Type Workbook by Josh Munsch

T Y P O G R A P H I C

S Y S T E M

TA B L E O F C O N T E N T S 01

RULES

S P E C I A L C H A R AC T E R S

RULES DEFINED

GRIDS

Q U OT E S , D A S H E S & A P O S T R O P H E S

SMALL CAPS

NUMERALS & FIGURES

X- H E I G H T

C O L U M N W I DT H

KERNING

ALIGNMENT

H Y P H E N AT I O N R U L E S

J U S T I F I C AT I O N

COMBINING FONTS

PA R A G R A P H B R E A K S

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HEADERS

124

C A P T I O N S & N OT E S

134

FONT SPECS

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R U L E S

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R U L E S

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.

R U L E S TO R E M E M B E R

Use only one space between sentences.

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 justify the text on a short line.

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..

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Never hyphenate a words in a headline and avoid hyphenation in a call out.

Never use the spacebar to align text, always set tabs and use the tab key.

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.

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S P E C I A L

C H A R A C T E R S

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S P E C I A L

C H A R A C T E R S

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S P E C I A L

C H A R A C T E R S

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

characters and accent marks. On the following

™

pages are the key combinations for just about every accent you might need.

C O P Y R I G H T, R E G I S T E R TRADEMARKS & TRADEMARKS 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.

…

˜ ´ ˆ

E L L I P S I S & ACC E N T M A R K S 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. To set an accent mark over a letter, press the Option key and the letter, then press the letter you want under it.

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// K E Y

C O M M A N D S

“

Option [

Open Double Quote

”

Option Shift [

Close Double Quote

‘

Option ]

Open Single Quote

’

Option Shift ]

Close Single Quote

–

Option Hyphen

En Dash

—

Option Shift Hyphen

Em Dash

…

Option ;

Ellipsis

•

Option 8

Bullet

ﬁ

Option Shift 5

Ligature of f and i

ﬂ

Option Shift 6

Ligature of f and l

Option G

™

Option 2

Trademark

Option R

Registered Trademark

Option Shift 8

Degree Symbol

Option $

Cents Symbols

⁄

Option Shift 1 (ONE)

Fraction Bar

Option 1 (ONE)

Upside Down !

Option Shift ?

Upside Down ?

Option Shift 2

Euro Symbol

Option 3

Pound Symbol

Option C

Cedilla

Option Shift C

Uppercase Cedilla

‘

Option E

é | Acute

Option ~

à | Grave

Option U

ü | Trema

Option N

ñ | Tilda

Option I (i)

â | Circumflex

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R U L E S

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D E F I N E D

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R U L E S

D E F I N E D

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The following list further explains fundamental rules in typography. As mentioned earlier, the following should be incorporated when working with type.

I N S E R T A S I N G L E S PA C E A F T E R P U N C T U AT I O N 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.

U S E P R O P E R “ E M ” DA S H E S , “ E N ” DA S H E S A N D H Y P H E N S 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).

USE CORRECT MARKS Use true quotation marks and apostrophes instead of using inch marks and feet marks. Place all punctuations inside the quotation marks.

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R U L E S

D E F I N E D

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

A D D L E T T E R S PA C I N G T O S M A L L C A P S & C A P I TA L I Z E D T E X T 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 OLD STYLE FIGURES W H E N A P P R O P R I AT E 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.

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U S E C A P S P R O P E R LY 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.

U S E C O P Y R I G H T, T R A D E M A R K , & R E G I S T E R M A R K S P R O P E R LY 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.

E L L I P S I S C H A R AC T E R 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.

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R U L E S

D E F I N E D

AV O I D U N D E R L I N E D T E X T 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.

I N C R E A S E L I N E S PA C I N G T O I M P R OV E R E A DA B I L I T Y O F T E X T 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.

B O DY C O P Y S I Z E 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.

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A LT E R N AT I N G F O N T S Donâ&#x20AC;&#x2122;t alter the original typeface by stretching or condensing the letters improperly. Certain type families provide you with a lot of flexibility, so you should not need to destroy/alter text.

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.)

DECREASE LINE LENGTH INCREASE MARGINS 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.

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R U L E S

D E F I N E D

AV O I D L E T T E R S PA C I N G I N L O W E R C A S E B O DY C O P Y 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.

W O R D S PA C I N G S H O U L D B E C L O S E 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!

I D E A L CO LU M N W I DT H 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.

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J U S T I F I C AT I O N O F T E X T Justification can be appropriate in certain places. However, it can create certain problems such as rivers and word spacing. Adjusting size of margins, decreasing body copy size, turning on auto hyphenatation and manually hyphenating the text are all examples of possible solutions.

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

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

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R U L E S

D E F I N E D

AV O I D B E G I N N I N G C O N S E C U T I V E L I N E S W I T H SA M E WO R D 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.

A LWAY S S P E L L C H E C K 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.

AV O I D W I D O W S & O R P H A N S Widows are either single words alone on a line or single sentences alone on a new page. Orphans are single lines of copy alone at the end of a page.

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KERNING IN HEADLINES Adjust the space between two particular letters to allow for more consistent negative space.

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.

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

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G R I D S

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G R I D S

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GRID STRUCTURES When Designing a layout and working with

At its most basic, the sizes of a gridâ&#x20AC;&#x2122;s

be designed to give more flexibility than the

text and/or images the use of a grid is es-

component parts are determined by ease

single column of text per page (Jan Tsch-

sential, it is the basis on which information

of reading and handling. From the sizes

ichold's grid). This is due to to a change in

is organized and clarified, ensuring legi-

of type to the overall page or sheet size,

our reading patterns. Grid structures have to

bility. The grid provides a framework were

decision-making is derived from physiology

accommodate a greater variety of material

text, image and space can be combined

and the psychology of perception as much

such as photographs, illustrations, headings,

into a cohesive manner.

as by aesthetics. Type sizes are generally

captions, references, charts; they need to be

determined by hierarchyâ&#x20AC;&#x201D;captions smaller

more complicated than a grid using only text

than body text and so onâ&#x20AC;&#x201D;column widths by

and may utilize more modules. The design of

optimum word counts of eight to ten words

the grid had to be relevant to the purpose.

A grid subdivides a page vertically and horizontally into margins, columns, inter-column spaces, lines of type, and spaces between blocks of type and images. These subdivisions form the basis of a modular and tematic approach to the layout, particularly for multi-page documents, making the sign process quicker, and ensuring visual consistency between related pages.

to the line, and overall layout by the need to group related items. This all sounds rather formulaic, and easy. But designers whose grids produce dynamic or very subtle results take these rules as a starting point only, developing flexible structures in which their sensibility can flourish. Grids often need to 027

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G R I D S

SYMMETRICAL GRID In the symmetrical grid the verso page will be a true mirror image of the recto page. This gives two equal inner and outer margins. To accommodate marginalia the outer margins are proportionally larger. This classic layout, pioneered by German typographer Jan Tschichold (1902–1974), is based on a page size with proportions of 2:3. The simplicity of this page is created by the spatial relationships that ‘contain’ the text block in harmonious proportions. The other important factor about this grid is that it is dependent upon proportions rather than measurements.

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TSCHICHOLD GRID The construction of the symmetrical grid is as follows: The diagonals BC and AB across both pages establish D. A vertical is drawn from D to the a top of the page, creating E, then line EF is drawn. F corresponds to point D. Point G establishes the top margin. H is where a horizontal line from G intersects diagonal BC, establishing the top margin.

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G R I D S

THE GOLDEN SECTION Discovered by Leonardo Fibonacci, the sequence was used to establish proportion. The sequence of numbers demonstrate that the sum of two numbers establishes the next number. The golden section has been used for centuries. The Greeks used the golden section to establish balance in the design for architecture, for example the Parthenon, and it was re-discovered by artists and architects during the Renaissance period. The golden section is constructed through mathematical calculations : the ration being 1:1:61803. It is also know as the golden ratio.

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T H E G O L D E N R AT I O The sum of the quantities to the larger quantity is equal to the ratio of the larger quantity to the smaller one.

F I B O N ACC I S E R I E S 3-5-8-13-21-34-55-89-144-233-377-610 PROPORTIONS 1:1.667 - 1:1.618 R E C TA N G L E S 3:5 - 5:8 - 8:13 - 13:21 - 21:34 - 34:55 - 55:89 - 89:144 031

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G R I D S

ASYMMETRICAL

MODULAR

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ASYMMETRICAL An asymmetrical grid provides a spread in which both pages use the same layout. They may have one column that is narrower than the other columns in order to introduce a bias towards one side of the page. This provides an opportunity for the creative treatment of certain elements whilst retaining overall design consistency.

MODULAR GRID This is a symmetrical module or field-based grid formed by an array of evenly spaced squares. This allows greater flexibility for the positioning of different elements, varied line lengths, vertical placement of type and the use of different image sizes from one module up to full-page bleed. Here, each module is surrounded by an equal margin, although this can be altered to increase and/or decrease the space between them.

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G R I D S

BASELINE GRID Baseline grids serve to anchor all (or nearly all) layout elements to a common rhythm. Create a baseline grid by choosing the type size and leading of your text, such as 10pt Scala Pro with 12 pts leading (10/12). Avoid auto leading so that you can work with whole numbers that multiply and divide cleanly. Use this line space increment to set the baseline grid in your document preferences. Adjust the top or bottom page margin to absorb any space left over by the baseline grid. Determine the number of horizontal page units in relation to the number of lines in your baseline grid. Count how many lines fit in a full column of text and then choose a number that divides evenly into the line count to create horizontal page divisions. A column with forty-two lines of text divides neatly into seven horizontal modules with six lines each. If your line count is not neatly divisible, adjust the top and/ or bottom page margins to absorb the leftover lines.

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BASELINE GRID

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Q U O T E S,

D A S H E S

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A P O S T R O P H E S D

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Q U O T E S ,

D A S H E S ,

A P O S T R O P H E S

Q U OT E S It is necessary to know how to set smart quotes/real quotes yourself because sometimes the software doesn’t do it or does it wrong.

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

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Bridge Clearance: 16’7” The young man stood 6’2” The length of the wall is 153’9”.

KEY COMMANDS

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Opening double quote:

“

Type: Option [

Closing double quote:

”

Type: Option Shift [

Opening single quote:

‘

Type: Option ]

Closing single quote:

’

Type: Option Shift ]

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APOSTROPHES People are often confused about where the apostrophe

For omission of letters: In a phrase such as Rock ’n’ Roll,

belongs, here are a couple of rules that work very well.

there should be an apostrophe before and after the n, because the a and the d are both left out. And don’t turn

For possessives: Turn the phrase around. The apostrophe

the first apostrophe around — just because it appears

will be placed after whatever word you end up with. For

in front of the letter does not mean you need to use the

example, in the phrase the boys’ camp, to know where to

opposite single quote. An apostrophe is still the appropriate

place the apostrophe say to yourself, “The camp belongs

mark (not ‘n’).

to the boys.” The phrase the boy’s camp says “The camp belongs to the boy.”

In a phrase such as House o’ Fashion, the apostrophe takes the place of the f. There is not earthly reason for an

It may be easier to remember if you recall that yours, hers,

apostrophe to be set before the o.

and his don’t use apostrophes — and neither should its. In a phrase such as Gone Fishin’ the same pattern is folFor contractions: The apostrophe replaces the missing

lowed — the g is missing.

letter. For example: your’re always means you are; the apostrophe is replacing the a from are. That’s an easy way

In a date when part of the year is left out, an apostrophe

to distinguish it from your as in your house and to make

needs to indicate the missing year. In the 80s would mean

sure you don’t say: Your going to the store.

the temperature; In the ’80s would mean the decade. (Notice there is no apostrophe before the s! Why would

As previously noted, it’s means “it is”; the apostrophe is

there be? It is not possessive, nor is it a contraction — it is

indicating where the i is left out. Don’t means “do not”;

simply plural.

the apostrophe is indicating where the o is left out. Apostrophe:

’

Type: Option shift ]

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Q U O T E S ,

D A S H E S ,

A P O S T R O P H E S

DA S H E S Use proper ‘em’ dashes, ‘en’ dashes, and hyphens Never use two hyphens instead of a dash. Everyone knows what a hyphens is —that tiny little dash that belongs in some words, like mother-in-law, or in phone numbers. It’s also used to break a word at the end of a line, of course. You might have been taught to use or given text that uses a double hyphen -- to indicate a dash. This is a typewriter convention because typewriters didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hyphen—we have a professional em dash, the long one, such as you see in this sentence. We also have an en dash, which is a little shorter than the em dash.

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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.)

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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.

KEY COMMANDS Hyphen:

Type: Hyphen (-)

En dash:

–

Type: Option Hyphen (-)

Em dash:

—

Type: Option Shift Hyphen (-)

Low-budget film

E N DA S H –

E M DA S H —

An en dash is half of the em rule (the width of a capital

The em dash is twice as long as the en dash—it’s

N) and is used between words that indicate a duration,

about the size of a capital letter M in whatever size

such as time or months or years. Use it where you

and typeface you’re using at the moment. This dash

might otherwise use the word “to.”

is often used in place of a colon or parentheses, or

In a page layout application, the en dash can be used

used in a spot where a period is too strong and a

with a thin space on either side of it. If you want you

comma is too weak. It is also used for attribution of

can kern it so it is not a full space.

text. —Mac is not a Typewriter

October – December

Our equivalent on the typewriter was the double

it might indicate an abrupt change in thought, or it’s

6:30 – 8:45 A.M. 4 – 6 years of age

hyphen, but now we have a real em dash. Using two hyphens(or worse, one) where there should be an em dash makes your look very unprofessional. When using an—no space is used on either side. My cat—who is just a puppy—ate a bug. “Love is...” —Anonymous

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S M A L L

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C A P S

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S M A L L

C A P S

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

Use small caps for acronyms. Set acronyms such as

nasa

nasdaq

in small caps when they appear

in body text or headlines.

Use small caps for common abbreviations. Set common abbreviations such as AM or PM in small caps so they donâ&#x20AC;&#x2122;t overpower the accompanying text: a.m. and p.m.; space once after the number, and use periods. (if the font does not have small caps reduce the font size slightly)

Use true small caps fonts. Avoid simply resizing capital letters or using the small caps feature in some programs. Instead use typefaces that have been specifically created as small caps.

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THE CORRECT USE If you set acronyms in regular all caps, their visual presence is unnecessarily overwhelming. One standard and practical place to use small caps is in acronyms such as

nba, nfl, cia,

cnbam.

Traditionally, “a.m.” and “p.m.” are set with small caps. If you were taught to type on a typewriter (or if you were taught on a keyboard by someone who has taught on a typewriter), you probably learned to set these abbreviations in all caps because there were no small caps on typewriters. But now that you have the capability, you can and should set them properly.

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

The capital letters in the middle of sentence call too much attention to themselves. Notice how small caps blend with the text.

The Wicked Are Very Weary. The Wicked Are Ver y Wear y.

The weight of the computer-drawn small caps is thinner than the weight of the regular initial (first letter) caps.

No Rest For The Wicked No R est For The Wicked

True drawn small caps are specifically drawn to match the weight of the capital letters in the same face.

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N U M E R A L S

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F I G U R E S

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N U M E R A L S

F I G U R E S

NUMERALS & FIGURES Oldstyle figures, also known as non-lining figures, do not line

Unlike lining figures, Oldstyle figures blend in without disturbing

up on the baseline as regular or lining numerals do. They can be

the color of the body copy. They also work well in headlines since

found in various fonts. Oldstyle figures are a style of numeral

they’re not as intrusive as lining figures. In fact, many people prefer

which approximate lowercase letterforms by having an x-height

them overall for most uses except charts and tables. It’s well worth

and varying ascenders and descenders. They are considerably

the extra effort to track down and obtain typefaces with oldstyle

different from the more common “lining” (or “aligning”) figures

figures; the fonts that contain them might well become some of

which are all-cap height and typically monospaced in text faces

your favorites.

so that they line up vertically on charts. If the body text has a significant amount of numbers, research a Oldstyle figures have more of a traditional, classic look and are

font family where they are included. If non-lining numerals are not

very useful and quite beautiful when set within text. They are

available, use a slightly smaller point size for the lining numbers.

only available for certain typefaces, sometimes as the regular

Think of lining numbers as upper case numbers and non-lining num-

numerals in a font, but more often within a supplementary or

bers as lower case numbers.

expert font. The figures are proportionately spaced, eliminating the white spaces that result from monospaced lining figures, especially around the numeral one.

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

Notice how large the numbers appear.

Notice how neatly these numbers blend into the text.

ALIGNING NUMBERS 12 12.5 134 134.0

17 17.8

When entering numerical

1023 1023.4

data in a table, be sure align

323 323.0

numbers correctly.

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X - H E I G H T

R 051

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X - H E I G H T

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X- H E I G H T Readability and legibility are two key elements of printed text that typographer strive to maximize. Readability extended amount of text – such as an article, book, or annual report – is easy to read. Legibility refers to whether an refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable. There are several factors that determine whether a text is readable. When deciding what typeface should be used for a job, consideration should be given to the typeface and its x-height. It is important to understand how a block of text can express a message through its texture/color, therefore suiting a particular design solution. Fonts set in the same size, same leading and column width will produce varying degrees of “color”. In typography, color can also describe the balance between black and white on the page of text. A typeface’s color is determined by stroke width, x-height, character width and serif styles.

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

W H O I S TO R E A D I T? Someone that wants to read it? Someone that has to read it?

H OW W I L L I T B E R E A D? Quickly. In passing. Focused. Near. Far.

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X - H E I G H T

X xh g Xxhg MELIOR // Herman Zapf

HELVETICA NEUE 55 // Max Miedinger

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

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

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

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X xhg MRS EAVES // Zuzana Licko 9/11 | x-height: small | character width: narrow | color: light

055

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X - H E I G H T

X xhg

ADOBE CASLON // William Caslon

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

056

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X xh g Xxhg UNIVERS // Adrian Frutiger

PLATELET // Conor Mangat

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

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

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X - H E I G H T

X xh g Xxhg INTERSTATE // Tobia Frere-Jones

GOUDY // Frederic W. Goudy

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

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

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. Mawrinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

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X xh g MEMPHIS // Robert Thorme 9/11 | x-height: average | character width: average | color: dark

059

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X - H E I G H T

Xxhg TRADE GOTHIC // Jackson Burke 9/11 | x-height: tall | character width: narrow | color: dark

060

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Xx h g

Xxh g

GARAMOND // Claud Garamond

NEWS GOTHIC // Morris Fuller Benton

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

9/11 | x-height: tall | character width: narrow | color: dark

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X - H E I G H T

X xhg

Xxhg

BAUER BODINI // Louis HĂśll

ARCHER // Hoelfer & Frere-Jones

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

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

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. Mawrinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

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X xhg AKZIDENZ GROTESK // Berthold Type Foundry 9/11 | x-height: tall | character width: average | color: light

063

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X - H E I G H T

Xx hg VOLTA T // Dr. Konrad F. Bauer 9/11 | x-height: average | character width: wide | color: dark

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X xhg

Xx hg

GILL SANS // Eric Gill

WALBAUM // František Štorm

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

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

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

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. 065

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X - H E I G H T

X xhg Xxh g GOTHAM // Tobia Frere-Jones

META // Erik Spiekermann

9/11 | x-height: tall | character width: wide | color: light

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

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. Mawrinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

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067

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C O L U M N

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W I D T H

P 069

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C O L U M N

W I D T H

CO LU M N W I DT H 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.

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10 pt. x 2 = 20/6 = 3.333 in.

Determining Line Length Font Size x 2 / 6

07 1

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K E R N I N G

R 073

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K E R N I N G

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

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Characters with verticals next to each

other need the most amount of space; this can often be used as a guideline to keep the spacing consistent

A vertical next to a curve needs less space.

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

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

The point is to keep spacing visually consistentâ&#x20AC;&#x201D;there should visually appear to be the same amount of pace between all letters. It is not critical how muchâ&#x20AC;&#x201D;it's critical that it is consistent.

Metric kerning uses the kerning tables that

Optical kerning is executed automatically by the page

are built into the typeface. When you select

layout program. Rather than using the pairs addressed

metric kerning in your page layout program,

in the fontâ&#x20AC;&#x2122;s kerning table, optical kerning assesses

you are using the spacing that was intended

the shapes of all characters and adjusts the spacing

by the type designer. Metric kerning usually

wherever needed. Some graphic designers apply

looks good, especially at small sizes. Cheap

optical kerning to headlines and metric kerning to text.

novelty fonts often have little or no built-in

You can make this process efficient and consistent by

kerning and will need to be optically kerned.

setting kerning as part of your character styles.

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A L I G N M E N T

O 077

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A L I G N M E N T

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

If they are both wrong, then what's right? Alignment is only a small piece of the puzzle. What works for one design might be totally inappropriate for another layout. As with all layouts, it depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page.

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JUSTIFIED TEXT In justified text, the spaces between words, and, to a far lesser extent, between glyphs or letters (known as “tracking”), are stretched or sometimes compressed in order to make the text align with both the left and right margins. When using justification, it is customary to treat the last line of a paragraph separately by left or right aligning it, depending on the language direction.

Considered more formal

Typically packs more characters per

Requires extra attention to character

line; more letters into the same space

spacing to avoid rivers in text

LEFT ALIGNED Left Aligned text is almost as common as justified. Although it doesn’t fit as much information on a page as justified text, it has a more natural flow as the text is not confined to a certain space. Left-Aligned text flows to the right along with the reader’s eyes and leaves a nice element of negative space for the type-oriented designer. Along with the white space component, the ragged right edge breaks up the monotony of text blocks. Type setters can more easily avoid widows and rivers due to the easy nature of left-alignment adjustment.

+ + +

Considered more informal Ragged right edge adds an element of white space. Generally type set left-aligned is easier to work

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A L I G N M E N T

CENTERED There is nothing inherently wrong with centered text. As with ragged right or fully-justified text alignment, what works for one design might be totally inappropriate for another layout. There are simply fewer situations where centered text is appropriate. When in doubt, donâ&#x20AC;&#x2122;t center it. As with all layouts, alignment depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design.

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RIGHT ALIGNED Right-aligned text creates a definite, different

The biggest drop in readability comes from

look in comparison to left-aligned text. The

the left edge. When your eyes return to the

letter and word spacing still retain their ideal

next line to find the text, the starting point is

built-in settings, and corrections can often be

inconsistent, therefore your eye has to find the

made without affecting the rest of the text.

beginning each time you move to the next line.

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H Y P H E N A T I O N

1 2

R U L E S

T 083

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H Y P H E N A T I O N

R U L E S

Some programs have the option to manually set the hyphenation settings. The image to the below is an example of Adobe InDesign.

H Y P H E N AT I O N R U L E S Do not rely on the software to judge where hyphens should be placed. At the end of lines, leave at least two characters behind and take at least three forward. For example, “ele-gantly” is acceptable, but “elegant-ly” is not because it takes too little of the word to the next line. Avoid leaving the stub end of a hyphenated word or any word shorter then four letters as the last line of a paragraph. 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 and fix the problem.

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R U L E S TO R E M E M B E R +

Avoid widows (one word on the last line of a paragraph)

Avoid hyphenating or line brakes of names and proper nouns

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..

Avoid more then 3 consecutive hyphenated lines

Avoid hyphenating or breaking proper names and titles

Avoid beginning three consecutive lines with the same

word. Leave a least 2 characters on the line and 3 following Never hyphenate a words in a headline and avoid hyphenation in a callout Creating a non-breaking space before and after the name will ensure that the name will not break

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J U S T I F I C A T I O N

N 087

1 3

088

J U S T I F I C A T I O N

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W I D OW

When a paragraph ends and leaves fewer than seven characters (not words, characters) on the last line, that line is called a widow.

ORPHANS When the last line of a paragraph, be it ever

so long, won’t fit at the bottom of a column and must end itself at the top of the next

J U S T I F I C AT I O N

column, that is an orphan.

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

RIVERS

The only time you can safely justify text is if your

In typography, rivers, or rivers of white, are

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,

visually unattractive gaps appearing to run

down a paragraph of text. They can occur with any spacing, though they are most noticeable

or if you don’t have many words on the line, than

with wide word spaces caused by either full

as the type aligns to the margins the words space

text justification or monospaced fonts.

themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where

W O R D S PA C I N G

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

The space between words that results from pressing the spacebar. The word spacing can

middle. Gross. But that’s what can happen with

range from 0% — 1000%, at 100%; no additional

justified type. When you do it, the effect might

space is added to the words.

not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably

L E T T E R S PA C I N G

end up with uncomfortable gaps in some lines, while other lines will be squished together.

The distance between letters, including kerning or tracking values. Letterspacing values can range from -100% to 500%; at 0%, no spacing is added between letters. At 100%, an entire space width is added between letters.

G LY P H S C A L I N G

The width of characters (a glyph is any font character). Glyph scaling values can range from 50% to 200%.

The image to the right is an example of custom justification settings in Adobe InDesign.

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J U S T I F I C A T I O N

WORD SPACING: 50 / 70 / 100 size: 8/12 // column width: 2.5in // alignment: left justified

A K Z I D E N Z G R OT E S K R E G U L A R

A D O B E C AS LO N R E G U L A R

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WORD SPACING: 80 / 140 / 300 size: 8/12 // column width: 2.5in // alignment: left justified

FUTURA MEDIUM

BEMBO REGULAR

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J U S T I F I C A T I O N

WORD SPACING: 100 / 200 / 300 size: 8/12 // column width: 2.5in // alignment: left justified

GILL SANS REGULAR

MEMPHIS MEDIUM

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WORD SPACING: 80 / 200 / 330 size: 8/12 // column width: 2.5in // alignment: left justified

T R A D E G OT H I C M E D I U M

SABON REGULAR

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J U S T I F I C A T I O N

WORD SPACING: 150 / 230 / 340 size: 8/12 // column width: 2.5in // alignment: left justified

UNIVERS 55 ROMAN

WA L B A U M R O M A N

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095

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C O M B I N I N G

1 4

T Y P E F A C E S

N 097

1 4

098

C O M B I N I N G

T Y P E F A C E S

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COMBINING TYPE When combining serif and sans serif text fonts, one shroud try and match the characteristics of form and type color: proportion, x-heights. 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. 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.

COMBINING SAN SERIFS Combining two san serif fonts typically does not

work well (i.e. Helvetica and Arial). Without going deep into design theory, the basic principle is the lack of contrast between the faces. AV O I D W E A K C O N T R A S T S Such as semi-bold type with a bold type; avoid

combining script with an italic due to their similarities in form. Also, avoid combining typefaces with slight difference in size (i.e. 72 point type with 68 point type). COMBINING SERIFS Though a bit easier, combining two serif type-

faces takes a bit of visual literacy to effectively execute the combination. Choose two serifs that differ greatly. Combining a script typeface with another serif can often work as well.

The following pages are example of different font combinations. 099

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C O M B I N I N G

T Y P E F A C E S

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

aa BB ee GG gg HUMANIST SANS-SERIF| HELVETICA NEUE 85 HEAVY (18 pt) OLD STYLE SERIF| BEMBO REGULAR (8 pt) The fonts work well with one another as a result of their contrast in size and color.

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aa BB ee GG gg GROTESQUE SANS-SERIF| AKZIDENZ GROTESK REG. (8 pt) OLD STYLE SERIF| GOUDY EXTRA BOLD ( 20 pt) The fonts work well with one another as a result of their contrast in size and color.

0101

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C O M B I N I N G

T Y P E F A C E S

aa BB ee GG gg GEOMETRIC SANS-SERIF| FUTURA BOLD (18 pt) TRANSITIONAL SERIF| BASKERVILLE REG. ( 8 pt) The fonts work well with one another as a result of their contrast in size and color.

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aa BB ee GG gg HUMANIST SANS-SERIF| BOOKMAN REG. (7 pt) TRANSITIONAL SERIF| INTERSTATE BLACK (20 pt) The fonts work well with one another as a result of their contrast in size and color.

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C O M B I N I N G

T Y P E F A C E S

aa BB ee GG gg GEOMETRIC SANS-SERIF| FUTURA BOLD (18 pt) MODERN SERIF| BASKERVILLE REG. ( 8 pt) The fonts work well with one another as a result of their contrast in size and color.

0104

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aa BB ee GG gg GROTESQUE SANS-SERIF| UNIVERS ROMAN (7 pt) MODERN SERIF| VOLTA BOLD. (18 pt) The fonts work well with one another as a result of their contrast in size and color.

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C O M B I N I N G

T Y P E F A C E S

aa BB ee GG gg GEOMETRIC SANS-SERIF| GOTHAM BOLD (18 pt) NEW TRANSITONAL SERIF| SWIFT REG. ( 8 pt) The fonts work well with one another as a result of their contrast in size and color.

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aa BB ee GG gg GROTESQUE SANS-SERIF| HELVETICA REG. (7 pt) NEW TRANSITIONAL SERIF| PERPETUA BOLD (20 pt) The fonts work well with one another as a result of their contrast in size and color.

0107

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C O M B I N I N G

T Y P E F A C E S

WORDS IN LIBERTY A Prologue to Futurism: Futurism was first announced on

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

aa BB ee GG gg GEOMETRIC SANS-SERIF| FUTURA BOLD (18 pt) SLAB SERIF| ROCKWELL REG. ( 7 pt) The fonts work well with one another as a result of their contrast. Futura Bold is very dark.

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aa BB ee GG gg HUMANIST SANS-SERIF| SYNTAX REG. (8 pt) SLAB SERIF| ARCHER BOLD ( 20 pt) The fonts work well with one another as a result of their contrast in size and color.

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P A R A G R A P H

1 5

B R E A K S

S 0111

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P A R A G R A P H

B R E A K S

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PA R A G R A P H B R E A K S 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.

R U L E S TO R E M E M B E R 1.

First line at the beginning of an article should be flush left (do not indent first paragraph)

Block paragraphs are flush left and are separated by extra leading not a full return

The amount indent is equal to the leading (sometimes needs a bit more)

Never hit two returns between paragraphs

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P A R A G R A P H

B R E A K S

EXAMPLE 1 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 manifes- to’s rhetoric was passionately bombastic; its tone was aggressive and inflam- matory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemi- cal 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 libertà, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenom- ena.” 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 (circa 1915), “Everything of any value is theatrical.”

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EXAMPLE 2 Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifes- to’s rhetoric was passionately bombastic; its tone was aggressive and inflam- matory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemi- cal 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 libertà, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenom- ena.” This freedom-of-theworld, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti (circa 1915), “Everything of any value is theatrical.”

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EXAMPLE 3 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 manifes- to’s rhetoric was passionately bombastic; its tone was aggressive and inflam- matory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemi- cal 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 libertà, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenom- ena.” 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 (circa 1915), “Everything of any value is theatrical.”

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EXAMPLE 4 Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflam- matory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

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 (circa 1915), “Everything of any value is theatrical.”

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EXAMPLE 5 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 manifes- to’s rhetoric was passionately bombastic; its tone was aggressive and inflam- matory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemi- cal 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 libertà, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenom- ena.” 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 to jeer or cheer them. Wrote Marinetti (circa 1915), “Everything of any value is theatrical.”

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EXAMPLE 6 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 manifes- to’s rhetoric was passionately bombastic; its tone was aggressive and inflam- matory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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.

juxtaposition, more fully explored the use of innovative and expressive typographyin the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed dec- 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 (circa 1915), “Everything of any value is theatrical.”

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EXAMPLE 7 +

But is the movements which survive, oddly, here

While Marinetti’s opening manifesto for Italian

where we live and work as poets and artists: or, if

Futurism bristled with a polemi- cal stance in favor

not the movements, then their sense of art as an life

of the transformed present (1909), the later mani-

itself. All of which, as futurism, had come sharply

festos of Futurist poets and artists offered formal,

into focus by the start of the world war: a first rad-

“technical” approaches to the works then getting

ical mix of art and life, the epitome in the popular

under way. The key term – still resonant today – was

mind of an avant-garde. It was, on both its Russian

parole in libertà, by which poetry was to become

& Italian sides, the first great “art” movement led

“an uninterrupted sequence of new images... (a)

by poets; and if its means now sometimes seem ex-

strict bet of images or analogies, to be cast into the

aggerated or unripe in retrospect, they carry within

mysterious sea of phenom- ena.” This freedom-of-

them the seed of all that we were later to become.

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 (circa 1915), “Everything of any value is theatrical.”

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EXAMPLE 8 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 manifes- to’s rhetoric was passionately bombastic; its tone was aggressive and inflam- matory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemi- cal 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 libertà, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenom- ena.” 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 (circa 1915), “Everything of any value is theatrical.”

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EXAMPLE 9 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 manifes- to’s rhetoric was passionately bombastic; its tone was aggressive and inflam- matory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is the movements which survive, oddly, here

While Marinetti’s opening manifesto for Italian

where we live and work as poets and artists: or, if

Futurism bristled with a polemi- cal stance in favor

not the movements, then their sense of art as an life

of the transformed present (1909), the later mani-

itself. All of which, as futurism, had come sharply

festos of Futurist poets and artists offered formal,

into focus by the start of the world war: a first rad-

“technical” approaches to the works then getting

ical mix of art and life, the epitome in the popular

under way. The key term – still resonant today – was

mind of an avant-garde. It was, on both its Russian

parole in libertà, by which poetry was to become

& Italian sides, the first great “art” movement led

“an uninterrupted sequence of new images... (a)

by poets; and if its means now sometimes seem ex-

strict bet of images or analogies, to be cast into the

aggerated or unripe in retrospect, they carry within

mysterious sea of phenom- ena.” This freedom-of-

them the seed of all that we were later to become.

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EXAMPLE 10 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 manifes- to’s rhetoric was passionately bombastic; its tone was aggressive and inflam- matory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemi- cal 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 libertà, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenom- ena.” 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 (circa 1915), “Everything of any value is theatrical.”

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HEADERS Headers live at the top of the page, serving as an introductory tool, grabbing the reader’s attention. Subheads put that attention in focus — guiding the reader down the story’s path. Crossheads are a unique kind of header found in between paragraphs, breaking up longer passages of text. The header or headline needs to be bold, or else it wont jump out at the reader. Headers give the reader a starting point and help eliminate confusion. They are first in hierarchy and set the organizational tone of the page. Headers should also be well written and clever, because first impressions count. Other types of headers include running headers, which is a header that appears on each page —such as a the book title on the right hand page and the chapter title on the left hand page. Designers should embrace headers; organization is a primary focus of graphic design.

The following pages display different examples of headers.

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Radical Mix of Art & Life But is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the popular mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemi- cal 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 libertà, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenom- ena.” 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 (circa 1915), “Everything of any value is theatrical.”

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

Radical Mix of Art & Life While Marinetti’s opening manifesto for Italian Futurism bristled with a polemi- cal 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 libertà, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenom- ena.” 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 to jeer or cheer them. Wrote Marinetti (circa 1915), “Everything of any value is theatrical.”

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Radical Mix of Art & Life

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the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

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WO R DS I N L I BERTY A PROLOGUE TO FUTURISM

RADICAL MIX OF ART & LIFE

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

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemi- cal 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 libertà, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenom- ena.” 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 (circa 1915), “Everything of any value is theatrical.”

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H E A D E R S

WORDS IN LIBERTY A Prologue to Futurism |

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

Radical Mix of Art & Life |

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While Marinetti’s opening manifesto for Italian Futurism bristled with a polemi- cal 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 libertà, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenom- ena.” 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 (circa 1915), “Everything of any value is theatrical.”

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WORDSINLIBERTY A PROLOGUE TO FUTURISM Futurism was first announced on February 20, 1909, when

While Marinetti’s opening manifesto for Italian Futurism

the Paris newspaper Le Figaro published a manifesto by

bristled with a polemi- cal stance in favor of the trans-

the Italian poet and editor Filippo Tommaso Marinetti. The

formed present (1909), the later manifestos of Futurist

name Futurism, coined by Marinetti, reflected his empha-

poets and artists offered formal, “technical” approaches

sis on discarding what he conceived to be the static and

to the works then getting under way. The key term – still

irrelevant art of the past and celebrating change, originality,

resonant today – was parole in libertà, by which poetry

and innovation in culture and society. Futurism rejected

was to become “an uninterrupted sequence of new

traditions and glorified contemporary life, mainly by em-

images... (a) strict bet of images or analogies, to be cast

phasizing two dominant themes, the machine and motion.

into the mysterious sea of phenom- ena.” This freedom-

The manifes- to’s rhetoric was passionately bombastic; its

of-the-world, while it resembled other forms of collage

tone was aggressive and inflam- matory and was purposely

and of image juxtaposition, more fully explored the use

intended to inspire public anger and amazement, to arouse

of innovative and expressive typography in the visual

controversy, and to attract widespread attention.

presentation of language, as set in motion by forerun-

RADICAL MIX OF ART & LIFE

ners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture,

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

events and surroundings, indifference and engagement,

live and work as poets and artists: or, if not the movements,

to break the barriers between themselves and those

then their sense of art as an life itself. All of which, as futur-

who came to jeer or cheer them. Wrote Marinetti (circa

ism, had come sharply into focus by the start of the world

1915), “Everything of any value is theatrical.”

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

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FO OT N OT E S & E N D N OT E S 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 & 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 following pages display different examples notes.

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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 manifes- to’s rhetoric was passionately bombastic; its tone was aggressive and inflam- matory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. Parole in liberta: words set free (liberty)

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

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

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

Selbst: Himself

Parole in liberta: words set free (liberty)

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N O T E S

Radical Mix of Art & Life

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the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

• Parole in Liberta: words set free (liberty)

• Selbst: himself

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WO R DS I N L I BE RTY A PROLOGUE TO FUTURISM

RADICAL MIX OF ART & LIFE

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

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

2. Selbst: himself 3. Parole in Liberta: words set free (liberty)

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemi- cal 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 libertà, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenom- ena.” 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 (circa 1915), “Everything of any value is theatrical.”

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N O T E S

WORDS IN LIBERTY A Prologue to Futurism |

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

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

Radical Mix of Art & Life |

0142

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemi- cal 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 libertà, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenom- ena.” 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 selbst and those who came to jeer or cheer them. Wrote Marinetti (circa 1915), “Everything of any value is theatrical.”

parole in liberta = words set free (liberty)

selbst = themself

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WORDSINLIBERTY A PROLOGUE TO FUTURISM Futurism was first announced on February 20, 1909, when

While Marinetti’s opening manifesto for Italian Futurism

the Paris newspaper Le Figaro published a manifesto by

bristled with a polemi- cal stance in favor of the trans-

the Italian poet and editor Filippo Tommaso Marinetti.1 The

formed present (1909), the later manifestos of Futurist

name Futurism, coined by Marinetti, reflected his empha-

poets and artists offered formal, “technical” approaches

sis on discarding what he conceived to be the static and

to the works then getting under way. The key term –

irrelevant art of the past and celebrating change, originality,

still resonant today – was parole in libertà2, by which

and innovation in culture and society. Futurism rejected

poetry was to become “an uninterrupted sequence of

traditions and glorified contemporary life, mainly by em-

new images... (a) strict bet of images or analogies, to

phasizing two dominant themes, the machine and motion.

be cast into the mysterious sea of phenom- ena.” This

The manifes- to’s rhetoric was passionately bombastic; its

freedom-of-the-world, while it resembled other forms of

tone was aggressive and inflam- matory and was purposely

collage and of image juxtaposition, more fully explored

intended to inspire public anger and amazement, to arouse

the use of innovative and expressive typography in

controversy, and to attract widespread attention.

the visual presentation of language, as set in motion by

RADICAL MIX OF ART & LIFE

forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and

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

gesture, events and surroundings, indifference and

live and work as poets and artists: or, if not the movements,

engagement, to break the barriers between selbst3 and

then their sense of art as an life itself. All of which, as futur-

those who came to jeer or cheer them. Wrote Marinetti

ism, had come sharply into focus by the start of the world

(circa 1915), “Everything of any value is theatrical.”

war: a first radical mix of art and life, the epitome in the popular mind of an avant-garde. It was, on both its Russian

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

& Italian sides, the first great “art” movement led by poets;

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

and if its means now sometimes seem exaggerated or un-

3. selbst = himself

ripe in retrospect, they carry within them the seed of all that we were later to become.

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F O N T

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S P E C S

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F O N T

S P E C S

CLASSIFICATION: SLAB SERIF

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 4567890(){}?!@&* SEMI-BOLD

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

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

BOLD ITALIC

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { } ? ! @ & * 0146

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CLASSIFICATION: GROTESQUE

Akzidenz Grotesk

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

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

BOLD

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

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

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

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CLASSIFICATION: TRANSITIONAL

Baskerville

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

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

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

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

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 ( ) { } ? ! @ & *

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CLASSIFICATION: SLAB SERIF

Belizio

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

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 67890(){}?!@&* 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 567890(){}?!@&* 0149

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F O N T

S P E C S

CLASSIFICATION: GROTESQUE

Bell Gothic

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

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Aa Bb 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

Aa Bb 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(){}?!@&*

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 ( ) { } ? ! @ & *

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CLASSIFICATION: OLD STYLE

Bembo

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

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }?!@&* 0151

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S P E C S

CLASSIFICATION: NEW TRANSITIONAL

Bookman

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

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

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

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

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CLASSIFICATION: MODERN

Bodoni

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 23456789 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 ( ) { } ? ! @ & *

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S P E C S

Adobe 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 123 4567890(){}?!@&* ALTERNATE

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c h i k l Ss T t SWASH

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

A a Bb C c D d Ee F f G g H h Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr S s Tt Uu Vv Ww X xyZz123 4

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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 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 ( ) { } ? ! @ & * 0155

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S P E C S

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

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

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CLASSIFICATION: SLAB SERIF

Clarendon

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

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

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

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

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S P E C S

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

0158

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

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CLASSIFICATION: NEO-GROTESQUE

Interstate

MaoygGdQrRt REGULAR

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7890(){}?!@&* 0159

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F O N T

S P E C S

CLASSIFICATION: SCRIPT

Kunstler Script

xyogGdQrRst 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 7 890(){}?!@&* Pat. San ea consectet ad duis dolorem eu facil dit am, summy nisim ipit, quat, velit pratismodo diat. Et lorperi liquat lor sequam zzrilit, velese facin ut verosti nciduis modit, qui erosto odit ut verit nos nos amet iure doluptatisl digna facin hendre ming ea feum incilla ad dunt dunt ipit vulput lorper sumsand ionsenit num ip erit la feu feumsan henis exerci esto etumsan hent am, velit, quisit nummy nosto dolutat irit veniam zzrilit, qui tincilit wis eum zzriustis ex eraestrud delit lamcon vero exercidunt aliscidui bla facip et veniam eum illan veros dignit alit vullandiat nis nisl dunt aliquam consent alit etuero odionsecte dunt nulla faci et in vulla feugait lore eum zzril ullamco nsequi bla autpatet nummodipisi. Ed etummodit vullamcon utat ulluptat delendit nonsenim inciliqui tio odoloreet ver sum velis aliquis del irit aut nosto consequam zzrit aut ipsum diamcon sequam num et wisi tio dolorem elesto dolobor iuscilisci et, quis endre te dolobor sum volenibh exerit utpat. Uptat, vel dolese molorem eraessis nit niamcorperos autat, venit in etum erilissit irit eui bla feum iurem nonsequi e

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CLASSIFICATION: TRANSITIONAL

Melior

MayogGdQrRt REGULAR

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

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

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

BOLD

Aa Bb 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(){}?!@&* 0161

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F O N T

S P E C S

CLASSIFICATION: SLAB SERIF

Memphis

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 9 0 ( ) { } ? ! @ & * MEDIUM

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

0162

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

1 8

CLASSIFICATION: HUMANIST