Savvy by Josie Miller

A MANUAL OF TYPOGRAPHY JOSIE MILLER

TABLE OF CONTENTS 1. Table of Contents

2. Rules Check Sheet

3. Special Characters

4. Typographic Rules

5. Grids

6. Quotes & Apostrophes

7. Dashes 35 8. Small Caps

9. Numerals & Figures

10. X-Height

11. Column Width

12. Kerning 77 13. Alignments 83 14. Hyphenation

15. Justification 97 16. Font Combinations

113

17. Paragraph Rules

127

18. Heads & Subheads

141

19. Captions & Notes

161

20. Font Specs

165

TABLE OF CONTENTS

TYPOGRAPHY RULES

LEGIT RULES– 1. Use only one space between sentenc-

a short line. 19. Keep the word spacing

es. 2. Use real quotation marks. 3. Use

consistent. 20. Tighten up the leading in

real apostrophes. 4. Make sure the apos-

lines with all caps or with few ascenders

trophes are where they belong. 5. Hang

and descenders. 21. Use a one-em first-

the punctuation off the aligned edge. 6.

line indent on all indented paragraphs. 22.

Use en or em dashes, use consistently.

Adjust the spacing between paragraphs.

7. Kern all headlines where necessary. 8.

23. Either indent the first line of para-

Never use the spacebar to align text– set

graphs or add extra space between them

tabs and use the tab key. 9. Leave no

– not both. 24. Use a decimal or right-

widows or orphans. 10. Avoid more than 3

aligned tab for the numbers in numbered

hyphenations in a row. 11. Avoid too many

paragraphs. 25. Never have one line in

hyphenations in any paragraph. 12. Avoid

a paragraph in the column or following.

hyphenating or line brakes of names

26. Never combine two serif fonts on one

and proper nouns. 13. Leave a least 2

page. 27. Rarely combine two sans serif

characters on the line and 3 following.

fonts on one page. 28. Rarely combine

14. Avoid beginning consecutive lines

more than three typefaces on one page.

with the same word. 15. Avoid ending

29. Use the special characters whenever

consecutive lines with the same word. 16.

necessary, including super- and subscript.

Avoid ending lines with the words: the,

30. Spend the time to create nice fraction

of, at, a, by. 17. Never hyphenate a words

or chose a font that has fractions. 31. If a

in a headline and avoid hyphenation in

correctly spelled word needs an accent

a callout. 18. Never justify the text on

mark, use it.

TYPOGRAPHY RULES

SPECIAL CHARACTERS

The following is a list of the most often-used special characters and accent marks. KEY COMMANDS– On the following pages are the key combinations for just about every accent you might need. “ ” ‘ ’ – — … • ﬁ ﬂ © ™ ® • ¢ ⁄ ¡ ¿ £ ç Ç

Option [ Option Shift [ Option ] Option Shift ] Option - Option Shift - Option ; Option 8 Option Shift 5 Option Shift 6 Option g Option 2 Option r Option Shift 8 Option $ Option Shift 1 Option 1 (one) Option Shift ? Option 3 Option c Option Shift c

opening double quote closing double quote opening single quote closing single quote en dash em dash ellipsis bullet ligature of f and i ligature of f and l copyright trademark registered degree symbol cent symbol fraction bar upside-down ! upside-down? cool mark cooler mark coolest mark

SPECIAL CHARACTERS

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

ELLIPSIS CHARACTER–

key m.. . ké ym …

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

ACCENT SYMBOLS–

´ ` ¨ ˜ ˆ

Option e Option ~ Option u Option n Option i

SPECIAL CHARACTERS

RULES DEFINED

Insert only a single space after all punctuation–

Use proper ‘em’ dashes, ‘en’ dashes, and hyphens–

Inserting two spaces after a period An em is a unit of measure equal to was common when using a typethe point size that you are using. An writer. Monospace typefaces were em dash is a type of punctuation used designed to occupy the same amount to offset clauses in a sentence or to inof space no matter the width of the dicate an abrupt change in thought. character. Two spaces were needed to An en dash is equal to half the length identify the end of a sentence and the of an em dash. En dashes are used to beginning of another sentence. With denote duration. the introduction of digital type, characters are extremely proportional.

Use proper quote and apostrophe marks–

Use True Small Caps–

When setting text that contains acUse true quotation marks and apostroronyms, select a caps from the style phes instead of using inch marks and menus is a poor choice because the feet marks. Place all punctuations inside compute reduces the overall size of the the quotation marks. 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.

Add letter spacing to capitalized text and small caps–

Use old style figures when appropriate–

Letterspacing is the amount of space Old style figures do not line up on the between characters in a word. Some baseline as regular or lining numerals software programs caller letterspacdo. Research a font family where they ing tracking. Use positive number valare included. If non-lining numerals ues to open up letterspacing to capitalare not available, use a slightly smallized text and small caps, except when er point size for the lining numbers. periods are used between characters. Think of lining numbers as upper case numbers and non-lining numbers as lower case numbers.

Use caps properly–

Use copyright, register, and

With options given to you by almost trademark marks properly– any type family (bold, point size, etc) The copyright, register, and trademark you will seldom need to use all caps characters need to be reduced. Reduce to draw attention to your text. Not all them between 50% and 70%. Match the typefaces are legible when set in all x-height. The copyright mark should caps; esp. true for script and decorative be 70% of the surrounding text. Unlike typefaces. Short headlines may be the the ™ symbol, the © should NOT be suonce exception to this rule. perscripted and should remain on the baseline. ™ is usually superscripted for the chosen font. ™ and ® are set higher then other marks.

Ellipsis Character–

Avoid Underlined Text–

Use the ellipsis character and NOT This was useful back in the days of the three periods. You can access the elliptypewriter to draw attention to the sis by typing Option + : (colon). Allow text. With digital type and their famia small amount of space before and lies, you should not need to use underafter. However if it is not crowding the lined text whatsoever. text, leave no space at all.

Increase line spacing to improve readability–

Body copy size–

Body text is set anywhere from 9 to 12 Line spacing refers to the space bepoints. When you print text, it is usutween lines of text. It is important for ally larger than what it looked like readability and appearance. Leading is on the screen. So, print out your text measured from baseline to baseline. As before finalizing your layout. Doing a rule of thumb, allow leading that is different type studies will help you 120% of the point size. determine the proper size before you proceed with your layout.

RULES DEFINED

Body copy size–

Altering fonts–

Body text is set anywhere from 9-12 Don’t alter the original typeface by points. When you print text, it is usustretching or condensing the letters ally larger than what it looked like improperly. Certain type families proon the screen. So, print out your text vide you with a lot of flexibility, so you before finalizing your layout. Doing should not need to destroy/alter text. various type studies will help you determine the proper size before you proceed with your layout.

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.

Avoid letterspacing lowercase body copy–

Decrease line length and increase margins– Line length is a measure of text on one line. Any measure between 45 and 75 characters is comfortable for single column widths. The ideal measure for body text length is 66 character. For multiple columns, a measure between 40 and 50 characters is ideal.

Word spacing should be fairly close–

Don’t letterspace body copy as it really For text meant for extended reading, hampers legibility. Use letterspacing the amount of space between words when working with caps. small caps, in a paragraph should be fairly close– numbers and display text where looser about the width of a lowercase “i.” If type spacing may increase legibility. 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!

Ideal column width–

Justification of text–

For single-column pages, 4.25 inches Justification can be appropriate in ceris ideal. For two-column width, coltain places. However, it can create cerumns can be as narrow as 2 inches. tain problems such as rivers and word Turning on the hyphenation feature spacing. Adjusting size of margins, can improve word spacing. decreasing body copy size, turning on auto hyphenatation and manually hyphenating the text are all examples of possible solutions.

Choose the alignment that fits–

Rules of hyphenation–

Don’t rely on the software to judge Make sure the alignment chosen for all where hyphens should be placed. At areas of text are legible and consistent the end of lines, leave at least two charwith the design and guidelines. Leftacters behind and take at least three aligned text is easier to read and set. Jusforward. Avoid leaving the stub end of tified text is harder to set w/o inevitable a hyphenated word or any word shortword spacing problems. Right-aligned er then four letters as the last line of a and centered are generally not used for paragraph. Avoid more then 3 consecubody copy. tive hyphenated lines.

Avoid beginning three consecutive lines with the same word–

Always spell check–

Once you are finished with your design, spell check the text using both Since software programs deal with line of the following: A-. Use spell- check breaks automatically based upon a numoption that comes with the software ber of variables, it is possible to have you use. B. Print the document and paragraphs with consecutive lines beread it. ginning with the same word. When this happens simply adjust the text to avoid/ fix the problem.

RULES DEFINED

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

27 Indents

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

Items in a series

In continuous text, mark all paragraphs Items in a series do not use a comma after the first with an indent of at least before the word “and.” (for a relaone “em” (3 spaces). Do NOT use three tively common example: ‘peaches, spaces but rather use the tabs or indents apples and oranges.’) option in your software.

RULES DEFINED

GRIDS

SIMPLE TYPOGRAPHIC HEADER– These may consist simply of a number of vertical columns used to position text and image matter, and may include the space between columns – the gutters – and the margins of the page, which must be given consideration. It may be necessary to produce grids with narrower subcolumns to enable a greater degree of flexibility in the design and layout of pages. Text widths can be set to multiples of the narrower columns, allowing the design to accommodate different matter thus allowing for a change of pace, rhythm and style from one page or section to the next, while still relating the content.

MODULAR GRIDS– Modular grids are associated with Swiss typography or the ‘International Style’ of the 1950s and 60s. As well as a vertical division of space, modular grids divide space horizontally too, creating units or cells. The depth of the cell may depend upon the size of the text type and leading being used. Multiples of the line depth (leading size) form a good basis on which to construct the cells. FOR EXAMPLE– Ten lines of 10pt type type on 12pt leading could allow for a cell height of 120pt within the grid. Again, each cell division is spaced by the equivalent of a gutter both vertically and horizontally. Vertical columns still appear, but further rationalization as to the position of text and image in relation to the depth of the page can be made via the grid.

GRIDS – EXAMPLES

SYMMETRIC GRIDSâ&#x20AC;&#x201C; Symmetric grids sit centrally on a single page (folio) so that the left and right margins are equal. The term can also be applied to a grid system used across facing pages where the position of the margins and text areas are symmetrically reflected or mirrored. Margins are not necessarily equal but run both left and right of the text area on single pages and are mirrored across the spread.

ASYMMETRIC GRIDSâ&#x20AC;&#x201C; These grids may have an off-centre appearance either as single pages or combined in spreads. If used in spreads, the grid is not mirrored from one page to the next as in symmetrical grids, but is more likely to appear repeated in a single position from page to page. Again, as with all grid systems, attention to the relationship of the margins is important. It can be this element alone that determines the success of the eventual layout.

GRIDS – EXAMPLES

QUOTES & APOSTROPHES

QUOTES AND APOSTROPHES

USE TRUE QUOTATION MARKS & APOSTROPHES INSTEAD OF USING INCH MARKS & FEET MARKS. PLACE ALL PUNCTUATIONS INSIDE THE “ ”. 30

Using quotes and apostrophes in the correct location is a large aspect of legibility and orderliness within typography. USE REAL QUOTATION MARKS– Never those grotesque generic marks that actually symbolize ditto/inch or foot marks: use “and” – not “and”. 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 “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.

SETTING SMART QUOTES– 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. KEY COMMANDS– Opening double quote— Closing double quote— Opening single quote— Closing single quote— Apostrophe—

Option [ Option Shift [ Option ] Option Shift ] Option Shift ]

Bridge Clearance: 16'7" The young man stood 6'2" The length of the wall is 153'9"

QUOTES AND APOSTROPHES

FOR POSSESSIVES– Turn the phrase around. The apostrophe will be placed after whatever word you end up with. For example, in the phrase the boys’ camp, to know where to place the apostrophe say to yourself, “The camp belongs to the boys.” The phrase the boy’s camp says “The camp belongs to the boy.” “The big exception to this is “its.” “Its” used as a possessive never has an apostrophe! The word it only has an apostrophe as a contraction — “it’s” always means “it is” or “it has.” Always. It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes — and neither should its.

FOR CONTRACTIONS– The apostrophe replaces the missing letter. For example: you’re always means you are; the apostrophe is replacing the a from are. That’s an easy way to distinguish it from your as in your house and to make sure you don’t say: Your going to the store.

As previously noted, it’s means “it is”; the apostrophe is indicating where the i is left out. Don’t means “do not”; the apostrophe is indicating where the o is left outFor omission of letters: In a phrase such as Rock ’n’ Roll, there should be an apostrophe before and after the n, because the a and the d are both left out. And don’t turn the first apostrophe around — just because it appears in front of the letter does not mean you need to use the opposite single quote. An apostrophe is still the appropriate mark (not ‘n’). EXAMPLES– In a phrase such as House o’ Fashion, the apostrophe takes the place of the f. There is not earthly reason for an apostrophe to be set before the o. In a phrase such as ‘Gone Fishin’ the same pattern is followed the g is missing. In a date when part of the year is left out, an apostrophe needs to indicate the missing year. In the 80s would mean the temperature; In the ’80s would mean the decade. (Notice there is no apostrophe before the s! Why would there be? It is not possessive, nor is it a contraction — it is simply plural.

QUOTES AND APOSTROPHES

DASHES

Using proper ‘em’ dashes, ‘en’ dashes, and hyphens increases readability and neatness within bodies of text. 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 wrongfully 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, but just as great. BREAK DOWN– 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).

DASHES

m n OPTION + HYPHEN

Over-and-out Down-and-out X-height

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

En dash – An en dash is half of the em rule (the width of a capital N) and is used between words that indicate a duration, such as time or months or years. Use it where you might otherwise use the word “to.”In a page layout application, the en dash can be used with a thin space on either side of it. If you want you can kern it so it is not a full space.

m OPTION + SHIFT + HYPHEN

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

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

DASHES – EXAMPLES

SMALL CAPS

Small caps are uppercase letters that are about the size of normal lowercase letters in any given typeface. Small Caps 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 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.

SMALL CAPS

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

USE SMALL CAPS FOR ACRONYMS– Set acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines. The capital letters in the middle of the sentence call to much attention to themselves. Notice how the small caps blend in with the text. The capital letters for P.M. are much too large— the abbreviation is not that important.

USE SMALL CAPS FOR COMMON ABBREVIATIONS– Set common abbreviations such as AM or PM in small caps so they don’t overpower the accompanying text. Use small caps for A.M. and P.M.; space once after the number, and use periods before and after the small caps.

USE TRUE SMALL CAPS FONTS– Avoid simply changing the size of capital letters or using the small caps feature in some programs. Instead use typefaces that have been specifically created as small caps. Notice the weight of the fake small caps in the example is thinner than the weight of the regular initial (first letter) caps.

There A in’t No R est For The Wicked. No, There Ain’t No Rest For The Wicked.

HEADER TEXT HEADER TEXT HEADER TEXT

WILL THE REAL SMALL CAPS PLEASE STAND UP?

Filosofia Fake Small C aps Real Small Caps

Swift Fake Small C aps Real Small Caps

Mrs. Eaves Fake Small Caps Real Small Caps

Cholla Fake Small C aps Real Small Caps

Meta Fake Small C aps Real Small Caps

Scala Fake Small C aps Real Small Caps

SMALL CAPS â&#x20AC;&#x201C; EXAMPLES

NUMERALS & FIGURES

NUMERALS AND FIGURES

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

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

NUMERALS AND FIGURES

FiloSofia 1234567890 1234567890

Swift 1234567890 1234567890

Mrs. Eaves 1234567890 1234567890

Akzidenz Grotesk 1234567890 1234567890

Meta 1234567890 1234567890

Scala 1234567890 1234567890

EXAMPLES WITHIN TEXT– Dear Gary, please call me at 438-9762 at 3:00 to discipline our problematic child. Or write to me at Route 916, 87505 zip. Dear Gary, please call me at 438-9762 at 3:00 to discipline our problematic child. Or write to me at Route 916, 87505 zip.

NUMERALS AND FIGURES – EXAMPLES

X-HEIGHT

A typefaceâ&#x20AC;&#x2122;s color is determined by stroke width, x-height, character width and serif styles.

Readability and legibility are two key elements of printed text that typographer strive to maximize. TYPEFACE WEIGHT AND X-HEIGHT– Readability refers to when an extended amount of text – such as an article, book, or annual report – is easy to read. Legibility refers to whether an refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable. There are several factors that determine whether a text is readable. When deciding what typeface should be used for a job, consideration should be given to the typeface and its x-height. It is important to understand how a block of text can express a message through its texture/color, therefore suiting a particular design solution. Fonts set in the same size, same leading and column width will produce varying degrees of “color” from the paragraph.

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 you should ask yourself these simple but obvious questions: WHO IS GOING TO READ IT? Someone that wants to read it? Someone that has to read it?

HOW WILL IT BE READ? Quickly in passing? Are they focused? Are they near? Are they far?

X-HEIGHT

X x h g Xxhg 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.

Frutiger (55 Roman) 9/12 Adrian Frutiger Humanist

Univers (55 Roman) 9/12 Adrian Frutiger Grotesque Sans Serif

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

X x hg

Xxhg

Helvetica Nueve (55 Roman) 9/12 Max Medinger Grotesque San Serif

Akzidenz Grotesk (Regular) 9/12 Gunter Gerhand Lange Grotesque Sans Serif

x-height: Large character width: medium color: medium to dark

x-height: medium character width: medium color: light to medium

X-HEIGHT â&#x20AC;&#x201C; EXAMPLES

X xhg

Din (Regular) 9/12 Lintotype Realist Sans Serif

Interstate (Regular) 9/12 Tobias Frere-Jones Grotesque Sans Serif

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

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

Xxhg

X xhg

News Gothic (Medium) 9/12 Morris Fuller Benton Gothic Sans Serif

Trade Gothic (Medium) 9/12 Jackson Burke Gothic Sans Serif

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

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

X-HEIGHT â&#x20AC;&#x201C; EXAMPLES

X x hg

Xxhg

Futura (Medium) 9/12 Paul Renner Geometric Sans Serif

Gill Sans (Regular) 9/12 Eric Gill Humanist Sans Serif

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

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

X x hg

Xxhg

Swift (Regular) 9/12 Gerard Unger New Transitional Serif

Adobe Caslon Pro (Regular) 9/12 Carol Twombly Oldstyle Serif

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

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

X-HEIGHT â&#x20AC;&#x201C; EXAMPLES

X x h g Xx h g 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.

Memphis (Medium) 9/12 Rudolf Wolf Slab Serif

Rockwell (Regular) 9/12 Frank Hinman Pierpont Geometric Slab Serif

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

x-height: medium character width: wide color: dark

X xh g Xx hg 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.

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro by Italian poet 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: the machine and motion. The works were the depiction of several successive actions of a subject at the same time. 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.

Serifa (55 Roman) 9/12 Adrian Frutiger Slab Serif

Volta T (Regular) 9/12 Walter Baum & Konrad Kauer Modern Serif

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

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

X-HEIGHT â&#x20AC;&#x201C;EXAMPLES

Xxhg

X xhg

Adobe Garamond (Regular) 9/12 Claude Garamond Old Face Serif

Melior (Medium) 9/12 Hermann Zapf Transitional Serif

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

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

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro by Italian poet 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: 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.

ITC New Baskerville (Roman) 9/12 John Baskerville Oldstyle Serif

MrsEaves (Roman) 9/12 Zuzana Licko Transitional Serif

x-height: small character width: medium color: light to medium

x-height: small character width: medium color: super light

X-HEIGHT â&#x20AC;&#x201C; EXAMPLES

X x h g X xh g 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.

Didot (Regular) 9/12 Firman Didot Modern Serif

Bauer Bodini (Roman) 9/12 Henrich Jost Modern Serif

x-height: small, large or average character width: wide, narrow, average color: light or dark or..

Xx hg Xxhg 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.

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro by Italian poet 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: 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.

Walbaum (Roman) 9/12 Justus Wawlbaum Modern Serif

FF Scala (Regular) 9/12 Martin Majoor Humanist Serif

x-height: small, large or average character width: wide, narrow, average color: light or dark or..

X-HEIGHT â&#x20AC;&#x201C; EXAMPLES

COLUMN WIDTH

Column width determines how many words per line the reader sees. When adjusted correctly, magic happens. Determining Line Lengthâ&#x20AC;&#x201C; 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 before you try to justify it, and 18-point type should be on a 36-pica line. The rulers in most programs can be changed to picas, if you like. THREE INCHES â&#x20AC;&#x201C; 9/12

COLUMN WIDTH

TWO INCHES – 6/8 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 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.

FOUR INCHES – 12/14

SIX INCHES – 18/18

COLUMN WIDTH – EXAMPLES

KERNING

Kerning is an adjustment of the space between two letters so that our eyeballs can read the body of text effortlessly. THE STORY BEHIND KERNINGâ&#x20AC;&#x201C; 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.

KERNING

The quick brown fox jumps over a lazy dog.

BLACK: Optical Alignment WHITE: Metric Alignment

You can make this process efficient and consistent by setting kerning as part of your character styles. METRIC KERNING–

OPTICAL KERNING–

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

Optical kerning is executed automatically by the page layout program. Rather than using the pairs addressed in the font’s kerning table, optical kerning assesses the shapes of all characters and adjusts the spacing wherever needed. Some graphic designers apply optical kerning to headlines and metric kerning to text.

KERNING – EXAMPLES

ALIGNMENTS

ALIGNMENT

Though all designers have their own opinions about what alignment looks the best, all kinds of alignments are appropriate for varying circumstances. ALIGNMENTS– In unjustified text, the text block is set with normal letter and word spacing. Because of the even word spacing the text will have an even texture – no large spaces between words. The lines will naturally vary in length. a ragged text block can integrate with the layout and add visual interest to the page. The difficulty is making the ragged edge have a pleasing silhouette. When the first line in the text is longer than the second, it becomes separate from the layout and creates a box-like shape. This destroys one of the advantages of unjustified text. The ragged edge needs to have a life, but a narrow column can be less active. Another advantage to ragged text is less hyphenation is needed. Names, dates or words which are normally read together can and should stay together. If someone insists that fully justified text is better than left-aligned text, tell them they are wrong. If someone else tells you that left-aligned text is better than justified text, straight up tell them that 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 many other elements on the page or theme. “The most appropriate choice is the alignment that works for that particular design.” There will undoubtedly be good friends, business associates, clients, and others who will question your choices. Be prepared to explain why you chose the alignment you did and be prepared to change it (and make necessary adjustments to keep it looking good) if the client still insists on something different. TIP FOR LIFE– No matter what alignment you use, remember to pay close attention to hyphenation and word/character spacing as well to insure that your text is as readable as possible.

ALIGNMENT

RIGHT & WRONG DO NOT EXIST IN GRAPIC DESIGN. THERE IS ONLY EFFECTIVE AND NON-EFFECTIVE COMMUNICATION. — Peter Bilak

ALIGNMENT

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

PROS AND CONS– Often considered more formal, less friendly and relaxed than left-aligned text. Allows for more characters per line, packing more into the same amount of space. May require extra attention to word, character spacing and hyphenation to avoid rivers. May be more familiar to readers in some types of publications, such as books, newspapers and articles. Some people are naturally drawn to the “neatness” of text that lines up perfectly on the left and right.

LEFT ALIGNED TEXT– 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.

PROS AND CONS– Often considered more informal, friendlier than justified text. There is an element of negative space added by ragged edge. May require extra attention to hyphenation to keep right margin from being too ragged. Generally easier to work with and more accessible to the audience. Requires less time, attention, and tweaking from the designer to make it look good.

ALIGNMENT – EXAMPLES

RIGHT-ALIGNED– Although not as popular, right aligned text can serve many purposes along side its justified and left-aligned partners. However, right aligned paragraphs are better served as small pieces of information rather than long winded columns. Right aligned paragraphs and headlines can help balance a page or add an asymmetrical element to a static one. Right aligned text is easy to overdo, and can be more difficult for the reader to comprehend. Avoid using only right aligned text on one page—try coupling it with left aligned elements of text.

PROS AND CONS– Often considered dynamic, informal, less friendly than left-aligned text. Has the same white space and river-avoiding benefits as left aligned text. More difficult to handle and use well due to reader unfamiliarity. Can add a lively twist to a really boringly type-set page.

CENTERED– There is nothing inherently wrong with centered text. As with ragged right or fully-justified text alignment, what works for one design might be totally inappropriate for another layout. There are simply fewer situations where centered text is appropriate. When in doubt, don’t center it.

PROS AND CONS– Often considered the easy way out of justification decisions, and we all know it. Loses the advantages of left aligned, right aligned, and justified text blocks because there are no perfect edges, which could make the layout chaotic. Often has overwhelming ragging. Generally easier to work with and more accessible to the audience since it has been loved for so long. The alignment generally requires less time, attention, and tweaking from the designer.

Futurism was first announced on February 2t0, 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 bet 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 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.

ALIGNMENT – EXAMPLES

HYPHENATION RULES

HYPHENATION

Poor hyphenation can ruin everything and make typography go from beautiful to downright nasty. Be careful, or it could ruin you, too. HYPHENATION RULES– Don’t rely on the software to judge where hyphens should be placed. At the end of lines, leave at least two characters behind and take at least three forward. For example, “ele-gantly” is acceptable, but “elegant-ly” is not because it takes too little of the word to the next line. Avoid leaving the stub end of a hyphenated word or any word shorter then four letters as the last line of a paragraph. Avoid more then 3 consecutive hyphenated lines. Avoid hyphenating or break-

ing proper names and titles. Creating a non-breaking space before and after the name will ensure that the name will not break. Avoid beginning three consecutive lines with the same word. Since software programs deal with line breaks automatically based upon a number of variables, it is possible to have paragraphs with consecutive lines beginning with the same word. When this happens simply adjust the text to avoid/fix the problem. GENERAL RULES– Avoid widows. Avoid hyphenating or making line breaks of names and proper nouns. Leave a least 2 characters on the line and 3 following. Avoid beginning consecutive lines with the same word. Avoid ending consecutive lines with the same word. Avoid ending lines with the words: the, of, at, a, by. Never hyphenate a words in a headline and avoid hyphenation in a callout.

HYPHENATION

JUSTIFICATION

Justify text only if the line is long enough to prevent awkward and inconsistent word spacing. No one likes awkward. RISKS OF FULL JUSTIFY– Justify text only if the line is long enough to prevent awkward and inconsistent word spacing. The only time you can safely justify text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. Gross. But that’s what can happen with justified type. When you do it, the effect might not be as

radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squished together Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

REMINDER: A general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; if the type you are using is 12 point, the line length should be at least 24 picas (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 long).

JUSTIFICATION

The only time it’s okay to say ‘never’ and ‘always’ is when you’re talking about rivers, widows, and orphans within typography. RIVERS

WIDOWS AND ORPHANS

In typography, rivers, or rivers of white, are visually unattractive gaps appearing to run down a paragraph of text. They can occur with any spacing, though they are most noticeable with wide word spaces caused by either full text justification or monospaced fonts. When your work comes out of the printer, turn it upside down and squint at it. The rivers will be very easy to spot. Get rid of them. Try squinting at the example on the bottom of the previous page.

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

WIDOW

ORPHAN

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

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

JUSTIFICATION

101

SPACING: Minimum: 80% Maximum: 120% Desired: 100% PROBLEMS: This example shows a pretty standard setting for InDesign. There are small rivers in the text but legibility is good.

HELVETICA NUEVE – REGULAR – 9/12 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.

SPACING: Minimum: 140% Maximum: 170% Desired: 150% PROBLEMS: This example shows the text with pretty extreme rivers. It’s still legible, but I notice the white space more than I notice the text that I’m supposed to read.

JUSTIFICATION –EXAMPLES

103

SPACING: Minimum: 60% Maximum: 110% Desired: 110% PROBLEMS: This example shows the text very squished together, which makes it somewhat illegible. The paragraphy looks like it’s running together.

SPACING: Minimum: 50% Maximum: 60% Desired: 60% PROBLEMS: This example displays the text with way too many words per line. It’s very hard to read and separate each word.

JUSTIFICATION – EXAMPLES

105

SPACING: Minimum: 170% Maximum: 190% Desired: 180% PROBLEMS: This example has extreme rivers. I could take a kayak down those things. It’s very hard for my eye to create sentences from each word since it’s so far from the next.

SPACING: Minimum: 80% Maximum: 120% Desired: 110% PROBLEMS: This example displays a standard setting for InDesign. The words are spaced adequately, though there are rivers and too many words on some lines.

MRS EAVES – ROMAN – 9/12 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.

JUSTIFICATION – EXAMPLES

107

SPACING: Minimum: 40% Maximum: 70% Desired: 50% PROBLEMS: This example shows the text closer together and because of the proximity of the words, they start to mush together.

SPACING: Minimum: 160% Maximum: 180% Desired: 170% PROBLEMS: This example shows the text with extreme rivers. It’s still legible, but the white space takes over the text.

MRS EAVES — ROMAN – 9/12 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.

JUSTIFICATION – EXAMPLES

109

SPACING: Minimum: 120% Maximum: 120% Desired: 120% PROBLEMS: This example displays another pretty standard setting, though there are many rivers and the words are very far apart.

SPACING: Minimum: 30% Maximum: 60% Desired: 50% PROBLEMS: This example displays the words extremely close together; the paragraph is pretty much illegible.

JUSTIFICATION – EXAMPLES

111

FONT COMBINATIONS

113

THERE IS NOT A BINDING RECIPE FOR TYPE COMBINATIONS. IT IS SIMPLY A MATTER OF TYPOGRAPHIC SENSITIVITY AND EXPERIENCE.

When combining serif and sans serif text fonts, one should try and match the characteristics of form and type color: proportion, x-heights. COMBINING TYPEFACES— 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. HERE’S A HINT– Using two different serif fonts or two different sans serifs fonts in the same composition is never a good idea, trust me.

FONT COMBINATIONS

115

aA BB e e G G gg Old Style Serif + Humanist Sans Serif Adobe Caslon 24pt + Gill Sans Light 16pt

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.

These two fonts work together based on the stroke weight and character width. Since Gill Sans is slightly rounder and wider, it contrasts nicely with the medium weight of Caslon. The san serif and serif fit nicely together due to the hand written qualities of both.

aA BB ee G G gg Old Style + Grotesque Sans serif Palatino 16 pt + Helvetica Bold 24pt

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. 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. Helvetica and Palatino work well together due to their differences in character weight and similarities in character width. Since Helvetica’s x-height is similar to Palatino’s x-height, though the weight was so different, the two fit together perfectly in size with clear hierarchy due to weight.

FONT COMBINATIONS – EXAMPLES

117

aA BB ee GG gg Transitional + Geometric sans serif Baskerville 16pt + Futura Bold 24pt

Wor ds In L iber t y A Pro l o g ue to F utur i s m: 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.

Baskerville and Futura look really great together because of the geometric qualities of Futura that really stand out against the transitional style of Baskerville. The contrast in weight creates clear hierarchy and even the letter spacing between the two typefaces are completely different and work well together.

aA BB ee GG gg Transitional + Humanist sans serif Mrs Eaves Small Caps 16 pt + Meta Bold 24pt

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. 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. Mrs Eaves Small Caps and Meta Bold look great together in this fashion because of it’s uniqueness! The title and subhead still really stand out because of the weight. The paragraph text stands out because of it’s capitalization but also x-height and letter width.

FONT COMBINATIONS – EXAMPLES

119

aA BB ee GG gg Modern + Geometric Bodoni Black 24pt + Nuetraface Condensed Light 16pt

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

Neutraface and Bodoni pair well together mainly because of x-height and letter weight. I chose Neutraface Light because it associates with the super-light serif of Bodoni, but is also more legible in body copy than Bodoni. The x-heights of each font mesh really well and they look quite elegant together.

a A BB ee GG gg Modern + Grotesque News Gothic 16 pt + Walbaum 24pt

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. 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.

Walbaum and News Gothic are pretty fancy together. The weights compliment each other but are still very distinct. Both are really elegant and straightforward- always good. News Gothic’s xheight is slightly larger than Walbaums, so I needed to change the size to compensate for that, but otherwise they fit seemlessly due to their color, weight, and letter spacing.

FONT COMBINATIONS – EXAMPLES

121

aA BB ee GG gg New Transitional + Geometric Bembo Bold 16pt + Futura Light Italic 24pt

Words In Liber ty

aA BB ee GG gg New Transitional + Grotesque Baskerville 16 pt + Akzidenz Grotesk 24pt

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. 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.

Baskerville and Akzidenz Grotesk are super cute together. They’re really inviting due to the width of Akzidenz Grotesk, and easily understoof due to Baskerville. They are open and the x-height on both typefaces are slightly smaller, making the letters less intimidating and more comfortable to the eye. I created hierarchy with size and letter weight. I made the subhead slightly larger to compensate for x-height differences.

FONT COMBINATIONS – EXAMPLES

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aA BB ee GG gg Slab serif + Geometric Memphis Bold 24pt + Trade Gothic Light 16pt

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 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.

Memphis and Trade Gothic look elegant and industrial together. They look like they have a job to get done- communication- and they’re doin’ it. The differences in x-height and letter weight are really different, but I think it’s a nice oxymoron of a paragraph. The weight in Memphis creates hierarchy regardless of size.

aA BB ee GG gg Slab serif + Humanist Serifa 16 pt + Syntax 24pt

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. 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. Though Serifa and Syntax are completely different, the two go together well because of their letter width. Though Syntax doesn’t have a serif, the subhead leads right into the slab serif body copy. The x-height really makes a difference- the two share almost the same height with these weights. The varying weights create hierarchy.

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126

PARAGRAPH BREAKS

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Paragraph breaks set a rhythm for the reader. Without them, the reader cannot pause mentally while reading through the text. PARAGRAPH BREAKâ&#x20AC;&#x201C; The breaks have a relationship with the column of text as well as the page margins. A break may be introduced as an indentation, as a space or both. The over all page feel will be influenced by your choice. In typography there are very specific rules regarding paragraph breaks: 1. first line at the beginning of an article should be flush left (do not indent first paragraph) 2. block paragraphs are flush left and are separated by extra leading not a full return 3. the amount indent is = to the leading (sometimes needs a bit more) 4. never hit two returns between paragraphs

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Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But this is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian and Italian sides, the first great ‘art’ movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term– still resonant today–was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. B ut t h i s i s t he mo ve me nt s wh ic h s u r v i ve, o dd l y, he r e whe r e we l i ve a nd work a s p o et s a nd a r t i s t s: or, i f not t he mo ve me nt s, t he n t he i r s e n s e of a r t a s a n l i f e it s e l f . A l l of wh ic h , a s f ut u r i s m , h ad c ome sh a r pl y i nto f o c u s b y t he s t a r t of t he world w a r : a f i r s t r ad ic a l m i x of a r t a nd l i f e, t he epitome i n t he p opl a r m i nd of a n av a nt- g a r de. It w a s, on b ot h it s Ru s s i a n a nd It a l i a n s ide s, t he f i r s t g r e at ‘a r t ’ mo ve me nt le d b y p o et s; a nd i f it s me a n s no w s omet i me s s e e m e x a g g e r ate d or u n r ip e i n r et r o s p e c t , t he y c a r r y w it h i n t he m t he s e e d of a l l t h at we we r e l ate r to b e c ome. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term– still resonant today–was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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But this 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 into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avantgarde. It was, on both its Russian and 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. Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term– still resonant today–was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

While Marinetti’s opening manifesto for Italian

PARAGRAPH BREAKS – EXAMPLES

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PARAGRAPH BREAKS – EXAMPLES

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Futurism was first announced on February 20, 1909, when the Paris new paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But this is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian and 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 polem 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 libertà2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But this is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian and Italian sides, the first great ‘art’ movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term– still resonant today– was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

PARAGRAPH BREAKS – EXAMPLES

139

HEADERS SUBHEADS & CROSSHEADS

HEADERS, SUBHEADS AND CROSSHEADS

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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.

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

Radical Mix of Art and Life– But this is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian and 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 polem 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 libertà2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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

RADICAL MIX OF ART AND LIFE

But this is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian and Italian sides, the first great ‘art’ movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term– still resonant today–was parole in libertà 2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

HEADERS, SUBHEADS AND CROSSHEADS

145

Words in Liberty A Prologue to Futurism:

Radical Mix of Art and Life:

A Prologue to Futurism:

Words in Liberty

HEADERS, SUBHEADS AND CROSSHEADS

147

WORDS IN LIBERTY A PROLOGUE TO FUTURISM

RADICAL MIX OF ART AND LIFE

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

Radical Mix of Art and Life But this is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avantgarde. It was, on both its Russian and Italian sides, the first great ‘art’ movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term– still resonant today–was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like 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 selbst 3 (circa 1915), “Everything of any value is theatrical.”

HEADERS, SUBHEADS AND CROSSHEADS

149

150

CAPTIONS & NOTES

CAPTIONS AND NOTES

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Smart kids use footnotes and endnotes since they are a huge part of scholarly writing. You’re smart, aren’t you? FOOTNOTES AND ENDNOTES– Footnotes and endnotes are necessary components of scholarly and technical writing. They’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. SIDENOTE JUST FOR YOU– These general guidelines will help you design footnotes and endnotes that are readable, legible and economical in space. (Academic presses and journals can be sticklers for format: before proceeding, check with your client or publisher to see if they have a specific stylesheet that must be followed.)

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BUT MOM, ALL THE COOL KIDS ARE 5 DOING IT.

5. MAKIN’ FOOTNOTES

NUMBERS OR SYMBOLS–

SIZE–

Footnotes are most often indicated by placing a superscript numeral immediately after the text to be referenced. They look like this. 3 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 an asterisk, or another symbol instead. Endnotes should always use numerals to facilitate easy referencing.

Footnotes and endnotes are set smaller than body text. The difference in size is usually about two points, but this can vary depending on the size, style and legibility of the main text. Even though they’re smaller, footnotes and endnotes should still remain at a readable size.

CAPTIONS AND NOTES

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Words in Liberty A Prologue to Futurism– Futurism was first announced on February 20, 1909, when the Paris new paper 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 1. Philip Meggs, History of what he conceived to be the static and irrelevant art of the past and celebrating change, Graphic Design, Van Nostrand Reinhold, 1988 originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

Radical Mix of Art and Life– But this is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian and 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 polem 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 2. parole in liberta = words set free (liberty) in libertà2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), 3. selbst = himself “Everything of any value is theatrical.”

156

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

RADICAL MIX OF ART AND LIFE

But this is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian and Italian sides, the first great ‘art’ movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term– still resonant today–was parole in libertàv, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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

3. selbst = himself

CAPTIONS AND NOTES – EXAMPLES

157

Words in Liberty A Prologue to Futurism:

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

Radical Mix of Art and Life:

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

3. selbst = himself

CAPTIONS AND NOTES – EXAMPLES

3. selbst = himself

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term– still resonant today–was parole in libertà2 , by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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

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

Radical Mix of Art and Life:

A Prologue to Futurism:

Words in Liberty

159

WORDS IN LIBERTY A PROLOGUE TO FUTURISM

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

RADICAL MIX OF ART AND LIFE

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

3. selbst = himself

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term– still resonant today–was parole in libertà 2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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

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

3. selbst = himself

CAPTIONS AND NOTES – EXAMPLES

161

FONT SPECS

Archer

MaxogGdQRst BOOK

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

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

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

SEMI-BOLD

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 { } ? ! @ & *

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

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

FONT SPECS

165

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

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 ( ) { } ?!@&*

Belizio

MxagGdQrR REGULAR

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *A 167 FONT SPECS

Bell Gothic

MxagGdQrRI LIGHT

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

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

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

Bembo

MxnogQrRst 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(){}?!@&* 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(){}?!@&* FONT SPECS

169

Bookman

MxaogGdQrR REGULAR

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

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

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

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

Bodoni

MxaogGdQrRst REGULAR

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 23 4567890(){}?! @&* 171 FONT SPECS

Caslon

MxanogGdQRt REGULAR

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

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

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

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 Z

ORNAMENT

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

Century Schoolbook

MxaogGdQrRt 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 twentyfirst 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 (){}?!@&*123456789 ITALIC

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

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

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

173

Cheltenham

MaxogGdQrRs REGULAR

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

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

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

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

Cholla

MaxnogGdQrRst UNICASE

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

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

FONT SPECS

175

Clarendon

MxagGdQrRt LIGHT

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

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

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

Clicker

MaxnogGdQRs 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 ( ) { } ? ! @ & *

FONT SPECS

177

Didot

MxaogGdQrRt REGULAR

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

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

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

DIN

MaxnogGdQrRt LIGHT

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

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

MEDIUM

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

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

FONT SPECS

179

DIN

MaxngdQHAMBURG LIGHT CONDENSED

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

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

BOLD CONDENSED

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

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

Disturbance

MxnatQbWFGdR REGULAR

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

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

BOLD

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

FONT SPECS

181

Franklin Gothic

MaxodQRtfGg BOOK

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

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

HEAVY

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

CONDENSED

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

Frutiger

MaxodQRtfGg CONDENSED

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

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

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

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

183

Gill Sans

MaxnbyogGQRt REGULAR

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

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

BOLD

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

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

Gotham

MayogGdQRt BOOK

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

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

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

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

185

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 90(){}?!@&* 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 4567890(){}?!@&*

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 8 9 0 ( ) { } ? ! @ &* 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

FONT SPECS

187

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(){}?!@&*

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

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(){}?!@&*

FONT SPECS

189