Home Grown by Paige Drummond Designs

HOME GROWN. T Y P E

W O R K B O O K

Paige Drummond A series of tales loosely based on my childhood.

Rules Check Sheet Typographic Rules Special Characters Quotes and Apostrophes Hyphens and Dashes Small Caps Numerals/Figures Kerning Combining Typefaces Grids Structures Column Width and Leading Hyphenation Rules Justification Legibility Paragraph Breaks Heads and Subheads Captions and Notes

DESIGN IS SIMPLE THAT’S WHAT MAKES IT SO COMPLICATED.

RULES CHECKSHEET As five years old and the first child of a youngest child, all I wanted to do was jump. In the air. On the bed. Off a bench. But could I? No. I always had to hold a hand or get helped down by my dad. So as my parents were in the backyard, I prepaired by great flight. I got my aviator headphones, lined up my chair so I could fly across the great wooden sea and onto the blue cusion ocean. Took a deep breath and ready. Set. TAKE OFF

DON’T TRY TO BE ORIGINAL. JUST TRY TO BE GOOD.

1. Use only one space between sentences. 2. Use real quotation marks. 3. Use real apostrophes. 4. Make sure the apostrophes are where they belong. 5. Hang the punctuation off the aligned edge. 6. Use en or em dashes, use consistently. 7. Kern all headlines where necessary. 8. Never use the spacebar to align text, always set tabs and use the tab key. 9. Leave no widows or orphans. 10. Avoid more than 3 hyphenations in a row. 11. Avoid too many hyphenations in any paragraph.

12. Avoid hyphenating or line brakes of names and proper nouns. 13. Leave a least 2 characters on the line and 3 following. 14. Avoid beginning consecutive lines with the same word. 15. Avoid ending consecutive lines with the same word. 16. Avoid ending lines with the words: the, of, at, a, by... 17. Never hyphenate a words in a headline and avoid hyphenation in a callout. 18. Keep the word spacing consistent. 19. NEVER JUSTIFY TEXT ON A SHORT LINE. 20. Tighten up the leading in lines with all caps or with few ascenders and descenders. 21. Use a one-em first-line indent on all indented paragraphs. 22. Adjust the spacing between paragraphs. 23. Either indent the first line of paragraphs or add extra space between them â&#x20AC;&#x201C; not both. 24. Use a decimal or right-aligned tab for the numbers in numbered paragraphs. 25. Never have one line in a paragraph in the column or following.

26. Never combine two serif fonts on one page. 27. Rarely combine two sans serif fonts on one page. 28. Rarely combine more than three typefaces on one page. 29. Use the special characters whenever necessary, including super- and subscript. 30.SPEND THE TIME TO CREATE NICE FRACTIONS OR CHOSE A FONT THAT HAS FRACTIONS. 31. If a correctly spelled word needs an accent mark, use it.

At six I became a pirate queen. I stood poised and ready for battle in my zebra print swim suit ready to take on the seven seas. My mutonous crew sat screaming from the wood wicker chair, ready to surrender to my power. I looked over my land, proud that I had conquered it all. Including the WICKER SWING

THE DETAILS ARE NOT THE DETAILS.

1. Insert only a single space after all punctuation. Inserting two spaces after a period was common when using a typewriter. Monospace typefaces were designed to occupy the same amount of space no matter the width of the character. Therefore, two spaces were needed to identify the end of a sentence and the beginning of another sentence. With the introduction of the Mac and digital type, characters are designed proportionately, which allows for the correct practice of using one space after all punctuation. 2. Use proper ‘em’ dashes, ‘en’ dashes, and hyphens. An em is a unit of measure equal to the point size that you are using. An em dash is a type of punctuation used to offset clauses in a sentence or to indicate an abrupt change in thought. An en dash is equal to half the length of an em dash. En dashes are used to denote duration (time.) 3. Use proper quote and apostrophe marks Use true quotation marks and apostrophes instead of using inch marks and feet marks. Place all punctuations inside the quotation marks.

4. Use True Small Caps. When setting text that contains acronyms, select a typeface with small caps as a family. Selecting small caps from the style menus is a poor choice because the compute reduces the overall size of the type by 80%. This changes the stroke weight and the feel of the font. Expert sets in the Adobe Type Library have small caps options. 5. Add letter spacing to capitalized text and small caps. Letterspacing is the amount of space between characters in a word. Some software programs caller letterspacing tracking. Use positive number values (to about 2 or 3) to open up letterspacing to capitalized text and small caps, except when periods are used between characters. 6. Use old style figures when appropriate. Old style figures, also known as non-lining figures do not line up on the baseline as regular or lining numerals do. They can be found in various fonts. If the body text has a significant amount of numbers, research a font family where they are included. If non-lining numerals are not available, use a slightly smaller point size for the lining numbers. Think of lining numbers as upper case numbers and non-lining numbers as lower case numbers. 7. Use caps properly. With options given to you by almost any type family (bold, point size, etc) you will seldom need to use all caps to draw attention to your text. Not all typefaces are legible when set in all caps; esp. true for script and decorative type faces. Short headlines may be the once exception to this rule. 8. Use copyright, register, and trademark marks properly. The copyright, register, and trademark characters need to be reduced to work with body text. At times, depending on the typeface, you may need to reduce the mark between 50% and 70%. The goal is to match the x-height. The copyright mark should be approximately 70% of the surrounding text. Unlike the ™ symbol, the © should NOT be superscripted and should remain on the baseline. ™ is usually superscripted for the chosen font. ™ and ® are normally set higher then other marks. If you use superscript ®, reduce it to about 60% of the size.

9. Ellipsis Character: Use the ellipsis character and NOT three periods. You can access the ellipsis by typing Option + : (colon). Allow a small amount of space before and after. However if it is not crowding the text, leave no space at all. 10. Avoid underlined text This was useful back in the days of the typewriter to draw attention to the text. With digital type and their families, you should not need to use underlined text. 11. Increase line spacing to improve readability in body text. Line spacing (aka leading) refers to the space between lines of text. It is important for readability and appearance. Leading is measured from baseline to baseline. As a rule of thumb, allow leading that is 120% of the point size. For sans serif, you may need 130% or more. When setting headlines, solid leading (leading = point size, 12/12) or negative leading (leading =< point size, 12/10) may be appropriate. 12. BODY COPY SIZE: BODY TEXT IS SET ANYWHERE FROM 9-12 POINTS. WHEN YOU PRINT TEXT, IT IS USUALLY LARGER THAN WHAT IT LOOKED LIKE ON THE SCREEN. SO, PRINT OUT YOUR TEXT BEFORE FINALIZING YOUR LAYOUT. TYPE STUDIES WILL HELP YOU DETERMINE THE PROPER SIZE BEFORE YOU PROCEED WITH YOUR LAYOUT. 13. Altering fonts: Donâ&#x20AC;&#x2122;t alter the original typeface by stretching or condensing the letters improperly. Certain type families provide you with a lot of flexibility, so you should not need to destroy/alter text. 14. Legibility of fonts: Sans serif typefaces work well for headlines and to set text that is aligned to vertical/horizontal lines. Certain sans serif typefaces which are not very geometrical work well for body copy (i.e. Frutiger, Meta, Scala Sans, etc.)

15. Decrease line length and increase margins. Line length is a measure of text on one line. Any measure between 45 and 75 characters is comfortable for single column widths. The ideal measure for body text length is 66 characters (counting both letters, punctuation, and spaces.) For multiple columns, a measure between 40 and 50 characters is ideal. 16. Avoid letterspacing lowercase body copy. Don’t letterspace body copy as it really hampers legibility. Use letterspacing when working with caps. small caps, numbers and display text where looser type spacing may increase legibility. 17. Word spacing should be fairly close. For text meant for extended reading, the amount of space between words in a paragraph should be fairly close–about the width of a lowercase “i.” If the word spacing is too close, it appears as one giant word and legibility is decreased. Keep the spaces between words fairly thin, consistent and even! 18. Ideal column width: For single-column pages, 4.25 inches is ideal. For two-column width, columns can be as narrow as 2 inches. Turning on the hyphenation feature can improve word spacing.

19. Justification of text: Justification can be appropriate in certain places. However, it can create certain problems such as rivers and word spacing. Adjusting size of margins, decreasing body copy size, turning on auto hyphenation and manually hyphenating the text are all examples of possible solutions. 20. Choose the alignment that fits. Make sure the alignment chosen for all areas of text are legible and consistent with the design and guidelines. Left-aligned text is easier to read and set. Justified text is harder to set w/o inevitable word spacing problems. Right-aligned and centered are generally not used for body copy. 21. Rules of hyphenation: Don’t rely on the software to judge where hyphens should be placed. At the end of lines, leave at least two characters behind and take at least three forward. For example, “elegantly” is acceptable, but “elegant-ly” is not because it takes too little of the word to the next line. Avoid leaving the stub end of a hyphenated word or any word shorter then four letters as the last line of a paragraph. Avoid more then 3 consecutive hyphenated lines. Avoid hyphenating or breaking proper names and titles. Creating a nonbreaking space before and after the name will ensure that the name will not break.

22. Avoid beginning three consecutive lines with the same word. Since software programs deal with line breaks automatically based upon a number of variables, it is possible to have paragraphs with consecutive lines beginning with the same word. When this happens simply adjust the text to avoid/ fix the problem. 23. Always spell check! Once you are finished with your design, spell check the text using both of the following: a. Use spell=check option that comes with the software you are using for the project. b. Print the document and read it. The monitor and design of the document will make text look perfect when it may not be. Even if text is given to you by a client, check it. Never ever assume that it is correct. Keep a dictionary close as well. 24. Avoid widows and orphans. Widows are either single words alone on a line or single sentences alone on a new page. Orphans are single lines of copy alone at the end of a page. 25. KERNING IN HEADLINES: ADJUST THE SPACE BETWEEN TWO PARTICULAR LETTERS TO ALLOW FOR MORE CONSISTENT NEGATIVE SPACE. 26. Indents: In continuous text, mark all paragraphs after the first with an indent of at least one “em” (3 spaces). Do NOT use three spaces but rather use the tabs or indents option in your software. 27. Items in a series: Items in a series do not use a comma before the word “and.” (i.e., ‘peaches, apples and oranges.’)

SPECIAL CHARACTERS When I was three we tried to take a family portrait. The day my photographer came and we got dressed. As the picture is getting taken though I was done. I wiggled and squirmed and fought to get down. My father game up and held my upside down by the ankles uterly done with the photo himself. Our family duck wanders in. Say cheese, and the picture was taken. It was out own AMERICAN GOTHIC.

CREATIVE MINDS ARE RARELY TIDEY.

The following is a list of the most often-used special characters and accent marks. Option+ [ opening double quote “ Option + Shift + [ closing double quote ” Option + ] opening single quote ‘ Option + Shift + ] closing single quote; apostrophe ’ Option + Hyphen en dash – Option + Shift + Hyphen em dash — Option + ; ellipsis … Option + 8 bullet

•

Option + Shift + 5 ligature of f and i ﬁ Option + Shift + 6 ligature of f and l ﬂ

Option + g copyright © Option + 2 trademark ™ Option + r registered ® Option + Shift + 8 degree symbol (e.g., 102°F) ° Option + $ cent symbol ¢ Option + Shift + 2 Euro symbol € Option + Shift + 1 (one) fraction bar ⁄ Option + 1 (one) ¡ Option + Shift + ? ¿ Option + 3 £ Option + c ç Option + Shift + c Ç Use copyright, register, and trademark marks properly The copyright, register, and trademark characters need to be reduced to work with body text. At times, depending on the typeface, you may need to reduce the mark between 50% and 70%. The goal is to match the x-height. The copyright mark should be approximately 70% of the surrounding text. Unlike the ™ symbol, the © should NOT be superscripted and should remain on the baseline. ™ is usually superscripted for the chosen font. ™ and ® are normally set higher then other marks. If you choose to superscript ®, reduce it to about 60% of the size. Ellipsis Character Use the ellipsis character and NOT three periods. You can access the ellipsis by typing Option + : (colon). Allow a small amount of space before and after. However if it is not crowding the text, leave no space at all.

Accent Marks Remember, to set an accent mark over a letter, press the Option key and the letter, then press the letter you want under it. Option + e ´ Option + ~ ` (upper-left or next to the Spacebar) Option + u ¨ Option + n ˜ Option + i ˆ

QUOTES & APOSTROPHES On a warm summer afternoon just after I turned four I walked to the local pool with my babysitter. The warm Kansas City wind blew through the pool making you want to jump in and cool off. As a particularly strong wind blew through, the poolâ&#x20AC;&#x2122;s umbrellas went flying and my babysitter went after them. I looked up into the blew sky and watched them tumble away, those FLYING UMBRELLAS.

TAKE YOUR PLEASURE SERIOUSLY.

Use true quotation marks and apostrophes instead of using inch marks and feet marks. Place all punctuations inside the quotation marks. Use real quotation marks – never those grotesque generic marks that actually symbolize ditto/inch or foot marks: 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. It is necessary to know how to set smart quotes/real quotes yourself because sometimes the software doesn’t do it or does it wrong.

Quotes Option + [ Opening double quote: “ Option + Shift + ] Closing double quote: “ Option + [ Opening single quote: ‘ Option + Shift + ] Closing single quote: ‘ Control + ‘ Single Straight Apostrophe: ' Control + Shift + ‘ Double Straight Apostrophe: " Bridge Clearance: 16' 7" The young man stood 6' 2" The length of the wall is 153 9" Apostrophe Option + Shift + ] Apostrophe: ‘ As as aside, people often are confused about where the apostrophe belongs. There are a couple of rules that work very well. For possessives: Turn the phrase around. The apostrophe will be placed after whatever word you end up with. For example, in the phrase the boys’ camp, to know where to place the apostrophe say to yourself, “The camp belongs to the boys.” The phrase the boy’s camp says “The camp belongs to the boy.” “The big exception to this is “its.” “Its” used as a possessive never has an apostrophe! The word it only has an apostrophe as a contraction — “it’s” always means “it is” or “it has.” Always. It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes — and neither should its. For contractions: The apostrophe replaces the missing letter. For example: your’re always means you are; the apostrophe is replacing the a from are. That’s an easy way to distinguish it from your as in your house and to make sure you don’t say: Your going to the store. As previously noted, it’s means “it is”; the apostrophe is indicating where the i is left out. Don’t means “do not”; the apostrophe is indicating where the o is left out.

For omission of letters: In a phrase such as Rock ‘n’ Roll, there should be an apostrophe before and after the n, because the a and the d are both left out. And don’t turn the first apostrophe around — just because it appears in front of the letter does not mean you need to use the opposite single quote. An apostrophe is still the appropriate mark (not ‘n’). In a phrase such as House o’ Fashion, the apostrophe takes the place of the f. There is not earthly reason for an apostrophe to be set before the o. In a phrase such as Gone Fishin’ the same pattern is followed — the g is missing. In a date when part of the year is left out, an apostrophe needs to indicate the missing year. In the 80s would mean the temperature; In the ’80s would mean the decade. (Notice there is no apostrophe before the s! Why would there be? It is not possessive, nor is it a contraction — it is simply plural.

HYPENS & DASHES One spring day as a storm rolled in, we made use of the still clear skies. We were waiting for the rain to move in and felt it in the air. Getting impatient as my brother and sister went about there business, I ran into the yard spinning calling to the rain gods to make it rain BEFORE THE STORM.

THERE IS NEVER A BAD CLIENT.

The hyphen and the dash deserve lot of attentions as they are often misused. They come in a variety pf sizes. hyphen en dash â&#x20AC;&#x201C; em dash â&#x20AC;&#x201D; Hyphens (-) Hyphens are, first off, used as a symbol to break words. Although every software program has a setting for automatic hyphenation most designers will turn off this setting to avoid multiple hyphenation. The reason for manual hyphenation is that compound words are best divided into their components, as in infra-red or job-center. The next step is to hyphenate prefixes and suffices like pre-school. The second use of a hyphen

is a trait d’union. A hyphen is added when two consonants or vowels are pronounced separately rather than as a diphthong, for instance in anti-intellectual. Finally the hyphen is sometimes used in dates 9-82016 or phone numbers 785-666-2525 although full stops are more frequently used. 9.8.2016 or 785.666.2525. You might have bee given text that uses a double hyphen -- to indicate a dash. 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. En Dash (–)

Option + - –

An en dash is half of the em rule (the width of a capital N). The en dash is longer than the hyphen ash is used to demarcate a parenthetical thought or to indicate a sudden change of direction as in, for instance: ‘Unfortunately the document to be discussed – which you

received via email – is no longer up to date’. Typically these dashes can be replaced by commas, or the phrase can be bracketed. Therefore it is very important to decide which option is best. If dashes frequently occur – thereby disturbing the reading comfort – using a comma might be a better option. If a sentence really needs to stand out, and if they are not used to open, dashes are the best choice. The end says is used to indicate a range of values, such as those between dates, times and numbers and approximately replace the word ‘to’: 1914 – 1918 May 2 – 8 6:30 – 8:45 A.M. or in the meaning ‘from…to’ the New York – New Haven train. – used to indicate parenthetical thought – as a replacement for the word ‘to’ – in the meaning ‘from…to’ – as a minus sign – as a bullet sign Em Dash (—)

Option + Shift + - —

An em is a unit of measure equal to the point size that you are using. 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. It is also used for attribution of text. â&#x20AC;&#x201D;Mac is not a Typewriter 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 anâ&#x20AC;&#x201D;no space is used on either side.

SMALL CAPS At the age of two some said I was terrible. I walked into the entry way, carrying my big chocolate kiss. As I crossed of the tiger print rug, my older brother ran in. The chocolate bandit ripped the kiss from my hand an ran. I screamed and screamed, as my other brother once again STOLEN KISSES.

YOU HAVE TO BE BAD TO BE GOOD.

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

Scala Sans There is No Rest For The Wicked. There is No Rest For The Wicked. Garamound There is No Rest For The Wicked. There is No Rest For The Wicked. Goudy There is No Rest For The Wicked. There is No Rest For The Wicked. Filosofia There is No Rest For The Wicked. There is No Rest For The Wicked. Didot There is No Rest For The Wicked. There is No Rest For The Wicked. Meta There is No Rest For The Wicked. There is No Rest For The Wicked. Neutra Text There is No Rest For the Wicked. There is No Rest For the Wicked. Baurer Bodoni There is No Rest For the Wicked. There is No Rest For the Wicked. Palatino There is No Rest For the Wicked. There is No Rest For the Wicked.

Harriet, an FBI agent, turned on CNN to get the dirt on the CIA before going to bed at 9:30 PM. Harriet, an Fbi agent, turned on Cnn to get the dirt on the CIA before going to bed at 9:30 Pm. 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 donâ&#x20AC;&#x2122;t overpower the accompanying text. Use small caps for A.M. and P.M.; space once after the number, and use periods.

NUMBERS & FIGURES When I was six, the entire family went camping. We ran through the forest, chasing bugs and each other down the dirt trails. The adults chatted by the tents as the children gathered around the fire pit. We called to the heavens and watched each other in the firey glow, as we prayed to the god of FIRE.

NEVER FALL IN LOVE WITH AN IDEA.

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

als 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. Bodoni 1234567890 Goudy 123456789 Baskerville 123456789 Scala Sans 123456789 Meta 123456789 Neutra Text 123456789 12

134

134.76

17 1023

323

12.5

17.8567

1023.4 323.12

Unlike lining figures, Oldstyle figures 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 figures; the fonts that contain them might well become some of your favorites. If the body text has a significant amount of numbers, research a font family where they are included. If nonlining numerals are not available, use a slightly smaller point size for the lining numbers. Think of lining numbers as upper case numbers and non-lining numbers as lower case numbers. Oldstyle numbers: Dear John, please call me at 438. 9762 at 3:00 to discuss marriage or write me at Route 916, zipcode 87505 Aligning numbers: Dear John, please call me at 438. 9762 at 3:00 to discuss marriage or write me at Route 916, zipcode 87505

KERNING

When I was eight I jioned the girls scounts. Me and all my siblings would trapse across the neighborhood begging neighbors to by our cookies. We formed our little cookie parade and would be out of the house for hours, while our littlest sister sat in the back of wagon eating all of our THIN MINTS.

I SAY KNOW THY USERS.

Option + Side Arrow Key kerning Kerning is an adjustment of the space between two letters. The characters of the Latin alphabet emerged over time; they were never designed with mechanical or automated spacing in mind. Thus some letter combinations look awkward without special spacing considerations. Gaps occur, for example, around letters whose forms angle outward or frame an open space (W, Y, V, T). In metal type, a kerned letter extends past the lead slug that supports it, allowing two letters to fit more closely together. In digital fonts, the space between letter pairs is controlled by a kerning table created by the type designer, which specifies spaces between problematic letter combinations. Working in a page layout program, a designer can choose to use metric kerning or optical kerning as well as adjusting the space between letters manually where desired. A well-designed typeface requires little or no additional kerning, especially at text sizes.

Metric Kerning

Metric Kerning uses the kerning tables that are built into the typeface. When you select metric kerning in your page layout program, you are using the spacing that was intended by the type designer. Metric kerning usually looks good, especially at small sizes. Cheap novelty fonts often have little or no built-in kerning and will need to be optically kerned. Optical Kerning

Optical Kerning is executed automatically by the page layout program. Rather than using the pairs addressed in the fontâ&#x20AC;&#x2122;s kerning table, optical kerning assesses the shapes of all characters and adjusts the spacing wherever needed. Some graphic designers apply optical kerning to headlines and metric kerning to text. You can make this process efficient and consistent by setting kerning as part of your character styles.

There is no rest for the wicked. (optical) There is no rest for the wicked. (metric)

FONT COMBINATIONS One summer day when I was nine we sat at the pool relaxing and enjoying the summer sun. As my little brother played precariously around the pool, I reached out of my striped umbrella shelter to grab my doritos. As we basked in the POWER OF NOW.

ALL ABOUT MAKING OTHER DESIGNERS FEEL LIKE IDIOTS.

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

Typeface: Serifa

36pt: Header

Words in Liberty Typeface: Akzidenz Grotesque

18pt: Subhead

A P R O LO G U E TO F U T U R I S M Typeface: Serifa

18/18pt: Intro Text, Pull Quotes

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

9/12pt: Body Text

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

Font Combination Rational

These two fonts work together because the sharp thick slabs work nicely with the more rounded Akzidenz.

Typeface: Volta

36pt: Header

Words in Liberty Typeface: Priori Sans

18pt: Subhead

A PROLOG U E TO F U T U R I S M Typeface: Volta

18/18pt: Intro Text, Pull Quotes

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

9/12pt: Body Text

Font Combination Rational

These two fonts work together because one is more simple serif and sans serif is more interesting.

Typeface: Filosofia

36pt: Header

Words in Liberty Typeface: Meta

18pt: Subhead

A PROLOG UE TO F U TU R I SM Typeface: Filosofia

18/18pt: Intro Text, Pull Quotes

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

9/12pt: Body Text

Font Combination Rational

These two fonts work together because one has thick serifs and the other is more rounded yet harsh.

Typeface: Palatino

36pt: Header

Words in Liberty Typeface: neutra text

18pt: Subhead

A P ROLOG U E TO F U T U R I S M Typeface: Palatino

18/18pt: Intro Text, Pull Quotes

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

9/12pt: Body Text

Font Combination Rational

These two fonts work together because one is a serifa and the other is san serifa.

Typeface: Sabon

36pt: Header

Words in Liberty Typeface: Kabel

18pt: Subhead

A P R O L O GU E TO FU T U RI S M Typeface: Sabon

18/18pt: Intro Text, Pull Quotes

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

9/12pt: Body Text

Font Combination Rational

These two fonts work together because one is a serif and the other is a san serif.

Typeface: Garamound

36pt: Header

Words in Liberty Typeface: Neutra Text

18pt: Subhead

A P ROLOG U E TO F U T U R I S M Typeface: Garamound

18/18pt: Intro Text, Pull Quotes

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

9/12pt: Body Text

Font Combination Rational

These two fonts work together because one is a serif and one is a sans serif.

Typeface: Goudy

36pt: Header

Words in Liberty Typeface: Kabel

18pt: Subhead

A PRO L O G U E TO F U T U R I S M Typeface: Goudy

18/18pt: Intro Text, Pull Quotes

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

9/12pt: Body Text

Font Combination Rational

These two fonts work together because one is a san serif and the other is a serif.

Typeface: Minion Pro

36pt: Header

Words in Liberty Typeface: Berthold Akzidenz Grotesk

18pt: Subhead

A P R O LO G U E TO F U T U R I S M Typeface: Minion Pro

18/18pt: Intro Text, Pull Quotes

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. Typeface: Berthold Akzidenz Grotesk

9/12pt: Body Text

Font Combination Rational

These two fonts work together because they are both fairly simple and not destracting, but the light serifs of Minion Pro contrast those of Akzidens Grotesk nicely.

Typeface: Rockwell

36pt: Header

Words in Liberty Typeface: Whitney

18pt: Subhead

A P RO LO GU E TO F U T U R I S M Typeface: Rockwell

18/18pt: Intro Text, Pull Quotes

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

9/12pt: Body Text

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

Font Combination Rational

These two fonts work together because Rockwell has really thick clabs and compliments Whitney’s minimalism.

Typeface:Trade Gothic

36pt: Header

Words in Liberty Typeface: Bodoni

18pt: Subhead

A P ROL OG U E T O F U T U R I S M Typeface: Trade Gothic

18/18pt: Intro Text, Pull Quotes

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

9/12pt: Body Text

Font Combination Rational

These two fonts work together because Trade Gothic goes well with Bodoni because the modern thinness goes well with the thick lines of Trade Gothic.

Typeface: Meta

36pt: Header

Words in Liberty Typeface: Baskerville

18pt: Subhead

A PRO LO GU E TO F U TU R I SM Typeface: Meta

18/18pt: Intro Text, Pull Quotes

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

9/12pt: Body Text

Font Combination Rational

These two fonts work together because the thick simple lines of Meta compliment the serifs of Bodoni.

GRID STRUCTURES When I was seven, granny took me shopping. Granny was stingy with her money 90% of the time but on this one day Grandma agreed to plurge. We walked around the mall and much to Grandmaâ&#x20AC;&#x2122;s delight she walked out of the store with a bag with a naked man on the side. I ran and hid so no body would see me with that bag as we turned down OLIVE & MARKET ST.

I STRIVE FOR TWO THINGS: SIMPLICITY & CLARITY.

Grid Structures When Designing a layout and working with text and/or images the use of a grid is essential, as it is the basis on which information is organized and clarified, ensuring legibility. The grid provides a framework were text, image and space can be combined into a cohesive manner. A grid subdivides a page vertically and horizontally into margins, columns, inter-column spaces, lines of type, and spaces between blocks of type and images. These subdivisions form the basis of a modular and systematic approach to the layout, particularly for multi-page documents, making the design process quicker, and ensuring visual consistency between related pages. At its most basic, the sizes of a gridâ&#x20AC;&#x2122;s component parts are determined by ease of reading and handling. From the sizes of type to the overall page or sheet size, decision-making is derived from physiology and the psychology of perception as much as by aesthetics.

Type sizes are generally determined by hierarchy—captions smaller than body text and so on—column widths by optimum word counts of eight to ten words to the line, and overall layout by the need to group related items. This all sounds rather formulaic, and easy. But designers whose grids produce dynamic or very subtle results take these rules as a starting point only, developing flexible structures in which their sensibility can flourish. Grids often need to be designed to give more flexibility than the single column of text per page (Jan Tschichold’s grid). This is due to to a change in our reading patterns. Grid structures have to accommodate a greater variety of material such as photographs, illustrations, headings, captions, references, charts; they need to be more complicated than a grid using only text and may utilize more modules. The design of the grid had to be relevant to the purpose. “The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice.” —Josef MüllerBrockmann

Tschichold Grid

Metric Kerning uses the kerning tables that are built into the typeface

The Golden Section

The golden ratio, also known as the divine proportion, golden mean, or golden section, is a number often encountered when taking the ratios of distances in simple geometric figures such as the pentagon, pentagram, decagon and dodecahedron. It is denoted , or sometimes.

Collumn Grid

Metric Kerning uses the kerning tables that are built into the typeface

Modular Grid

Modular grids are created by positioning horizontal guidelines in relation to a baseline grid.

Asymmetrical Grid

The asymmetrical grid provides a modern layout and interesting design.

Baseline Grid

Can be turned on under View > Grids and Guides > Show baseline grid. Can be adjusted under InDesign CC > Grids. Baseline to right is a 4 pt baseline grid.

LEADING

When I was two, Dad took us to the country. He was a very devoted father, and loved to play with us. As usual though he did not take into consideration my blinding fear of heights. As we wove through the wheat field, my father played his favorite game, BABY TOSS.

CONTENT PRECEDES GOOD DESIGN.

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

Negative (8 pt/7 pt) Line spacing is the vertical distance between lines of text. Leading is the hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them accurately. Leading is specified in points and refers now days to the space between lines of a text block. Leading introduces space into the text block and allows characters to “breathe” so that the information is easy to read. To achieve a balanced and and well-spaced text block, leading usualy has a higher point size than the text it is associated with, for example 9pt text maybe set with 12pt leading. Line spacing is the vertical distance between lines of text. Leading is the hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them accurately. Leading is specified in points and refers now days to the space between lines of a text block. Leading introduces space into the text block and allows characters to “breathe” so that the information is easy to read. To achieve a balanced and and well-spaced text block, leading usualy has a higher point size than the text it is associated with, for example 9pt text maybe set with 12pt leading.

Normal (8 pt/12 pt) Line spacing is the vertical distance between lines of text. Leading is the hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them accurately. Leading is specified in points and refers now days to the space between lines of a text block. Leading introduces space into the text block and allows characters to “breathe” so that the information is easy to read. To achieve a balanced and and well-spaced text block, leading usualy has a higher point size than the text it is associated with, for example 9pt text maybe set with 12pt leading. Line spacing is the vertical distance between lines of text. Leading is the hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them accurately. Leading is specified in points and refers now days to the space between lines of a text block. Leading introduces space into the text block and allows characters to “breathe” so that the information is easy to read. To achieve a balanced and and well-spaced text block, leading usualy has a higher point size than the text it is associated with, for example 9pt text maybe set with 12pt leading.

Solid (8 pt/8 pt) Line spacing is the vertical distance between lines of text. Leading is the hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them accurately. Leading is specified in points and refers now days to the space between lines of a text block. Leading introduces space into the text block and allows characters to “breathe” so that the information is easy to read. To achieve a balanced and and well-spaced text block, leading usualy has a higher point size than the text it is associated with, for example 9pt text maybe set with 12pt leading. Line spacing is the vertical distance between lines of text. Leading is the hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them accurately. Leading is specified in points and refers now days to the space between lines of a text block. Leading introduces space into the text block and allows characters to “breathe” so that the information is easy to read. To achieve a balanced and and well-spaced text block, leading usualy has a higher point size than the text it is associated with, for example 9pt text maybe set with 12pt leading.

Extreme (8 pt/16 pt) Line spacing is the vertical distance between lines of text. Leading is the hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them accurately. Leading is specified in points and refers now days to the space between lines of a text block. Leading introduces space into the text block and allows characters to “breathe” so that the information is easy to read. To achieve a balanced and and well-spaced text block, leading usualy has a higher point size than the text it is associated with, for example 9pt text maybe set with 12pt leading. Line spacing is the vertical distance between lines of text. Leading is the hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them accurately. Leading is specified in points and refers now days to the space between lines of a text block. Leading introduces space into the

Normal (8 pt/12 pt) Line spacing is the vertical distance between lines of text. Leading is the hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them accurately. Leading is specified in points and refers now days to the space between lines of a text block. Leading introduces space into the text block and allows characters to “breathe” so that the information is easy to read. To achieve a balanced and and well-spaced text block, leading usualy has a higher point size than the text it is associated with, for example 9pt text maybe set with 12pt leading. Line spacing is the vertical distance between lines of text. Leading is the hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them accurately. Leading is specified in points and refers now days to the space between lines of a text block. Leading introduces space into the text block and allows characters to “breathe” so that the information is easy to read. To achieve a balanced and and wellspaced text block, leading usualy has a higher point size than the text it is associated with, for example 9pt text maybe set with 12pt leading.

JUSTIFICATION

One summer night all the neighborhood kids gathered with our parents. While the adults were distracted we played super heroes with our Barbies. Taking them up to the balcony, we wanted them to swoop in and save the day. So our barbies took the ultimate HIGH DIVE.

THE LIFE OF A DESIGNER IS A LIFE OF FLIGHT.

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

Justified 80%

Justified 60%, 80%, 110%

Futurism was first announced

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

on February 20, 1909, when

Paris newspaper Le Figaro published a manifesto by the Italian

the Paris newspaper Le Figaro

poet and editor Filippo Tommaso Marinetti. The name Futur-

published a manifesto by the

ism, coined by Marinetti, reflected his emphasis on discarding

Italian poet and editor Filippo

what he conceived to be the static and irrelevant art of the past

Tommaso Marinetti. The name

and celebrating change, originality, and innovation in culture

Futurism, coined by Marinetti,

and society. Futurism rejected traditions and glorified contem-

reflected his emphasis on dis-

porary life, mainly by emphasizing two dominant themes, the

carding what he conceived to be

machine and motion. The works were characterized by the

the static and irrelevant art of

depiction of several successive actions of a subject at the same

the past and celebrating change,

time. Marinetti’s manifesto glorified the new technology of the

originality, and innovation in

automobile and the beauty of its speed, power, and movement.

culture and society. Futurism

He exalted violence and conflict and called for the sweeping

rejected traditions and glori-

repudiation of traditional cultural, social, and political values

fied contemporary life, mainly

and the destruction of such cultural institutions as museums

by emphasizing two dominant

and libraries.

themes, the machine and mo-

GOOD – This is also good choice because the alignment is fairly even. It could be consid-

tion. The works were character-

ered a little tight in some places though.

ized 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. GOOD – This is a good choice because the alignment is good even for the short collumns.

Justified 92%, 95%, 110%

Justified 75%, 100%, 133%

Futurism was first announced on

Futurism was first announced on February 20, 1909, when

February 20, 1909, when the Paris

the Paris newspaper Le Figaro published a manifesto by the

newspaper Le Figaro published a

Italian poet and editor Filippo Tommaso Marinetti. The

manifesto by the Italian poet and

name Futurism, coined by Marinetti, reflected his emphasis

editor Filippo Tommaso Marinetti.

on discarding what he conceived to be the static and irrel-

The name Futurism, coined by

evant art of the past and celebrating change, originality, and

Marinetti, reflected his emphasis

innovation in culture and society. Futurism rejected traditions

on discarding what he conceived

and glorified contemporary life, mainly by emphasizing two

to be the static and irrelevant art

dominant themes, the machine and motion. The works were

of the past and celebrating change,

characterized by the depiction of several successive actions of

originality, and innovation in cul-

a subject at the same time. Marinetti’s manifesto glorified the

ture and society. Futurism rejected

new technology of the automobile and the beauty of its speed,

traditions and glorified contempo-

power, and movement. He exalted violence and conflict and

rary life, mainly by emphasizing two

called for the sweeping repudiation of traditional cultural, so-

dominant themes, the machine and

cial, and political values and the destruction of such cultural

motion. The works were character-

institutions as museums and libraries.

ized by the depiction of several suc-

GOOD – This is a fairly good choice for this font. It definitely works and the line up isn’t

cessive actions of a subject at the

super spaced out or too close together.

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. BAD – The spacing is very wide and inconsistent.

Justified 65%, 90%, 120% Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. OKAY Ââ&#x20AC;&#x201C; While it is not super spaced out like short collumns tend to be, it also seems clumped together in other places.

Justified 80% Futurism

was

first

an-

Justified 60%, 80%, 110%

Futurism was first announced on February 20, 1909,

nounced on February 20,

when the Paris newspaper Le Figaro published a

1909, when the Paris news-

manifesto by the Italian poet and editor Filippo Tom-

paper Le Figaro published

maso Marinetti. The name Futurism, coined by Mari-

a manifesto by the Italian

netti, reflected his emphasis on discarding what he

poet and editor Filippo

conceived to be the static and irrelevant art of the past

Tommaso

The

and celebrating change, originality, and innovation in

name Futurism, coined by

culture and society. Futurism rejected traditions and

Marinetti, reflected his em-

glorified contemporary life, mainly by emphasizing

phasis on discarding what

two dominant themes, the machine and motion. The

he conceived to be the

works were characterized by the depiction of sever-

static and irrelevant art of

al successive actions of a subject at the same time.

the past and celebrating

Marinetti’s manifesto glorified the new technology of

change,

and

the automobile and the beauty of its speed, power,

innovation in culture and

and movement. He exalted violence and conflict and

society. Futurism rejected

called for the sweeping repudiation of traditional cul-

traditions and glorified con-

tural, social, and political values and the destruction

temporary life, mainly by

of such cultural institutions as museums and libraries.

emphasizing two dominant

GOOD – The spacing is actually really good, the space between words remains fairly consistent.

Marinetti.

originality,

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 seums and libraries. BAD – There are very huge gaps in the justification, leaving a lot of strange white space.

Justified 92%, 95%, 110%

Futurism was first announced

Justified 75%, 100%, 133%

Futurism was first announced on February 20, 1909,

on February 20, 1909, when

when the Paris newspaper Le Figaro published a

the Paris newspaper Le Figaro

manifesto by the Italian poet and editor Filippo Tom-

published a manifesto by the

maso Marinetti. The name Futurism, coined by Mari-

Italian poet and editor Filippo

netti, reflected his emphasis on discarding what he

Tommaso Marinetti. The name

conceived to be the static and irrelevant art of the past

Futurism, coined by Marinetti,

and celebrating change, originality, and innovation in

reflected his emphasis on dis-

culture and society. Futurism rejected traditions and

carding what he conceived

glorified contemporary life, mainly by emphasizing

to be the static and irrelevant

two dominant themes, the machine and motion. The

art of the past and celebrating

works were characterized by the depiction of several

change, originality, and inno-

successive actions of a subject at the same time.

vation in culture and society.

Marinetti’s manifesto glorified the new technology of

Futurism

traditions

the automobile and the beauty of its speed, power,

contemporary

and movement. He exalted violence and conflict and

life, mainly by emphasizing two

called for the sweeping repudiation of traditional cul-

dominant themes, the machine

tural, social, and political values and the destruction

and motion. The works were

of such cultural institutions as museums and libraries.

characterized by the depiction

GOOD – Good consistent spacing.

and

rejected

glorified

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. BAD – Some text is super clumped together and some is way to spaced out.

Justified 65%, 90%, 120%

rejected

glorified

traditions

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. OKAY Ââ&#x20AC;&#x201C;The line spacing is pretty bad in the middle but is fairly consistent near the end.

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

HYPHENATION RULES One lazy spring Sunday at the age of four, the kids gathered up the hamsters and kit the porch. We took to building a house for our Hamster to reside in while we waited for grandma to come over. We build them a magnificent palace as I consulted the HAMSTER HANDBOOK.

101

DESIGN IS THINKING MADE VISUAL.

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

Hyphenation rules pay attention to: – 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

103

LEGIBILITY

In the summer before Kingergarten we set up a movie theatre in our backyard. We sat watching the sound of music, chatting with our friends and enjoying the mild summer evening air. With the whole neighborhood gang there we enjoyed out peaceful NIGHT MOVIE.

105

WORK? IT’S JUST SERIOUS PLAY.

Legibility is the concern of the typographer to select a typeface with appropriate clarity of design for the intended use at the intended size. The typeface chosen should be legible. That is, it should be read without effort. Sometimes legibility is simply a matter of type size; more often, however, it is a matter of typeface design. In general, typefaces that are true to the basic letterforms are more legible than typefaces that have been condensed, expanded, embellished, or abstracted. Legibility is different from readability. Readability is the ease with which a reader can recognize words, sentences, and paragraphs. Legibility is a component readability. Other typographic factors that affect readability include font choice, point size, kerning, tracking, line length, leading, and justification. In typography, color can also describe the balance between black and white on the page of text. A typefaceâ&#x20AC;&#x2122;s color is determined by stroke width, x-height, character width and serif styles. As a designer, if you are only asked to make the text readable on the page the following questions should be askedâ&#x20AC;Ś

Who is to read it? Someone that wants to read it? Someone that has to read it? How will it be read? Quickly. In passing. Focused. Near. Far.

107

X xhg mrs eaves zuzana licko

Xxh g Memphis Rudolph Wolf

8.5/12 x-height: small, large or average character width: wide, narrow, average color: light or dark or..

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

X x hg Xxhg Clarendon Robert Besely

Sabon Jan Tschichold

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

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

X x h g X xh g

72 point

Didot Firmin Didot

Goudy Fredrick Goudy

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

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

X x hg

Xx hg

Scala Martin Majoor

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

109

volta Konrad Bauer

8.5/12 x-height: average character width: wide color: dark

X x hg

Xxhg

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

8.5/12 x-height: small character width: average color: dark

X x hg

Xxhg

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

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

Baskerville John Baskerville

Archer Tobias Frier-Jones

Bodoni Giambattista Bodoni

Century Lyn Boyd

Xxhg

Xx h g

Berthold Akzidenz Grotesk H. Berthold

Gotham Tobias Frere-Jones

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

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

X xhg

Xxh g

Trade Gothic Jackson Burke

72 point

111

72 point

Helvetica Max Miedinger

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

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

Xx hg

Xxhg

8.5/12 x-height: small character width: average color: dark

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

Xxhg

Nuetra Text Richard Neutra

Din Condensed Light Albert-Jan Pool

Meta Erik Spiekermann

Futura Paul Renner

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

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

X x hg

Xxh g

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

X xhg

Xxhg

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

Gill Sans Eric Gill

Kabel Rudolf Koch

72 point

News Gothic Morris Fuller Benton

113

72 point

Priori Sans Jonathan Barnbrook

RIVERS ORPHANS WIDOWS During the summer after kindergarten, the pool closed. With nothing to do and nothing to busy the kids with, a local mom took an old stock tank from her backyard and set up shop for the neighborhood kids. In the small too hot metal pool, we would spash for hours on top of the asphalt. The best pool we ever had was our STOCK TANK.

115

FAILURE IS BUILT INTO CREATIVITY.

Having the right amount of characters on each line is key to the readability of your text. It shouldn’t merely be your design that dictates the width of your text, it should also be a matter of legibility. The optimal line length for your body text is considered to be 50-60 characters per line, including spaces. Reading takes place in small leaps of 5–10 characters at a time. 55–60 characters per line could be considered an appropriate line length, allowing the eye 6–12 quick stops on each line. Narrower lines would cause the reader to have to switch from line to line unnecessarily often, and they also cause problems with the way justified columns appear. If a line of text is too long the visitor’s eye will have a hard time focusing on the text. This is because the length makes it difficult to get an idea of where the line starts and ends. Furthermore it can be difficult to continue from the correct line in large blocks of text. If

a line is too short the eye will have to travel back too often, breaking the readerâ&#x20AC;&#x2122;s rhythm. Too short lines also tend to stress people, making them begin on the next line before finishing the current one (hence skipping potentially important words). Reminder: A general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (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. Rivers In typography, rivers, or rivers of white, are visually unattractive gaps appearing to run down a paragraph of text. They can occur with any spacing, though they are most noticeable with wide word spaces caused by either full text justification or monospaced fonts.

Widows and Orphans Never leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program youâ&#x20AC;&#x2122;re working in. Sometimes widening a margin just a hair will do it. But it must be done. Widows and orphans on a page are wrong. Widow When a paragraph ends and leaves fewer than seven characters (not words, characters) on the last line, that line is called a widow. Worse than leaving one word 117 at the end of a line is leaving part of a word, the other part being paraphrased on the line above. Orphan When the last line of a paragraph, be it ever so long, wonâ&#x20AC;&#x2122;t fit at the bottom of a column and must end itself at the top of the next column, that is an orphan. ALWAYS correct this.

PARAGRAPH BREAKS When I was three, our parents decided we need a change of pace. They decided to buy a brand new red chair, a chair they said was not “for kids to play on.” We gathered on the lawn on the day it was delivered. Watching the Fedex man, unload it with awe. We were enraptured with our NEW CHAIR.

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GREAT DESIGN IS TRANSPARENT.

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

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EXDENT open tabs pannel (Shift + Command + T), pull back small white arrows on the left side of collumn, drag top arrow back to the beginning

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avantgarde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry 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-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.”

COLOR

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

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SHAPES-

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

LEADING

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

125

SPACE-

But is the movements which

While Marinetti’s opening mani-

festo 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

LINE BREAK

127

HYPHEN-

While Marinetti’s opening manifesto for Italian Futurism bris-

tled 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

STYLE CHANGE

129

INDENT-

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

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

newspaper Le Figaro published a manifesto by the Italian poet and edi-

Paris newspaper Le Figaro published a manifesto by the Italian poet and

tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti,

editor Filippo Tommaso Marinetti. The name Futurism, coined by Mari-

reflected his emphasis on discarding what he conceived to be the static

netti, reflected his emphasis on discarding what he conceived to be the

and irrelevant art of the past and celebrating change, originality, and in-

static and irrelevant art of the past and celebrating change, originality,

novation in culture and society. Futurism rejected traditions and glorified

and innovation in culture and society.1 Futurism rejected traditions and

contemporary life, mainly by emphasizing two dominant themes, the ma-

glorified contemporary life, mainly by emphasizing two dominant themes,

chine and motion. The manifesto’s rhetoric was passionately bombastic;

the machine and motion. The manifesto’s rhetoric was passionately bom-

its tone was aggressive and inflammatory and was purposely intended

bastic; its tone was aggressive and inflammatory and was purposely in-

to inspire public anger and amazement, to arouse controversy, and to

tended to inspire public anger and amazement, to arouse controversy,

attract widespread attention.

and to attract widespread attention.

But is the movements which survive, oddly, here where we live and

But is the movements which survive, oddly, here where we

work as poets and artists: or, if not the movements, then their sense

live and work as poets and artists: or, if not the movements, then their

of art as an life itself. All of which, as futurism, had come sharply into

sense of art as an life itself. All of which, as futurism, had come sharply

focus by the start of the world war: a first radical mix of art and life,

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

the epitome in the poplar mind of an avant-garde. It was, on both its Rus-

Russian & Italian sides, the first great “art” movement led by poets;

sian & Italian sides, the first great “art” movement led by poets; and if its

and if its means now sometimes seem exaggerated or unripe in ret-

means now sometimes seem exaggerated or unripe in retrospect, they

rospect, they carry within them the seed of all that we were later to

carry within them the seed of all that we were later to become.

become.

While Marinetti’s opening manifesto for Italian Futurism bristled

While Marinetti’s opening manifesto for Italian Futurism bristled with a polem-

with a polemical stance in favor of the transformed present (1909), the

ical stance in favor of the transformed present (1909), the later manifestos of

later manifestos of Futurist poets and artists offered formal, “technical”

Futurist poets and artists offered formal, “technical” approaches to the works

approaches to the works then getting under way. The key term—still

then getting under way. The key term—still resonant today—was parole in

resonant today—was parole in liberta2, by which poetry was to become

liberta2, by which poetry was to become “an uninterrupted sequence of new

“an uninterrupted sequence of new images… (a) strict bet of images or

images… (a) strict bet of images or analogies, to be cast into the mysteri-

analogies, to be cast into the mysterious sea of phenomena.” This free-

ous sea of phenomena.” This freedom-of-the-world, while it resembled other

dom-of-the-world, while it resembled other forms of collage and of image

forms of collage and of image juxtaposition, more fully explored the use of in-

juxtaposition, more fully explored the use of innovative and expressive

novative and expressive typography in the visual presentation of language,

typography in the visual presentation of language, as set in motion by

as set in motion by forerunners like Mallarme

forerunners like Mallarme

LINE

______________________________________________________________ Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

______________________________________________________________ But is the movements which survive, oddly, here where we live and work

131

HEADERS SUBHEADS CROSSHEADS When I was three we also babysat our friends rooster. A friend needed to someone to watch over there rooster while they were on vacation and we of course volunteered. After loosing the chicken under the sink, in the backyard and everywhere, I decided he would no longer be allowed out of my sight. I hugged him to myself and would not let him go for hours, my ROOSTER.

133

GOOD ART INSPIRES; GOOD DESIGN MOTIVATES.

WORDS OF LIBERTY

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

______________________________________________________________ But is 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 ______________________________________________________________ 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.

WORDS OF LIBERTY Prologue to Futurism

135

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

•

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

137

WORDS OF LIBERTY|Prologue of Futurism

While Marinetti’s opening manifesto for Italian Futur-

ism 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. | 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.

WORDS OF LIBERTY

PROLOGUE TO FUTURISM

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

But is the movements which sur-

While Marinetti’s opening manifesto for Italian Futur-

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.

139

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

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

141

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

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

143

CAPTIONS AND NOTES When I was four, I was terrified of the water. I always need my floaties and my flippers before I could go anywhere near the bathtub, let along the pool. My parents tried everything to rid me of my ridiculously large floatation devices, but I vowed I would never, ever give up my floaties.

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TYPOGRAPHY IS THE HIDDEN TOOL OF MANIPULATION.

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

ceeding, check with your client or publisher to see if they have a specific stylesheet that must be followed.) Numbers or Symbols: Footnotes are most often indicated by placing a superscript numeral immediately after the text to be referenced. The same superscript numeral then precedes the footnoted text at the bottom of the page. Numbering footnotes is essential when there are many of them, but if footnotes are few they can be marked with a dagger, asterisk, or other symbol instead. Endnotes should always use numerals to facilitate easy referencing. Size: Footnotes and endnotes are set smaller than body text. The difference in size is usually about two points, but this can vary depending on the size, style and legibility of the main text. Even though theyâ&#x20AC;&#x2122;re smaller, footnotes and endnotes should still remain at a readable size.

147

WORDS OF LIBERTY

Prologue to Futurism

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

______________________________________________________________ But is the movements which survive, oddly, here where we live and

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

1. Philip Meggs, History of Graphic Design,

was, on both its Russian & Italian sides, the first great “art” movement

Van Nostrand Reinhold, 1988

led by poets; and if its means now sometimes seem exaggerated or

3. selbst = himself *in your current project

unripe in retrospect, they carry within them the seed of all that we were later to become.

2. parole in liberta = words set free (liberty) make sure you follow the rules you have learned about captions, notes, superscripts...

WORDS OF LIBERTY 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.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is 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-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.” 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. 1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988

2. parole in liberta = words set free (liberty)

3. selbst = himself *in your current project make sure you follow the rules you have learned about captions, notes, superscripts...

149

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

•

1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988 2. parole in liberta = words set free (liberty) 3. selbst = himself *in your current project make sure you follow the rules you have learned about captions, notes, superscripts...

WORDS OF LIBERTY 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.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avantgarde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry 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. 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.

151

WORDS OF LIBERTY|Prologue of Futurism

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. | 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. 1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988 •2. parole in liberta = words set free (liberty) 3. selbst = himself *in your current project make sure you follow the rules you have learned about captions, notes, superscripts...

WORDS OF LIBERTY

PROLOGUE TO FUTURISM

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

But is the movements which sur-

vive, 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.

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.

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

2. parole in liberta

= words set free (liberty or free)

3. selbst

= himself *in your current project make sure you follow the rules you have learned about cap tions, notes, superscripts...

153

COLOPHON Designed by PAIGE DRUMMOND. Photos by JULIE BLACKMON. Class project for Typographic Systems at the University of Kansas, Spring 2016. The text was compiled from the following sources: Elements of Typographic Style by Robert Bringhurst, Getting it Right with Type: the Do’s and Don’ts of Typography by Victoria Square, Mac is Not A Typewriter by Robin Williams. This book is not to be sold to the public and to only be used by the designer for their reference and student design portfolio.