Type Workbook by Nancy DeLeon

TYPOGRAPHY: THE BOOK OF RULES

Nancy DeLeon 2011

CONTENTS RULES X-HEIGHT HYPHENATION ALIGNMENT JUSTIFICATION COMBINING TYPEFACES QUOTES, APOSTROPHES, DASHES SPECIAL CHARACTERS BULLETS NUMERALS/FIGURES SMALL CAPS PARAGRAPH BREAKS HEADERS & SUBHEADS CAPTIONS & NOTES FONT SPECIMENS

04 06 20 26 30 38 46 52 54 56 58 62 74 82 90

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. n

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 spacebar 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 â&#x20AC;&#x201C; not both.

Use a decimal or right-aligned tab for the numbers in numbered paragraphs.

Never have one line in a paragraph in the column or following.

Never combine two serif fonts on one page.

Rarely combine two sans serif fonts on one page.

Rarely combine more than three typefaces on one page.

Use the special characters whenever necessary, including super- and subscript.

Spend the time to create nice fraction or chose a font that has fractions.

If a correctly spelled word needs an accent mark, use it.

X-HEIGHT

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”.

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

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.

How will it be read?

Who is to read it?

Someone that wants to read it? Someone that has to read it? Quickly. In passing. Focused. Near. Far.

g 8

X x hg

Perpetua 9/11

Interstate 9/11

n n n n

Eric Gill x-height: small character width:average color: light

n n n n

Tobias Frere-Jones x-height: large character width: wide color: dark

X x h g Xxhg Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement.

Belizio 9/11

Din 9/11

n n n n

David Berlow x-height: average character width: wide color: medium

n n n n

Albert Jan-Pool x-height: average character width: narrow color: light

Xx hg

X xhg

Swift 9/11

Frutiger 9/11

n n n n

Gerard Unger x-height: average character width: average color: medium

n n n n

Adrian Frutiger x-height: large character width: average color: dark

Volta 9/11

Syntax 9/11

n n n n

Konrad Bauer, Walter Baum x-height: large character width: wide color: medium

n n n n

Adrian Frutiger x-height: large character width: average color: medium

Xxhg

Archer 9/11

Gill Sans 9/11

n n n n

Hoefler & Frere-Jones x-height: small character width: narrow color: light

n n n n

Eric Gill x-height: average character width: average color: medium

X xh g

Xx hg

Didot 9/11

Akzidenz Grotesk 9/11

n n n n

Firmin Didot x-height: average character width: average color: light

n n n n

Gunter Gerhard Lange x-height: average character width: narrow color: dark

X xhg

Xxhg

Melior 9/11

Futura 9/11

n n n n

Hermann Zapf x-height: average character width: average color: medium

n n n n

Paul Renner x-height: large character width: narrow color: dark

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

Memphis 9/11

Bell Gothic 9/11

n n n n

Rudolph Weiss x-height: average character width: average color: dark

n n n n

Chauncey H. Griffith x-height: average character width: average color: medium

X xhg

Xxhg

Century Schoolbook 9/11

Helvetica 9/11

n n n n

Linn Boyd Benton x-height: average character width: average color: dark

n n n n

Max Miedinger x-height: large character width: average color: medium

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

Filosofia 9/11

Trade Gothic 9/11

n n n n

Xxhg

Zuzana Licko x-height: small character width: narrow color: light

n n n n

Jackson Burke x-height: large character width: average color: medium

HYPHENATION

In unjustified text, the text block is set with normal letter and word spacing. Because of the even word spacing the text will have an even texture â&#x20AC;&#x201C; no large spaces between words. The lines will naturally vary in length. a ragged text block can integrate with the layout and add visual interest to the page.

The difficulty is making the ragged edge have a pleasing silhouette. When the first line in the text is longer than the second, it becomes separate from the layout and creates a box-like shape. This destroys one of the advantages of unjustified text. The ragged edge needs to have a life, but a narrow column can be less active. Another advantage to ragged text is less hyphenation is needed. Therefore, names, dates or words which are normally read together can stay together.

HYPHENATION RULES

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

WIDOWS AND ORPHANS Never leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program youâ&#x20AC;&#x2122;re working in. Sometimes widening a margin just a hair will do it. But it must be done. Widows and orphans on a page are wrong.

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

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

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.

HEADLINES: Don’t hyphenate headlines. Don Quixote de la Man- cha Watch where the first line of two-line headline ends — does it create a silly or misleading phrase? If it does, fix it. Professor and The- rapist to Lecture Don’t leave widows 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. Examples of what to look for: Make sure headline text is justified appropriately n Use line breaks (shift return) to bump text to next line when needed n Use kerning to bring a hyphenated word together if necessary n Never hyphenate people’s names n Try substituting a short or a long word to make text fit. n

WHAT ARE BAD BREAK LINES ANYWAY?

Look for bad line breaks throughout every line of body copy. Of course, do this only on final copy, after all editing has been done. Check out the next page for several examples of the sorts of things to look for

Before:

After:

Casing Adder1 Bat

Casing Adder Bat 2

Heresy borsch-boil starry a boarder borsch boil gam plate lung, lung a gore in-3 ner ladle wan-hearse torn coiled Mutt-fill. Mutt-fill worsen mush of-4 fter torn, butted hatter putty gut borsch-boil tame, an off oiler pliers honor tame, door moist cerebrated worse Cas-5 ing. Casing worsted sickened basement, any hatter betting orphanage off .526 (fife toe sex).6 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,7 bought Casing worse tow pore toe becalm Any-bally’s8 horsebarn. (Boil pliers honor Mutt-fill tame dint gat mush offer celery; infect, day gut nosing atoll.) Butt less gat earn wetter starry.9

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. Casing 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.) Butt less gat earn wetter muffin starry.

Corrections: 1 Justify the headline so it stays on one line. 2 Use a line break (shift+return) to bumpt “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 bumpt it down. 5 Never hyphenate a person’s name. I had to go up a few lines, bump “off” down, which bumped the other line endings down. 6 Fix widow. 7 There is plenty of room to squeeze “bought” on this line, perhaps by kerning the 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 box a wee bit. 9 Edit: to get ride of that terrible widow, exchange a short word for a long word.

ALIGNMENT

“Right and wrong do not exist in graphic design. There is only effective and noneffective communication.” — Peter Bilak, Illegibility

ALIGNMENT

If someone insists that fully justified text is better than left-aligned text, tell them they are wrong.

If someone else tells you that left-aligned text is better than justified text, tell them they are wrong.

If they are both wrong, then whatâ&#x20AC;&#x2122;s right? Alignment is only a small piece of the puzzle. What works for one design might be totally inappropriate for another layout. As with all layouts, it depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design.

JUSTIFIED TEXT

Traditionally many books, newsletters, and newspapers use fulljustification as a means of packing as much information onto the page as possible to cut down on the number of pages needed. While the alignment was chosen out of necessity, it has become so familiar to us that those same types of publications set in left-aligned text would look odd, even unpleasant. You may find that fully-justified text is a necessity either due to space constraints or expectations of the audience. If possible though, try to break up dense blocks of texts with ample subheadings, margins, or graphics. Often considered more formal, less friendly than left-aligned text. n Usually allows for more characters per line, packing more into the same amount of space (than the same text set left-aligned). n May require extra attention to word and character spacing and hyphenation to avoid unsightly rivers of white space running through the text. n May be more familiar to readers in some types of publications, such as books and newspapers. n Some people are naturally drawn to the â&#x20AC;&#x153;neatnessâ&#x20AC;? of text that lines up perfectly on the left and right. n

Left-Aligned, Ragged Right Often considered more informal, friendlier than justified text. n The ragged right edge adds an element of white space. n May require extra attention to hyphenation to keep right margin from being too ragged. n 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). n

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

JUSTIFICATION

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.

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, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. Gross. But that’s what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squished together. Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

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; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like.

MINIMUM, DESIRED, MAXIMUM

This justification setting is not very successful for either sans serif or serif font. Both contain rivers and large gaps.

82 100 120 32

This setting is relatively successful for the serif font, but still has quite a few rivers. The sans serif font does not work well with this setting.

75 133 200 33

MINIMUM, DESIRED, MAXIMUM

The setting works okay with both fonts. Works better with the serif font. Could have less rivers.

75 95 133 34

Setting could use more work for both fonts. Works better with serif font. Has more rivers with the sans serif font, but there are still quite a bit in the serif one.

60 110 200 35

MINIMUM, DESIRED, MAXIMUM

This justification setting works comfortably with both fonts. Minimal rivers and most of the words form nicely.

65 80 90 36

COMBINING TYPEFACES

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;?

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

ALTHOUGH THERE IS NO 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.

WHEN COMBINING SERIF AND SANS SERIF TEXT FONTS, one should try and match the characteristics of form and type color: proportion, x-heights. “There is no 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.”

HARMONIOUS COMBINATIONS Perhaps the easiest and safest way to combine multiple typefaces in design is by choosing them from the same large type family. You can simply mix types with various weights,proportions from the same family to differentiate the headline from the body text. The best way is to work with so-called “super families” that consist of various subfamilies. Some of the examples of Super type families are ITC Legacy, ITC, Stone, Neue, Helvetica, Zapfino.

Using 2 different serif or sans serif fonts on the same composition is never a good idea.

MIXING SERIFS WITH SANS SERIFS While working with the types within the same family produced harmonious combinations, using the opposite typeface styles generate a better visual interest by adding more depth to the overall layout. The simplest approach here would be to combine serifs with sans serifs. As long as you donâ&#x20AC;&#x2122;t pick serif and sans serif typefaces with similar designs (i.e. Times with Arial Black) you will almost never go wrong with combining practically any sans serif type with an opposite in style serif typeface. It works because serifs and sans serifs have very different structures so visually they create a good contrast.

CONTRAST COMBINATIONS: SIZE AND WEIGHT Choosing two serifs or two sans serifs for your type combinations will work too, but once again you must provide a clear distinction between all characters of type. One way to achieve this is by creating contrast in size and weight. Some types look very different when utilized with a large point size, they look especially good on headings. The weight of a typeface is determined by the thickness of strokes. When combining typefaces with different weights it is best to go with the highest contrast: combine Regular with Heavy or Extra Bold instead of just usual Bold or Demi. Contrast in weight is one of the most effective and popular ways of combining types.

Words In Liberty

A Prologue to Futurism: Futurism was first 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.

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.

Sabon 12pt: Old Style Frutiger 24pt: Humanist

Palatino 12pt: Old Style Univers 24pt: Grotesque

aa BB ee GG gg

Sabon has a bit smaller x-height than Frutiger which works nicely together. Sabonâ&#x20AC;&#x2122;s thin stroke allows there to be a good amount of contrast between two.

Palatino has a thinner stroke which provides a nice contrast against Univers. Work well together because there is a clear hierarchy.

Words In Liberty

A Prologue to Futurism: Futurism was first announced 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.

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

Baskerville 24pt: Transitional Futura 12pt: Geometric

Perpetua 12pt: Transitional Gill Sans 24pt: Humanist

aa BB ee GG gg

Futura as the body copy doesn’t work as nicely as the others. It’s large x-height competes with Baskerville as a title, because of its’ smaller x-height.

Perpetua’s small x-height and skinny stroke width allows for Gill Sans to achieve hierarchy. Perpetua emphasizes the boldness of Gill Sans and both could work better if the text was larger.

Words In Liberty

A Prologue to Futurism: Futurism was first

Didiot 12pt: Modern Interstate 24pt: Geometric

Walbaum 24pt: Modern News Gothic 12pt: Grotesque

aa BB ee GG gg

Didiot works well with Interstate because they both havea slender form and strokes. There is also a good amount of contrast difference between the two to make the combination succesful.

News Gothic has a larger x-height than Walbaum, which starts to compete with the title. There is not as good of hierarchy as in others. As well, there is not a good contrast between the two.

Words In Liberty

A Prologue to Futurism: Futurism was

A Prologue to Futurism: Futurism was first

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.

Clarendon 12pt: New Transitional Gotham 24pt: Geometric

Mrs. Eaves 10pt: New Transitional Akindenz Grotesk 24pt: Grotesque

aa BB ee GG gg

Share the same x-height and have about the same stroke width when Gotham is not bold. Has a nice consitency throughout it.

Akindenz has a higher x-height than Mrs. Eaves. Have a nice contrast and have a sense of scale between the two.

Words In Liberty

A Prologue to Futurism: Futurism was first

Century Schoolbook 12pt: Slab serif Futura 24pt: Geometric

Memphis 12pt: Slab Serif Gill Sans 24pt: Humanist

aa BB ee GG gg

Both fonts compete against each others darkness. Futura is darker and thicker. Century schoolbook is thinner, which provides a nice combination with Futura.

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. 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.

Even with Gill Sans being bold, both styles are similar in their contrast. Memphis has a nice thin style that flows well with darkness of Gill Sans.

QUOTES, DASHES, APOSTROPHES

QUOTATION MARKS

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 ]

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

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. As previously noted, it’s means “it is”; the apostrophe is indicating where the i is left out. Don’t means “do not”; the apostrophe is indicating where the o is left 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.

DASHES Hyphen To type a hyphen

Hyphen - Type: 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 – Type: 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 6:30 – 8:45 A.M. 4 – 6 years of age

Em dash — To type an em dash

em dash — Type: 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 makes your look very unprofessional. When using an—no space is used on either side.

SPECIAL CHARACTERS

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

“ ” ‘ ’ – — …

•

ﬁ ﬂ © ™ ® ° ¢ € ⁄

¡ ¿ £ ç Ç

Option [ opening double quote Option Shift [ closing double quote Option ] opening single quote Option Shift ] closing single quote; apostrophe Option Hyphen en dash Option Shift Hyphen em dash Option ; ellipsis (this character can’t be separated at the end of a line as three periods can) Option 8 bullet (easy way to remember as it’s the asterisk key) Option Shift 5 ligature of f and i Option Shift 6 ligature of f and l Option g Option 2 Option r Option Shift 8 degree symbol (e.g., 102°F) Option $ Option Shift 2 Euro symbol Option Shift 1 (one) fraction bar (this doesn’t descend below the line like the slash does) Option 1 (one) Option Shift ? Option 3 Option c Option Shift c

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

´ ` ¨

Option e = é Option ~ = à Option u = ü

Option n = ñ Option i = î

BULLETS

bullet, of course! This very useful typographic element can add emphasis, clarity and visual interest to all kinds of copy.

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, donâ&#x20AC;&#x2122;t automatically assume itâ&#x20AC;&#x2122;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. To be more creative, substitute symbols or dingbats for the actual bullets. Try squares, triangles or check marks (just not all at once, as shown in the illustration!). Keep these simple and in proportion with the rest of your text. Make sure to take advantage of the baseline shift feature when using dingbats or ornaments as bullets. Sometime dingbats or webdings can be too large, so all you have to do is reduce its size. If the character is not aligned, use the baseline shift to move it up to where it ought to be.

pick any three adjectives that describe yourself: w shy w tired w determined

pick any three adjectives that describe yourself: s shy s tired s determined

pick any three adjectives that describe yourself: v shy v tired v determined

pick any three adjectives that describe yourself: k shy k tired k determined

NUMERALS/FIGURES

Oldstyle figures are a style of numeral which approximate lowercase letterforms by having an x-height and varying ascenders and descenders. They are considerably different from the more common “lining” (or “aligning”) figures which are all-cap height and typically monospaced in text faces so that they line up vertically on charts. Oldstyle figures have more of a traditional, classic look. They are only available for certain typefaces, sometimes as the regular numerals in a font, but more often within a supplementary or expert font. The figures are proportionately spaced, eliminating the white spaces that result from monospaced lining figures, especially around the numeral one. 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 overall 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.

Usage Example: These numbers are large and chunky: Dear John, please call me at 438-9762 at 3:00 to discuss our marriage. You can also write to me at Route 916, zipcode 87505. These numbers flow nicely with the text: Dear John, please call me at 438-9762 at 3:00 to discuss our marriage. You can also write to me at Route 916, zipcode 87505.

SMALL CAPS

Small caps are uppercase (capital) letters that are about the size of normal lowercase letters in any given typeface. Small caps are less intrusive when all uppercase appears within normal text or can be used for special emphasis. Computer programs can generate small caps for a any typeface, but those are not the same as true small caps. True small caps have line weights that are proportionally correct for the typeface, which me and that they can be used within a body of copy without looking noticeably wrong. Use small caps for acronyms. Set acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines. n

Use small caps for common abbreviations. Set common abbreviations such as AM or PM in small caps so they donâ&#x20AC;&#x2122;t overpower the accompanying text. 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. n

CAPS: Harriet, an FBI agent, turned on CNN to get the dirt on the CIA before going to bed at 9:30 P.M.

SMALL CAPS: Harriet, an fbi agent, turned on cnn to get the dirt on the cia before going to bed at 9:30 p.m. The capital letters in the middle of the sentence call too much attention to themselves. Notice how the small caps blend in with the text. The capital letters for P.M. are much too large—the abbreviation is not that important.

TRUE-DRAWN SMALL CAPS There are quite a few font families that include “true-drawn” small caps—letterforms that have been redesigned to match the proportions and thickness 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.

Correct:

Incorrect:

There Is No Rest For the Wicked.

Wicked Are Very Weary.

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.

DEFINITIONS: In typography there are 4 rules regarding paragraph breaks: 1. first line at the beginning of an article should be flush left (do not indent first paragraph) 2. block paragraphs are flush left and are separated by extra leading not a full return 3. the amount indent is = to the leading (sometimes needs a bit more) 4. never hit two returns between paragraphs

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-ofthe-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. BUT IS IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE WE LIVE AND WORK AS POETS AND ARTISTS: OR, IF NOT THE MOVEMENTS, THEN THEIR SENSE OF ART AS AN LIFE ITSELF. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM BRISTLED WITH A POLEMICAL STANCE IN FAVOR OF THE TRANSFORMED PRESENT (1909), THE LATER MANIFESTOS OF FUTURIST POETS AND ARTISTS OFFERED FORMAL, “TECHNICAL” APPROACHES TO THE WORKS THEN GETTING UNDER WAY. The key term--still resonant today--was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-ofthe-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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, his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But 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 & 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 offeredformal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-theworld, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. BUT IS IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE WE LIVE AND WORK AS POETS AND ARTISTS: OR, IF NOT THE MOVEMENTS, THEN THEIR sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM BRISTLED WITH A POLEMICAL STANCE IN FAVOR OF THE TRANSFORMED PRESENT (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today-was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst33(circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on february 20, 1909, when the paris newspaper le figaro published a manifesto by the italian poet and editor filippo tommaso marinetti. The name futurism, coined by marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its russian & italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While marinetti’s opening manifesto for italian futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like mallarme. Outrageous and aggressive, the futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote marinetti selbst3 (circa 1915), “everything of any value is theatrical.”

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

While Marinetti’s opening manifesto

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

HEADERS

Header: A line or block of text that appears at the beginning of a page or document.

Subhead: A header given to a subsection of a piece of writing.

Kerning: Adjust the space between letters according to your sensitive visual perception. Kerning is the process of removing small units of space between letters in order to create visually-consistent letterspacing; the larger the letters, the more critical it is to adjust their spacing. Awkward letterspacing not only looks naive and unprofessional, it can disrupt the communication of the words.

Look carefully at these two examples (try squinting):

TYPOGRAPHY TYPOGRAPHY

unkerned

kerned

Remember: The point is to keep the spacing visually consistent— there should visually appear to be the same amount of space between all the letters. It’s not critical how much—it’s critical that whatever it is be consistent. You can usually focus better on that white space if you look at the text with your eyes squinted.

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.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But it is the movements which

A PROLOGUE TO FUTURISM

{

While Marinetti’s opening manifesto

{

RADICAL MIX

OF ART AND LIFE

Words

IN LIBERTY

A Prologue to Futurism

Radical Mix Of Art And Life

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. BUT IS IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE WE LIVE AND WORK AS POETS AND ARTISTS: OR, IF NOT THE movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM BRISTLED WITH A POLEMICAL STANCE IN FAVOR OF THE transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term-still resonant today--was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

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

A Prologue to Futurism

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

Radical Mix Of Art And Life

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

WORDS IN LIBERTY

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

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.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

A Prologue to Futurism

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then

their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its russian & italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

Radical Mix Of Art And Life

While marinetti’s opening manifesto for italian futurism bristled with a polemical stance in favor of the transformed present

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

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1. Philip Meggs, History of

Graphic Design, Van Nostrand Reinhold, 1988

But it is the movements which

A PROLOGUE TO FUTURISM

{

While Marinetti’s opening manifesto

{

RADICAL MIX

OF ART AND LIFE

}

2. parole in liberta =

}

3. selbst = himself

words set free (liberty)

Words

IN LIBERTY

A Prologue to Futurism

Radical Mix Of Art And Life

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. 1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988 BUT IS IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE WE LIVE AND WORK AS POETS AND ARTISTS: OR, IF NOT THE movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM BRISTLED WITH A POLEMICAL STANCE IN FAVOR OF THE transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term-still resonant today--was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.” 2. parole in liberta = words set free (liberty) 3. selbst = himself

Words in Liberty 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

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

WORDS

IN LIBERTY

A Prologue

Radical Mix

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse to Futurism controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that Of Art And Life we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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 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

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then

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

FONT SPEC

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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.

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SEMI-BOLD

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BOLD ITALIC

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Akzidenz Grotesk

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New Baskerville

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BOLD

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Belizio

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Bell Gothic

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Bembo

MxnogGdQrRst REGULAR

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CLASSIFICATION: NEW TRANSITIONAL

Bookman

MxaogGdQrR

REGULAR

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Bodoni

MxaogGdQrRst REGULAR

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(adobe) Caslon

MxanogGdQRt REGULAR

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ITALIC

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c h i k l Ss T t SWASH

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ORNAMENT

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CLASSIFICATION: TRANSITIONAL

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.

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100

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CLASSIFICATION: TRANSITIONAL

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.

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

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 ( ) {}?!@&* 101

CLASSIFICATION: MODERN

Cholla

MaxnogGdQrRst UNICASE

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

CLASSIFICATION: EGYPTIAN SLAB SERIF

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(){}?!@&*

103

CLASSIFICATION: GRID BASED SANS SERIF

Clicker

MaxnogGdQRs REGULAR

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 twentiethandtwenty-firstcenturieshave continuedtocreatenewtypefacesbasedon historic characteristics.

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 123 4567890(){}?!@&*

CLASSIFICATION: MODERN

Didot

MxaogGdQrRt REGULAR

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

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

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 ( ){}?!@&*

105

CLASSIFICATION: GROTESQUE

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

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 { ? ! @ & * 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: GROTESQUE

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 (){}?!@&*

107

CLASSIFICATION: NEW TRANSITIONAL SERIF

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 1234567890(){}?!@&*12345 6789 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(){}?!@&*

108

CLASSIFICATION: BLACK LETTER

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 109

CLASSIFICATION: MODERN

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

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 4 5 6 7 8 9 0 ( ) { } ? !@&*

CLASSIFICATION: GROTESQUE SANS SERIF

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(){}?!@&* 111

CLASSIFICATION: HUMANIST

Frutiger

MaxodQRtfGg CONDENSED

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

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

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 ( ) {}?!@&* 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: GEOMETRIC

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 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 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 ( ) { } ? ! @ & *

113

CLASSIFICATION: HUMANISTIC

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.

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 ( ) {}?!@&*

CLASSIFICATION: GROTESQUE

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 1 2 3 4 5 6 7 8 9 0 ( ) { }?!@&* 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 9 0 ( ) { } ? ! @ & *

115

CLASSIFICATION: GROTESQUE

Interstate

MaoygGdQrRt REGULAR

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

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

116

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: SCRIPT

Kunstler Script

xyogGdQrRst REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 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

117

CLASSIFICATION: TRANSITIONAL SERIF

Melior

MayogGdQrRt REGULAR

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

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

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 ( ) {}?!@&* 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: SLAB SERIF

Memphis

MxagGdQrRt LIGHT

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

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

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(){}?!@&*

119

CLASSIFICATION: HUMANISTIC SANS SERIF