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H Y P H E N AT I O N R U L E S chapter thirteen The hyphen is a punctuation mark used to join words and to separate syllables of a single word. Dashes are longer and have a different use. Itâ&#x20AC;&#x2122;s important to know the difference.

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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.

Hyphenation rules pay attention to: 1. how the text is read avoid widows (one word on the last line of a para graph) 2. avoid hyphenating or line brakes of names and proper nouns 3. leave a least 2 characters on the line and 3 following 4. avoid beginning consecutive lines with the same word 5. avoid ending consecutive lines with the same word 6. avoid ending lines with the words: the, of, at, a, by... 7. never hyphenate a words in a head line and avoid hyphenation in a callout

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J U S T I F I C AT I O N chapter fourteen When used correctly, justifying a body of text makes it look cleaner and easier to read.

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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.

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MrsEaves / 25 Characters

MrsEaves / 45 Characters

MrsEaves / 30.80.100

MrsEaves / 99.150.200

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MrsEaves / 100.100.102

MrsEaves / 90.100.110

MrsEaves / 100.150.200

Akzidenz Grotesk / 30.80.100

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Akzidenz Grotesk / 99.150.200

Akzidenz Grotesk / 100.100.102

Akzidenz Grotesk / 90.100.110

Akzidenz Grotesk / 100.150.200

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LEG I B I LITY chapter fifteen Readability and legibility are two key elements of printed text that typographer strive to maximize.

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Legibility is the concern of the typographer to select a typeface with appropriate clarity of design for the intended use at the intended size. The typeface chosen should be legible. That is, it should be read without effort. Sometimes legibility is simply a matter of type size; more often, however, it is a matter of typeface design. In general, typefaces that are true to the basic letterforms are more legible than typefaces that have been condensed, expanded, embellished, or abstracted.

Legibility is different from readability. Readability is the ease with which a reader can recognize words, sentences, and paragraphs. Legibility is a component readability. Other typographic factors that affect readability include font choice, point size, kerning, tracking, line length, leading, and justification. In typography, color can also describe the balance between black and white on the page of text. A typefaceâ&#x20AC;&#x2122;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 askedâ&#x20AC;Ś

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.

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Xxh g

X x hg

8.5/12 x-height: small character width: wide color: light

8.5/12 x-height: average character width: average color: dark

X xhg

Xxhg

bembo francesco griffo

scala sans martin majoor

futura paul renner

frutiger adrian frutiger

8.5/12 x-height: average character width: narrow color: average

8.5/12 x-height: large character width: average color: dark

Xxhg garamond robert slimbach

Xx hg

72 point

geneva susan kare

8.5/12 x-height: small character width: average color: light

8.5/12 x-height: large character width: average color: dark

X x h g Xxh g

72 point

belizio david berlow

baskerville john baskerville

8.5/12 x-height: average character width: wide color: dark

8.5/12 x-height: small character width: average color: light 131

Xxhg

Xxh g

8.5/12 x-height: large character width: narrow color: average

8.5/12 x-height: average character width: average color: average

Xxh g

X xhg

8.5/12 x-height: average character width: narrow color: dark

8.5/12 x-height: large character width: wide color: dark

big caslon william caslon

athelas josé scaglione

corbel jeremy tankard

bookman old style bruce type foundry

X xhg mrs eaves zuzana licko

Xxhg

72 point

georgia matthew carter

8.5/12 x-height: small character width: average color: average

8.5/12 x-height: average character width: average color: dark

X xh g

Xxhg

8.5/12 x-height: average character width: narrow color: dark

8.5/12 x-height: average character width: narrow color: light

berthold akzidenz grotesk berthold type foundry

72 point

bodoni giambattista bodoni

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Xxhg

8.5/12 x-height: average character width: average color: light

8.5/12 x-height: average character width: wide color: dark

avenir adrian frutiger

clarendon robert besley

X xh g Xxhg caslon William Caslon

lucida sans kris holmes

8.5/12 x-height: average character width: average color: dark

8.5/12 x-height: large character width: average color: dark

Xx hg goudy old style frederic goudy

Xx hg

72 point

thonburi unknown

8.5/12 x-height: small character width: narrow color: average

8.5/12 x-height: large character width: narrow color: dark

Xxhg marion ray larabie

Xxhg

72 point

sabon jan tschichold

8.5/12 x-height: small character width: narrow color: dark

8.5/12 x-height: average character width: average color: dark 135

PA R A G R A P H B R E A K S chapter sixteen It is important to space and indent your paragraphs correctly. There are a multitude of ways to denote paragraph breaks.

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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.

In typography there are 4 rules regarding paragraph breaks: 1. First line at the beginning of an article should be flush left (do not indent first paragraph) 2. Block paragraphs are flush left and are separated by extra leading not a full return 3. The amount indent is = to the leading (sometimes needs a bit more) 4. Never hit two returns between paragraphs

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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 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 Mallarme. 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."

141

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

•Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. •But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. •While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance 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 Mallarme. 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 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 Mallarme. 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 & SUBHEADS chapter seventeen A header is the main title of a layout and is typically the most visually prominent element of the hierarchy; while a subhead is a subordinate subdivision of the heading.

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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.

Radical Mix of Art and Life But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an 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 Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."

Words in Liberty A PROLOGUE TO FUTURISM 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.

RADICAL MIX OF ART AND LIFE But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an 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 Mallarme. 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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RADICAL MIX OF ART AND LIFE

But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an 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 Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."

WORDS IN LIBERTY A PROLOGUE TO FUTURISM 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. RADICAL MIX OF ART AND LIFE But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an 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 Mallarme. 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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A PROLOGUE TO FUTURISM

WORDS IN LIBERTY

RADICAL MIX OF ART AND LIFE

WORDS IN LIBERTY A PROLOGUE TO FUTURISM FUTURISM WAS FIRST ANNOUNCED on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. RADICAL MIX OF ART AND LIFE BUT IT IS THE MOVEMENTS which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an 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 Mallarme. 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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CAPTI O N S AN D N OTES chapter eighteen These general guidelines will help you design footnotes and endnotes that are readable, legible and economical in space.

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Footnotes and Endnotes 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.

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.

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

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

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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

WORDS IN LIBERTY

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)

3. selbst = himself

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