Type School by Noel Rivard

TCYHPOOEL S

Noel

Rivar

RULES

X-HEIGHT

HYPHENATION

ALIGNMENTS

JUSTIFICATION

COMBINING TYPEFACES

PUNCTUATION

SPECIAL CHARACTERS

BULLETS

NUMERALS & FIGURES

SMALL CAPS

PARAGRAPHS

HEADERS

CAPTIONS

FONT SPECS

s e l u r

â&#x20AC;&#x153;time to c The following is a

compendium of the rules established in this book.

Check through them each time you complete a publication.

01RULES

create > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > >

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 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.

t h g i e h -

02X-HEIGHT

â&#x20AC;&#x153;as a des

02X-HEIGHT

signer As a designer, if you are only asked to

make the text readable on the page the following questions should be asked...

WHO IS TO READ IT?

Someone that wants to read it? Someone that has to read it? HOW WILL IT BE READ?

Quickly. In passing. Focused. Near. Far. 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”.

X x h g Xxhg UNIVERS > ADRIAN FRUTIGER

ROTIS SANS (55) > OTL AICHER

Sans Serif: Grotesque

Sans Serif: Humanist

x-height: tall character width: narrow color: dark

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

02X-HEIGHT

Xxhg

X xh g SCALA SANS > MARTIN MAJOOR

ITC OFFICINA SANS > ERIC SPIEKERMANN

Sans Serif: Humanist

Sans Serif: Modern

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

x-height: short character width: narrow color: dark

Xxhg

Xxhg PRIORI SANS > JONATHAN BARNBROOK

META > ERIK SPIKERMANN

Sans Serif: Transitional

Sans Serif: Humanist

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

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

02X-HEIGHT

Xx hg

X x hg

FRUTIGER > ADRIAN FRUTIGER

INTERSTATE > TOBAIS FRERE-JONES

Sans Serif: Grotesque

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

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

Xxhg

Xx h g TRADE GOTHIC (MEDIUM) > JACKSON BURKE

HELVETICA > MAX MIEDINGER

Sans Serif: Humanist

Sans Serif: Grotesque

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

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

02X-HEIGHT

X xh g X xhg SABON > JAN TSCHICOLD

MRS EAVES > ZUZANA LICKO

Old Style

Transitional

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

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

Xx h g Xx hg MELIOR > HERMANN ZAPF

MEMPHIS > RUDOLPH WEISS

Transitional

Slab Serif

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

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

02X-HEIGHT

Xxh g

Xx hg

ITC OFFICINA SERIF > ERIK SPIEKERMANN

BEMBO > STANLEY MORISON

Slab Serif

Modern

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

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

X xh g X xhg

DIDOT > FIRMIN DIDOT

ADOBE CASLON > CAROL TWOMBLY

Modern

Transitional

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

x-height: tall character width: average color: dark

02X-HEIGHT

Xxhg

X xh g BASKERVILLE > JOHN BASKERVILLE

BELIZIO > DAVID BERLOW

Transitional

Slab Serif

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

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

n e h p y h tion a

â&#x20AC;&#x153;a pleasing 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.

03HYPHENATION

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

> how the text is read avoid widows (one word on the last line of a paragraph) > avoid hyphenating or line brakes of names and proper nouns > leave a least 2 characters on the line and 3 following > avoid beginning consecutive lines with the same word > avoid ending consecutive lines with the same word > avoid ending lines with the words: the, of, at, a, by.. > never hyphenate a words in a headline and avoid hyphenation in a callout

Headlines DON“T HYPHENATE HEADLINES.

Don Quixote de la Mancha

WATCH WHERE THE FIRST LINE OF A TWO-LINE HEADLINE ENDS — DOES IT CREATE A SILLY OR MISLEADING PHRASE? FIX IT.

Professor and Therapist to lecture

DON“T LEAVE WIDOWS (VERY SHORT LAST LINES) IN HEADLINES.

Man Walks Barefoot Across Bay Bridge

FIX IT EITHER WAY, OR REWRITE!

Man walks barefoot across Bay Bridge Man walks barefoot across Bay Bridge

what are bad line breaks 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! Here are several examples of the sorts of things to look for:

03HYPHENATION

2> 3>

4> 5 >

7> 8 >

CASING ADDER BAT

Heresy borsch-boil starry a boarder borsch boil gam plate lung, lung a gore inner ladle wan-hearse torn coileMutt-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 tow 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 toe pore toe becalm Any-Bally’s horsebarn. (Boil pliers honor Muttfill tame dint gat mush offer celery; infect, day gut nosing atoll.) Butt less get eam wetter starry.

Heresy borsch-boil starry a boarder borsch boil gam plate lung, lung a gore inner ladle wahearse torn coiled Muttfill. Mutt-fill worsen mush offer 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 tow sex). Casing worse gut lurking an furry poplar — spatially wetter gull coiled any-belly. Any-bally worse Casing“s sweat-hard, any harpy cobble wandered toe gat merit, bought Casing worse tow pore toe becalm any-belly“s horsebarn. (Boil pliers honor Mutt-fill tame dint gat mush offer celery; infect, day gut nosing atoll.) Butt less get eam wetter starry.

1 justyify

the headline so it stays on one line. 2 Use a line break (shift return) to bump “a“ down to the next line, where it fits very nicely. 3 Kern the line a tiny bit to bring the rest of the word up. 4 Type a dischy in front of the word to bump it down. 5 Never hyphenate a person“s name. Ih had to go up a few lines, bump “off“ down, which bumped the other line endings down. This also took care of the inappropriate widow in 6. 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 rid of that terrible widow, exchange a short ward for the long word. story by Howard Chace

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

RIVERS

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.

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

Widows and Orphans Never leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program youâ&#x20AC;&#x153;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.

g i al

s t n e m n

“right and “Right and wrong do not exist in

graphic design. There is only effective and non-effective communication.” — Peter Bilak

04ALIGNMENTS

d wrong If someone insists that fully justified text is better than leftaligned text, tell them they are wrong. If someone else tells you that left-aligned text is better than justified text, tell them they are wrong. If they are both wrong, then 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 full-justification as a means of packing as much information onto the page as possible to cut down on the number of pages needed. While the alignment was chosen out of necessity, it has become so familiar to us that those same types of publications set in left-aligned text would look odd, even unpleasant. You may find that fully-justified text is a necessity either due to space constraints or expectations of the audience. If possible though, try to break up dense blocks of texts with ample subheadings, margins, or graphics.

> Often considered more formal, less friendly than left-aligned text. > Usually allows for more characters per line, packing more into the same amount of space (than the same text set leftaligned). > May require extra attention to word and character spacing and hyphenation to avoid unsightly rivers of white space running through the text. > May be more familiar to readers in some types of publications, such as books and newspapers. > Some people are naturally drawn to the â&#x20AC;&#x153;neatnessâ&#x20AC;? of text that lines up perfectly on the left and right.

04ALIGNMENTS

LEFT-ALIGNED, RAGGED RIGHT

Often considered more informal, friendlier than justified text. The ragged right edge adds an element of white space. May require extra attention to hyphenation to keep right margin from being too ragged. Generally type set left-aligned is easier to work with (i.e. requires less time, attention, and tweaking from the designer to make it look good).

CENTERED

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

“There will undoubtedly be well-meaning friends, business associates, clients and others who will question your choices.”

i f i t s u j n o i t ca 39

“Squished to 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.

JUSTIFY TEXT ONLY IF THE LINE IS LONG ENOUGH TO PREVENT AWKWARD AND INCONSISTENT WORD SPACING.

05JUSTIFICATION

ogether Here's a general guideline for determining if your line length is

long enouth 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. 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, news-

Keep your eyes open as you look at professionally printed work.

letters, annual reports, journals) and youâ&#x20AC;&#x2122;ll find thereâ&#x20AC;&#x2122;s a very strong trend to align type on the left and leave the right ragged.

80 100

MIN

DESIRED

130 MAX

inherent in serving a font file, or more likely a font family: Page sizes can easily jump to 100k and higher. But let’s assume for a moment that these problems will get smoothed out in short order so that we can focus on what to do after that happens. Being a web designer will soon require a deeper understanding of typography and how typefaces work. As we move in this direction, our options may be limited at first, but the pool of choices will steadily grow. And as we know, with great power comes great responsibility. Just because you can use the font that looks like it’s wearing bellbottoms, doesn't mean you should. The system fonts we commonly use such as Georgia, Verdana, and Arial have become so ubiquitous that any associations we might have with them other than “web” are pretty much gone. The aesthetic expression we were unable to achieve due to scant selection afforded us time to hone legibility on a grand scale. This has largely made the web a “set it and forget it” world, in part due to the rapid state of publishing, but also because we don’t have the fine control over typography that we have in print.

THIS EXAMPLE SHOWS A STANDARD FORMATING FOR JUSTIFIED TEXT. IT HOLDS TOGETHER WELL WHILE AVOIDING RIVERS.

05JUSTIFICATION

65 180

MIN

DESIRED

400 MAX

We’ve been spoiled. Until now, chances are that if you dropped some text onto a webpage in a system font at a reasonable size, it was legible. What’s more, we know the ins and outs of the faces we’ve been forced to use. But many faces to which we’ll soon have access were never meant for screen use, either because they’re aesthetically unsuitable or because they’re just plain ilegible. The technical problems with web type also run deep. Inconsistent rendering across browsers and platforms is a substantial hurdle, as are the problems inherent in serving a font file, or more likely a font family: Page sizes can easily jump to 100k and higher. But let’s assume for a moment that these problems will get smoothed out in short order so that

we can focus on what to do after that happens.There’s a serious possibility that by gaining access to the world’s font libraries, we’re opening Pandora’s Box. Many people working on the web today have some knowledge of typography, but my hunch is that many designers are about to feel quite baffled by the new challenges they face. Being a web designer will soon require a deeper understanding of typography and how typefaces work. As we move in this direction, our options may be limited at first, but the pool of choices will steadily grow. And as we know, with great power comes great responsibility. Just because you can use the font that looks like it’s wearing bellbottoms, doesn't mean you should. The system fonts we commonly use such as Georgia, Verdana, and Arial have become so ubiquitous that any associations we might have with them other than “web” are pretty much gone. The aesthetic expression we were unable to achieve due to scant selection afforded us time to hone legibility on a grand scale. This has largely made the web a “set it and forget it” world, in part due to the rapid state of publishing, but also because we don’t have the fine control over typography that we have in print design. THIS EXAMPLE IS A BIT TOO WIDE FOR A COMFORTABLE SMOOTH READ. MOST OF THE TEXT REMAINS LEDIBLE DESPITE A FEW AWKWARD POINTS.

40 80

MIN

DESIRED

120 MAX

gaining access to the world’s font libraries, we’re opening Pandora’s Box. Many people working on the web today have some knowledge of typography, but my hunch is that many designers are about to feel quite baffled by the new challenges they face. Being a web designer will soon require a deeper understanding of typography and how typefaces work. As we move in this direction, our options may be limited at first, but the pool of choices will steadily grow. And as we know, with great power comes great responsibility. Just because you can use the font that looks like it’s wearing bellbottoms, doesn't mean you should. The system fonts we commonly use such as Georgia, Verdana, and Arial have become so ubiquitous that any associations we might have with them other than “web” are pretty much gone. The aesthetic expression we were unable to achieve due to scant selection afforded us time to hone legibility on a grand scale. This has largely made the web a “set it and forget it” world, in part due to the rapid state of publishing, but also because we don’t have the fine control over typography that we have in print

HERE IS THE MOST SUCCESSFUL ATTEMPT. THE TEXT FLOWS SMOOTHLY WHILE STILL TIGHT ENOUGH TO READ AT A QUICK PACE.

05JUSTIFICATION

MIN

DESIRED

1000 MAX

can focus on what to do after that happens. There’s a serious possibility that by gaining access to the world’s font libraries, we’re opening Pandora’s Box. Many people working on the web today have some knowledge of typography, but my hunch is that many designers are about to feel quite baffled by the new challenges they face. Being a web designer will soon require a deeper understanding of typography and how typefaces work. As we move in this direction, our options may be limited at first, but the pool of choices will steadily grow. And as we know, with great power comes great responsibility. Just because you can use the font that looks like it’s wearing bellbottoms, doesn't mean you should. The system fonts we commonly use such as Georgia, Verdana, and Arial have become so ubiquitous that any associations we might have with them other than “web” are pretty much gone. The aesthetic expression we were unable to achieve due to scant selection afforded us time to hone legibility on a grand scale. This has largely made the web a “set it and forget it” world, in part due to the rapid state of publishing, but also because we don’t have the fine control over typography that we have in print design.

THIS EXAMPLE IS WAY TOO TIGHT. THERE IS HARDLY A DISTINCTION BETWEEN THE BEGINNING AND END OF THE WORDS.

280 300

MIN

DESIRED

450

MAX

short order so that we can focus on what to do after that happens.There’s a serious possibility that by gaining access to the world’s font libraries, we’re opening Pandora’s Box. Many people working on the web today have some knowledge of typography, but my hunch is that many designers are about to feel quite baffled by the new challenges Being a web designer will soon require a deeper understanding of typography and how typefaces work. As we move in this direction, our options may be limited at first, but the pool of choices will steadily grow. And as we know, with great power comes great responsibility. Just because you can use the font that looks like it’s wearing bellbottoms, doesn't mean you should. The system fonts we commonly use such as Georgia, Verdana, and Arial have become so ubiquitous that any associations we might have with them other than “web” are pretty much gone. The aesthetic expression we were unable to achieve due to scant selection afforded us time to hone legibility on a grand scale. This has largely made the web a “set it and forget it” world, in part due to the rapid state of publishing, but also because we don’t have the fine control over typography that we have in print design.

THIS EXAMPLE IS FAR TOO DISJOINTED. NOT ONLY ARE THE WORDS VERY DISJOINTED, THIS SETTING SEEMS TO EXCENTUATE THE RIVERS.

g n i n i b m o c s t n o f

“squint at “When your work comes out of the printer, turn it upside down and squint at it. The

rivers will be very easy to spot. Get rid of them. Try squinting at the example on

the bottom of the previous page.”

06COMBINING FONTS

When combining serif and sans serif text fonts, one shroud try and match the characteristics of form and type color: proportion,x-heights. â&#x20AC;&#x153;There is not binding recipe for type combinations. It is a matter of typographic sensitivity and experience. Expert typographers, as well as careless amateurs permit themselves combinations that would horrify colleagues with more traditional sympathies.â&#x20AC;? Although there is not recipe there is a place to start: keep an eye on the characteristic shapes of the letterform. A well designed page contains no more than two different typefaces or four different type variations such as type size and bold or italic style.

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

Old S t y l e w i t h G ro te s q u e S a n s S er if

Words In Liberty A Prologue To Futurism: Futurism was first announced on February 20, 1909, when

Aa Ee Gg Trade Gothic bold 14/16 Trade gothic 10/12 Baskerville 9/12

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.

THIS COMBINATION IS NOT VERY PLEASING BECAUSE TRADE GOTHIC IS MUCH TOO THIN TO HOLD UP BASKERVILLE“S THICK STROKE.

Tr an si t i ona l w i t h Ge o m etr ic S a n s S er if

Words in Liberty A Prologue To Futurism: Futurism was first announced on February 20, 1909, when

Aa Ee Gg Futura bold 14/16 futura condensed medium 10/12 adobe calson 9/12

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. IN THIS EXAMPLE, FUTURA LOSES AGAINST CALSON DUE TO ITS NARROWNESS, EVEN WHEN IT IS BOLD.

06COMBINING FONTS Ol d S t y l e w i t h H u m a n is t S a n s S er if

Words in Liberty A Prologue To Futurism: FutFuturism was first announced on February 20, 1909, when

Aa Ee Gg Scala sans 14/6 scala sans italic 10/12 bembo 9/12

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. THIS EXAMPLE WORKS WELL BECAUSE THE THIN LINE WEIGHT OF SCALA, ESPECIALLY IN ITALIC, FLOWS EASILY INTO BEMBO.

Tra nsi t i ona l w i th H u m a n is t S a n s S e r if

Words in Liberty A Prologue To Futurism: futurisFuturism was first announced on February

Aa Ee Gg Priori Sans 18/16 belizio 14/12 & 8/10

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. BELIZIO IS MUCH TO STRONG TO BE PAIRED WITH A WEAK FONT LIKE PRIORI. ITS X-HEIGHT IS WAY TO SHORT.

Mo de rn w i t h G e ome tr ic s a n s s er if

Words In Liberty A Prologue To Futurism: Futurism was first announced on February 20, 1909,

Aa Ee Gg Buaer bodoni 14/16 Futura medium 10/12 & 9/12

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. AGAIN, THE POWER OF FUTURA, WITH ITS THICK MONO-WEIGHT AND JAGGED FINALS, DOES NOT REFLECT BODONI“S STRONT CONTRASTING STROKE WIDTHS. THIS COMBINATION FEELS TOO OVERPOWERING.

New Tra nsi t i ona l with Geo m etr ic S a n s S er if

Words In Liberty A Prologue To Futurism: Futurism was first announced on February 20, 1909,

Aa Ee Gg ITC bookman 14/16 Trade Gothic bold 10/12 trade gothic medium 9/12

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. THIS COMBINATION MIGHT WORK IN SOME CASES. THE ONLY PROBLEM HERE, IS THAT TRADE GOTHIC BOLD IS MUCH TO NARROW TO BE COMPARED WITH ITC BOOKMAN.

06COMBINING FONTS Mode rn w i t h G r o tes q u e S a n s S er if

Words In Liberty

Aa Ee Gg news gothic bold 14/16 news gothic bold oblique 10/12 filosofia 9/12

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. THESE TWO TYPEFACES APPEAR TO WORK TOGETHER TO MAKE AN ORGANIZED, FLOWING ARTICLE. THE CONTRAST IN NEWS GOTHIC“S STABILITY AND FILOSOFIA“S LOOSENESS MAKES FOR A BEAUTIFUL COMBINATION.

Ne w Tra nsi t i ona l with Gr o te s q u e S a n s S er if

Words In Liberty

Aa Ee Gg Interstate 14/16 interstate bold 10/12 claredon 9/12

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, HERE, THE COMBINATION OF AN UPDATED SERIF WITH A MODERN, MORE STRUCTURED SANS SERIF, HOLD UP REALLY WELL. BOTH HAVE A SIMILARITY IN SHORT X-HEIGHT.

Slab S e ri f w i t h G e o m etr ic S a n s S er if

Words in Liberty A Prologue To Futurism: Futurism

Aa Ee Gg Futura condensed 14/16 memphis medium italic 10/12 memphis 9/10

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. THIS COMBINATION APPEARS TOO SQUARE. FUTURA“S FIXED WIDTH AND THICK STROKE OVERPOWER MEMPHIS. THEY ARE TOO WIDE FOR AN ARTICLE LIKE THIS.

Slab S e ri f w i t h H um a n is t S a n s S e r if

Words In Liberty A Prologue to Futurism: Futurism was first announced on February 20, 1909, when

Aa Ee Gg ITC officina serif 14/16 ITC officina serif italic 9/1 Akzidenz Grotesk 9/12

, s e t o qu s e i h p o r t s o p a s e h s a d &

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

“

Option [

Closing double quote

“

Option Shift [

Opening single quote

“

Option ]

Closing single quote

“

Option Shift ]

Bridge Clearance: 16' 76" The young man stood 66' 26" The length of the wall is 1536' 96"

07PUNCTUATION

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’e 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 no 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. Use hyphens, en dashes, and em dashes appropriately. Everyone knows what a hyphens is —that tiny little dash that belongs in some words, like mother-in-law, or in phone numbers. It’s also used to break a word at the end of a line, of course. You might have been taught to use a double hyphen to indicate a dash, like so : — . This is a typewriter convention because typewriters didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hyphen—we have a professional em dash, the long one, such as you see in this sentence. We also have an en dash, which is a little shorter than the em dash.

Dashes

-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

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

em dash — Shift Option Hyphen hold the Shift and Option keys down, then tap the hyphen key. The em dash is twice as long as the en dash—it“s about the size of a capital letter M in whatever size and typeface you“re using at the moment. This dash is often used in place of a colon or parentheses, or it might indicate an abrupt change in thought, or it“s used in a spot where a period is too strong and a comma is too weak. Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Using two hyphens(or worse, one) where there should be an em dash makes your look very unprofessional. When using an em dash no space is used on either side.

l a i c e p s ers t c a r a

â&#x20AC;&#x153;every acc 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.

08CHARACTERS

cent you n Option [ Option Shift [ Option ] Option Shift ] Option Hyphen Option Shift Hyphen Option ; Option 8 Option Shift 5 Option Shift 6 Option g Option 2 Option r Option Shift 8 Option $ Option Shift 2 Option Shift 1 (one) Option 1 (one) Option Shift ? Option 3 Option c

“ “ “ “ – — … • ﬁ ﬂ © ™ ® ° ¢ € ⁄ ¡ ¿ £ Ç

opening double quote closing double quote opening single quote closing single quote; apostrophe en dash em dash ellipsis bullet ligature of f and i ligature of f and l copyright trademark registered degree symbol (e.g., 102°F) cents Euro symbol (doesn“t descend below the line like the slash does)

inverted excamation point inverted question mark

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

Option e Option ~ Option u Option n Option i

s t e l l u b

â&#x20AC;&#x153;draw atte Bullet, of course! This very useful typographic element can add

emphasis, clarity and visual interest to all kinds of copy. Sim-

ply 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.

09BULLETS

ention

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. Simply put, a bullet is a large dot used to draw attention to each item in a list or series. The items can be single words, phrases, sentences or paragraphs. Even if you use the bullet that is part of your font, don’t automatically assume it’s the right size: it might need to be altered in scale or position to make it look balanced next to the text. Bullets should be centered on either the cap height or x- height, depending on the nature of your copy. If all of your items begin with a cap, center the bullet on the cap, or a bit lower so it balances with the negative spaces created by the lowercase. If your items all begin with lowercase characters, center the bullets on the x-height. Insert some space after the bullet to avoid crowding. The preferred way to align bullets is with the left margin.You can also have the bullets overhang the margin, and keep all your text aligned with the left margin. Whichever style you choose, your listing will look best if items that run more than one line are indented so that the copy aligns with itself, and not with the bullet on the first line. • VIVID

D VIVID

• SHARP

7 SHAR P

D SH A R P

• RAPID

S RAPID

D R AP ID

s e r u fig

“Oldstyle fig 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.

10FIGURES

gures 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 theyâ&#x20AC;&#x2122;re not as intrusive as lining figures. In fact, many people prefer them overall for most uses except charts and tables. Itâ&#x20AC;&#x2122;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.

OLD STYLE FIGURES MRS EAVES

Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505.

ALIGNING FIGURES SYNTAX

Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505.

l l a sm s p a c

â&#x20AC;&#x153;less intrusiv 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.

11SMALL CAPS

If you set acronyms in traditional regular all caps, their visual presence is unnecessarily overwhelming. One standard and practical place to use small caps is in acronyms such as FBI, NRC, or CBS. Traditionally, “A.M.” and “P.M.” are set with small caps. If you were taught to type on a typewriter (or if you were taught on a keyboard by someone who was taught on a typewriter), you probably learned to set these abbreviations in all caps because there were no small caps on typewriters. But now that you have the capability, you can and should set them properly.

HARRIET, AND FBI AGENT, TURNED ON CNN TO GET THE DIRT ON THE CIA BEFORE GOING TO BED AT 9:30 P.M.

HARRIET, AND fbi AGENT, TURNED ON Cnn TO GET THE DIRT ON THE cia BEFORE GOING TO BED AT 9:30 p.m.

> Use small caps for acronyms. Set acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines. > Use small caps for common abbreviations. Set common abbreviations such as AM or PM in small caps so they don“t overpower the accompanying text. Use small caps for A.M. and P.M.; space once after the number, and use periods. (if the font does not have small caps reduce the font size slightly) > Use true small caps fonts. Avoid simply resizing capital letters or using the small caps feature in some programs. Instead use typefaces that have been specifically created as small caps.

r a p

s h p a r ag

â&#x20AC;&#x153;Rhythm for th

12PARAGRAPHS

he reader ONE

> first line at the beginning of an article should be flush left (do not indent first paragraph)

TWO

> block paragraphs are flush left and are separated by extra leading not a full return

THREE

FOUR

> the amount indent is equal to the leading (sometimes needs a bit more)

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

exploration one

SABON 9/10

12PARAGRAPHS

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was 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 liberta, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This 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 selbst (circa 1915), “Everything of any value is theatrical.”

exploration two

SABON 9/10

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto“s rhetoric was 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 liberta, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.“ This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists“ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst (circa 1915), “Everything of any value is theatrical.“

exploration three

SABON 9/10

12PARAGRAPHS

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was 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 liberta, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists“ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst (circa 1915), “Everything of any value is theatrical.”

exploration four

SABON 9/10

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was 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 liberta, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists” performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst (circa 1915), “Everything of any value is theatrical.”

exploration five

SABON 9/10

012PARAGRAPHS

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

exploration six

SABON 9/10

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was 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 Marinett’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, “technica” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-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.”

exploration seven

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012PARAGRAPHS

Futurism was first announced — on February 20, 1909, when the Paris

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

exploration eight

SABON BOLD/ITALIC 11/12 SABON 9/10

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement 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 offered formal, “technical“ approaches to the works then getting under way. The key term—still resonant today—was parole in liberta, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-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 selbst (circa 1915), “Everything of any value is theatrical.”

exploration nine

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012PARAGRAPHS

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

Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was 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 liberta, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-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 selbst (circa 1915), “Everything of any value is theatrical.”

exploration ten

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s r e d a he

â&#x20AC;&#x153;logical confu

13HEADERS

usion

A header is a line of text serving to indicate

what the passage below it is about. The subhead is the heading of a subdivision, as in a

> If symmetrical heads are added to a basically asymmetrical series, or vice versa, it is usually better to put the visiting foreigners at the top or bottom of the hierarchial pile.

chapter, essay, or newspaper article. Choose a predominantly symmetrical or asymmetrical form for subheads. Mixing the two haphazardly leads to stylistic as well as logical confusion.

> Never hyphenate a word in a headline

Words in Liberty

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

SABON 9/10 SABON ITALIC 24/10

}

A Prologue to Futurism

13HEADERS

WORDS IN LIBERTY A Prologue to Futurism—

Radical Mix of Art and Life—

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

GOTHAM 30/28 GOTHAM LIGHT/ITALIC 12 SABON 9/10

WORDS IN LIBERTY RADICAL MIX > Futurism was first announced on February 20, 1909, when OF ART AND LIFE the Paris newspaper Le Figaro published a manifesto by

the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was 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 > 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 FUTURISM 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 liberta, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists“ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst (circa 1915), “Everything of any value is theatrical.”

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13HEADERS

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.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 liberta, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This 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 selbst (circa 1915), “Everything of any value is theatrical.”

HELVETICA BOLD 36/28 HELVETICA 7/10 SABON 9/10

WORDS IN LIBERTY

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

FRANKLIN ITC 24/30 FRANKLIT ITC 8/12 SABON ITALIC 9/10

13HEADERS

Radical Mix of Art and Life

A Prologue to Futurism

WORDS IN LIBERTY Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement 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 liberta, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.“ This 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 selbst (circa 1915), “Everything of any value is theatrical.”

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s n o i t p ca and s e t o n

â&#x20AC;&#x153;technica Footnotes and endnotes are necessary

components of scholarly and technical

writing. Theyâ&#x20AC;&#x2122;re also frequently used by

writers of fiction, from Herman Melville (Moby-Dick) to contemporary novelists. Whether their intent is academic or artistic, footnotes present typographic challenges.

108

14CAPTIONS

al writing Specifically, a footnote is a text element at the bottom of a page of a book or manuscript that provides additional information about a point made in the main text. The footnote provides deeper background, offer an alternate interpretation or provide a citation for the source of a quote, idea or statistic. Endnotes serve the same purpose but are grouped together at the end of a chapter, article or book, rather than at the bottom of each page.

SIZE

NUMBERS OR SYMBOLS

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

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

109

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 survive, oddly, here Radical where we live and work as poets and artists: or, if not the movements, then their Mix of sense of art as an life itself. All of which, as futurism, had come sharply into focus Art & Life 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 liberta,2 by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists” performances mixed declamation and gesture, events and surroundings, 1. Philip Meggs, indifference and engagement, to break the barriers between themselves and those History of Graphic Design, Van Nostrand who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.” Reinhold, 1988 2. parole in liberta = words set free (liberty) 3. selbst = himself

110

A Prologue to Futurism

14CAPTIONS

WORDS IN LIBERTY A Prologue to Futurism—

Radical Mix of Art and Life—

1. Philip Meggs, History of Graphic Design, Van

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the Nostrand Reinhold, 1988 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 2. parole of images or analogies, to be cast into the mysterious sea of phenomena.“ This in liberta = freedom-of-the-world, while it resembled other forms of collage and of image juxwords set free taposition, more fully explored the use of innovative and expressive typography in (liberty) 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.“ 3. selbst = himself

111

WORDS IN LIBERTY

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by OF ART AND LIFE 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 > 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 FUTURISM 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 liberta,2 by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like 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.” RADICAL MIX

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

112

14CAPTIONS

WORDS IN LIBERTY

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

a prologue Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marito netti. The name Futurism, coined by Marinetti, reflected his emphasis on discardfuturism ing what he conceived to be the static and irrelevant art of1 the past and celebrating

radical mix of art and life

change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. 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 liberta,2 by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This 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.”

2 3

113

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

Parole in liberta = words set free (liberty)

Selbst = himself

A Prologue to Futurism Radical Mix of Art and Life

WORDS IN LIBERTY

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Ital- Philip Meggs, ian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined History of by Marinetti, reflected his emphasis on discarding what he conceived to be Graphic Design, the static and irrelevant art of the past and celebrating change, originality, Van Nostrand and innovation in culture and society.1 Futurism rejected traditions and glo- Reinhold, 1988 rified 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 liberta,2 by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet Parole in liberta of images or analogies, to be cast into the mysterious sea of phenomena.“ This = words set free freedom-of-the-world, while it resembled other forms of collage and of image jux- (liberty) taposition, 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.”

Selbst = himself

114

14CAPTIONS

Radical Mix of Art and Life

A Prologue to Futurism

115

116

t n fo k o o b c e p

Archer

CLASSIFICATION:

MaxogGdQRst

BOOK

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

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

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

SEMI-BOLD

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

BOLD ITALIC

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

118

Akzidenz Grotesk

CLASSIFICATION: SANS SERIF

MaxogGdQRst ROMAN

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

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

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(){}?!@&*

119

Belizio

CLASSIFICATION: SLAB SERIF

MxagGdQrR REGULAR

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?!@&* 120

Bell Gothic

CLASSIFICATION: GROTESQUE

MxagGdQrRI LIGHT

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

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

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

121

Bembo

CLASSIFICATION: MODERN

MxnogGdQrRst REGULAR

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

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

BOLD

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0(){}?!@&* 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(){}?!@&* 122

Bookman

CLASSIFICATION: NEW TRANSITIONAL

MxaogGdQr REGULAR

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 567890(){}?!@&* 123

Bodoni

CLASSIFICATION: MODERN

MxaogGdQrRst REGULAR

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 23 4567890(){}?! @&* 124

Caslon

CLASSIFICATION: TRANSITIONAL

MxanogGdQRt REGULAR

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

ITALIC

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

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

SWASH

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

A a Bb C c D d Ee F f G g H h Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr S s Tt Uu Vv Ww X x y Z z 1 2 3 4 125

Century Schoolbook

CLASSIFICATION: GROTESQUE

MxaogGdQrRt REGULAR

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

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (){}?!@&* 126

Cheltenham

CLASSIFICATION: TRANSITIONAL

MaxogGdQrRs REGULAR

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {}?!@&* 127

Cholla

CLASSIFICATION: MODERN

MaxnogGdQrRst UNICASE

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

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

128

Clarendon

CLASSIFICATION: SLAB SERIF

MxagGdQrRt LIGHT

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

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

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

129

Clicker

CLASSIFICATION: SLAB SERIF

MaxnogGdQRs 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 ( ) { } ? ! @ & *

130

Didot

CLASSIFICATION: MODERN

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 ( ){}?!@&*

131

DIN

CLASSIFICATION: GROTESQUE

MaxnogGdQrRt LIGHT

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

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

MEDIUM

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

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

132

DIN

CLASSIFICATION: GROTESQUE

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 (){}?!@&*

133

Disturbance

CLASSIFICATION: SERIF

MxnatQbWFGdR REGULAR

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

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

BOLD

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

134

Fette Fraktur

CLASSIFICATION: BLACK LETTER

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 135

Filosofia

CLASSIFICATION: MODERN

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

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 ( ) { } ? !@&*

136

Franklin Gothic

CLASSIFICATION: GROTESQUE

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(){}?!@&*

137

Frutiger

CLASSIFICATION: HUMANIST SANS

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 4567890(){}?!@&*

BOLD

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4567890(){}?!@&* 138

Futura

CLASSIFICATION: GEOMETRIC SANS

MxaopQRst 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 ( ) { } ? ! @ & *

139

Gill Sans

CLASSIFICATION: HUMANIST 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

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(){}?!@&*

140

Gotham

CLASSIFICATION: MODERN

MayogGdQRt BOOK

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0(){}?!@&* 141

Helvetica

CLASSIFICATION: GROTESQUE

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 ( ) { } ? ! @ & * 142

Interstate

CLASSIFICATION: GROTESQUE

MaoygGdQrRt REGULAR

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

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

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

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

143

Kunstler Script

CLASSIFICATION: SCRIPT

xyogGdQrRst REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * Pat. San ea consectet ad duis dolorem eu facil dit am, summy nisim ipit, quat, velit pratismodo diat. Et lorperi liquat lor sequam zzrilit, velese facin ut verosti nciduis modit, qui erosto odit ut verit nos nos amet iure doluptatisl digna facin hendre ming ea feum incilla ad dunt dunt ipit vulput lorper sumsand ionsenit num ip erit la feu feumsan henis exerci esto etumsan hent am, velit, quisit nummy nosto dolutat irit veniam zzrilit, qui tincilit wis eum zzriustis ex eraestrud delit lamcon vero exercidunt aliscidui bla facip et veniam eum illan veros dignit alit vullandiat nis nisl dunt aliquam consent alit etuero odionsecte dunt nulla faci et in vulla feugait lore eum zzril ullamco nsequi bla autpatet nummodipisi. Ed etummodit vullamcon utat ulluptat delendit nonsenim inciliqui tio odoloreet ver sum velis aliquis del irit aut nosto consequam zzrit aut ipsum diamcon sequam num et wisi tio dolorem elesto dolobor iuscilisci et, quis endre te dolobor sum volenibh exerit utpat. Uptat, vel dolese molorem eraessis nit niamcorperos autat, venit in etum erilissit irit eui bla feum iurem nonsequi e

144

Melior

CLASSIFICATION: TRANSITIONAL

MayogGdQrRt REGULAR

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0(){}?!@&* 145

Memphis

CLASSIFICATION: SLAB SERIF

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(){}?!@&*

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