All Things Type by lori novak

A L L

T H I N G S

T Y P E

T Y P O G R A P H I C

W O R K B O O K

Y E

T A B L E

O F

C O N T E N T S

98 FONT SPECIFICATIONS 90 CAPTIONS 82 HEADERS

70 PARAGRAPH BREAKS 66 SMALL CAPS 62 NUMERALS 58 BULLETS

56 SPECIAL CHARACTERS

50 QUOTES, DASHES, AND APOSTROPHES 40 COMBINING FONTS 32 JUSTIFICATION 26 ALIGNMENT

20 HYPHENATION 06 X-HEIGHT 04 RULES

Rule #1:

ALWAYS FOLLOW

THE RULES The following is a compendium of the rules established in this book. You might want to check through them each time you complete a publication.

—USE ONLY ONE SPACE BETWEEN SENTENCES.—USE REAL QUOTATION MARKS.—USE REAL APOSTROPHES.— MAKE SURE THE APOSTROPHES ARE WHERE THEY BELONG.—HANG THE PUNCTUATION OFF THE ALIGNED EDGE.—USE EN OR EM DASHES, USE CONSISTENTLY. — KERN ALL HEADLINES WHERE NECESSARY.—NEVER USE THE SPA.CEBAR TO ALIGN TEXT, ALWAYS SET TABS AND USE THE TAB KEY.—LEAVE NO WIDOWS OR ORPHANS.— AVOID MORE THAN 3 HYPHENATIONS IN A ROW.—AVOID TOO MANY HYPHENATIONS IN ANY PARAGRAPH.—AVOID HYPHENATING OR LINE BRAKES OF NAMES AND PROPER NOUNS.—LEAVE A LEAST 2 CHARACTERS ON THE LINE AND 3 FOLLOWING.—AVOID BEGINNING CONSECUTIVE LINES WITH THE SAME WORD.—AVOID ENDING CONSECUTIVE LINES WITH THE SAME WORD.—AVOID ENDING LINES WITH THE WORDS: THE, OF, AT, A, BY..—NEVER HYPHENATE A WORDS IN A HEADLINE AND AVOID HYPHENATION IN A CALLOUT.—NEVER JUSTIFY THE TEXT ON A SHORT LINE.—KEEP THE WORD SPACING CONSISTENT.—TIGHTEN UP THE LEADING IN LINES WITH ALL CAPS OR WITH FEW ASCENDERS AND DESCENDERS.— USE A ONE-EM FIRST-LINE INDENT ON ALL INDENTED PARAGRAPHS.—ADJUST THE SPACING BETWEEN PARAGRAPHS.—EITHER INDENT THE FIRST LINE OF PARAGRAPHS OR ADD EXTRA SPACE BETWEEN THEM – NOT BOTH.—USE A DECIMAL OR RIGHT-ALIGNED TAB FOR THE NUMBERS IN NUMBERED PARAGRAPHS.—NEVER HAVE ONE LINE IN A PARAGRAPH IN THE COLOMN OR FOLLOWING.—NEVER COMBINE TWO SERIF FONTS ON ONE PAGE.—RARELY COMBINE TWO SANS SERIF FONTS ON ONE PAGE.—RARELY COMBINE MORE THAN THREE TYPEFACES ON ONE PAGE.—USE THE SPECIAL CHARACTERS WHENEVER NECESSARY, INCLUDING SUPER- AND SUBSCRIPT.—SPEND THE TIME TO CREATE NICE FRACTION OR CHOSE A FONT THAT HAS FRACTIONS.—IF A CORRECTLY SPELLED WORD NEEDS AN ACCENT MARK, USE IT.

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

Rules

X - H E I G H T 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. Readability extended amount of text – such as an article, book, or annual report – is easy to read. Legibility refers to whether an refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable.

THERE ARE SEVERAL

factors that determine whether a text is

readable. When deciding what typeface should be used for a job, consideration should be given to the typeface and its x-height. It is important to understand how a block of text can express a message through its texture/color, therefore suiting a particular design solution. Fonts set in the same size, same leading and column width will produce varying degrees of “color”.

IN TYPOGRAPHY, COLOR CAN ALSO

describe the

balance between black and white on the page of text. A typeface’s color is determined by stroke width, x-height, character width and serif styles.

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

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.

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

X - H E I G H T

m a x i m i z e . ” w

t h a t

t w o

k e y

t y p o g r a p h e r s e l e m e n t s

“ R e a d a b i l i t y

a n d

o f

s t r i v e

t o

p r i n t e d

l e g i b i l i t y

a r e

X - H E I G H T

X x hg

mrs eaves

zuzana licko

9/11 x-height: small, large or average character width: wide, narrow, average color: light or dark or.. 10

Xxhg

72 point

univers adrian frutiger

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

X - H E I G H T

X xh g Xxhg melior Hermann Zapf

helvetica neue 55 Max Miedinger

9/11 x-height: small, large or average character width: wide, narrow, average color: light or dark or..

9/11 x-height: small, large or average character width: wide, narrow, average color: light or dark or.. 11

X - H E I G H T

X x hg Baskerville John Baskerville

X xh g Din Mittleshrift Abert-Jan Pool

9/11 x-height: small, large or average character width: wide, narrow, average color: light or dark or..

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

X - H E I G H T

Xxh g Filosophia Zuzana Licko

Xxhg Akzidenz-Grotesk Gunter Gerhard Lange

9/11 x-height: small, large or average character width: wide, narrow, average color: light or dark or..

9/11 x-height: small, large or average character width: wide, narrow, average color: light or dark or.. 13

X - H E I G H T

Xxhg Garamond Claude Garamond

9/11 x-height: small, large or average character width: wide, narrow, average color: light or dark or.. 14

Xxh g News Gothic Morris Fulller Benton

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

X - H E I G H T

Xxh g Bembo Francesco Griffo

9/11 x-height: small, large or average character width: wide, narrow, average color: light or dark or..

X xhg Futura Paul Renner

x-height: small, large or average character width: wide, narrow, average color: light or dark or.. 15

X - H E I G H T

X x h g Xxhg Volta Konrad Bauerr & Walter Baum

Trade Gothic Jackson Burke

9/11 x-height: small, large or average character width: wide, narrow, average color: light or dark or.. 16

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

X - H E I G H T

X x h g Xxh g Clarendon Robert Besley

Scala Sans Martin Majoor

9/11 x-height: small, large or average character width: wide, narrow, average color: light or dark or..

x-height: small, large or average character width: wide, narrow, average color: light or dark or.. 17

X - H E I G H T

X x h g X xhg Memphis Rudolf Wolf

Interstate Tobias Frere-Jones

9/11 x-height: small, large or average character width: wide, narrow, average color: light or dark or.. 18

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

X - H E I G H T

X x h g Xxhg Didot Firmin Didot

Gill Sans Eric Gill

9/11 x-height: small, large or average character width: wide, narrow, average color: light or dark or..

x-height: small, large or average character width: wide, narrow, average color: light or dark or.. 19

H XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

R U L E S

H Y P H E N A T I O N

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. Therefore, names, dates or words which are normally read together can stay together.

HYPHENATION RULES PAY ATTENTION TO: —HOW THE TEXT IS READ AVOID WIDOWS (ONE WORD ON THE LAST LINE OF A PARAGRAPH)—AVOID HYPHENATING OR LINE BRAKES OF NAMES AND PROPER NOUNS— LEAVE A LEAST 2 CHARACTERS ON THE LINE AND 3 FOLLOWING—AVOID BEGINNING CONSECUTIVE LINES WITH THE SAME WORD— AVOID ENDING CONSECUTIVE LINES WITH THE SAME WORD—AVOID ENDING LINES WITH THE WORDS: THE, OF, AT, A, BY..—NEVER HYPHENATE A WORDS IN A HEADLINE AND AVOID HYPHENATION IN A CALLOUT

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

IN UNJUSTIFIED TEXT, THE TEXT BLOCK IS SET

H Y P H E N A T I O N

R U L E S

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.

WIDOWS 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.

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

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

H Y P H E N A T I O N

R U L E S

HEADLINES Do not hyphenate headlines. That’s a law.

Don Quixote de la Man- Cha

Watch where the first line of a two-line headline ends. Does it create a silly or misleading phrase? Fix it.

Don’t Lose Your Self Respect

Do not leave widows (very short last lines) in headlines.

WRONG: Man Walks Barefoot Across Bay Bridge RIGHT: Man walks barefoot across Bay Bridge LINE BREAKS: Look for bad line breaks throughout every line of body copy. Do this only on a final copy after all editing has been done.

MAKE SURE HEADLINE TEXT IS JUSTIFIED APPROPRIATELY. USE LINE BREAKS (SHIFT RETURN) TO BUMP TEXT TO NEXT LINE WHEN NEEDED. USE KERNING TO BRING A HYPHENATED WORD TOGETHER IF NECESSARY. NEVER HYPHENATE PEOPLE’S NAME.TRY SUBSTITUTING A SHORT OR LONG WORD TO MAKE TEXT FIT.

B A D

L I N E

B R E A K S

BEFORE— CASING ADDER BAT 01

AFTER— CASING ADDER BAT

Heresy borsch-boil starry a 02 boarder borsch boil gam

Heresy borsch-boil starry a boarder borsch boil gam plate lung, lung a gore inner ladle wan-hearse torn coiled Mutt-fill. Mutt-fill worsen mush offter torn, butted hatter putty gut borsch-boil tame, an off oiler pliers honor tame, door moist cerebrated worse Casing. Cas- ing worsted sickened basement, any hatter betting orphanage off .526 (fife toe sex). Casing worse gut lurking an furry poplar—spatially wetter gull coiled Any-bally. Any-bally worse Casing’s sweat-hard, any harpy cobble wandered toe gat merit, bought Casing worse tow pore toe becalm Any-bally’s horsebarn. (Boil pliers honor Mutt-fill tame dint gat mush offer celery; infect, day gut nosing atoll.) Boughtt less gat earn wetter muffin starry.

plate lung, lung a gore in- 03 ner ladle wan-hearse torn coiled Mutt-fill. Mutt-fill worsen mush of- 04 fter torn, butted hatter putty gut borsch-boil tame, an off oiler pliers honor tame, door moist cerebrated worse Cas- 05 ing. Casing worsted sickened basement, any hatter betting orphanage off .526 (fife toe sex). 06 Casing worse gut lurking an furry poplar—spatially wetter gull coiled Any-bally. Any-bally worse Casing’s sweat-hard, any harpy cobble wandered toe gat merit, 07 bought Casing worse tow pore toe becalm Any-bally’s 08 horsebarn. (Boil pliers honor Muttfill tame dint gat mush offer celery; infect, day gut nosing atoll.) Butt less gat earn wetter starry.

01 JUSTIFY THE HEADLINE SO IT STAYS ON ONE LINE. 02 USE A LINE BREAK (SHIFT+RETURN) TO BUMP “A” DOWN TO THE NEXT LINE, WHERE IT FITS VERY NICELY. 03 KERN THE LINE A TINY BIT TO BRING THE REST OF THE WORD UP. 04 TYPE A DISCHY IN FRONT OF THE WORD TO BUMP IT DOWN. 05 NEVER HYPHENATE A PERSON’S NAME. I HAD TO GO UP A FEW LINES, BUMP “OFF” DOWN,WHICH BUMPED THE OTHER LINE ENDINGS DOWN. 06 FIX WIDOW. 07 THERE IS PLENTY OF ROOM TO SQUEEZE “BOUGHT” ON THIS LINE, PERHAPS BY KERNING THE LINE A TINY BIT. 08 “HORSEBARN” IS A GOOD LONG WORD THAT COULD BE HYPHENATED; TYPE A DISCHY. BETTER YET, WHEN “BOUGHT” MOVED UP, IT GAVE ENOUGH ROOM TO MOVE “HORSEBARN” UP. IF NOT, TRY OPENING THE TEXT BOX A WEE BIT. 09 EDIT: TO GET RID OF THAT TERRIBLE WIDOW, EXCHANGE A SHORT WORD FOR A LONG WORD.

1–JUSTIFY THE HEADLINE SO IT STAYS ON ONE LINE. 2—USE A LINE BREAK (SHIFT RETURN) TO BUMP “A” DOWN TO THE NEXT LINE, WHERE IT FITS VERY NICELY. 3—KERN THE LINE A TINY BIT TO BRING THE REST OF THE WORD UP. 4—TYPE A DISCHY IN FRONT OF THE WORD TO BUMP IT DOWN. 5—NEVER HYPHENATE A PERSON’S NAME. 6—I HAD TO GO UP A FEW LINES, BUMP “OFF” DOWN, WHICH BUMPED THE OTHER LINE ENDINGS DOWN. THIS ALSO TOOK CARE OF THE INAPPROPRIATE WIDOW IN THE ERROR BELOW. 7—THERE IS PLENTY OF ROOM TO SQUEEZE “BOUGHT” ON THIS LINE, PERHAPS BY KERNING HTE LINE A TINY BIT. 8—“HORSEBARN” IS A GOOD LONG WORD THAT COULD BE HYPHENATED; TYPE A DISCHY. BETTER YET, WHEN “BOUGHT” MOVED UP, IT GAVE ENOUGH ROOM TO MOVE “HORSEBARN” UP. IF NOT, TRY OPENING THE TEXT BLOCK OR TEXT BOX A WEE BIT. 9—EDIT: TO GET RID OF THAT TERRIBLE WIDOW EXCHANGE A SHORT WORD FOR A LONG WORD.

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

ALIGNMENTS

IF SOMEONE INSISTS THAT FULLY JUSTIFIED TEXT IS better than leftaligned 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 what’s right? Alignment is only a 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. 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.

THERE WILL UNDOUBTEDLY BE WELLMEANING 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 DIFFERENT. No matter what alignment you use, remember to pay close attention to hyphenation and word/character spacing to ensure that your text is as readable as possible.

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

A L I G N M E N T S

â&#x20AC;&#x153;Right and wron in graphic desig effective and no communication

ng do not exist gn. There is only on-effective n.” — Peter Bil’ak 29

A L I G N M E N T S

JUSTIFIED TEXT Traditionally 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 leftaligned 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 sub- headings, margins, or graphics. CHARACTERISTICS—OFTEN CONSIDERED MORE FORMAL AND LESS FRIENDLY THAN LEFTALIGNED TEXT. USUALLY ALLOWS FOR MORE CHARACTERS PER LINE, PACKING MORE INTO THE SAME AMOUNT OF SPACE (THAN THE SAME TEXT SET LEFT-ALIGNED).—MAY REQUIRE EXTRA ATTENTION TO WORD AND CHARACTER SPACING AND HYPHENATION TO AVOID UNSIGHTLY RIVERS OF WHITE SPACE RUNNING THROUGH THE TEXT.— MAY BE MORE FAMILIAR TO READERS IN SOME TYPES OF PUBLICATIONS, SUCH AS BOOKS AND NEWSPAPERS. SOME PEOPLE ARE NATURALLY DRAWN TO THE “NEATNESS” OF TEXT THAT LINES UP PERFECTLY ON THE LEFT AND RIGHT.

A L I G N M E N T S

RAGGED RIGHT In English and most European languages where words are read left-toright, text is often aligned flush left, meaning that the text of a paragraph is aligned on the left-hand side with the right- hand side ragged. Ragged right text is considered more informal than fully justified text. Although flush left alignment is less likely to have typographic rivers or problems common to fully justified text, care must be taken to prevent drastic changes in the length of the line. Abrupt changes from line to line makes the text difficult to read. CHARACTERISTICS—A WORD ON CENTERED TEXT 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). 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. 31

J U S T I F I C AT I O N Justify text only if the line is long enough to prevent awkward and inconsistent word spacing.

THE ONLY TIME YOU CAN SAFELY get away with justifying 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, then the words liberally space themselves as the type aligns to the margins. 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 mid- dle. 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 disrup- tive, 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, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

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

QUICK TIPS Here is 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.

FORMULA:

(point size x 2) / 6

EXAMPLES:

9 point type = 18 picas long = 3 inches 12 point type = 24

picas long = 4 inches 16 point type = 36 picas long = 6 inches

There are 6 picas per inch. To determine how long a line is in inches, simply divide the number of picas by 6.

IDENTIFYING JUSTIFICATION PROBLEMS AND CHANGING SETTINGS. 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. JUSTIFICATION SETTINGS CAN BE CHANGED UNDER THE THE PARAGRAPH DROP DORWN MENU. YOU CAN CHANGE THE WORD SPACING AND LETTER SPACING IN ORDER TO MINIMIZE THE APPEARANCE OF RIVERS AND MAKE TEXT MORE READABLE. SEE THE NEXT FIVE PAGES FOR EXAMPLES.

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

HELVETICA NEUE 9 / 12

ARCHER

9 / 12

Publiis, consusque comnium consil hos C. Tatus cupio, simurbi etorum is. Ha- bus, opopota, nonerus et nunimedet aut con verviliqua nonvoc, con sigit, quit, quius, nonir liem dit. Onvo, diussignost? Nostili cenatquem, macerobus in reo, quam ponsilis acchilissis? Ant? Tum eli num inihillem horum patia conficae peri es cause iam sperma, c erri es tam eri sertent rissoltus obus ora recri sena, Cate parbi publingul cam nocciorum int, vivit L. M. cles horsum in senderi sperra num oculvis, nos contemus. Istrum con ta, egeripim que maxime cuperib erbefes ultussende opubissa re, tabem inter quod C. Etra nondaces inte era? quidetemur urbi iuropti quonihiliis, se, con hostrar edina, clegeri virmanu linari, cris nora quon temquid nos, quam me quam patridendam iamplium imilissoltis omneris sendientem et vidii perecon sultinatus vivicid cultus dem dicivivilice tertantiam pori tanuntrum consum, atum sulint. Git, commo odiasi niscipsam, cus quatatus quate aboreptas ulpa adiostios et derchilia cus, si remperspe volupta ventis dio. Odit voluptatur aut

Publiis, consusque comnium consil hos intrit, notam. Cenatus cerfintemus haes C. Tatus cupio, simurbi etorum is. Habus, opopota, nonerus et nunimedet aut con verviliqua nonvoc, con sigit, quit, quius, nonir liem dit. Onvo, diussignost? Nostili cenatquem, macerobus in reo, quam ponsilis acchilissis? Ant? Tum elinum inihillem horum patia conficae peri es caude iam sperma, cienatus perri es tam eri sertent rissoltus obus ora recri sena, Cate parbi publingul cam nocciorum int, vivit L. M. cles horsum in senderi sperra num oculvis, nos contemus. Istrum con ta, egeripim que maxime cuperib erbefes ultussende opubissa re, tabem inter quod C. Etra nondaces inte era? quidetemur urbi iuropti quonihiliis, se, con hostrar edina, clegeri virmanu linari, cris nora quon temquid nos, quam me quam patridendam iamplium imilissoltis omneris sendientem et vidii perecon sultinatus vivicid cultus dem dicivivilice tertantiam pori tanuntrum consum, atum sulint. These solutions are relaively successful, but there is room for improvement. The words are spaced a bit too far. This effect is less noticable in the sans serif than the serif typeface, sinc the character

90—100—130

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

HELVETICA NEUE 9 / 12

ARCHER

Ed et, et es illendenis eiumet inulpar umenda nus et hiciet faciliquam reptate moleni culpa pore, omnis modi officil maxim fugit inis iderio coreres tiorrorero quo int. Cate et que molupicime sum quam estisi dolum volorro qui de officto ribere earum nimagnis es doluptaepti dis eossi reiur sunt rem et es et am eos nis non ra solupictem hil is premposse porepud aestem dis et, cum quia neceaqui quis simet, nonem si doloria si bea cus re ditibus, odiatio nseque res maximperatur sapitas senia comnis dendi invelent incia non resti denim et volorep erovit, odit demquae voluptat. Me cupta velit elis dit fuga. Et laborep elenimusti in nonsend eruntotas cores quodit aut quas mi, si as doles et volorem accatecabo. Et volut etur, cum voluptatem. Laccum quod maxim el ide volore qui officaest, consequi cuptae officia cuptae sus verchil lessera peleserum est, ut qui occab id quamus et ande voloriorios sum hil earuptur maximpeliame ni arios samendam, omnima volorere, atus. Naturibus rem. Acepele stissint peria cus ra si quam, corror aut lis illa cus con culluptate aut ma quiderovit eatis aut

Aboremquae ab inulparunt unt facia veles et et auda qui conserum volorent imus modia quam ipite nonesti iliam alique explam, est la dem sundite cusapis at. Itecepraecum fuga. Natur? Is ma ea doluptam nonsecus dis a ate non exeriae peliquia porestius. Est, id quid mi, que sant volorep repediam lam, quoditem es idebit laborem vellorature, quibusanda doluptatis ma ad et es eosapis mos am, cori sam non nobit quatur? Quidus quam ratiatur ad quo quibus simus sam rest, qui dolore identium re, voluptu rentioreprat et prae voluptae sequi qui omnis qui ut aut eiciendae se laut dolorer natiate dicto magnienis dolores ius in ratur aliquid quis evelestiam et di cum sum facepelest que volest qui ressiti nullam dolor sed quia di ut debit quuntore voloria incto odit mint. Atestius rem siti consed eatibustio. Cepudi te omnis excerferis volorep errores molupta tecersp ernatias ex explibus velendusam et intem arum sae a pel inis et, culparc iendes molorempore cusam ipienti nveliti ne as nostem et poribust quia venihillabor autem rem quidus. Occum res aut utem que volor a porro berspieni ullia pore venihil ibusda qui blaborest, ommod quamus dent, qui

95—100—110

9 / 12

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

HELVETICA NEUE 9 / 12

ARCHER

9 / 12

Lestior most lam, que nonempor sim nient, omnitio. Sunt aliquib usdande nimenim suntian derfero volorem quatur ati dit reprore lab iur, sus ad molorio nsequostis maiorepta que rehent perum lat. Eprestisquis demquas peditio bere eligendi delibust hillab inctusam a iducius dendebite ommodi que necuptas ea conem nihilignis eatior autatus nonesedit elestibus eaquossequi bla adit autatque reperumenet omnimust volupid et mi, qui vit opta prernate plaut molor sum doluptatest, eatin reiciatust, custiatem et inctur, quam volora con poreici anditibus alitio consedipist, endus cullias consequi volluptium dendellabo. Untemosae nihit exerum ium, conesci nihicti ut lab iur si odis unt etur? Omnim dolo eosant dolupta quae sit apis ma del explab il im voles expera deri nos con cuptatia nim niaest harchil itatus earum aut alique pores auta pa con nobit pres etur alit facernati que porum nat por rerferum aut dolor mollaccus simus dolut et rem. Nem quo milias volutam unturi volorepediat veri volupic iuriossendi bearum dolor minci reicabo. Ore, ullautaspis untem. Ped

Poribus. Agnatiatem voloribus dolor simagni ne offici officia tessum sapiendipsum quae et imus ex eatiis doloressit eosant incille catur, cupti to et quos dolorrumet rae vollabo. Et eum esed et harum lant utaspero vit venihil liaescitia volorro enis doloreium qui is di conet, si que consedit ut harumqu odiorepra plit, inulles sero maiorerum sunt aliquiam fugiat ut fugit volorporem re laut elignam fugiam, tem fuga. Et eosam nime dia con nobis dolora es eos dolo et laccus aut facillest pre exernam enis quuntotates mo offic teceaque as pressi re lacculpa volliquo cus audae veles nonectem que nus. Ut eatem earum harciunt venimol enist, cusdam lacil mo ommosse conecte mporesequi volupti ditatem volum expelesti ius moluptatur, venet quunte mos dolorro essumquatume vit providebit eos que dolorecerum vel illora ent. Equo minus as que dolecte voluptat mossime volum labor si quam, et et litiunt inullatest aut miliam ut venis et occullanim eium con pos nosa plis ma verumquatur, int exerfer cilless inctatius voluptat volorerchil ea dolupiscilit volut poresci aepreria niet veles aut omnihil ma enduntium volum adit, ommolor ant

80—87—100

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

HELVETICA NEUE 9 / 12

ARCHER

9 / 12

Ite num re sitianduciae sequi sus esequos excepel ipis pero blationecum qui commo blam adisqui duciamus sint qui utatiis eos reius peris repuda ducimax imporio id maio. Nemporu mquunto dolorporem que sit et etur accumet quo conseri beaturest, verum fuga. Ut pora comnis maiostem voloreh endita voluptatesti cus, aut alition ecture doluptat. Lore maion perere voloriae rest ut molliquam quidelentis doluptus verem ariti as eati te nonsequis perum dolum, ulparum quas es molecte nam et harum facidus perum reperunt quam quisintem quis suntora cus maximil luptatempori oditiora sinctor untiorepe quibus ersperuptas magniaere re autempe rnature ssitiam, tem. Ant, te perferitat rem ratia alique evenda eium aborenia namusanti aut odit as aligention nietur reperibus volorepudist ut repernam si debit venditium ium quae res quis dus. Secus. Ent eum etur ad est mi, temque esedi a volessitiae nobis sequae consequi ut volore remquid magnam cus quas sequist, quo id quationsed es nimil imil essit libus. Xero eum fugitae ra parum anima dellandae velis et aut mossusda nempos corem quas dolo que pore, que velentiam fuga. Ut litasperum faccum illessim corum es imaximus es eost, cum fuga. Ota dolupti busdae velenisto qui omnihiliqui bla serum quaest, inctati orporeiusam et aut eserum vel ipistin ra quam fugitasim

Lamus cores ea plauten esciae vendige nitatem excero dit ut quam quist eatur molupit rempedi optature, quae res aut laut modio inullab orendae nobis molendi oneculp archilit pore od moluptate anda expla dis voluptatione a aborent apicit, sitam nonsequam, sequi debis mos siminih illaborum estias modia doluptam volorer chilibus dolorru menimini blacea same eum ullorup tatur? Gias venimagnisit faccat et am, nost, cuptatecto cum sanis ab imenihil illa sin nimillesto cusam fugitaquo quundit ationseribus aspelis dolestibus exeriti stiur, te non parum volestis acipitatem repedis magniet quam elis diciam hil magnite occaecu llupta endam, cuptisqui dolecestia debita conessitae ped maios est, sequi comnis dolent magnimp oresenis eat. Solum eaqui toritati te cum rero tet laceprore sit, volores ut lant dolut aut omniendio cus nimaximusam, volorio con cum eaquis dit, comnimus, in coria corepe alignist doluptas que rescienim ut harum qui con rest, optatur? Fugit quiatin veroreri dolo dolorerferum quos eos et id endaeperit, con nonseque pedi comnitatis moluptatus illigen duntion res moloriorenis eiuresediam, optate est accum dus. Totatio doluptiae perehendit ullicienis mi, sinverita dolupta veliquaecti berro beatem eic tor aturion sequis atia sequunt volorum eatem ent a nossi

70—75—80

70—75—80-

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

HELVETICA NEUE 9 / 12 Elendemossin rem quam con rercime quam esci dolore pra adipien tempor autem. At labo. Ut ommodisci to es porepe estorescius pelitae nimus quaerita es ulparum, con ea comnisquos veliquamus, nectium voluptatat. Uda plaborr umquam quatquiat eostorem que estis eum iunt velis quis vendus eum ea saped quas et eosape nones ni que nonse veniet, invel imusam facim ni dolorenit eatures equatur sanimi, quas dion renis el illestiatqui bearunt estioris modiates exerferro vent fuga. Sam quodiciis ea cullorrum faccus dem id mi, sapero totatiae. Nam laut quunt omnist accatias min eos prem ad que incto tem nonseque volloresto tem doluptation rerchici quia videbisti comnimaio idunturibus ea commos id mo blame quiduciis sit unt. Optaerspient as et quidem et fuga. Nam nulpa volorem ad eseniet quatem eatempe liquide ssitent dolupta tempos si doluptatati ommoluptat la cum faccatia quia dolor maio. Ga. Et as sa cum ipiderrum harum volore, cum ullabore pror apelit rem alitatios consequis quiatemolum nobis adis in et quidi aut pores estiam etust, voloria nulparibust verspissinto mosae non re maioraerro dolorro molupta aut aditas restibu sandis derum et eum amet plabo. Re net ut periatio que la cumqui dolore corestius re, omni te eumquae

85—90—110

ARCHER

9 / 12

Undelianimpor auta cuptur? Quia volupta sperit, tent fugiasp ienihit apis maio. Nequatem et volupta quo consent fugia cus, autenit, que volorenis con restiandam, tectenti nienis et la nesequi auditatia el mintibus, eatempor ad quam ereperibus mo dolorei usanist moluptas maio ea dolor aut adios etur? Iciis ex essi officat enimaxi mpore, odit por magnita corepedi con cones aut quiandae. Et esediam, verum faccullitia cus, quas reped quam, qui temporeniati aut endisqui consequi unt. Optatem quias sandebit as pliquid elendis dolesto odi doluptassum ditia sam ipsaper ferchil ipsandust, vel eos aceaquuntis pa pe prae qui quam eum quatium hillupi ciamustio. Itat. Ihiliqui sequosa ndamus peruntio. Qui testi quo digentibus ipsaeru ptatquia id magnam, cor suntet fugit lamus eosape volorei ciendam quo intur ma cus, tem fugiatiur? Quiaturia que proria es rersper aturit, ipsus eosantem repeliam quis erundaectem diorror audit quas ad qui aut recaborpor sustem volupta sitas unt, tem et lam, officiisci doloribus dolent escientem quat et hil expligenis eaquos molupta voluptur? Fererio. Nemquaecest ut optaqui nataquat.

85—90—110

F O N T

C O M B I N A T I O N S

Restrict yourself to two typefaces within a document. The inclusion of multiple serif or sans serif typefaces will cause unwanted tension.

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. A particularly good combination is a sans serif typeface for the heading and a serif typefaces for the body copy. When combining serif and sans serif text fonts, one should try and match the characteristics of form and type color: proportion, x-heights.

QUICK TIPS FOR EFFECTIVE TYPE COMBINATIONS— DON’T BE A WIMP. THE KEY IS CONTRAST: SIZE, STRENGTH, TYPOGRAPHIC COLOR. A SANS SERIF TYPEFACE IS EASIER TO READ AT A GLANCE, AND, THUS, MORE EFFECTIVE FOR HEADLINES.SERIFS IN A TYPEFACE FACILITATE THE FORWARD MOVEMENT OF READING, MAKING SERIF TYPEFACES AN IDEAL CHOICE FOR BODY COPY.

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

COMBINING TYPEFACES—

XXXXXXXX XXXXXXXX X X XXXXXXXXX XXXXXXXXX X X XXXXXXXXX XXXXXXXX XXXXXXXX X X XXXXXXXXX XXXXXXXXX X X XXXXXXXXX XXXXXXXXX XX XX XXXXXXXXXX XXXXXXXXXX XXXXXXXX XXXXXXXX X X XXXXXXXXXX XXXXXXXXXX

F O N T

WORDS IN LIBERTY

C O M B I N A T I O N S

WO R D S I N LI B E RTY A Pr ol ogue to Futuri sm:

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

aa BB ee GG gg

OLD STYLE

A Prologue to Futurism: Futurism was first announced

9/12: Adobe Garamond

HUMANIST SANS SERIF 12/16: Frutiger 65 Bold There is a visible contrast between these two typefaces, which is further punctuated by the bold style of the sans serif font. Both of these typefaces have an organic aspect that compliment each other well.

9/12: Bembo

GROTESQUE SANS SERIF 12/16: Akzidenz Grotesk Here there is a more prominent contrast between the two typefaces. The large x-height and bolding of the sans serif typeface is easier to read than the body copy, which outlines a clear delineation in hierarchy.

F O N T

C O M B I N A T I O N S

WORDS IN LIBERTY A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. 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.

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.

aa BB ee GG gg

TRANSITIONAL

12/16: Baskerville Old Face (bold, italic)

12/16: Bookman (bold, italic)

GEOMETRIC SANS SERIF

HUMANIST SANS SERIF

9/12: Futura (roman, bold)

9/12: Syntax

Although there is a clear difference between the heading and the body copy, the stroke of Futura seems a bit heavy, which creates a similar typographic color as the bold, enlarged title and creates tension.

Both of these typefaces – while distinct – maintain organic attributes that compliment each other well. The humanist sans serif functions well as the body copy, and both typefaces exude an approachable style.

F O N T

C O M B I N A T I O N S

WORDS IN LIBERTY WORDS IN LIBERTY A Prologue to Futurism: Futurism was A Prologue to Futurism: first announced on February 20, 1909, when the Paris news-

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. 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 destruc-

tion of such cultural institutions as museums and libraries.

aa BB ee GG gg

MODERN

18/21: Bauer Bodoni (bold, italic)

9/12: Didot

GEOMETRIC SANS SERIF 9/12: Futura Although serif fonts are particularly good choices for body copy, Modern typefaces such as Bodoni were designed as display fonts. The variations in stroke width with Bodoni creates a distinct contrast between the uniform stroke width of Futura.

GROTESQUE SANS SERIF 21/24: Akzidenz Grotesk This combination is eye-catching and demonstrates a clear hierarchy. The title is easy to read due to the bold sans serif typeface; while the Modern serif typeface is more subdued but still legible.

F O N T

C O M B I N A T I O N S

WORDS IN LIBERTY

A Prologue to Futurism: Futurism

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

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

aa BB ee GG gg

NEW TRANSITIONAL

18/21: Mrs. Eaves (bold)

21/24: Perpetua

GEOMETRIC SANS SERIF

GROTESQUE SANS SERIF

9/12: Futura

9/12: Akzidenz Grotesk

The large x-height of Futura creates a contrast with the small x-height of Mrs. Eaves.

The strength of Akzidenz Grotesk as the body copy competes with the header, which creates tension between the two blocks of text and blurs the hierarchy.

F O N T

C O M B I N A T I O N S

WORD S I N LI B E RT Y WO R D S I N LI B E R T Y A Prolo gu e t o F u t u ri s m : A P ro l o g u e t o Fu t u ri s m wa s f ir s t anno u nc e d o n F e bru ar y 20, 1 9 0 9 , wh e n t h e Pa r i s ne w spape r L e F i g aro pu bli shed a ma n if es t o by t he It al i an po e t and e di to r Fi li ppo To mma s o M ari ne t t i . T he nam e F u t u r i sm , coi ned b y M a r in e t t i , r e f l e c t e d hi s e m phasi s o n di scar d in g wh a t h e c o nc e i v e d t o be t he s t at i c a nd i rrelev a n t a r t o f t h e pas t and c e l e brat i ng c han g e , ori gi na lit y, a n d in no v at i o n i n c u l t u re and s o c ie ty. Fu t u ri s m r eje ct e d t r a di t i o ns and g l o r i f i e d c o nt emporar y lif e, ma in ly by e m phas i z i ng t w o do m i n a nt t hemes , t h e ma ch in e and m o t i o n. T he w o rk s we r e charac t er ized b y t he de pi c t i o n o f se v e r al su ccessi ve a ct io n s o f a s u bj e c t at t he sam e t i m e . Mari ne t t i’s ma n if es t o g l o r i f i e d t he ne w t e c hno lo g y of t he a ut omo b ile and t he be au t y o f i t s s pe e d, pow er, a n d move me nt . H e e x al t e d v i o l e nc e an d confli c t a n d ca lled f o r t he s w e e pi ng re pu di at i on of t radit ion a l cult ur al , so c i al , and po l i t i c al v alue s and t he d es t r uct ion o f s u c h c u l t u ral i nst i t u t i o ns a s mu seu ms a n d lib r a r i e s.

aa BB ee GG gg SLAB SERIF 18/21: Memphis (bold)

GEOMETRIC SANS SERIF 9/12: Futura Memphis functions well as a display font. Although serif fonts are considered to be a strong choice for body copy, the large slab serif typeface may be too bulky and compromise legibility. The monoweight appearance of Futura and Memphis compliment each other well.

Fu t u ri s m :

aa BB ee GG gg SLAB SERIF 9/12: Rockwell (light)

GROTESQUE SANS SERIF 21/24: Akzidenz Grotesk This solution employs the slab serif typeface for the body copy. The typeface style is light to improve legibility. The title immediately draws the viewer’s attention, and Rockwell comprises a strong foundation for the body copy.

F O N T

C O M B I N A T I O N S

WORDS IN LIBERTY

A Prologue to Futurism: Futurism

aa BB ee GG gg

helvetica 16pt : grotesque and mrs eaves 24pt: transitional

These 2 fonts work together based on the stroke weight and character width. Because Helvetica has such a large x-height, Mrs. Eaves had to be used at a much larger size to make the 2 fonts more opically similar. To increase hierarchy and to have a quick read I used Helvetica 75 (bold) for the header and subhead.

YOU’RE MY TYP 48

E JUST PE. 49

Quotes, Apostrophes, Dashes.

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

USE REAL QUOTATION MARKS

never those grotesque

generic marks that actually symbolize ditto/inch or foot marks: use “and” – not “and”. Most software applications will convert the typewriter quotes to the real quotes for you automatically as you type. Check the preferences for your application – you’ll find a check box to tell your application to automatically set something like “typographer’s quotes,” “smart quotes,” or “curly quotes.” Then as you type using the standard ditto key (“), the software will set the correct quotation marks for you. But it is necessary to know how to set them yourself because sometimes the software doesn’t do it or does it wrong.

Opening double quote: “ Type: Option [ Closing double quote: ” Type: Option Shift ] Opening single quote: ‘ Type: Option [ Closing single quote: ’ Type: Option Shift ]

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

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

Q U O T E S ,

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

APOSTROPHE Apostrophe: ’ option shift ]

As as aside, people often are confused about where the apostrophe belongs. There are a couple of rules that work very well.

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

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

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

AS PREVIOUSLY NOTED,

it’s means “it is”; the apostro-

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

FOR OMISSION OF LETTERS:

In a phrase such

as Rock ’n’ Roll, there should be an apostrophe before and after the n, because the a and the d are both left out. And don’t turn the first apostrophe around — just because it appears in front of the letter does not mean you need to use the opposite single quote. An apostrophe is still the appropriate mark (not ‘n’).

IN A PHRASE SUCH AS

House o’ Fashion, the apostrophe

takes the place of the f. There is not earthly reason for an apostrophe to be set before the o. In a phrase such as Gone Fishin’ the same pattern is followed — the g is missing.

IN A DATE WHEN PART

of the year is left out, an

apostrophe needs to indicate the missing year. In the 80s would mean the temperature; In the ’80s would mean the decade. (Notice there is no apostrophe before the s! Why would there be? It is not possessive, nor is it a contraction — it is simply plural.

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

NEVER USE TWO HYPHENS INSTEAD OF A DASH. USE HYPHENS, EN DASHES, AND EM DASHES APPROPRIATELY. Everyone knows what a hyphens is —that tiny little dash that belongs in some words, like mother-in-law, or in phone numbers. It’s also used to break a word at the end of a line, of course.

YOU MIGHT HAVE BEEN TAUGHT

to use a double

hyphen to indicate a dash, like so : -- . 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.

HYPHEN EN DASH – EM DASH —

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

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

EN DASH To type an en dash en dash – Option Hyphen hold the Option key down, then tap the hyphen key An en dash is half of the em rule (the width of a capital N) and is used between words that indicate a duration, such as time or months or years. Use it where you might otherwise use the word “to.” In a page layout application, the en dash can be used with a thin space on either side of it. If you want you can kern it so it is not a full space. October – December

EM DASH -

6:30 – 8:45 A.M.

To type an em dash

4 – 6 years of age

em dash — Shift Option Hyphen hold the Shift and Option keys down, then tap the hyphen key. 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. 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 looks unprofessional.

When using an—no space is used on either side.

S P E C I A L

C H A R A C T E R S

THE FOLLOWING IS A LIST OF THE MOST OFTEN-USED SPECIAL CHARACTERS AND ACCENT MARKS— “ OPTION + [ ” OPTION + SHIFT + [ ‘ OPTION + ] ’ OPTION + SHIFT + ] – OPTION + HYPHEN — OPTION + SHIFT + HYPHEN ... OPTION + ;

XXXXXXXX XXXXXXXX X X XXXXXXXXX XXXXXXXXX X X XXXXXXXXX

• OPTION + 8 FI OPTION + SHIFT + 5 FI OPTION + SHIFT + 6 © OPTION + G ™ OPTION + 2 ® OPTION + R ° OPTION + SHIFT + 8 ¢ OPTION + $ ⁄ OPTION + SHIFT + 1

XXXXXXXX XXXXXXXX X X XXXXXXXXX XXXXXXXXX X X XXXXXXXXX XXXXXXXXX XX XX XXXXXXXXXX XXXXXXXXXX

¡ OPTION + 1 ¿ OPTION + SHIFT + ? £ OPTION + 3 Ç OPTION + C Ç OPTION + SHIFT + C

REMEMBER, TO SET AN ACCENT MARK OVER A LETTER, PRESS THE OPTION KEY AND THE LETTER, THEN PRESS THELETTER YOU WANT UNDER IT— ´ OPTION E ` OPTION ~ ¨ OPTION U ˜ OPTION N ˆ OPTION I

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

S P E C I A L

X X XXXXXXXXX XXXXXXXXX XX XX XXXXXXXXXX XXXXXXXXXX

LETS

BUL

To be more creative, substitute symbols or dingbats for the actual bullets. Try squares, triangles or check marks (just not all at once!

SIMPLY PUT, A BULLET IS A LARGE DOT used to draw attention to each item in a list or series. The items can be single words, phrases, sentences or paragraphs. Even if you use the bullet that is part of your font, don’t automatically assume it’s the right size: it might need to be altered in scale or position to make it look balanced next to the text. Bullets should be centered on either the cap height

or x-height, depending on the nature of your copy. If all of your items begin with a cap, center the bullet on the cap, or a bit lower so it balances with the negative spaces created by the lowercase. If your items all begin with lowercase characters, center the bullets on the x-height. Insert some space after the bullet to avoid crowding.

THE PREFERRED WAY TO ALIGN BULLETS IS WITH THE LEFT MARGIN. YOU CAN ALSO HAVE THE BULLETS OVERHANG THE MARGIN, AND KEEP ALL YOUR TEXT ALIGNED WITH THE LEFT MARGIN. WHICHEVER STYLE YOU CHOOSE, YOUR LISTING WILL LOOK BEST IF ITEMS THAT RUN MORE THAN ONE LINE ARE INDENTED SO THAT THE COPY ALIGNS WITH ITSELF, AND NOT WITH THE BULLET ON THE FIRST LINE.

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

B U L L E T S

DINGBATS AS BULLETS

• • • • • • • •

􀁳 lovely 􀁳 surly 􀁳 ghastly 􀁳 womanly 􀁳 saintly 􀁳 ungodly 􀁳 stately 􀁳 sprightly

v d a u w h e

lovely surly ghastly womanly saintly ungodly stately sprightly

stst st st st st stst st st st st stst st st st st stst st st st st stst st st st st stst st st st st stst st st st st stst st st st st stst st st st st stst st st st st stst st st st st stst st st st st stst st st st st stst st st st st stst st st st st stst st st st st stst st st st st 61

NU M ER A LS XXXXXXXXXXXXXXXXXXXXXXXXX

XXXXXXXXXXXXXXXXXXXXXXXXX

FIG UR ES

F I G U R E S

Learn the difference between oldstyle figures and regular numerals in a given typeface.

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 verti- cally on charts. The figures are proportionately spaced, eliminat- ing the white spaces that result from monospaced lining figures, especially around the numeral one.

OLDSTYLE FIGURES ARE VERY USEFUL and quite beautiful when set within text. Unlike lining figures, they 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 for most uses except charts and tables. It’s well worth the extra effort to track down and obtain typefaces with oldstyle numerals; the fonts that contain them might well become some of your favorites.

OLDSTYLE FIGURES HAVE MORE OF A TRADITIONAL, CLASSIC LOOK. THEY ARE ONLY AVAILABLE FOR CERTAIN TYPEFACES. SOMETIMES THEY ARE INCLUDED AS REGULAR NUMERALS IN A FONT, BUT MORE OFTEN THEY ARE FOUND WITHIN A SUPPLEMENTARY OR EXPERT FONT.

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

N U M E R A L S

F I G U R E S

DIFFERENCE IN ALIGNMENT NOTICE HOW LARGE AND CLUNKY THESE NUMBERS APPEAR: Dear John, please call me at 438-9762 at 3:00 to discss marriae. Or write to me at Rout 916, zip code 87505.

NOTICE HOW BEAUTIFULLY THESE NUMBERS BLEND INTO THE TEXT: Dear John, please call me at 438-9762 at 3:00 to discss marriae. Or write to me at Rout 916, zip code 87505.

SMALL CAPS. 66

C A P S

SMALL CAPS ARE UPPERCASE (CAPITAL) letters that are about the size of normal lowercase letters in any given typeface. Small caps are less intrusive when all uppercase appears within normal text or can be used for special emphasis. Computer programs can generate small caps for a any typeface, but those are not the same as true small caps. True small caps have line weights that are proportionally correct for the typeface, which means that they can be used within a body of copy without looking noticeably wrong.

HOW TO USE SMALL CAPS Use small caps for acronyms. Set acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines.

USE SMALL CAPS FOR COMMON ABBREVIATIONS. SETABBREVIATIONS SUCH AS AM OR PM IN SMALL CAPS SO THEY DON’T OVERPOWER THE ACCOMPANYING TEXT. SPACE ONCE AFTER THE NUMBER, AND USE PERIODS. FOR COMMON ABBREVIATIONS, IF THE FONT DOES NOT HAVE SMALL CAPS REDUCE THE FONT SIZE SLIGHTLY. REMEMBER: THIS IS NOT OUR DEFAULT SOLUTION, ONLY IN DESPERATION. USE TRUE SMALL CAPS FONTS. AVOID SIMPLY RESIZING CAPITAL LETTERS OR USING THE SMALL CAPS FEATURE IN SOME PROGRAMS. INSTEAD USE TYPEFACES THAT HAVE BEEN SPECIFICALLY CREATED AS SMALL CAPS. TRADITIONALLY ABBREVIATIONS ARE SET WITH SMALL CAPS.

Because typewriters did not have a small caps option, many people incorrectly learned to uppercase abbreviations. 67

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

S M A L L

REAL VERSUS FAKE

There are quite a few font families that

include "true-drawn" small caps—letterforms that have been redesigned to match the proportions and thicknesses of the uppercase. These families are often called "expert" sets or perhaps "small cap" sets. The result is a smooth, uniform, undisturbing tone throughout the text.

COMPUTER GENERATED SMALL CAPS

THE WICKED ARE VERY WEARY. Notice that the stroke weight on the small caps is lighter than on the

capitals. The stroke weight should be uniform.

Font: Akzidenz Grotesk (regular)

“TRUE DRAWN” SMALL CAPS

THE WICKED ARE VERY WEARY.

Notice that the stroke weight appears uniform throughout the text.

Font: Mrs Eaves (small caps)

C A P S

P A R A G R A P H

B R E A K S

If you space or indent your paragraphs poorly, your work belies you as an amateur. There are a multitude of ways to denote 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. PARAGRAPH BREAK RULES—SO WHY SHOULDN’T I INDENT THE FIRST PARAGRAPH? THE PURPOSE OF AN INDENT IS TO WARN THE READER THAT A NEW PARAGRAPH IS ABOUT TO BEGIN. SUCH AN INDICATION WOULD BE REDUNDANT ON THE FIRST PARAGRAPH. THE FIRST LINE AT THE BEGINNING OF AN ARTICLE SHOULD BE FLUSH LEFT. (DO NOT INDENT FIRST PARAGRAPH) BLOCK PARAGRAPHS ARE FLUSH LEFT AND ARE SEPARATED BY EXTRA LEADING NOT A FULL RETURN. THE AMOUNT INDENT IS EQUAL TO THE LEADING (SOMETIMES A BIT MORE) NEVER HIT ENTER TWICE BETWEEN PARAGRAPHS TO FORM BREAKS. USE YOUR SOFTWARE TO SET THE INDENT AUTOMATICALLY. EITHER INDENT YOUR PARAGRAPHS OR PUT EXTRA SPACE BETWEEN THEM. DON’T DO BOTH. THE STANDARD TYPOGRAPHIC INDENT IS ONE EM SPACE—A BLANK SPACE AS WIDE AS THE POINT SIZE OF THE TYPE.

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

P A R A G R A P H

XXXXXXXXXXX X X XXXXXXXXX XXXXXXXXX XX XX XXXXXXXXXX XXXXXXXXXX XX XX XXXXXXXXXX XXXXXXXXXX XXX XXX XXXXXXXXXXX XXXXXXXXXXX X X XXXXXXXXX XXXXXXXXX XX

P A R A G R A P H

B R E A K S

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism—coined by Marinetti—reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was pas- sionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

P A R A G R A P H

B R E A K S

F u t u r i s m w a s f i r s t a n n o u n c e d o n F e b r u a r y 2 0 , 1 9 0 9 , when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur- ism—coined by Marinetti—reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life— mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was pas- sionately 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 u t i t i s t h e m o v e m e n t s w h i c h s u r v i v e here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. W h i l e M a r i n e t t i ’ s o p e n i n g m a n i f e s t o f o r I t a l i a n F u t u r i s m 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

P A R A G R A P H

B R E A K S

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism—coined by Marinetti—reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was pas- sionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

P A R A G R A P H

B R E A K S

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism—coined by Marinetti—reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was pas- sionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

P A R A G R A P H

B R E A K S

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism—coined by Marinetti—reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was pas- sionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attenttion. But it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

P A R A G R A P H

B R E A K S

—Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism—coined by Marinetti—reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was pas- sionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. —But it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

P A R A G R A P H

B R E A K S

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism—coined by Marinetti—reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was pas- sionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

P A R A G R A P H

B R E A K S

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro

published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism—coined by Marinetti—reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was pas- sionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But it is the movements which survive here where we live and work as poets and artists;

or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

P A R A G R A P H

B R E A K S

¶Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism—coined by Marinetti—reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was pas- sionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.¶ But it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

P A R A G R A P H

B R E A K S

FUTURISM was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism—coined by Marinetti—reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was pas- sionately 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 t is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

H E A D E R S S U B H E A D S C R O S S H E A D S

S U B H E A D S C R O S S H E A D S

A header is the main title of a layout and is typically the most visually prominent element of the hierarchy; while a subhead is a subordinate subdivision of the heading. Each character presents a different visual impression on the page.

ONE WAY IN WHICH HEADERS AND SUBHEADS adopt the highest visual hierarchy is through enlarged text. Increasing the size of the text improves its legibility, which making it easier to view at a glance, and delineates a clear distinction from the body copy. Enlarged text, however, requires a sensitive handling to maintain visuallyconsistent letterspacing within the title and subhead through a process called

XXXXXXXX XXXXXXXX X X XXXXXXXXX XXXXXXXXX X X XXXXXXXXX

kerning. The larger the letters, the more critical it is to adjust their spacing.

KERNING IS THE PROCESS

of removing small units of

space between letters in order to create visually-consistent letterspacing. Awkward letterspacing not only looks naïve and unprofessional, but it can disrupt the communication of the words.

RULES FOR KERNING—KERNING IS TOTALLY DEPENDENT ON YOUR EYE, NOT ON THE MACHINE. TYPE NEEDS A HUMAN EYE FOR THE FINE TUNING. CIRCLULAR LETTERS APPEARS SMALLER NEXT TO A RECTANGULAR LETTERS. THE KEY TO KERNING IS TO KEEP IT VISUALLY CONSISTENT. THE SPACING BETWEEN LETTERS MAY NOT BE EXACTLY THE SAME, BUT IT WILL APPEAR THAT WAY WITH THE PROPER KERNING. ADJUST THE LETTERS ACCORDING TO YOUR SENSITIVE VISUAL PERCEPTION. YOU CAN USUALLY FOCUS BETTER ON THAT WHITE SPACE IF YOU LOOK AT THE TEXT WITH YOUR EYES SQUINTED.

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

H E A D E R S

XXXXXXXX XXXXXXXX X X XXXXXXXXX XXXXXXXXX X X XXXXXXXXX XXXXXXXXX XX XX XXXXXXXXXX XXXXXXXXXX X X XXXXXXXXX XXXXXXXXX XX XX XXXXXXXXXX XXXXXXXXXX

H E A D E R S S U B H E A D S C R O S S H E A D S

WORDS IN LIBERTY A Prologue to Futurism

Radical mix of art and life

But it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

H E A D E R S S U B H E A D S C R O S S H E A D S

WORDS IN LIBERTY A Prologue to Futurism

Radical mix of art and life B u t i t i s t h e m o v e m e n t s w h i c h s u r v i v e here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. W h i l e M a r i n e t t i ’ s o p e n i n g m a n i f e s t o f o r I t a l i a n F u t u r i s m 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

H E A D E R S S U B H E A D S C R O S S H E A D S

A Prologue to Futurism

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 manifesto’s rhetoric was pas- sionately bombastic;

Radical mix of art and life

its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

H E A D E R S S U B H E A D S C R O S S H E A D S

WORDS IN LIBERT Y

and motion. The manifesto’s rhetoric was pas- sionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

Radical mix of art and life

But it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

H E A D E R S S U B H E A D S C R O S S H E A D S

WORDSINLIBERTY A Prologue to Futurism

Radical mix of art and life But it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

H E A D E R S S U B H E A D S C R O S S H E A D S

W ORDS IN LIBERT Y 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 manifesto’s rhetoric was pas- sionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

RADICAL MIX OF ART AND LIFE —But it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

c a p t i o n s

a n d

n o t e s

A N D

N O T E S

WORDS IN LIBERTY A Prologue to Futurism

Radical mix of art and life

XXXXXXXX XXXXXXXX X X XXXXXXXXX XXXXXXXXX X X XXXXXXXXX XXXXXXXXX XXXXXXXXX XX XX XXXXXXXXXX XXXXXXXXXX

movement led by poets; and if its means 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “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

XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX

C A P T I O N S

XXXXXXXX XXXXXXXX X X XXXXXXXXX XXXXXXXXX XXXXXXXX XXXXXXXX X X XXXXXXXXX XXXXXXXXX

C A P T I O N S

A N D

N O T E S

WORDS IN LIBERTY A Prologue to Futurism

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

Radical mix of art and life B u t i t i s t h e m o v e m e n t s w h i c h s u r v i v e here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. W h i l e M a r i n e t t i ’ s o p e n i n g m a n i f e s t o f o r I t a l i a n F u t u r i s m 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

C A P T I O N S

A N D

N O T E S

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

A Prologue to Futurism

WORDS IN LIBERTY 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 Futur- ism—coined by Marinetti—reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was pas-

Radical mix of art and life

sionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

A N D

WORDS IN LIBERT Y

C A P T I O N S

N O T E S

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 Futur- ism—coined by Marinetti—reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric was pas- sionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

Radical mix of art and life

But it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by the start of the world war: a 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 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, 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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “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

C A P T I O N S

A N D

N O T E S

WORDSINLIBERTY A Prologue to Futurism

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, indiffer- ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst, “Everything of any value is theatrical.”

C A P T I O N S

A N D

N O T E S

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

F O N T

S P E C S

CLASSIFICATION:

Archer

MaxogGdQRst BOOK

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

XXXXXXXX XXXXXXXX X X XXXXXXXXX XXXXXXXXX X X XXXXXXXXX

XXXXXXXXX XXXXXXXXX XX XX XXXXXXXXXX XXXXXXXXXX XXXXXXXX XXXXXXXX X X XXXXXXXXX XXXXXXXXX

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(){}?!@&* 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 { } ? ! @ & * 99

XXXXXXXX XXXXXXXX X X XXXXXXXXX XXXXXXXXX

CLASSIFICATION:

Akzidenz Grotesk

MaxogGdQRst ROMAN

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

100

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(){}?!@&*

CLASSIFICATION:

Baskerville

MxaogGdQRt REGULAR

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

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

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 ( ) { } ?!@&* 101

CLASSIFICATION:

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

102

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 ( ) { } ?!@&*

CLASSIFICATION:

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 ( ) { } ? ! @&*

103

CLASSIFICATION:

Bembo

MxnogGdQrRst REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr SsTt UuVvWw XxYy Zz 123 4567890(){}?!@&* 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

104

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

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

CLASSIFICATION:

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(){}?!@&* 105

CLASSIFICATION:

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

106

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(){}?! @&*

Caslon

CLASSIFICATION:

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 123 4567890(){}?!@&* 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 4 107

CLASSIFICATION:

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

108

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 (){}?!@&*

CLASSIFICATION:

Cheltenham

MaxogGdQrRs 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 threemain groups correspondroughlytothe Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

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

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

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 ( ) {}?!@&* 109

CLASSIFICATION:

Cholla

MaxnogGdQrRst UNICASE

110

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(){}?!@&*

CLASSIFICATION:

Clarendon

MxagGdQrRt LIGHT

Abasicsystemforclassifyingtypefaceswas devised in the nineteenth century, when printerssoughttoidentifyaheritagefortheir own craft analogous to that of art history. Humanistletterformsarecloselyconnected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These threemaingroupscorrespondroughlytothe Renaissance,Baroque,andEnlightenment periodsinartandliterature.Designersinthe twentieth and twenty-first centuries have continuedtocreatenewtypefacesbasedon 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 90(){}?!@&* REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm NnOoPpQqRrSsTtUuVvWwXxYyZz 123 4567890(){}?!@&*

BOLD

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm NnOoPpQqRrSsTtUuVvWwXxYyZz 123 4567890(){}?!@&*

111

CLASSIFICATION:

Clicker

MaxnogGdQRs REGULAR

112

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

CLASSIFICATION:

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 ( ){}?!@&*

113

CLASSIFICATION:

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

114

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 { ? ! @ & *

CLASSIFICATION:

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 (){}?!@&*

115

CLASSIFICATION:

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(){}?!@&*

116

CLASSIFICATION:

Fette Fraktur

MxnaopQrRtfg 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(){} ?!@&* Idunt aliquam adignim velit utat. Etuer accum dunt ad magniam, vendiat lam verostrud essi tetum illa facipisl utet endre feu faccum dit praessi. Ing ea feuguer aessenim atisi.Delessi. Sectet, sit, ver si. Alit ipit esequis exer adigna adignit aliquat lam dunt utpat aut nisisi. Tate conse nim adionsecte feuis etum dolobore molore verit veniss 117

CLASSIFICATION:

Filosofia

MxnaopQrRtfGg REGULAR

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

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

UNICASE

118

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

CLASSIFICATION:

Franklin Gothic

MaxodQRtfGg BOOK

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

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

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

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

119

CLASSIFICATION:

Frutiger

MaxodQRtfGg CONDENSED

A basic system for classifying typefaces was devisedinthenineteenthcentury,whenprinterssoughttoidentifyaheritagefortheirown craftanalogoustothatofarthistory.Humanist letterformsarecloselyconnectedtocalligraphy andthemovementofthehand.Transitional andmoderntypefacesaremoreabstractand less organic. These three main groups correspondroughlytotheRenaissance,Baroque, andEnlightenmentperiodsinartandliterature. Designersinthetwentiethandtwenty-firstcenturieshavecontinuedtocreatenewtypefaces 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 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(){}?!@&*

BOLD

120

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

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

CLASSIFICATION:

Futura

MxaopQRstGg BOOK

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

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

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

121

CLASSIFICATION:

Helvetica

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 123 4567890(){}?!@&*

BLACK EXTENDED

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 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(){}?!@&*

122

CLASSIFICATION:

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 ( ) {}?!@&*

123

CLASSIFICATION:

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

124

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

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

CLASSIFICATION:

Helvetica

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 123 4567890(){}?!@&*

BLACK EXTENDED

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 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(){}?!@&*

125

CLASSIFICATION:

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

126

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(){}?!@&*

CLASSIFICATION:

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 123 4567890(){}?!@&* 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

127

CLASSIFICATION:

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 PpQq Rr Ss TtUuVv Ww Xx Yy Zz 123 4567890(){}?!@&*

BOLD

128

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

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

CLASSIFICATION:

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(){}?!@&*

129