The New Pointillism by Jennifer Smith

The New Pointillism

Designed by Roya Rostampour. Class project for Typographic Systems at the University of Kansas, Spring 2017. 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.

E NEW POINTILLISM Roya Rostampour

THE NEW POINTILLISM

TABLE OF CONTENTS 8

Special Characters

Rules Checksheet

Typographic Rules

Widows/ Orphans/ Rivers

Hyphens & Dashes

Hyphenation Rules/ Quotes/ Apostrophes/ Small Caps

Numerals & Figures

Typographic Color

Paragraph Breaks

Headers/ Subheads/ Crossheads & Captions & Notes

Justification

Combining Typefaces

102

Anatomy of Type

118

Font Classifications

121

Font Specs

The New Pointillism

SPECIAL

CHARAC

TERS

SPECIAL CHARACTERS “ ” ‘ ’ – — … • ﬁ ﬂ © ™ ® ° ¢ € ⁄ ¡ ¿ £ Ç

Option [ opening double quote Option Shift [ closing double quote Option ] opening single quote Option Shift ] closing single quote; apostrophe Option Hyphen en dash Option Shift Hyphen em dash Option ; ellipsis Option 8 bullet 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 Option Shift 1 (one) fraction bar Option 1 (one) Option Shift ? Option 3 Option Shift c

The New Pointillism

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 (É Ü Ñ)

Remember, to set an accent mark over a letter, press the Option key and the letter, then press the letter you want under it. Or you can go up to Type Glyphs to find the correct accent.

´ ` ¨ ˜

Option e + letter Option ` + letter Option u + letter Option n + letter

™

résumé pàpà über niño

The goal is to match the x-height.

The New Pointillism

If you choose to superscript ®, reduce it to about 60% of the size.

The New Pointillism

RULES

CHECKSHEET

PTE A H

RULES CHECKSHEET The following is a compendium of the rules established in this book. You might want to check through them each time you complete a publication. + Use only one space between sentences. + Use real quotation marks. + Use real apostrophes. + Make sure the apostrophes are where they belong. + Hang the punctuation off the aligned edge. + Use en or em dashes, use consistently. + Kern all headlines where necessary. + Never use the spacebar to align text, always set tabs and use the tab key. + Leave no widows or orphans. + Avoid more than 3 hyphenations in a row. + Avoid too many hyphenations in any paragraph. + Avoid hyphenating or line brakes of names and proper nouns. + Leave a least 2 characters on the line and 3 following. + Avoid beginning consecutive lines with the same word. + Avoid ending consecutive lines with the same word. + Avoid ending lines with the words: the, of, at, a, by... + Never hyphenate a words in a headline and avoid hyphenation in a call-out. + 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 â&#x20AC;&#x201C; not both. + Use a decimal or right-aligned tab for the numbers in numbered paragraphs. + Never have one line in a paragraph in the column or following. + Never combine two serif fonts on one page. + Rarely combine two sans serif fonts on one page. + Rarely combine more than three typefaces on one page. + Use the special characters whenever necessary, including super- 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.

The New Pointillism

TYPOGRAP

Chapter 3 16

The New Pointillism

HIC

RULES The New Pointillism

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.

Inserting two spaces after punctuation was common with typewriters. It is incorrect now. Inserting two spaces after punctuation was common with typewriters. It is incorrect now.

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.)

hyphen- (x-height) en – (6:30 – 8:45 am) em— (—Mac is not a typewriter) (6:30-8:45 am) (+Mac is not a typewriter)

The New Pointillism

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. Inch and feet mark: Type + Insert Special Character + Quotation Marks

“That’s a magic sock!” 5"2' "That's a magic sock"! 5”2’

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 computer 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.

Harriet, an fbi agent, turned on cnn to get the dirt on the cia before going to be at 9:30 p.m. Harriet, an fbi agent, turned on cnn to get the dirt on the cia before going to be at 9:30 p.m. Harriet, an fbi agent, turned on cnn to get the dirt on the cia before going to be at 9:30 p.m.

The New Pointillism

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.

Âť

Inserting two spaces after punctuation was common with typewriters. It is incorrect now. Inserting two spaces after punctuation was common with typewriters. It is incorrect now.

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.

Âť

Old Style Figures 1 2 3 4 5 6 7 8 9 0

Lining Numerals 1 2 3 4 5 6 7 8 9 0 (Minnion Pro Bold)

The New Pointillism

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.

USE CAPS PROPERLY

USE CAPS PROPERLY (Fette Frakture)

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.

The New Pointillism

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.

correct … incorrect...

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.

This is correct

This is incorrect

11. INCREASE LINE SPACING TO IMPROVE READABILITY IN BODY 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.

Increase line spacing to improve readability in body text Increase line spacing to improve readability in body text

The New Pointillism

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.

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. (10pt)

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. (14pt)

13. ALTERING FONTS Don’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.

Don’t alter text improperly. Don’t alter text improperly

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.)

Âť

Headline Body text (Scala Sans)

Geometical Headline And geometric body text (Berthold Akzidenz Grotesk) (Itc American TYypewriter)

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.

Âť

This length is comfortable to read

This length becomes uncomfortable to read as it is getting too long

The New Pointillism

16. AVOID LETTER SPACING 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.

Letterspacing can affect legibility Letterspacing can a f f e c t l e g i b i l i t y

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!

Keep the spaces between words fairly thin, consistent and even! If the word spacing is too close or too far, legibility is decreased.

The New Pointillism

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.

Âť

For single-column pages, 4.25 inches wide is ideal.

For singlecolumn pages, 4.25 inches wide is ideal.

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.

Âť

Justification can be appropriate in certain places. However, it can create certain problems such as rivers and word spacing . Justification can be appropriate in certain places. However, it can create certain problems such as rivers and word spacing .

The New Pointillism

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. Leftaligned 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.

Left-aligned text is easier to read and set. Right-aligned and centered are generally not used for body copy

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, “elegantly” 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.

Keep the spaces between words fairly thin, consistent and even! If the word spacing is too close or too far, legibility is decreased.

The New Pointillism

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.

Adjust lines where lines start with the same word adjust them buy changing the line lenght or adjust them by rewording the sentence. Adjust lines where lines start with the same word adjust them buy changing the line lenght or adjust them by rewording the sentence.

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.

Once you are finished with your design, spell check the text Once you are finishd with you’re desing, spel check the test

The New Pointillism

24. AVOID WIDOWS AND ORPHANS Widows are either single words alone on a line or single sentence alone on a new page. Orphans are single lines of copy alone at the end of a page.

Âť

Avoid widows by either adjusting the column widths or editing the sentence. Widows are either single words alone on a line or single sentence alone on a new page.

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

Âť

Kerning in headlines Kerning in headlin e s

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.

In continuous text, mark all paragraphs after the first with an indent. In continuous text, mark all paragraphs after the first with an indent. In continuous text, mark all paragraphs after the first with an indent. In continuous text, mark all paragraphs after the first with an indent.

27. ITEMS IN A SERIES Items in a series do not use a comma before the word “and.”

peaches, apples and oranges peaches, apples, and oranges

The New Pointillism

WIDOWS ORPHANS RIVERS 32

The New Pointillism

CHAPTER

04 The New Pointillism

COLUMN WIDTH

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). 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 you’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.

The New Pointillism

WIDOW

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

ORPHAN

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

RIVERS

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

The New Pointillism

HYPHENS AND

DASHES

The New Pointillism

CHAPTER

The New Pointillism

DASHES hyphen - en dash – em dash —

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

HYPHEN -

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

EN DASH –

Option Hyphen An en dash is half of the em rule (the width of a capital N) and is used between words that + indicate a duration, such as time or months or years. + Use it where you might otherwise use the word “to.” + In a page layout application, the en dash can be used with a thin space on either side of it. If you want you can kern it so it is not a full space. October – December 6:30 – 8:45 A.M. 4 – 6 years of age Pages 336 – 500

The New Pointillism

EM DASH —

Shift Option Hyphen The em dash is twice as long as the en dash-it’s about the size of a capital letter M in whatever size and typeface you’re using at the moment. This dash is often used in place of : + a colon or parentheses + indicate an abrupt change in thought + spot where a period is too strong and a comma is too weak. + It is also used for attribution (who says it) of text. + The em dash does not have a space on either side. —Mac is not a Typewriter

The New Pointillism

SMALL CAPS

â&#x20AC;&#x153;QUOTES APOSTRO

PTER A H C 06 HYPHENATION 40

The New Pointillism

RUL

& PHESâ&#x20AC;&#x2122;

HYPHENATION RULES

Creating a non-breaking space before and after the name will ensure that the name will not break. 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:

AVOID + + + + + + + + + +

how the text is read avoid widows (one word on the last line of a paragraph) hyphenating or line brakes of names and proper nouns beginning consecutive lines with the same word ending consecutive lines with the same word ending lines with the words: the, of, at, a, by.. beginning three consecutive lines with the same word leaving the stub end of word shorter then four letters as the last line of a paragraph. more then 3 consecutive hyphenated lines. hyphenating or breaking proper names and titles. beginning three consecutive lines with the same word

hyphenate a words in a headline and avoid hyphenation in a callout

NEVER LEAVE +

a least 2 characters on the line and 3 following

The New Pointillism

QUOTES

Place all punctuations inside the quotation marks.

USE REAL QUOTATION MARKS Never those grotesque generic marks ( ' ) that actually symbolize ditto/inch " or 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.” Straight quotes are the two generic vertical quotation marks located near the re turn key: the straight single quote (') and the straight double quote ("). Straight quotes come to us from the typewriter.

Quotes + Opening double quote: + Closing double quote: + Opening single quote: + Closing single quote:

“ ” ‘ ’

Type: Option [ Type: Option Shift [ Type: Option ] Type: Option Shift ]

"That’s a 'magic' sock." wrong “That’s a ‘magic’ sock.” correct

What it looks like in different fonts:

“That’s a ‘magic’ sock.” “That’s a ‘magic’ sock.”- correct, has an angle and weight difference “That’s a ‘magic’ sock.” “That’s a ‘magic’ sock.”

The New Pointillism

APOSTROPHES

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.” + Rock ‘n’ Roll + House o’ Fashion + Gone Fishin’ + Bridge Clearance: 16'7" + The young man stood 6'2" + The length of the wall is 153'9". Type – Insert Special Character – Quotation Marks Foot (') Inch (")

The New Pointillism

SMALL CAPS

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, and can be used within a body of copy without looking noticeably wrong. When setting text that contains acronyms, select a typeface with small caps as a family. Selecting small caps from the style menus is a poor choice because the compute reduces the overall size of the type by 80%. This changes the stroke weight and the feel of the font. Expert sets in the Adobe Type Library have small caps options. Use small caps for: + Acronyms such as NASA or NASDAQ when they appear in body text or headlines. + 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 typefaces that have been specifically created as small caps.

(Goudy Oldstyle)

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.

(Granjon)

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 New Pointillism

Harriet, an fbi agent, turned on cnn to get the dirt on the cia before going to bed at 9:30 p.m.

(Janson Text 55)

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.

(Linotype Didot)

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.

(Mrs Eaves)

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.

(Filosofia)

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.

(Scala Sans)

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.

(MetaPlusBook)

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.

(MetaPlusBook)

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

The New Pointillism

NUMERALS

The New Pointillism

R E T 7 P 0 A H C

& FIGURES

The New Pointillism

NUMERALS & FIGURES

Our uppercase alphabet came from the inscriptional capitals of the Romans. Our lowercase alphabet came from the European uncial alphabets of the Middle Ages, which themselves evolved from scribal approxim ations of the uppercase alphabet. But our figures were invented in India. They spread westward through the influence of Persian and Arab mathematicians. Traditionally they were known as Arabic numerals, but latterly as Hindu-Arabic numerals. Arabic and Indic languages, of course, look very different from European languages. Thus figures have always presented a challenge for type designers, as they rely on shapes that are found nowhere in the uppercase and lowercase alphabets.

LINING FIGURES

Lining figures are usually the same height as caps, but not always. Some fonts have lining figures that fall between lowercase and cap height (for instance, Equity). + + + + + +

1 2 3 4 5 6 7 8 9 0 : Adobe Garamond Regular 1 2 3 4 5 6 7 8 9 0 : MetaPlusBook 1 2 3 4 5 6 7 8 9 0 : Bell Gothic 1 2 3 4 5 6 7 8 9 0 : Linotyle Didot 1 2 3 4 5 6 7 8 9 0 : Futura 1 2 3 4 5 6 7 8 9 0 : Helvetica

OLDSTYLE FIGURES

“Oldstyle” is a curious term for these, because the oldest figures—the original Hindu-Arabic numerals of the first cen tury—look more like lining figures. Unlike lining figures, oldstyle figures are designed to look more like lowercase letters. The ones in Equity (shown be low) are typic al—some are short, some descend below the base line, and some ascend.

The New Pointillism

Old足style fig足ures work best in low足er足case body text. Oldstyle figures have more of a traditional, classic look and are very useful and quite beautiful when set within text. They are only available for certain typefaces, sometimes as the regular numerals in a font, but more often within a supplementary or expert font. + + + + + +

1 2 3 4 5 6 7 8 9 0 : Didot 1 2 3 4 5 6 7 8 9 0 : Filosofia 1 2 3 4 5 6 7 8 9 0 : Georgia 1 2 3 4 5 6 7 8 9 0 : MrsEaves 1 2 3 4 5 6 7 8 9 0 : Scala Sans 1 2 3 4 5 6 7 8 9 0 : Swift SC

Aligning numbers in a table (using tabs) Type + Tabs LINING FIGURES 12 134 2 66 12 589

17 1023 323 1 730 56 56 8431 409

OLDSTYLE (NON-ALINGING) 12 134 17 1023 323 22 667 21 9730 356 12 589 56 8431 409 LINING FIGURES 12.5 134.4 17.8 73.05 86.5 22.11 10.25 76.10 36.70

1023.4 923.55 1023.4

323.0 595.0 323.0

Y T 50

O P

The New Pointillism

R G

P A

C I H

O C

CHAPTER

R O

The New Pointillism

TYPOGRAPHIC COLOR

+ Every typeface has its own apparent lightness or darkness, or optical weight. +

A typeface’s color is determined by: • stroke width, • x-height, • character width • serif styles.

As the great Swiss typographer Emil Ruder put it in 1960, “The business of typography is a continual weighing up of white and black, which requires a thorough knowledge of the laws governing optical values. Readability and legibility are two key elements of printed text that typographer strive to maximize. Readability extended amount of text – such as an article, book, or annual report – is easy to read. Legibility refers to whether an refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable.

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

The New Pointillism

Xx hg mrs eaves zuzana licko

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

Xxh g American Typewriter Joel Kalden

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

X xh g Serifa Adrian Frutiger

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

Xxhg Georgia Matthew Carter

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

X x hg Sabon Jan Tschicold

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

X xhg Didot Firmin Didot

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

The New Pointillism

X xh g Time New Roman Victor Lardent

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

Xx hg Walbaum Justus Erich Walbaum

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

The New Pointillism

Xxhg Minion Pro Robert Slimbach

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

Xxhg Berthold Akzidenz Grotesk H. Berthold

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

The New Pointillism

Xx hg Memphis Rudolf Wolf

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

Xx hg ITC New Baskerville John Baskerville

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

The New Pointillism

Xxhg Bell Gothic Light Chauncey H. Griffith

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

Xxhg MetaPlusBook- Roman Erik Spiekermann Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and edi tor 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 glo rified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beau ty of its speed, power, and movement.

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

The New Pointillism

Xxhg Helvetica Max Miedinger

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

X xhg Syntax Hans Eduard Meier

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

The New Pointillism

X x hg Interstate Tobias Frere Jones 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.

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

Xx hg

Futura Paul Renner, Tommy Thompson, Edwin W. Shaar 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.

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

The New Pointillism

Xx hg Frutiger Adrian Frutiger

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

X xh g Univers Adrian Frutiger

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

The New Pointillism

PARAGRAPH BR

CHA 64

The New Pointillism

EAKS

PTER The New Pointillism

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 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

The New Pointillism

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. 1Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But it is the movements which survive, oddly, here where we

live and work as poets and artists: or, if not the movements, then their sense of art as a life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both it’s 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 set of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them.” Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

The New Pointillism

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. 1Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as a life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both it’s 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 set of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them.” Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

The New Pointillism

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. 1Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. BUT it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as a life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both it’s 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 set of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them.” Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

The New Pointillism

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 set of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them.” Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

The New Pointillism

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 set of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them.” Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

HEADERS SUBHEADS CROSSHEADS

CAPTIONS & NOTES

10 CHAPTER 72

The New Pointillism

HEADERS SUBHEADS CROSSHEADS + CAPTIONS AND NOTES 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.

The New Pointillism

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. 1Futurism 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 is the movements which survive, oddly, here where we But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as a life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both it’s 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 set of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them.” Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.” 1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988 2. parole in liberta = words set free (liberty) 3. selbst = himself

The New Pointillism

Words in Liberty Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. 1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

Radical mix of art and life

A Prologue to Futurism

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

The New Pointillism

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. 1Futurism 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.

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 set of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them.” Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.” 1. PHILIP MEGGS, HISTORY OF GRAPHIC DESIGN, VAN NOSTRAND REINHOLD, 1988 2. PAROLE IN LIBERTA = WORDS SET FREE (LIBERTY) 3. SELBST = HIMSELF

The New Pointillism

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, 1 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.

3. SELBST = HIMSELF

1. PHILIP MEGGS, HISTORY OF GRAPHIC DESIGN, VAN NOSTRAND REINHOLD, 1988 2. PAROLE IN LIBERTA = WORDS SET FREE (LIBERTY)

A PROLOGUE TO FUTURISM

The New Pointillism

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, 1 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

Radical Mix of Art and Life

attention But is the movements which survive, oddly, here where we But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as a life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both it’s 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 set of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them.” Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.” 1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988 2. parole in liberta = words set free (liberty) 3. selbst = himself

The New Pointillism

Words in Liberty A Prologue to Futurism

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

Radical mix of art and life

But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as a life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both it’s 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 2 in libertà , by which poetry was to become “an uninterrupted sequence of new images…”(a) “strict set 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 3 who came to jeer or cheer them.” Wrote Marinetti selbst (circa 1915), “Everything of any value is theatrical.”

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

3. selbst = himself

The New Pointillism

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

Words in Liberty a prologue to futurism Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and 1 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. radical mix of art and life But is the movements which survive, oddly, here where we But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as a life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both it’s 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 2 in libertà , by which poetry was to become “an uninterrupted sequence of new images…”(a) “strict set 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 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 3 to jeer or cheer them.” Wrote Marinetti selbst (circa 1915), “Everything of any value is theatrical.”

The New Pointillism

Words in Liberty

a prologue to futurism

radical mix of art and life

But is the movements which survive, oddly, here where we But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as a life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both it’s 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 set of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them.” Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.” 1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988 2. parole in liberta = words set free (liberty) 3. selbst = himself

The New Pointillism

JUS TIF

ICA TIO

CHAPTER 11

JUSTIFICATION

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

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.

The New Pointillism

Minimum: 80

This doesn’t work because the rivers are too large, there is too much spacing.

Desired: 100

Maximum: 133

Minimum: 50

This one has some lines that are squished together and others that are comfortable.

Desired: 70

Maximum: 90

Minimum: 100

This setting also has rivers that are too large.

Desired: 150

Maximum: 200

The New Pointillism

Minimum: 10

This is too squished in, especially towards the center.

Desired: 40

Maximum: 70

Minimum: 100

This one is way too spaced out, the rivers are out of control.

Desired: 300

Maximum: 500

The New Pointillism

COMBINING

CHAPTER

The New Pointillism

TYPEFACES

The New Pointillism

COMBINING TYPEFACES

When combining serif and sans serif text fonts, one should 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 fonts or 2 different sans serifs fonts in the same composition is never a good idea}.

Typeface: Berthold Akzidenz Grotesk

36pt: Header

Words in Liberty Typeface: Minion Pro

18pt: Subhead

A P R O L O G U E T O F U T U R I SM Typeface: Berthold Akidenz Grotesk

18/18pt: Intro Text, Pull Quotes

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. Typeface: Minion Pro

9/12pt: Body Text

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. The manifestoâ&#x20AC;&#x2122;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.

Font Combination Rational

These two fonts work together because...The title draws attention because it is bold ad thick but the subhead also draws attention because it is so different from it.

The New Pointillism

Typeface: Scala Sans

36pt: Header

Words in Liberty Typeface: Serifa - 45 Light

18pt: Subhead

A PR OLOGU E T O F U T U R IS M Typeface: Scala Sans

18/18pt: Intro Text, Pull Quotes

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. Typeface: Serifa - 45 Light

9/12pt: Body Text

Font Combination Rational

These two fonts work together because...These are both curved and fairly thin fonts, what set them apart is the weight difference and the slight slant that Scala Sans compared the the straight and perfectly even letters of Serifa.

The New Pointillism

Typeface: Univers - 45 Light

36pt: Header

Words in Liberty Typeface: ITC New Baskerville - Bold

18pt: Subhead

A PR OLOG U E TO FU T URI S M Typeface: Univers - 45 Light

18/18pt: Intro Text, Pull Quotes

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. Typeface: ITC New Baskerville - Bold

9/12pt: Body Text

Font Combination Rational

These two fonts work together because...The thick curved qualities of ITC New Baskervile complement the thin curves of Univers.

The New Pointillism

Typeface: American Typewriter

36pt: Header

Words in Liberty Typeface: Helvetica- Regular

18pt: Subhead

A P RO LO G UE TO F U T U R ISM Typeface: American Typewriter

18/18pt: Intro Text, Pull Quotes

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. Typeface: Helvetica - Regular

9/12pt: Body Text

Font Combination Rational

These two fonts work together because... The extra stylistic quality and ball serifs in American Typewriter works well with the straight forward and plain quality of Helvetica.

The New Pointillism

Typeface: Futura - Light

36pt: Header

Words in Liberty Typeface: Walbaum - Roman

18pt: Subhead

A P ROLOGU E T O F U TUR IS M Typeface: Futura - Light

18/18pt: Intro Text, Pull Quotes

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. Typeface: Walbaum -Roman

9/12pt: Body Text

Font Combination Rational

These two fonts work together because...I really enjoy the structured, and tall look of Walbaum paired with the even and open look of futura.

The New Pointillism

Typeface: Memphis

36pt: Header

Words in Liberty Typeface: Interstate-light

18pt: Subhead

A P RO LO G UE TO F U T U R I S M Typeface: Memphis

18/18pt: Intro Text, Pull Quotes

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. Typeface: Interstate- light

9/12pt: Body Text

Font Combination Rational

These two fonts work together because...the combination of light and dark in both these mono-weight fonts give a very balanced and legible feeling.

The New Pointillism

Typeface: Didot

36pt: Header

Words in Liberty Typeface: Syntax

18pt: Subhead

A P ROLOG UE TO F UTU R IS M Typeface: Didot

18/18pt: Intro Text, Pull Quotes

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. Typeface: Syntax

9/12pt: Body Text

Font Combination Rational

These two fonts work together because...Syntax has very nice geometric shapes which works well with the perfect circles of Didot, but they are different enough to work well together.

The New Pointillism

Typeface: Sabon

36pt: Header

Words in Liberty Typeface: Bell Gothic

18pt: Subhead

A PR O L O G UE TO F U T UR I S M Typeface: Sabon

18/18pt: Intro Text, Pull Quotes

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. Typeface: Bell Gothic

9/12pt: Body Text

Font Combination Rational

These two fonts work together because...I really enjoy the thin mono-weight look of Bell Gothic with the structured Sabon that has different weights and thin serifs throughout.

The New Pointillism

Typeface: MetaPlusBook

36pt: Header

Words in Liberty Typeface: Georgia

18pt: Subhead

A PR O LO GUE T O FUT U RI S M Typeface: MetaPlusBook

18/18pt: Intro Text, Pull Quotes

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. Typeface: Georgia

9/12pt: Body Text

Font Combination Rational

These two fonts work together because... MetaPlusBook is very bold, mono-weight and dark while Georgia is light with different stroke weights.

The New Pointillism

Typeface: Mrs Eaves

36pt: Header

Words in Liberty Typeface: Frutiger - 47 Light Condensed

18pt: Subhead

A P R OLOGU E TO FU T U R I S M Typeface: Mrs Eaves

18/18pt: Intro Text, Pull Quotes

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. Typeface: Frutiger - 47 Light Condensed

9/12pt: Body Text

Font Combination Rational

These two fonts work together because...They are petty different and offer a nice contrast. Mrs Eaves is very structued and spaced out, while fruiger is very narrow and light.

100

The New Pointillism

101

ANATOMY CH

102

The New Pointillism

OF TYPE

13 103

h l

ASCENDER An upward vertical stroke found on the part of lowercase letters that extends above the typefaceâ&#x20AC;&#x2122;s x-height.

Ă&#x2030;

ASCENT LINE The invisible line marking the farthest distance between the baseline and the top of the glyph.

104

The New Pointillism

ASCENDER LINE The invisible line marking the height of ascenders in a font.

AXIS An imaginary line drawn from top to bottom of a glyph bisecting the upper and lower strokes is the axis.

v A

APERTURE The aperture is the partially enclosed, somewhat rounded negative space in some characters .

APEX A point at the top of a character where two strokes meet.

ARC OF STEM A curved stroke that is continuous with a straight stem.

ARM A horizontal or upward, sloping stroke that does not connect to a stroke or stem on one or both ends.

The New Pointillism

105

f A

x s

106

BALL TERMINAL A circular form at the end of the arm in letters.

BAR The horizontal stroke in letters. Also referred to as Crossbar.

BASELINE The invisible line where all characters sit.

BEAK A sharp spur, found particularly at the top of letters in some 20th centry Romans.

The New Pointillism

BILATERAL SERIFS A serif extending to both sides of a main stroke. They are reflexive.

BOWL The fully closed, rounded part of a letter.

Ă&#x2030;

BODY HEIGHT The complete area covered by all of the characters in a font. In typography, the body height refers to the distance between the top of the tallest letterform to the bottom of the lowest one.

BRACKET A curved or wedge-like connection between the stem and serif of some fonts. Not all serifs are bracketed serifs.

The New Pointillism

107

N A

CAP HEIGHT The height of a capital letter measured from the baseline.

COUNTER The open space in a fully or partly closed area within a letter.

108

The New Pointillism

CAP LINE A line marking the height of uppercase letters within a font.

CROSS STROKE A horizontal stroke that intersects the stem of a lowercase t or f.

AV q p

CROSSBAR The horizontal stroke in letters. Also known as a Bar

CROTCH An acute, inside angle where two strokes meet.

DESCENDER The part of the letters that extends below the baseline.

DESCENDER LINE The invisible line marking the lowest point of the descenders within a font.

The New Pointillism

109

รก Z i

ร 110

DESCENT LINE The invisible line marking the farthest distrance between the baseline and the bottom of the glyph.

DIACRITIC A ancillary mark or sign added to a letter.

DIAGONAL STROKE An angled stroke.

DOT A small distinguishing mark, such as an diacritic on a lowercase i or j. Also known as a Tittle.

The New Pointillism

g e e 5

EAR A small stroke extending from the upper-right side of the bowl of lowercase g; also appears in the angled or curved lowercase r.

EYE Much like a counter, the eye refers specifically to the enclosed space in a lowercase â&#x20AC;&#x2DC;eâ&#x20AC;&#x2122;.

FINIAL A tapered or curved end.

FLAG The horizontal stroke present on the numeral 5.

The New Pointillism

111

x f B k

112

HAIRLINE A thin stroke usually common to serif typefaces.

HOOK A curved, protruding stroke in a terminal. Usually found on a lowercase f. something curved or bent like a hook.

ITALICS A cursive alphabet which is matched with a roman font and used along chiefly for emphasis.

LEG Short, descending portion of a letter.

The New Pointillism

g î &#x201D; p g

LIGATURE Two or more letters are joined together to form one glyph or character.

LINK A stroke that connects the top and bottom bowls of lowercase double-story gâ&#x20AC;&#x2122;s.

LOBE A rounded projecting stoke attached to the main structure of a letter. A curved or rounded projection or division.

LOOP The enclosed or partially enclosed counter below the baseline of a double-story g.

The New Pointillism

113

x x 15 c

114

LOWERCASE The smaller form of letters in a typeface.

MEAN LINE Imaginary line running along the top of non-ascending, lowercase letters. The meanline falls at the top of many lowercase letters.

OLD-STYLE FIGURES Numbers with varying heights, some aligning to the baseline and some below.

OPEN COUNTER The partially open space within a character that is open on one end.

The New Pointillism

F 

OVERSHOOT Ascenders extending into the space of a following character.

QUAINT An antiquated sort or glyph, used to recreate the typographic flavor of a bygone age.

h n

SERIF A stroke added as a stop to the beginning and end of the main strokes of a character.

SHOULDER The curved stroke aiming downward from a stem. The curve at the beginning of a leg of a character, such as in an “m.”

The New Pointillism

115

SPINE The main curved stroke of a lowercase or capital S.

SPUR A small projection off a main stroke.

k w

STEM Vertical, full-length stroke in upright characters.

116

The New Pointillism

STROKE A straight or curved diagonal line.

B Q SWASH A flourish addition replacing a terminal or serif.

TAIL A descending stroke, often decorative.

r t

TEARDROP TERMINAL The teardropped ends of strokes in letters of some typefaces.

TERMINAL The end of a stroke that does not include a serif.

The New Pointillism

117

FON

118

The New Pointillism

CHAPTER

SIF

AT O The New Pointillism

NS 119

FONT CLASSIFICATIONS HUMANISTIC The oldest Italian, mostly Venetian, printing type, designed at the end of the fifteenth century during the Italian Renaissance, are based on the handwriting of the humanists. This script went back to the Carolingian minuscule of the ninth century. In 1470, Nicolas Jenson, a French printer who worked in Venice, was one of the first to cut a refined humanistic typeface. This is generally seen as the prime example for the first group of types we use to this day: the humanists.

GARALDE Appeared during the French Renaissance period. The name ‘garaldes’ is a contraction of the names of the French punchcutter Claude Garamond and of the Venetian printer Aldus Manutius. The first garaldes were based on the humanists, but they are more sophisticated, have narrower proportions and more fluent transitions.

TRANSITIONAL The transitionals are the early neoclassical typefaces that appeared in the middle of the eighteenth century and were usually designed for a specific purpose. They are seen as the first types that were really designed. The transitionals mark the transition between the Renaissance and neoclassicism.

MODERN OR DIDONE These are the late neoclassical seriffed types and their name is a combination of the French printing family Didot and the Italian printer Bodoni of Parma. The typeface Bodoni by Giambattista Bodoni, also known as the ‘king of the typographers’ (principe dei tipografi) or ‘printer to the kings’, is seen as the highlight of the didones.

120

The New Pointillism

SLAB-SERIF The slab-serifs are constructed typefaces and in general have hardly any thick-thin contrast. Some early slab-serifs are called egyptians – allegedly after the popularity of the Napoleonic campaign in Egypt and the resulting interest in Egyptology. (Confusingly, many of the geometrically constructed slab-serifs designed a hundred years later all bear egyptian place names such as Karnak, Luxor, Memphis etc., but they have nothing to do with the shape of the earlier egyptians which used the Grotesque form as their basis.) The Clarendon typeface is so typical for this group that in some English classifications the term ‘slabserif’ is replaced with ‘Clarendon’.

HUMANISTIC SANS-SERIF Sans-serifs are typefaces that owe their essential form to writing. The French word ‘linéal’ unsurprisingly means ‘advancing in a straight line.’ They first appeared at the beginning of the nineteenth century (Caslon Foundry, 1812/14), but only in capitals. The first sans-serif with lowercase appeared in England in 1834. Towards the end of the nineteenth century, every self-respecting foundry had a number of sans-serif typefaces with several variants. The humanistic sans-serifs are different because they follow the proportions of the classical Roman capital for the capitals and the humanistic manuscript hand for lowercase letters.

GROTESQUE SANS-SERIF The sans-serif grotesques appeared as a result of the popularity of the Swiss style of typography after the Second World War. Sans-serif started to get used more and more frequently with the advent of the Helvetica in 1957, created by the Swiss Max Miedinger.

GEOMETRIC SANS-SERIF The geometric sans-serifs seem to be drawn with ruler and compass. It takes a lot of skill to produce clearly legible typography with these typefaces. Good microtypography, such as choosing the right letter spacing and line interval, is very important.

The New Pointillism

121

FONT SPEC

15 CHAPTER

CLASSIFICATION:

Archer

MaxogGdQRst BOOK

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

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

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

SEMI-BOLD

124

The New Pointillism

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

BOLD ITALIC

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

CLASSIFICATION: GROTESQUE

Akzidenz Grotesk

MaxogGdQRst ROMAN

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

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

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

The New Pointillism The New Pointillism

125

CLASSIFICATION: TRANSITIONAL

Baskerville

MxaogGdQRt REGULAR

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

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

126

The New Pointillism

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

BOLD

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

CLASSIFICATION: SLAB SERIF

Belizio

MxagGdQrR REGULAR

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } The New Pointillism 127 ?!@&*

CLASSIFICATION: OLD STYLE

Bembo

MxnogGdQrRst REGULAR

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

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

BOLD

128

The New Pointillism

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

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

CLASSIFICATION: GROTESQUE

Bell Gothic

MxagGdQrRI LIGHT

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

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

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

The New Pointillism

129

CLASSIFICATION: NEW TRANSITIONAL

Bookman

MxaogGdQrR REGULAR

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

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

130

The New Pointillism

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

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

CLASSIFICATION: MODERN (DIDONE)

Bodoni

MxaogGdQrRst REGULAR

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 23 4567890(){}?! @&* The New Pointillism 131

Caslon

CLASSIFICATION: TRANSITIONAL

MxanogGdQRt REGULAR

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

ITALIC

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

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

132

The New Pointillism

SWASH

Aa Ba Ca Da Ea Fa Ga Ha Ia Ja Ka La Ma Na Oa Pa Qa Ra Sa Ta Ua Va Wa Xa Ya Z

ORNAMENT

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

CLASSIFICATION: TRANSITIONAL

Century Schoolbook

MxaogGdQrRt REGULAR

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

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

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

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

133

CLASSIFICATION: OLD STYLE

Cheltenham

MaxogGdQrRs REGULAR

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

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

134

The New Pointillism

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

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

CLASSIFICATION: SLAB SERIF

Clarendon

MxagGdQrRt LIGHT

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

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

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

The New Pointillism

135

CLASSIFICATION: MODERN

Cholla

MaxnogGdQrRst UNICASE

136

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

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

CLASSIFICATION: GRID BASED SANS SERIF

Clicker

MaxnogGdQRs REGULAR

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

137

CLASSIFICATION: MODERN

Didot

MxaogGdQrRt REGULAR

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

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

138

The New Pointillism

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

DIN

CLASSIFICATION: GROTESQUE

MaxnogGdQrRt LIGHT

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

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

MEDIUM

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

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

The New Pointillism

139

CLASSIFICATION: GROTESQUE

DIN

MaxngdQHAMBURG LIGHT CONDENSED

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

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

BOLD CONDENSED

140

The New Pointillism

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

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

Disturbance

MxnatQbWFGdR REGULAR

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

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

BOLD

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

CLASSIFICATION: MODERN

Filosofia

MxnaopQrRtfGg REGULAR

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

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

UNICASE

142

The New Pointillism

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

CLASSIFICATION: GROTESQUE

Franklin Gothic

MaxodQRtfGg BOOK

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

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

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

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

143

CLASSIFICATION: HUMANIST

Frutiger

MaxodQRtfGg CONDENSED

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

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

144

The New Pointillism

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

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

CLASSIFICATION: GEOMETRIC

Futura

MxaopQRstGg BOOK

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

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

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

CLASSIFICATION: GEOMETRIC

Gotham

MayogGdQRt BOOK

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

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

146

The New Pointillism

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

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

CLASSIFICATION: HUMANIST

Gill Sans

MaxnbyogGQRt REGULAR

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

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

BOLD

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

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