DO&DON'T: a typographic workbook by Lyss Rachele Engel

DO & DONâ&#x20AC;&#x2122;T

Lyss Rachele Engel The University of Kansas

Lyss Rachele Engel Class project for

Typographic Systems at the University of Kansas Spring 2017 Text compiled from Elements of Typographic Style by Robert Bringhurst Getting it Right with Type: the Do's and Don'ts of Typography by Victoria Square Mac is Not A Typewriter by Robin Williams This book is not to be sold to the public and to only be used by the designer for their reference and student design portfolio.

TABLE OF CONTENTS 01

typographic rules

classifying fonts

anatomy of type

hyphens & dashes

hypenation rules

justification settings

quotes & apostrophes

special characters

widows rivers & orphans

paragraph breaks

numbers & figures

small caps

combining typefaces

typographic color

headers & subheads

captions & notes

typographic checksheet

Typographic Rules

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

3 Use proper quote and apostrophe marks. Use true quotation marks and apostrophes instead of using inch marks and feet marks. Make sure that all punctuation marks are inside of the quotation marks.

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

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

-7

Add letter spacing to capitalized text and small caps. Letterspacing is the amount of space between characters in a word. Generally, most software programs call letterspacing tracking. Use positive number values (up to 3) to open up letterspacing to capitalized text and small caps, except when periods are used between characters.

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

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

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

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

10 Increase line spacing to improve readability in body text.

11 Body copy size.

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

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

12 Altering fonts. Donâ&#x20AC;&#x2122;t alter the original typeface by stretching or condensing the letters improperly. Certain type families provide you with a lot of flexibility, so you should not need to destroy/alter text.

-9

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

14 Decrease line length and increase margins. Line length is a measure of text on one line. Any measure between 45 and 75 characters is comfortable for single column widths. The ideal measure for body text length is 66 characters (counting both letters, punctuation, and spaces.) For multiple columns, a measure between 40 and 50 characters is ideal.

15 Avoid letterspacing lowercase body copy. Don’t letterspace body copy as it really hampers legibility. Use letterspacing when working with caps. small caps, numbers and display text where looser type spacing may increase legibility.

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

10-

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

18 Justification of text.

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

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

20 Rules of hyphenation.

21 Items in a series. Items in a series don’t use a comma before the word “and.” example: ‘peaches, apples and oranges.’)

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

22 Avoid beginning three consecutive lines with the same word. Since software programs deal with line breaks automatically based upon a number of variables, it is possible to have paragraphs with consecutive lines beginning with the same word. When this happens simply adjust the text to fix the problem.

-11

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

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

25 Kerning in headlines.

26 Indenting rules. In continuous text, mark all paragraphs after the first with an indent of at least one â&#x20AC;&#x153;emâ&#x20AC;? (3 spaces). Do NOT use three spaces but rather use the tabs or indents option in your software.

Adjust the space between two letters to allow for more consistent negative space.

02 Serifs & sans? thereâ&#x20AC;&#x2122;s so much more.

Classifying Fonts

14-

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

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

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

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

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

-15

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

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

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

Anatomy of type

18-

ARC OF STEM

A curved stroke that is continuous with a straight stem.

-19

Aperture

Ascent Line

The partially enclosed, somewhat rounded negative space in some characters.

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

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

Arm A horizontal or upward, sloping stroke that does not connect to a stroke or stem on either end.

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

Ball Terminal A circular form at the end of the arm in letters.

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

Bar

Ascender Line

Baseline

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

The invisible line on which every character sits.

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

20-

Beak A sharp spur at the end of the arm of a letter, connected to the arm by the terminal.

Cap Height The height of a capital letter measured from the baseline.

Bilateral Serifs

Cap Line

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

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

Body Height

Counter

The complete area covered by all of the characters in a font.

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

Bowl The fully closed, rounded part.

Bracket A curved connection between the stem and serif of some fonts. Not all serifs are bracketed serifs.

Crotch An acute, inside angle where two strokes meet.

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

-21

CROSS STROKE

A horizontal stroke intersecting the stem of a lowercase t or f.

22-

EAR

A small stroke extending from the upper-right side of the bowl of lowercase g.

-23

Descender Line

Eye

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

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

Descent Line The invisible line marking the farthest distance between the baseline and the bottom of the

Finial

Diacritic

Flag

A ancillary mark or sign added to a letter.

The horizontal stroke present on the numeral 5.

Diagonal Stroke An angled stroke.

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

A tapered or curved end.

Hairline A thin stroke usually common to serif typefaces.

Hook A curved, protruding stroke in a terminal. Found on a lowercase f.

24-

Italics

Loop

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

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

Leg The descending portion of a letter.

Ligature

Lowercase The smaller form of letters in a typeface or font.

Mean Line

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

Imaginary line running along the top of non-ascending, lowercase letters and characters.

Link

Old-Style Figures

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

Numbers with varying heights, some aligning to the baseline and some below.

Lobe A rounded projecting stoke attached to the main structure of a letter.

Open Counter The partially open space within a character that is open on one end.

-25

STEM

Vertical, full-length stroke in upright characters.

26-

TEARDROP TERMINAL

The teardropped ends of strokes in letters of some typefaces.

-27

Overshoot Ascenders extending into the space of a following character.

Spur A small projection off a stroke.

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

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

Shoulder The curved stroke aiming downward from a stem.

Stroke A straight or curved diagonal line.

Swash A flourish addition replacing a terminal or serif.

Tail A descending decorative stroke.

Spine

Terminal

The main curved stroke of a lowercase or capital S.

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

04 Not all breakups have to be hard.

Hyphens & Dashes

Hyphens and dashes come in a variety of sizes. Hyphens A hyphen is one third of the em rule and is used to link words. They are used as a symbol to break words. The second use of a hyphen is as a trait d’union. A hyphen is added when two consonants or vowels are pronounced separately rather than as a diphthong, for instance in bowl-like or anti-intellectual. It is also inserted when there is a chance of misreading, as for instance with co-worker (people might think a cow had an orker). Hyphens are also used to form compounds and to connect numbers and words in adjectival phrases. Some multipart words are spelled with a hyp hen (topsy-turvy, cost-effective, bric-a-brac). But a prefix is not typically followed with a hyphen (non profit, not non-profit). No hyphen is necessary in phrasal adjec tives that begin with an adverb ending in -ly (it’s a closely held company, not a closely-held company). A hyp hen is used in phrasal adjectives (list ener-supp orted rad io, dog-and-pony show, high-school grades) to ensure clarity. Nonprofessional writers often omit these hyp hens. As a profess ional writer, you should not. For instance, consider the unhyphenated phrase five dollar bills. Is five the quantity of dollar bills, or are the bills each worth five dollars? As written, it suggests the former. If you mean the latter, then you’d write fivedollar bills.

hyphen en dash – em dash —

-31

EM 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. The em dash is used to demarcate parenthetical thought in English texts, but the dashes are unspaced (without white spaces on either side). An em is a unit of measure equal to the point size that you are using. An em dash is a type of punctuation used to offset clauses in a sentence or to indicate an abrupt change in thought. When using an em dash, no space is used on either side. Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Using two hyphens (or worse, one) where there should be an em dash makes your look very unprofessional.

EN An en dash is half of the em rule (the width of a capital N). The en dash is longer than a hyphen and is used to demarcate a parenthetical thought or to indicate a sudden change of direction as in, for instance: ‘Unfortunately the document to be discussed – which you received via email – is no longer up to date’. Usually these dashes can be replaced by commas, or the phrase can be bracketed. Also the en dash is used to indicate a duration, such as time or months or years. Use it where you might otherwise use the word “to.” An en dash is equal to half the length of an em dash. En dashes are used to denote duration (time).

October – December 6:30 – 8:45 A.M. 4 – 6 years of age Pages 336 – 500

Hyphenation Rules

34-

name will ensure that the name will not break. Avoid beginning three consecutive lines with the same word Since software programs deal with line breaks automatically based upon a number of variables, it is possible to have paragraphs with consecutive lines beginning with the same word. When this happens simply adjust the text to avoid/fix the problem.

-35

PAY ATTENTION Avoid widows (one word on the last line of a paragraph.) Avoid hyphenation 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 words in a headline and in callouts.

06 Rivers in your type arenâ&#x20AC;&#x2122;t pretty.

Justification Settings

Yes, the Nile is pretty, but rivers in your type arenâ&#x20AC;&#x2122;t. Justify text only if the line is long enough to prevent awkward and inconsistent word spacing. The only time you can safely justify text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newsletter, or if you don't have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You've seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. Gross. But that's what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squished together. When your work comes out of the printer, turn it upside down and squint at it. The rivers will be very easy to spot. Once you find them, get rid of them. A general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas.

-39

font: univers settings: 76/85/92 letter spacing: 2% good word spacing. some small rivers.

font: garamond settings: 76/85/92 letter spacing: 2% good word spacing. some small rivers.

font: raleway settings: 90/100/120 letter spacing: 1% word spacing is too large on most lines.

font: archer settings: 90/100/120 letter spacing: 1% word spacing is fairly even. some rivers.

40-

font: helvetica settings: 77/120/130 letter spacing: 0% some lines create too many spaces.

font: baskerville settings: 77/120/130 letter spacing: 0% some lines create too many spaces. rivers.

font: roboto settings: 90/95/100 letter spacing: 1% good word spacing.

font: filosophia settings: 90/95/100 letter spacing: 1% good word spacing.

-41

font: frutiger settings: 60/100/110 letter spacing: 3% most words are too close.

font: belizio settings: 60/100/110 letter spacing: 3% most words are too close. some rivers.

font: scala sans settings: 60/199/200 letter spacing: 2% terrible word spacing.

font: swift settings: 60/199/200 letter spacing: 2% terrible word spacing.

Quotes & Apostrophes

Learn the difference between inch marks and apostrophes.

Use true quotation marks and apostrophes instead of using inch marks and feet marks. Place all punctuations inside the quotation marks. Use real quotation marks – never those grotesque generic marks ( " ) that actually symbolize ditto/inch " or foot marks '. Most software applications will convert the typewriter quotes to the real quotes for you automatically as you type. Check the preferences for your application – you’ll find a check box to tell your application to automatically set something like “typographer’s quotes,” “smart quotes,” or “curly quotes.” It is necessary to know how to set smart quotes/real quotes yourself because sometimes the software doesn’t do it or does it wrong. Smart quotes are the quotation marks used in proper typography. There are four smart quote chara cters: 1. the opening sing le quote (‘), 2. the closing single quote (’), 3. the opening double quote (“), 4. and the closing double quote (”). Straight quotes are the two generic verti cal quotation marks located near the return key: the straight single quote (‘) and the straight double quote (“). Straight quotes come to us from the typewriter.

-45

Incorrect

Correct

"That's a 'magic' sock."

“That’s a ‘magic’ sock.”

“That’s a ‘magic’ sock.” “That’s a ‘magic’ sock.” “That’s a ‘magic’ sock.”

Opening double quote “

Option [

Closing double quote

”

Option Shift [

Opening single quote

‘

Option ]

Closing single quote

’

Option Shift ]

Possessives

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 boys’ camp vs. The boy’s camp

Omission of Letters

Example

In a phrase such as Rock ’n’ Roll, there should be an apostrophe before and after the n, because the a and d are both left out. Don’t turn the first apostrophe around just because it appears in front of the letter. It should not be ‘n’.

Rock ’n’ Roll House o’ Fashion Gone Fishin’

08 The shortcuts of your dreams.

Special Characters

48-

opening double quote

“

option [

closing double quote

”

option shift [

opening single quote

‘

option ]

closing single quote

’

option shift ]

en dash

–

option hyphen

em dash

—

option shift hyphen

ellipsis

…

option ;

bullet

•

option 8

ligature of f & i

ﬁ

option shift 5

ligature of f & l

ﬂ

option shift 6

* copyright * trademark * registered

option g

™

option 2

option r

degree symbol

option shift 8

cent

option $

euro

€

option shift 2

fraction bar

⁄

option shift 1

inverted exclamation point

option 1

inverted question mark

option shift ?

pound

option 3

c-cedilla

option c

capital c-cedilla

option shift c

-49

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

option e

option ~

option u

option n

option i

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

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

Widows Rivers & Orphans

52-

WATCH YOUR TYPE

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.

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

correct this.

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

River 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.

LOOK OUT FOR THESE

-53

10 Making rhythm in your body text.

Paragraph Breaks

56-

FOUR RULES 1. First line at the beginning of an article should be flush left (do not indent first paragraph).

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

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

4. Never hit two returns in-between separate paragraphs.

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.

-57

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

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

58-

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

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

-59

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

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

60-

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

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

-61

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

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

Numbers & Figures

64-

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

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

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

-65

OLDSTYLE

LINING

“Olds tyle” is a curious term for these, because the olde st figu res—the origin al Hindu-Arab ic num era ls of the first cen tury—look more like lining figures.

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

123 4567890

archer

1234567890

baskerville

1 2 3 4 5 678 9 0

bodoni

1234567890

roboto

123456 7 8 9 0

sabon

1234567890

rockwell

Oldstyle (non-aligning)

Lining figures

12 134

17 1023 323

22 667 21 9730 356

667 210

12 589 56 8431 409

589

17 1023 323 730

56 8431 409

12.5 134.4 17.8 1023.4

323.0

73.05 86.5 22.11 923.55 595.0 Unlike lining figures, oldstyle figures are designed to look more like lowercase let ters. The ones in Equity (shown below) are typic al—some are short, some des cend below the baseline, and some ascend. You won’t be surprised to hear that oldstyle fig ures work best in lowercase body text. Oldstyle figures have more of a traditional, classic look and are very useful and quite beautiful when set within text. They are only available for certain typefaces, sometimes as the regular numerals in a font, but more often within a supplementary or expert font.

10.25 76.10 36.70 1023.4

323.0

12 Like big caps, but theyâ&#x20AC;&#x2122;re smaller.

(& other important things.)

Small Caps

The small caps button is a lie. Only use true small caps.

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

Use small caps for acronyms. Set acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines. Use small caps for common abbreviations. Set common abbreviations such as AM or PM in small caps so they don't overpower the accompanying text. Use small caps for A.M. and P.M.; space once after the number, and use periods. (if the font does not have small caps reduce the font size slightly) Use 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.

-69

Mrs. Eaves DO

DON’T

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

Baskerville DO

DON’T

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

Bodoni DO

DON’T

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

Meta DO

DON’T

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

Combining Typefaces

72-

MIX IT UP When combining serif and sans serif text fonts, try to match the characteristics of type color and form: proportion, x-heights. Although there is not recipe there is a place to start: keep an eye on the characteristic shapes of the letterform. A well designed page contains no more than two different typefaces or four different type variations such as type size and bold or italic style. Using 2 different serif fonts or 2 different sans serifs fonts in the same composition is never a good idea

â&#x20AC;&#x153;There is not binding recipe for type combinations. It is a matter of typographic sensitivity and experience. Expert typographers, as well as careless amateurs permit themselves combinations that would horrify colleagues with more traditional sympathies.â&#x20AC;?

-73

header 36 pt.

subhead 18 pt.

intro & quotes 18/18

body 9/12

gotham bold

Words in Liberty baskerville bold

A PROLOGUE TO FUTURISM baskerville

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

The works were characterized by the depiction of several successive actions of a subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifestoâ&#x20AC;&#x2122;s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

74-

header 36 pt.

subhead 18 pt.

intro & quotes 18/18

body 9/12

frutiger black

Words in Liberty baskerville semibold

A Prologue to Futurism frutiger light italic

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

-75

header 36 pt.

subhead 18 pt.

intro & quotes 18/18

body 9/12

Words in Liberty bodoni bold

helvetica

A PROLOGUE TO FUTURISM bodoni book

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

helvetica light

76-

header 36 pt.

subhead 18 pt.

intro & quotes 18/18

body 9/12

Words in Liberty georgia bold

akzidenz grotesk medium

A Prologue to Futurism akzidenz grotesk italic

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

-77

header 36 pt.

subhead 18 pt.

intro & quotes 18/18

body 9/12

memphis bold

Words in Liberty gotham bold

A PROLOGUE TO FUTURISM

memphis light

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

78-

header 36 pt.

subhead 18 pt.

intro & quotes 18/18

body 9/12

mrs eaves bold

Words in Liberty univers bold

A Prologue to Futurism univers

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

-79

header 36 pt.

subhead 18 pt.

intro & quotes 18/18

body 9/12

roboto bold

Words in Liberty filosofia bold

A PROLOGUE TO FUTURISM

filosofia

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

roboto

80-

header 36 pt.

subhead 18 pt.

intro & quotes 18/18

body 9/12

Words in Liberty archer bold

raleway semibold

A PROLOGUE TO FUTURISM archer

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

-81

header 36 pt.

subhead 18 pt.

intro & quotes 18/18

body 9/12

cooper hewitt semibold

WORDS IN LIBERTY metaserif bold

A Prologue to Futurism

cooper hewitt

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

82-

header 36 pt.

montserrat bold

Words in Liberty

subhead 18 pt.

charter bold

intro & quotes 18/18

charter italic

body 9/12

A Prologue to Futurism

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

-83

header 36 pt.

subhead 18 pt.

intro & quotes 18/18

body 9/12

Words in Liberty palatino bold

roboto medium

A PROLOGUE TO FUTURISM

palatino

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

14 Making grey squares of copy cool.

Typographic Color

When typographers mention color, they’re usually not referring to a rainbow.

They are speaking, instead, of black and white and the wide range of gray textures which are called forth when white and black interact. Every typeface has its own apparent lightness or darkness, or optical weight. A typeface’s color is determined by stroke width, x-height, character width and serif styles. As the great Swiss typographer Emil Ruder put it in 1960, “The business of typography is a continual weighing up of white and black, which requires a thorough knowledge of the laws governing optical values. Readability and legibility are two key elements of

printed text that typographer strive to maximize. Readability is an extended amount of text such as an article, book, or annual report that is easy to read. Legibility refers to whether an refers to whether a short burst of text such as a headline catalog listing, or stop sign is instantly recognizable. As a designer, if you are only asked to make the text readable on the page the following questions should be asked: Who is to read it? Someone that wants to read it? Someone that has to read it? How will it be read? Quickly, in passing, focused, near, far?

-87

Xxhg ROCKWELL / frank pierpoint

Xxhg

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.

8.5/12 X-HEIGHT: AVERAGE CHARACTER WIDTH: WIDE COLOR: DARK

8.5/12 X-HEIGHT: TALL CHARACTER WIDTH: AVERAGE COLOR: AVERAGE

Xxhg

8.5/12 X-HEIGHT: SHORT CHARACTER WIDTH: WIDE COLOR: AVERAGE

8.5/12 X-HEIGHT: TALL CHARACTER WIDTH: AVERAGE COLOR: LIGHT

BEMBO / stanley morrison

ROBOTO / christian robertson

RALEWAY / matt mcinerney

88-

Xxhg

MRS EAVES / zuzana licko

Xxhg UNIVERS / adrian frutiger

8.5/12 X-HEIGHT: SMALL CHARACTER WIDTH: NARROW COLOR: LIGHT

8.5/12 X-HEIGHT: AVERAGE CHARACTER WIDTH: NARROW COLOR: AVERAGE

Xxhg

8.5/12 X-HEIGHT: SMALL CHARACTER WIDTH: NARROW COLOR: LIGHT

8.5/12 X-HEIGHT: AVERAGE CHARACTER WIDTH: NARROW COLOR: DARK

BASKERVILLE / john baskerville

FUTURA / paul renner

-89

Xxhg

8.5/12 X-HEIGHT: SHORT CHARACTER WIDTH: NARROW COLOR: LIGHT

8.5/12 X-HEIGHT: TALL CHARACTER WIDTH: WIDE COLOR: LIGHT

Xxhg

8.5/12 X-HEIGHT: SMALL CHARACTER WIDTH: NARROW COLOR: LIGHT

8.5/12 X-HEIGHT: TALL CHARACTER WIDTH: AVERAGE COLOR: MEDIUM

DIDOT / firmin didot

GARAMOND / claude garamond

GOTHAM / tobias frere-jones

UNIVERS / adrian frutiger

90-

Xxhg

ARCHER / tobias frere-jones

Xxhg HELVETICA / max miedinger

8.5/12 X-HEIGHT: SMALL CHARACTER WIDTH: AVERAGE COLOR: LIGHT

8.5/12 X-HEIGHT: TALL CHARACTER WIDTH: NARROW COLOR: MEDIUM

X xhg

Xxhg

8.5/12 X-HEIGHT: AVERAGE CHARACTER WIDTH: NARROW COLOR: LIGHT

8.5/12 X-HEIGHT: TALL CHARACTER WIDTH: NARROW COLOR: MEDIUM

GEORGIA / matthew carter

INTERSTATE / tobias frere-jones

-91

Xxhg CLARENDON / robert besley

Xxhg DIN / alber-jan pool

8.5/12 X-HEIGHT: AVERAGE CHARACTER WIDTH: WIDE COLOR: LIGHT

8.5/12 X-HEIGHT: AVERAGE CHARACTER WIDTH: NARROW COLOR: MEDIUM

Xxhg

BEMBO / stanley morrison

AVENIR / adrian frutiger

8.5/12 X-HEIGHT: SMALL CHARACTER WIDTH: WIDE COLOR: LIGHT

8.5/12 X-HEIGHT: AVERAGE CHARACTER WIDTH: WIDE COLOR: LIGHT

Headers & Subheads

94-

RADICAL MIX OF ART AND LIFE

A PROLOGUE TO FUTURISM

WORDS IN LIBERTY Futurism was first announced on February 20, 1909, when a Paris newspaper published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The 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. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avantgarde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry in 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 and technical approaches to the works then getting under way. The key term, still resonant today, was parole in liberta2 , by which poetry was to become "an uninterrupted sequence of new imagesâ&#x20AC;Ś a strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that "scurried off the page in all directions at once," as Emmett Williams phrased it for the "language happenings" of a later decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer for them. Wrote Marinetti selbst3 1915, â&#x20AC;&#x153;Everything of any value is theatrical."

-95

Words in Liberty A prologue to futurism

Radical mix of art and life

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal and technical approaches to the works then getting under way. The key term, still resonant today, was parole in liberta2 , by which poetry was to become "an uninterrupted sequence of new imagesâ&#x20AC;Ś a strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that "scurried off the page in all directions at once," as Emmett Williams phrased it for the "language happenings" of a later decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 1915, â&#x20AC;&#x153;Everything of any value is theatrical."

Words in Liberty

96-

A PROLOGUE TO FUTURISM

RADICAL MIX OF ART AND LIFE But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry in 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 and technical approaches to the works then getting under way. The key term, still resonant today, was parole in liberta2 , by which poetry was to become "an uninterrupted sequence of new imagesâ&#x20AC;Ś a strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that "scurried off the page in all directions at once," as Emmett Williams phrased it for the "language happenings" of a later decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer for them. Wrote Marinetti selbst3 1915, â&#x20AC;&#x153;Everything of any value is theatrical."

-97

WORDS IN LIBERTY A PROLOGUE TO FUTURISM

RADICAL MIX OF ART AND LIFE

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry in 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 and technical approaches to the works then getting under way. The key term, still resonant today, was parole in liberta2 , by which poetry was to become "an uninterrupted sequence of new imagesâ&#x20AC;Ś a strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that "scurried off the page in all directions at once," as Emmett Williams phrased it for the "language happenings" of a later decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 1915, â&#x20AC;&#x153;Everything of any value is theatrical."

98-

Words in Liberty a prologue to futurism

radical mix of art and life But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry in 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 and technical approaches to the works then getting under way. The key term, still resonant today, was parole in liberta2 , by which poetry was to become "an uninterrupted sequence of new imagesâ&#x20AC;Ś a strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that "scurried off the page in all directions at once," as Emmett Williams phrased it for the "language happenings" of a later decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 1915, â&#x20AC;&#x153;Everything of any value is theatrical."

-99

A PROLOGUE TO FUTURISM

RADICAL MIX OF ART AND LIFE

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry in 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 and technical approaches to the works then getting under way. The key term, still resonant today, was parole in liberta2 , by which poetry was to become "an uninterrupted sequence of new imagesâ&#x20AC;Ś a strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that "scurried off the page in all directions at once," as Emmett Williams phrased it for the "language happenings" of a later decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer for them. Wrote Marinetti selbst3 1915, â&#x20AC;&#x153;Everything of any value is theatrical."

Words in Liberty

16 Info doesnâ&#x20AC;&#x2122;t have to be boring.

Captions & Notes

Everyone loves footnotes. Figure out how to use them. Then everyone will love you, too. Footnotes and endnotes Footnotes and endnotes are necessary components of scholarly and technical writing. Theyâ&#x20AC;&#x2122;re also frequently used by writers of fiction, from Herman Melville (Moby-Dick) to contemporary novelists. Whether their intent is academic or artistic, footnotes present special typographic challenges. Specifically, a footnote is a text element at the bottom of a page of a book or manuscript that provides additional information about a point made in the main text. The footnote might provide deeper background, offer an alternate interpretation or provide a citation for the source of a quote, idea or statistic. Endnotes serve the same purpose but are grouped together at the end of a chapter, article or book, rather than at the bottom of each page. These general guidelines will help you design footnotes and endnotes that are readable, legible and economical in space. (Note that academic presses and journals can be sticklers for format: before proceeding, check with your client or publisher to see if they have a specific stylesheet that must be followed.)

-103

#â&#x20AC;&#x2122;S Footnotes are most often indicated by placing a superscript numeral immediately after the text to be referenced. The same superscript numeral then precedes the footnoted text at the bottom of the page. Numbering footnotes is essential when there are many of them, but if footnotes are few they can be marked with a dagger, asterisk, or other symbol instead. Endnotes should always use numerals to facilitate easy referencing.

SIZE Footnotes and endnotes are set smaller than body text. The difference in size is usually about two points, but this can vary depending on the size, style and legibility of the main text. Even though theyâ&#x20AC;&#x2122;re smaller, footnotes and endnotes should still remain at a readable size.

104-

RADICAL MIX OF ART AND LIFE

A PROLOGUE TO FUTURISM

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

-105

Words in Liberty A prologue to futurism

Radical mix of art and life

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

Words in Liberty

106-

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

-107

WORDS IN LIBERTY A PROLOGUE TO FUTURISM 1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988

RADICAL MIX OF ART AND LIFE 2. parole in liberta = words set free (liberty) 3. selbst = himself

108-

Words in Liberty a prologue to futurism

-109

A PROLOGUE TO FUTURISM

RADICAL MIX OF ART AND LIFE

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry in 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 and technical approaches to the works then getting under way. The key term, still resonant today, was parole in liberta2 , by which poetry was to become "an uninterrupted sequence of new imagesâ&#x20AC;Ś a strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that "scurried off the page in all directions at once," as Emmett Williams phrased it for the "language happenings" of a later decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer for them. Wrote Marinetti selbst3 1915, â&#x20AC;&#x153;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

Words in Liberty

Typographic Checksheet

112-

DO use only one space between sentences. use real quotation marks. use real apostrophes. ensure 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. leave a least 2 characters on the line and 3 following. 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. 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.

-113

DONâ&#x20AC;&#x2122;T use the space-bar to align text, always set tabs and use the tab key. leave widows or orphans. have more than 3 hyphenations in a row. have too many hyphenations in any paragraph. hyphenate or line brake names or proper nouns. begin consecutive lines with the same word. end consecutive lines with the same word. end lines with the words: the, of, at, a, by... hyphenate words in a headline avoid hyphenation in a callout. justify the text on a short line. have one line in a paragraph in the column or following. combine two serif fonts on one page. combine two sans serif fonts on one page. combine more than three typefaces on one page.