Type3 by Kristin Enyart

PAGE 1

TYPE3 TYPE3 by Kristin Enyart

PAGE 3

TYPE3 by Kristin Enyart

SPECIAL CHARACTERS, RULES

TYPOGRAPHY RULES

TYPOGRAPHIC COLOR

GRID STRUCTURES

APOSTROPHES & QUOTES & DASHES

SMALL CAPS

NUMERALS & FIGURES

PARAGRAPH BREAKS

101

HEADERS, SUBHEADS & CROSSHEADS

115

CAPTIONS & NOTES

131

COLUMN WIDTH & LEADING & KERNING

153

ALIGNMENT & JUSTIFICATION

170

HYPHENATION RULES

175

TYPEFACES

PAGE 5

TABLE OF CONTENTS

PAGE 7

SPECIAL CHARACTERS RULES & SHORTCUTS

IN TEXT “

OPTION [ opening double quote

”

OPTION SHIFT [ closing double quote

‘

OPTION ] opening single quote

’

OPTION SHIFT ] closing single quote; apostrophe

–

OPTION HYPHEN en dash

—

OPTION SHIFT HYPHEN em dash

…

OPTION ; ellipsis

•

OPTION 8 BULLET (hint: the asterisk key)

ﬁ

OPTION SHIFT 5 ligature of f and i

ﬂ

OPTION SHIFT 6 ligature of f and l

SYMBOLES ©

Option g copyright

™

Option 2 trademark

Option r registered

OPTION SHIFT 8 degree symbol (e.g., 102°F)

›

OPTION $ cent symbol

€

OPTION SHIFT 2 Euro symbol

⁄

OPTION SHIFT 1 (one) fraction bar

Option 1 (one)

Option Shift ?

Option 3

Option c

Option Shift c

USE COPYRIGHT, REGISTER, AND TRADEMARK MARKS PROPERLY

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

ELLIPSIS CHARACTER Use the ellipsis character and NOT three periods. You can access the ellipsis by typing Option : (colon). Allow a small amount of space before and after. However if it is not crowding the text, leave no space at all. OPTION +

…

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

PAGE 9

SPECIAL CHARACTERS

OPTION E

OPTION ~

OPTION U

OPTION N

OPTION I

USE ONLYâ&#x20AC;Ś one space between sentences REAL quotation marks REAL apostrophes

Make sure the apostrophes are where they belong Hang the punctuation off the aligned edge

KERN all headlines where necessary Avoid hyphenating or line brakes of names and proper nouns Never hyphenate a words in a headline & avoid in a callout Avoid too many hyphenations in any paragraph Avoid more than 3 hyphenations in a row

Use EN or EM DASHES, use consistently

PARAGRAPHS Either indent the first line of paragraphs or add extra space between them *not both Never have one line in a paragraph in the column or following ALIGNING TEXT Never use the spacebar to align text, always set tabs/ use the tab key Use a one-em first-line indent on all indented paragraphs Never justify the text on a short line SPACING Adjust the spacing between paragraphs Keep the word spacing consistent

Never combine two serif

NEVER

fonts on one page

Leave widows or orphans

Rarely combine two sans serif fonts on one page

ALWAYS

Rarely combine more than

Leave a least 2 characters on

three typefaces on one page

the line and 3 following

Use the special characters whenever necessary, including super and subscript Spend the time to create

nice fraction or chose a font

AVOID

that has fractions

If a correctly spelled word

BEGINNING consecutive PAGE 11

needs an accent mark, use it

lines with the same word

ENDING consecutive lines

Use a decimal or right-

with the same word

aligned tab for the numbers

ENDING lines with the words:

in numbered paragraphs

the, of, at, a, byâ&#x20AC;Ś

RULES & GIDELINES

PAGE 13

TYPOGRAPHY RULES

INSERT ONLY A SINGLE SPACE AFTER ALL PUNCTUATION. Inserting two spaces after a period was common when using a typewriter. Monospace typefaces were designed to occupy the same amount of space no matter the width of the character. Therefore, two spaces were needed to identify the end of a sentence and the beginning of another sentence. With the introduction of the Mac and digital type, characters are designed proportionately, which allows for the correct practice of using one space after all punctuation.

USE PROPER ‘EM’ DASHES, ‘EN’ DASHES, & HYPHENS. An em is a unit of measure equal to the point size that you are using. An em dash is a type of punctuation used to offset clauses in a sentence or to indicate an abrupt change in thought. An en dash is equal to half the length of an em dash. En dashes are used to denote duration, other wise known as, time.

ALTERING FONTS. Don’t alter the original typeface by stretching or condensing the letters improperly. Certain type families provide you with a lot of flexibility, so you should not need to destroy/alter text.

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

ADD LETTER SPACING TO CAPITALIZED TEXT & SMALL CAPS. Letterspacing is the amount of space between characters in a word. Some software programs calle letterspacing tracking. Use positive number values (to about 2 or 3) to open up letterspacing to capitalized text and small caps, except when periods are used between characters. Tracking is to be used only when needed.

USE OLD STYLE FIGURES WHEN APPROPRIATE. Old style figures, also known as non-lining figures, do not line up on the baseline as regular or lining numerals do. They can be found in various fonts. If the body text has a significant amount of numbers, research a font family where they are included. If non-lining numerals are not available, use a slightly smaller point size for the lining numbers. Think of lining numbers as upper case numbers and non-lining numbers as lower case numbers. Upper vs. lower.

USE CAPS PROPERLY. With options given to you by almost any type family (bold, point size, etc) you will seldom need to use all caps to draw attention to your text. Not all typefaces are legible when set in all caps; esp. true for script and decorative typefaces. Short headlines may be the once exception to this rule.

14 8

USE PROPER QUOTE & APOSTROPHE MARKS. Use true quotation marks and apostrophes instead of using inch marks and feet marks. Place all punctuations inside the quotation marks.

PAGE 15

TYPOGRAPHY RULES

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

ELLIPSIS CHARACTER. Use the ellipsis character and NOT three periods. You can access the ellipsis by typing Option + : (colon). Allow a small amount of space before and after. However if it is not crowding the text, leave no space at all. 10. Avoid underlined text This was useful back in the days of the typewriter to draw attention to the text. With digital type and their families, you should not need to use underlined text.

INCREASE LEADING TO IMPROVE READABILITY IN BODY TEXT. Line spacing (aka leading) refers to the space between lines of text. It is important for readability and appearance. Leading is measured from baseline to baseline. As a rule of thumb, allow leading that is 120% of the point size. For sans serif, you may need 130% or more. When setting headlines, solid leading (leading = point size, 12/12) or negative leading (leading =< point size, 12/10) may be appropriate.

BODY COPY SIZE. Body text is set anywhere from 9-12 points. When you print text, it is usually larger than what it looked like on the screen. So, print out your text before finalizing your layout. Type studies will help you determine the proper size before you proceed with your layout.

LEGIBILITY OF FONTS. Sans serif typefaces work well for headlines and to set text that is aligned to vertical and or horizontal lines. Certain sans serif typefaces which are not very geometrical work well for body copy (i.e. Frutiger, Meta, Scala Sans, etc.)

AVOID LETTERSPACING LOWERCASE BODY COPY. Don’t letterspace body copy as it really hampers legibility. Use letterspacing when working with caps (+small), numbers and display text where looser type may increase legibility.

WORD SPACING SHOULD BE FAIRLY CLOSE. For text meant for extended reading, the amount of space between words in a paragraph should be fairly close–about the width of a lowercase “i.” If the word spacing is too close, it appears as one giant word and legibility is decreased. Keep the spaces between words fairly thin, consistent and even.

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

PAGE 17

TYPOGRAPHY RULES

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

IDEAL COLUMN WIDTH. For single-column pages, 4.25 inches is ideal. For two-column width, columns can be as narrow as 2 inches. Turning on the hyphenation feature can improve word spacing.

JUSTIFICATION OF TEXT. Justification can be appropriate in certain places. However, it can create certain problems such as rivers and word spacing. Adjusting size of margins, decreasing body copy size, turning on auto hyphenation and manually hyphenating the text are all examples of possible solutions.

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

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

AVOID BEGINNING 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 fix the problem.

ALWAYS SPELL CHECK. Once you are finished with your design, spell check the text using both of the following: a. Use spell=check option that comes with the software you are using for the project. b. Print the document and read it. The monitor and design of the document will make text look perfect when it may not be. Even if text is given to you by a client, check it. Never ever assume that it is correct. Keep a dictionary close as well.

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.

INDENTS. In continuous text, mark all paragraphs after the first with an indent of at least one “em” (3 spaces). Do NOT use three spaces but rather use the tabs or indents option in your software.

PAGE 19

TYPOGRAPHY RULES

PAGE 21

TYPOGRAPHIC COLOR

LEGIBILITY IS THE CONCERN OF THE TYPOGRAPHER to select a typeface with appropriate clarity of design for the intended use at the intended size. The typeface chosen should be legible. That is, it should be read without effort. Sometimes legibility is simply a matter of type size; more often, however, it is a matter of typeface design. In general, typefaces that are true to the basic letterforms are more legible than typefaces that have been condensed, expanded, embellished, or abstracted. LEGIBILITY IS DIFFERENT FROM READABILITY. Readability is the ease with which a reader can recognize words, sentences, and paragraphs. Legibility is a component readability. Other typographic factors that affect readability include font choice, point size, kerning, tracking, line length, leading, and justification. IN TYPOGRAPHY, color can also describe the balance between black and white on the page of text. A typefaceâ&#x20AC;&#x2122;s color is determined by stroke width, x-height, character width and serif styles. As a designer, if you are only asked to make the text readable on the page the following questions should be askedâ&#x20AC;Ś WHO IS TO READ IT? Someone that wants to read it? Someone that has to read it? HOW WILL IT BE READ? Quickly. In passing. Focused. Near. Far.

PAGE 23

TYPOGRAPHIC COLOR

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.

X xhg

INTERSTATE

by Tobias Frere-Jones â&#x20AC;&#x201C; 1993

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

CASLON

by William Caslon â&#x20AC;&#x201C; 1722

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

PAGE 25

BOOK FONTS

Xxh 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.

Xxhg 26

HELVETICA

by Max Miedinger â&#x20AC;&#x201C; 1957

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

META

by Erik Spiekermann â&#x20AC;&#x201C; 1991

PAGE 83

SMALL CAPS

PAGE 85

NUMERALS & FIGURES

In typography, the symbols used to represent numbers are commonly referred to as figures or numerals. LINING FIGURES (also called aligning, cap, or modern figures) approximate capital letters in that they are uniform in height, and generally align with the baseline and the cap height. In some traditional typefaces, certain numerals extend slightly above and/or below the baseline and/or the cap height. OLDSTYLE FIGURES (also known as non-lining figures) do not line up on the baseline as regular or lining numerals do. Oldstyle figures can be found in various fonts. Oldstyle figures are a style of numeral which approximate lowercase letterforms by having an x-height and varying ascenders and descenders. They are considerably different from the more common “lining” (or “aligning”) figures. They have more of a traditional, classic look and are very useful and quite beautiful when set within text. However, they are only available for certain typefaces, sometimes as the regular numerals in a font, but more often within a supplementary or expert font. The figures are proportionately spaced, eliminating the white spaces that result from monospaced lining figures, especially around the numeral one.

12 12 134 134 17 17 1023 1023 323 323

12.5 12.5 134.76 134.76 17.8567 17.8567 1023.4 1023.4 323.12 323.12

PAGE 87

NUMERALS & FIGURES

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. 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.

BASKERVILE

by zuzana licko – 1989

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

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

PAGE 89

NUMERALS & FIGURES

PAGE 9 1

PARAGRAPH BREAKS

PARAGRAPH BREAKS set a rhythm for the reader. The breaks have a relationship with the column of text as well as the page margins. A break may be introduced as an indentation, as a space or both. The over all page feel will be influenced by your choice. In typography there are 4 rules regarding paragraph breaks: 1. First line at the beginning of an article should be flush left (do not indent first paragraph) 2. Block paragraphs are flush left and are separated by extra leading not a full return 3. The amount indent is = to the leading (sometimes needs a bit more) 4. Never hit two returns between paragraphs

PAGE 93

PARAGRAPH BREAKS

FUTURISM

poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE MARINETTI’S OPENING manifesto for Italian Futurism bristled with a

polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term–still resonant today–was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

PAGE 95

PARAGRAPH BREAKS

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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

PAGE 97

PARAGRAPH BREAKS

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

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term–still resonant today–was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

PAGE 99

PARAGRAPH BREAKS

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 is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in fa vor of the transformed present (1909), the later manifestos of Futurist poets and artists offered for mal, “technical” approaches to the works then getting under way. The key term–still resonant today–was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

100

PAGE 10 1

PARAGRAPH BREAKS

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

later to become. WHILE MARINETTI’S OPENING MANIFESTO for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term–still resonant today–was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

102

PAGE 103

PARAGRAPH BREAKS

uturism 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 & amazement, to arouse controversy, & to attract attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated in retrospect, they carry within them the seed of all that we were 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

104

PAGE 10 5

PARAGRAPH BREAKS

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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

106

PAGE 107

PARAGRAPH BREAKS

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 is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term–still resonant today–was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

108

PAGE 10 9

PARAGRAPH BREAKS

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 is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term–still resonant today–was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

110

PAGE 111

PARAGRAPH BREAKS

112

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 & amazement, to arouse controversy, & to attract attention. BUT IS THE MOVEMENTS which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE MARINETTI’S OPENING MANIFESTO for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term–still resonant today–was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

PAGE 113

PARAGRAPH BREAKS

114

PAGE 115

HEADERS, SUBHEADS & CROSSHEADS

WORDS IN LIBERTY A Prologue to Futurism

FUTURISM

and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated in retrospect, they carry within them the seed of what we were 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

116

PAGE 117

HEADERS, SUBHEADS & CROSSHEADS

WORDS IN LIBERTY A PROLOGUE TO FUTURISM

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in fa vor of the transformed present (1909), the later manifestos of Futurist poets and artists offered for mal, “technical” approaches to the works then getting under way. The key term–still resonant today–was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

118

PAGE 119

HEADERS, SUBHEADS & CROSSHEADS

WORDS IN LIBERTY

A PROLOGUE TO FUTURISM

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term–still resonant today–was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

120

PAGE 121

HEADERS, SUBHEADS & CROSSHEADS

WORDS IN LIBERTY

A PROLOGUE TO FUTURISM

RADICAL MIX OF ART AND LIFE But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated in retrospect, they carry within them the seed of all that we were 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

122

PAGE 123

HEADERS, SUBHEADS & CROSSHEADS

WORDS IN LIBERTY A PROLOGUE TO FUTURISM

RADICAL MIX OF ART AND LIFE

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term–still resonant today–was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3

124

PAGE 125

HEADERS, SUBHEADS & CROSSHEADS

WORDS IN LIBERTY A PROLOGUE TO FUTURISM

RADICAL MIX OF ART AND LIFE

126

FUTURISM

PAGE 127

HEADERS, SUBHEADS & CROSSHEADS

128

PAGE 129

CAPTIONS & NOTES

FOOTNOTES & ENDNOTES are necessary components of scholarly and technical writing. Theyâ&#x20AC;&#x2122;re also frequently used by writers of fiction, from Herman Melville (Moby-Dick) to contemporary novelists. Whether their intent is academic or artistic, footnotes present special typographic challenges.

SPECIFICALLY, A FOOTNOTE is a text element at the bottom of a page of a book or manuscript that provides additional information about a point made in the main text. It might provide deeper background, offer an alternate interpretation or provide a citation for the source of a quote, idea or statistic. Endnotes serve the same purpose but are grouped together at the end of a chapter, article or book, rather than at the bottom of each page. These general guidelines will help you design footnotes and endnotes that are readable, legible and economical in space. (Note that academic presses and journals can be sticklers for format: before proceeding, check with your client or publisher to see if they have a specific stylesheet that must be followed.) NUMBERS OR SYMBOLS: Footnotes are most often indicated by placing a superscript numeral immediately after the text to be referenced. The same superscript numeral then precedes the footnoted text at the bottom of the page. Numbering footnotes is essential when there are many of them, but if footnotes are few they can be marked with a dagger, asterisk, or other symbol instead. Endnotes should always use numerals to facilitate easy referencing. SIZE: Footnotes and endnotes are set smaller than body text. The difference in size is usually about two points, but this can vary depending on the size, style and legibility of the main text. Even though theyâ&#x20AC;&#x2122;re smaller, footnotes and endnotes should still remain at a readable size. They should also be in a easily located area.

130

PAGE 131

CAPTIONS & NOTES

WORDS IN LIBERTY A Prologue to Futurism

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

and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated in retrospect, they carry within them what we were later to become. WHILE MARINETTI’S OPENING manifesto for Italian Futurism bristled with a polemical

Parole in Liberta equals, words set free (liberty)

Selbst himself *in your current project make sure you follow the rules you have learned about captions, notes and sperscripts.

132

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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst (circa 1915)3, “Everything of any value is theatrical.”

PAGE 133

CAPTIONS & NOTES

WORDS IN LIBERTY A PROLOGUE TO FUTURISM

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in fa vor of the transformed present (1909), the later manifestos of Futurist poets and artists offered for mal, “technical” approaches to the works then getting under way. The key term–still resonant today–was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

134

Philip Meggs, History of Graphic DesignVan Nostrand Reinhold, 1988

Parole in Liberta equals, words set free (liberty)

Selbst himself *in your current projectmake sure you follow the rules you have learned about captions, notes and sperscripts.

PAGE 135

CAPTIONS & NOTES

WORDS IN LIBERTY

A PROLOGUE TO FUTURISM

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term–still resonant today–was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

1 Philip Meggs, History of Graphic DesignVan Nostrand Reinhold, 1988

136

Parole in Liberta equals, words set free (liberty)

Selbst himself *in your current projectmake sure you follow the rules you have learned about captions, notes and sperscripts.

PAGE 137

CAPTIONS & NOTES

WORDS IN LIBERTY A PROLOGUE TO FUTURISM

RADICAL MIX OF ART AND LIFE But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated in retrospect, they carry within them the seed of all that we were 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

REFERENCE & NOTATIONS 138

Philip Meggs, History of Graphic DesignVan Nostrand Reinhold, 1988

Parole in Liberta equals, words set free (liberty)

Selbst himself *in your current projectmake sure you follow the rules you have learned about captions, notes and sperscripts.

PAGE 139

CAPTIONS & NOTES

WORDS IN LIBERTY A PROLOGUE TO FUTURISM

RADICAL MIX OF ART AND LIFE

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term–still resonant today–was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3

REFERENCE 1

140

Philip Meggs, History of Graphic DesignVan Nostrand Reinhold, 1988

Parole in Liberta equals, words set free (liberty)

Selbst Himself *in your current projectmake sure you follow the rules you have learned about captions, notes and sperscripts.

PAGE 141

CAPTIONS & NOTES

WORDS IN LIBERTY A PROLOGUE TO FUTURISM

RADICAL MIX OF ART AND LIFE

PHILIP MEGGS, History of Graphic Design Van Nostrand Reinhold, 1988 – 2PAROLE IN LIBERTA, equals, words set free (liberty) – 3 SELBST himself *in your current projectmake sure you follow the rules you have learned about captions, notes and sperscripts. 1

142

FUTURISM

PAGE 143

CAPTIONS & NOTES

144

PAGE 145

COLUMN WIDTH & LEADING & KERNING

HAVING THE RIGHT AMOUNT of characters on each line is key to the readability of your text. It shouldn’t merely be your design that dictates the width of your text, it should also be a matter of legibility. THE OPTIMAL LINE LENGTH for your body text is considered to be 50-60 characters per line, including spaces. Reading takes place in small leaps of 5–10 characters at a time. 55–60 characters per line could be considered an appropriate line length, allowing the eye 6–12 quick stops on each line. Narrower lines would cause the reader to have to switch from line to line unnecessarily often, and they also cause problems with the way justified columns appear. IF A LINE OF TEXT IS TOO LONG the visitor’s eye will have a hard time focusing on the text. This is because the length makes it difficult to get an idea of where the line starts and ends. Furthermore it can be difficult to continue from the correct line in large blocks of text. If a line is too short the eye will have to travel back too often, breaking the reader’s rhythm. Too short lines also tend to stress people, making them begin on the next line before finishing the current one (hence skipping potentially important words).

146

PAGE 147

COLUMN WIDTH

COMPAIRING CHARACTERS AND READABILITY

148

20 CHARACTERS

40 CHARACTERS

PAGE 149

COLUMN WIDTH

COMPAIRING CHARACTERS AND READABILITY 60 CHARACTERS

80 CHARACTERS

150

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 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.

PAGE 151

COLUMN WIDTH

JUSTIFICATION A general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like.

152

PAGE 153

COLUMN WIDTH

LINE SPACING is the vertical distance between lines of text. Leading is the hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them accurately. Leading is specified in points and refers now days to the space between lines of a text block. Leading introduces space into the text block and allows characters to “breathe” so that the information is easy to read. TO ACHIEVE A BALANCED and well-spaced text block, leading usualy has a higher point size than the text it is associated with, for example 9pt text maybe set with 12pt leading. MOST WRITERS USE either double-spaced lines or single-spaced lines—nothing in between—because those are the options presented by word processors. These habits are held over from the typewriter era. Originally, a typewriter’s carriage could only move vertically in units of a single line. Therefore, linespacing choices were limited to one, two, or more lines at a time. Double spacing became the default because single-spaced typewritten text is dense and hard to read. But double-spacing is still looser than optimal.

154

PAGE 155

LEADING

NEGATIVE LEADING is when the leading is smaller than the type size: 9pt/7pt

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro publish-ed 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 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 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.

156

PAGE 157

LEADING

SOLID LEADING is when the leading and type size are the same: 9pt/9pt

158

PAGE 159

LEADING

NORMAL LEADING is something such as: 8.5pt/12pt

PAGE 161

LEADING

EXTREME LEADING ...

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

PAGE 163

LEADING

KERNING IS AN ADJUSTMENT of the space between two letters. The characters of the Latin alphabet emerged over time; they were never designed with mechanical or automated spacing in mind. Thus some letter combinations look awkward without special spacing considerations. Gaps occur, for example, around letters whose forms angle outward or frame an open space (W, Y, V, T). In metal type, a kerned letter extends past the lead slug that supports it, allowing two letters to fit more closely together. In digital fonts, the space between letter pairs is controlled by a kerning table created by the type designer, which specifies spaces between problematic letter combinations. Working in a page layout program, a designer can choose to use metric kerning or optical kerning as well as adjusting the space between letters manually where desired. A well-designed typeface requires little or no additional kerning, especially at text sizes. METRIC KERNING 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 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 fontâ&#x20AC;&#x2122;s kerning table, optical kerning assesses the shapes of all characters and adjusts the spacing wherever needed. Some graphic designers apply optical kerning to headlines and metric kerning to text. You can make this process efficient and consistent by setting kerning as part of your character styles.

164

PAGE 165

KERNING

166

PAGE 167

ALIGNMENT & JUSTIFICATION

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

IF THEY ARE BOTH WRONG, THEN WHATâ&#x20AC;&#x2122;S RIGHT? Alignment is only a small piece of the puzzle. What works for one design might be totally inappropriate for another layout. As with all layouts, it depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design.

168

PAGE 169

ALIGNMENT

SPEAKING JUST IN TERMS OF ALIGNMENT, left aligned (Flush Left, Ragged Right) text is the most readable. Left aligned text uses the optimum word spacing and letter spacing that the designer built into the font, and the spacing is very consistent so you do not have to struggle through the words at all. And as you read, your key can quickly find the beginning of the next line. Often considered more informal, friendlier than justified text. The ragged right edge adds an element of white space. May require extra attention to hyphenation to keep right margin from being too ragged. Generally type set left-aligned is easier to work with (i.e. requires less time, attention, and tweaking from the designer to make it look good). If you bump (soft return) words down, be sure to do it as the last south in your final layout. Otherwise when you edit the text, change the type size or column width, alter the layout in any way, you will ed up with tab spaces, empty spaces or line breaks in the middle of your sentences. Fortunately, in flush left alignments you can easily make type corrections and adjust lines, often without effecting the rest of the text. Because you can control where lines end you can try to avoid beginning consecutive lines with the same word. Avoid ending consecutive lines with the same word. And avoid ending lines with the words: the, of, at, a, by...

170

PAGE 171

LEFT ALIGNED

THERE IS NOTHING INHERENTLY WRONG with centered text. As with ragged right or fully-justified text alignment, what works for one design might be totally inappropriate for another layout. There are simply fewer situations where centered text is appropriate. When in doubt, donâ&#x20AC;&#x2122;t center it. As with all layouts, alignment depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design. No matter what alignment you use, remember to pay close attention to hyphenation and word/character spacing as well to insure that your text is as readable as possible. There will undoubtedly be well-meaning friends, business associates, clients, and others who will question your choices. Be prepared to explain why you chose the alignment you did and be prepared to change it (and make necessary adjustments to keep it looking good) if the person with final approval still insists on something different.

172

PAGE 173

CENTER ALIGNED

WHEN YOU JUSTIFY TEXT, the computer forces the lines to extend to a certain length by adding or deleting space between the words, and sometimes between the letters. Some programs let you specify the minimum and maximum amounts the spacing can adjust, but the computer will override your specifications if necessary. THE GREATEST PROBLEM WITH JUSTIFIED TEXT, both in terms of readability and aesthetics, is the uneven word spacing and letter spacing: some lines have extra spacing, some less. This irregularity is visually disturbing and interrupts reading. The shorter the line length in relation to the size of the type, the worse this problem becomes because there are fewer words between which to add or delete space. For exsample: THE GREATEST PROBLEM WITH JUSTIFIED TEXT, both in terms of readability and aesthetics, is the uneven word spacing and letter spacing: some lines have extra spacing, some less.

ONE SIMPLE RULE for determining whiter a line length is "long enough" to justify is this: The line length in picas should be twice the point size of the type. If you are using 12 point type, the minimum line length you should try to justify is 24 picas (6 picas = 1 inch). For many years, justified type reigned supreme as the way to set most text. But the trend over the past couple of decades has been to allow the natural spacing of flush left text to dominate, losing the structured look of the "block" of text and maximizing readability.

174

PAGE 175

JUSTIFIED

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

176

PAGE 177

JUSTIFICATION

REMINDER: A general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. RIVERS In typography, rivers, or rivers of white, are visually unattractive gaps appearing to run down a paragraph of text. They can occur with any spacing, though they are most noticeable with wide word spaces caused by either full text justification or monospaced fonts. WIDOWS AND ORPHANS Never leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program youâ&#x20AC;&#x2122;re working in. Sometimes widening a margin just a hair will do it. But it must be done. Widows and orphans on a page are wrong. WIDOW When a paragraph ends and leaves fewer than seven characters (not words, characters) on the last line, that line is called a widow. Worse than leaving one word at the end of a line is leaving part of a word, the other part being paraphrased on the line above. ORPHAN When the last line of a paragraph, be it ever so long, wonâ&#x20AC;&#x2122;t fit at the bottom of a column and must end itself at the top of the next column, that is an orphan. ALWAYS correct this.

178

PAGE 179

JUSTIFICATION

TESTING JUSTIFICATION SETTINGS – SERIF 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.

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, 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

180

MIN

DESIRED MAX

30 50 70 Too tight of word spacing

Too tight of word spacing

100

150

200

Appropriate word spacing

200

300

400

Too large of word spacing

200

Too tight of word spacing

PAGE 181

JUSTIFICATION

TESTING JUSTIFICATION SETTINGS – SANS SERIF 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

182

MIN

DESIRED MAX

20 50 80 Too tight of word spacing

Too tight of word spacing

150

190

Appropriate word spacing

160

280

400

Too large of word spacing

200

Too tight of word spacing

PAGE 183

JUSTIFICATION

184

PAGE 185

HYPHENATION RULES

INSERT ONLY A SINGLE SPACE AFTER ALL PUNCTUATION. Don’t rely on the software to judge where hyphens should be placed. At the end of lines, leave at least two characters behind and take at least three forward. For example, “ele-gantly” is acceptable, but “elegant-ly” is not because it takes too little of the word to the next line. Avoid leaving the stub end of a hyphenated word or any word shorter then four letters as the last line of a paragraph. Avoid more then 3 consecutive hyphenated lines. Avoid hyphenating or breaking proper names and titles. Creating a non-breaking space before and after the name will ensure that the name will not break. Avoid beginning three consecutive lines with the same word Since software programs deal with line breaks automatically based upon a number of variables, it is possible to have paragraphs with consecutive lines beginning with the same word. When this happens simply adjust the text to avoid/fix the problem. Hyphenation rules pay attention to:

186

How the text is read avoid widows (one word on the last line of a paragraph)

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

Avoid ending lines with the words: the, of, at, a, by...

Avoid hyphenating or line brakes of names and proper nouns

Avoid beginning consecutive lines with the same word

Leave a least 2 characters on the line and 3 following

Avoid ending consecutive lines with the same word

PAGE 187

HYPHENATION RULES

188

PAGE 189

TYPEFACES

WHEN COMBINING SERIF and sans serif text fonts, one shroud try and match the characteristics of form and type color: proportion, x-heights. â&#x20AC;&#x153;There is not binding recipe for type combinations. It is a matter of typographic sensitivity and experience. Expert typographers, as well as careless amateurs permit themselves combinations that would horrify colleagues with more traditional sympathies.â&#x20AC;? ALTHOUGH THERE IS NOT RECIPE there is a place to start: keep an eye on the characteristic shapes of the letterform. A well designed page contains no more than two different typefaces or four different type variations such as type size and bold or italic style. {Using 2 different serif fonts or 2 different sans serifs fonts in the same composition is never a good idea}

190

PAGE 19 1

TYPEFACES

Words in Liberty A PROLOGUE TO FUTURISM:

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.

Akzidenz Grotesk Bembo

192

Headline: Subhead: Intro Text: Body Text: Call Out: 1

24pt Akzidenz, regular 12pt Akzidenz, reg, all caps 9pt Bembo, reg, all caps 9pt Bembo, regular 12pt Bembo, Italic

These two fonts work together based on the contrast in stroke weight and character width. There are also two different tones set by each as Bembo is a thiner font with contrasts within itâ&#x20AC;&#x2122;s self.

PAGE 193

FONT COMBINAIONS

Words in Liberty A PROLOGUE TO FUTURISM:

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.

Univers Bodoni

194

Headline: Subhead: Intro Text: Body Text: Call Out:

24pt Univers, regular 12pt Univers, light, all caps 9pt Bodoni, italic, all caps 9pt Bodoni, regular 12pt Bodoni, italic

These two fonts work together for the font Univers is very geometric while Bodoni is fluid and romantic due to its serifs. For being a serif font, Bodoniâ&#x20AC;&#x2122;s weight relatively equal to that of Univers, smaller, yet it is the contrast within its self that adds contrast.

PAGE 195

FONT COMBINAIONS

Words in Liberty A PROLOGUE TO FUTURISM:

Bell Gothic Caslon 196

Headline: Subhead: Intro Text: Body Text: Call Out:

24pt Bell Gothic, bold 12pt Bell Gothic, light, all caps 9pt Bell Gothic, italic, all caps 9pt Caslon, regular 12pt Caslon, italic

Caslon is an old style serif font with a small x-height. This works well along side Bell Gothic for it is a much more narrow sans serif font, giving a contrast of horizontal and vertical weight.

PAGE 197

FONT COMBINAIONS

Words in Liberty A PROLOGUE TO FUTURISM:

Frutiger Times New Roman

198

Headline: Subhead: Intro Text: Body Text: Call Out:

24pt Frutiger, bold 12pt Frutiger, regular, all caps 9pt Tiems NR, regular, all caps 9pt Times NR, regular 12pt Times NR, italic

Times New Roman is a serif font with a small x-height compaired to Frutiger. These work well for the serfits on Times New Roman are not extreamly ortamental and are simplistic such as the Frutiger font.

PAGE 199

FONT COMBINAIONS

Words in Liberty A PROLOGUE TO FUTURISM:

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

Futura Mrs Eaves

200

Headline: Subhead: Intro Text: Body Text: Call Out:

24pt Futura, medium 12pt Futura, medium, all caps 9pt Mrs Eaves, regular, all caps 9pt Mrs Eaves, regular 12pt Mrs Eaves, italic

Mrs Eaves has a small x-hight where as Futura does not at all. In fact, Futura is tall and thin while Mrs Eaves is wideer font with serifs There is a nice contrast, a bold one between the serif and sans.

PAGE 20 1

FONT COMBINAIONS

Words in Liberty A PROLOGUE TO FUTURISM:

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

Helvetica Garamond

202

Headline: Subhead: Intro Text: Body Text: Call Out:

24pt Helvetica, reg 12pt Helvetica, all caps 9pt Garamond, regular, all caps 9pt Garamond, regular 12pt Garamond, italic

Garamond and Helvetica could be concidered the parents of fonts as they both have set standards. Helvetica is extreamly legable while Garamond is extreamly readable.

PAGE 203

FONT COMBINAIONS

Words in Liberty A PROLOGUE TO FUTURISM:

Interstate Minion

204

Headline: Subhead: Intro Text: Body Text: Call Out:

24pt Interstate, bold 12pt Interstate, light, all caps 9pt Minion, regular, all caps 9pt Minion, regular 12pt Minion, italic

Minion is a little larger serif with bolder features, making it darker. Interstate is also a darker font but it has a large family that is easy to use accross multiple areas on a page.

PAGE 205

FONT COMBINAIONS

Words in Liberty A PROLOGUE TO FUTURISM:

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

Meta Palatino

206

Headline: Subhead: Intro Text: Body Text: Call Out:

24pt Interstate, bold 12pt Interstate, light, all caps 9pt Minion, regular, all caps 9pt Minion, regular 12pt Minion, italic

Palatino has a normal x-hight, and yet is a larger font and it is darker. Meta is condenced and also a darker font, more so than Palatino as the spacing is not as wide between characters.

PAGE 207

FONT COMBINAIONS

Words in Liberty A PROLOGUE TO FUTURISM:

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

Helvetica Neue Sabon

208

Headline: Subhead: Intro Text: Body Text: Call Out:

24pt Helvetica Neue, bold 12pt Helvetica N, light, all caps 9pt Sabon, regular, all caps 9pt Sabon, regular 12pt Sabon, italic

Helvetica Neue is a much thicker font than Sabon and has another larger font family. Sabon is a very simple serif font and Helvetica Neue is a simple san serif.

PAGE 209

FONT COMBINAIONS

Words in Liberty A PROLOGUE TO FUTURISM:

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

Myriad Baskerville

210

Headline: Subhead: Intro Text: Body Text: Call Out:

24pt Myriad, smibold 12pt Myriad, regular, all caps 9pt Baskerville, regular, all caps 9pt Baskerville, regular 12pt Baskervile, italic

These work well together for they are thiner fonts with relatively lighter weights to them. Myriad has a larger x-hight, but as said in the previous compents, that is a good contrast

PAGE 211

FONT COMBINAIONS

The text was compiled from the following sources: Elements of

Typographic Style by Robert Bringhurst, Getting it Right with

Type: the Do's and Don'ts of Typography by Victoria Square, Mac is Not A Typewriter by Robin Williams. 212

This book is not to be sold to the public and to only be used by the designer for their reference and student design portfolio. Fonts used: Adobe Caslon Interstate

PAGE 213

END COLOPHON