Design by Patrick Blanchard Typographic Systems (Type II) University of Kansas Spring 2014
This book examines the close-up, itty bitty, microscopic details that are essential for beautiful typography. Each chapter covers a different focus, and all must synergize to create great work.
The text in this book was compiled from the following sources: Elements of Typographic Style by Robert Bringhurst, Getting It Right with Type: The Do’s and Dont’s of Typography by Victoria Square, Mac is Not a Typewriter by Robin Williams. This book is not to be sold to the public and is only to be used by the designer for their reference and student portfolio.
TABLE of CONTENTS Rules Checksheet
010
Typographic Rules
014
Grid Structures
020
Quotes & Apostrophes
030
Special Characters
038
Dashes
046
Small Caps
050
Numerals & Figures
058
X-Height
066
Column Width
080
Leading
086
Kerning
092
Alignments
098
Hyphenation
104
Justification
106
Combining Typefaces
114
Paragraph Breaks
130
Headers, Subheads, & Crossheads
144
Captions & Notes
154
E X ERCI SES
One
051
Two
059
Three
067
Four
081
Five
087
Six
115
Seven
131
Eight
145
Nine
155
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This is a handy list of the most important rules outlined in the rest of this book. It would be in your best interest to consult this list every time you begin refining a new typographic project. Adhering to these rules will help produce a finished product that is both beautiful and technically accurate.
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1.
Use only one space between sentences.
2.
Use real quotation marks.
3.
Use real apostrophes.
4.
Hang the punctuation off the aligned edge.
5.
Use en or em dashes consistently.
6.
Kern all headlines where necessary.
7.
Make sure the apostrophes are where they belong.
8.
Never use the spacebar to align text, always set tabs and use the tab key.
9.
Never hyphenate a words in a headline and avoid hyphenation in a callout.
10.
Avoid hyphenating or line brakes of names and proper nouns.
11.
Leave a least 2 characters on the line and 3 following.
12.
Avoid beginning consecutive lines with the same word.
13.
Avoid ending consecutive lines with the same word.
14.
Avoid ending lines with the words: the, of, at, a, by.
15.
Never justify the text on a short line.
16.
Keep the word spacing consistent.
17.
Leave no widows or orphans.
18.
Avoid more than 3 hyphenations in a row.
19.
Avoid too many hyphenations in any paragraph.
20.
Adjust the spacing between paragraphs.
21.
Use a one-em first-line indent on all indented paragraphs.
22.
Either indent the first line of paragraphs or add extra space between them窶馬ot both.
23.
Tighten up the leading in lines with all caps or with few ascenders and descenders.
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 fraction or chose a font that has fractions.
31.
If a correctly spelled word needs an accent mark, use it.
rules checksheet / 9
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Insert only a single space after all punctuation.
Use True Small Caps.
Inserting two spaces after a period was common when using
When setting text that contains acronyms, select a typeface
a typewriter. Monospace typefaces were designed to occupy
with small caps as a family. Selecting small caps from the
the same amount of space no matter the width of the charac-
style menus is a poor choice because the computer reduces
ter. Therefore, two spaces were needed to identify the end of
the overall size of the type by 80%. This changes the stroke
a sentence and the beginning of another sentence. With the
weight and the feel of the font. Expert sets in the Adobe Type
introduction of the Mac and digital type, characters are de-
Library have small caps options.
signed proportionately, which allows for the correct practice of using one space after all punctuation. Use proper ‘em’ dashes, ‘en’ dashes, and hyphens.
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 track-
An em is a unit of measure equal to the point size that you
ing. Use positive number values (to about 2 or 3) to open up
are using. An em dash is a type of punctuation used to off-
letterspacing to capitalized text and small caps, except when
set clauses in a sentence or to indicate an abrupt change in
periods are used between characters.
thought. An en dash is equal to half the length of an em dash. En dashes are used to denote duration (time.) Use proper quote and apostrophe marks.
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
Use true quotation marks and apostrophes instead of using
can be found in various fonts. If the body text has a signifi-
inch marks and feet marks. Place all punctuations inside the
cant amount of numbers, research a font family where they
quotation marks.
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.
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Use caps properly.
Avoid underlined text.
With options given to you by almost any type family (bold,
This was useful back in the days of the typewriter to draw
point size, etc) you will seldom need to use all caps to draw
attention to the text. With digital type and their families, you
attention to your text. Not all typefaces are legible when set
should not need to use underlined text.
in all caps; esp. true for script and decorative typefaces. Short headlines may be the one exception to this rule.
Increase line spacing to improve readability in body text.
Use copyright, register, and trademark marks properly.
Line spacing (aka leading) refers to the space between lines of text. It is important for readability and appearance. Lead-
The copyright, register, and trademark characters need to be
ing is measured from baseline to baseline. As a rule of thumb,
reduced to work with body text. At times, depending on the
allow leading that is 120% of the point size. For sans serif, you
typeface, you may need to reduce the mark between 50%
may need 130% or more. When setting headlines, solid lead-
and 70%. The goal is to match the x-height. The copyright
ing (leading = point size, 12/12) or negative leading (leading
mark should be approximately 70% of the surrounding text.
less than or equal to point size, 12/10) may be appropriate.
Unlike the ™ symbol, the © should NOT be superscripted and should remain on the baseline. ™ is usually superscripted for
Use proper body copy sizes.
the chosen font. ™ and ® are normally set higher then other
Body text is set anywhere from 9-12 points. When you print
marks. If you choose to superscript ®, reduce it to about 60%
text, it is usually larger than what it looked like on the screen.
of the size.
So, print out your text before finalizing your layout. Type
Do not substitue periods for an ellipsis.
studies will help you determine the proper size before you proceed with your layout.
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.
typographic rules / 13
Do not warp the typeface.
Word spacing should be fairly close.
Don’t alter the original typeface by stretching or condensing
For text meant for extended reading, the amount of space
the letters improperly. Certain type families provide you with
between words in a paragraph should be fairly close—about
a lot of flexibility, so you shouldn't need to destroy text.
the width of a lowercase “i.” If the word spacing is too close,
Choose legible typefaces. Sans serif typefaces work well for headlines and to set text that is aligned to vertical/horizontal lines. Certain sans serif
it appears as one giant word and legibility is decreased. Keep the spaces between words fairly thin, consistent and even! Use proper column width.
typefaces which are not very geometrical work well for body
For single-column pages, 4.25 inches is ideal. For two-col-
copy (i.e. Frutiger, Meta, Scala Sans, etc.)
umn width, columns can be as narrow as 2 inches. Turning on
Decrease line length and increase margins. Line length is a measure of text on one line. Any measure be-
the hyphenation feature can improve word spacing. Use care when justifying text.
tween 45 and 75 characters is comfortable for single column
Justification can be appropriate in certain places. However, it
widths. The ideal measure for body text length is 66 char-
can create certain problems such as rivers and word spacing.
acters (counting both letters, punctuation, and spaces.) For
Adjusting size of margins, decreasing body copy size, turning
multiple columns, a measure between 40 and 50 characters
on auto hyphenation and manually hyphenating the text are
is ideal.
all examples of possible solutions.
Avoid letterspacing lowercase body copy.
Choose an alignment that fits.
Don’t letterspace body copy as it hampers legibility. Use let-
Make sure the alignment chosen for all areas of text are legible
terspacing when working with caps, small caps, numbers and
and consistent with the design and guidelines. Left-aligned
display text where loose spacing may increase legibility.
text is easier to read and set. Justified text is more difficult to set without inevitable word spacing problems. Right-aligned and centered are generally not used for body copy.
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Check your hyphenations.
Avoid widows and orphans.
Don’t rely on the software to judge where hyphens should
Widows are either single words alone on a line or single sen-
be placed. At the end of lines, leave at least two charac-
tences alone on a new page. Orphans are single lines of copy
ters behind and take at least three forward. For example,
alone at the end of a page.
“ele-gantly” is acceptable, but “elegant-ly” is not because it takes too little of the word to the next line. Avoid leav-
Kern your headlines.
ing the stub end of a hyphenated word or any word shorter
Adjust the space between two particular letters to allow for
then four letters as the last line of a paragraph. Avoid more
more consistent negative space.
then 3 consecutive hyphenated lines. Avoid hyphenating or breaking proper names and titles. Creating a non-breaking
Indent following paragraphs.
space before and after the name will ensure that the name
In continuous text, mark all paragraphs after the first with
will not break.
an indent of at least one “em” (3 spaces). Don't use three
Do not begin three consecutive lines with the same word.
spaces, but rather the tabs or indents option in your software.
Since software programs deal with line breaks 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. Always spell check. Once you are finished with your design, spell check the text using both of the following: Use spell-check option that comes with the software you are using for the project, and 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. typographic rules / 15
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When designing a layout and working with text and/or im-
mined by hierarchy—captions smaller than body text and so
ages the use of a grid is essential, as it is the basis on which
on—column widths by optimum word counts of eight to ten
information is organized and clarified, ensuring legibility. The
words to the line, and overall layout by the need to group re-
grid provides a framework were text, image and space can be
lated items. This all sounds rather formulaic, and easy. But de-
combined into a cohesive manner.
signers whose grids produce dynamic or very subtle results
A grid subdivides a page vertically and horizontally into margins, columns, inter-column spaces, lines of type, and spaces
take these rules as a starting point only, developing flexible structures in which their sensibility can flourish.
between blocks of type and images. These subdivisions form
Grids often need to be designed to give more flexibility than
the basis of a modular and systematic approach to the layout,
the single column of text per page (Jan Tschichold's grid).
particularly for multi-page documents, making the design
This is due to to a change in our reading patterns. Grid struc-
process quicker, and ensuring visual consistency between
tures have to accommodate a greater variety of material such
related pages.
as photographs, illustrations, headings, captions, references,
At its most basic, the sizes of a grid’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 deter-
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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 Mßeller-Brockmann section name / 19
T HE G O LDE N SP IR A L
The Golden Spiral has been used for centuries. The Greeks used The Golden Spiral to establish balance in the design of architecture, for example the Parthenon, and it was re-discovered by artists and architects during the Renaissance period. The gold section is constructed through mathematical calculation, the ratio begin 1:1.61803.
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TS C H IC HO LD' S GR ID
A dynamic force should be present in each design, he argued, for type should be set in motion rather than at rest. Symmetrical organization was artificial because it placed pure form before the meaning of the words. Tschichold favored headlines flush to the left margin, with uneven line lengths. He believed a kinetic asymmetrical design of contrasting elements expressed the new age of the machine. Types should be elementary in form without embellishment; thus, sans-serif type, in a range of weights (light, medium, bold, extra-bold, italic) and proportions (condensed, normal, expanded), was declared to be the modern type. Its wide range of value and texture in the black-and-white scale allowed the expressive, abstract image sought by modern design.
grid structures / 21
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BAS EL I NE GR ID
Modular grids are created by positioning horizontal guide-
Adjust the top or bottom page margin to absorb any space
lines in relation to a baseline grid that governs the whole
left over by the baseline grid. Determine the number of hor-
document. Baseline grids serve to anchor all (or nearly all)
izontal page units in relation to the number of lines in your
layout elements to a common rhythm. Create a baseline grid
baseline grid. Count how many lines fit in a full column of
by choosing the type size and leading of your text, such as
text and then choose a number that divides evenly into the
10-pt Scala Pro with 12 pts leading (10/12). Avoid auto leading
line count to create horizontal page divisions. A column with
so that you can work with whole numbers that multiply and
forty-two lines of text divides neatly into seven horizontal
divide cleanly. Use this line space increment to set the base-
modules with six lines each. If your line count is not neatly di-
line grid in your document preferences.
visible, adjust the top and/or bottom page margins to absorb the leftover lines.
grid structures / 23
F I B ON ACC I SE Q UE N C E
0 1 1 2 3 5 8 13 21 34 55 89 144 233 377 610 987 1,597 2,584 4,181 6,765 10,946 17,711 28,657 46,368 75,025 121,393 196,418 317,811 514,229 832,040 1,346,269 2,178,309 3,524,578
F I B O N ACCI R E C TA N G L E S
3:5
55:89
5:8
89:144
8:13
144:233
13:21
233:377
21:34
377:610
34:55
grid structures / 25
Lars Bech (1996)
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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 incorrectly.
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Option + ]
quotes & apostrophes / 29
Option + Shift + ]
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Option + [
A POST R O P HE
As an 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.”
For Omission of Letters:
The big exception to this is its. Its, used as a possessive, never
In a phrase such as Rock ‘n’ Roll, there should be an apos-
has an apostrophe! The word it only has an apostrophe as a
trophe before and after the n, because the ‘a’ and the ‘d’ are
contraction—it's always means it is or it has. Always.
both left out. And don’t turn the first apostrophe around—
It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes, and neither should its.
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
For Contractions: The apostrophe replaces the missing letter. For example:
the place of the ‘f’. There is no earthly reason for an apostrophe to be set before the ‘o’.
you’re always means you are; the apostrophe is replacing the
In a phrase such as Gone Fishin’ the same pattern should be
a from are. That’s an easy way to distinguish it from your as
followed—the ‘g’ is missing.
in your house and to make sure you don’t say: Your going to the store.
In a date when part of the year is left out, an apostrophe needs to indicate the missing year. In the 80s would mean
As previously noted, it’s means “it is”; the apostrophe is in-
the temperature; In the ’80s would mean the decade. (Notice
dicating where the ‘i’ is left out. Don’t means “do not”; the
there is no apostrophe before the ‘s’! Why would there be?
apostrophe is indicating where the ‘o’ is left out.
It is not possessive, nor is it a contraction—it is simply plural.
quotes & apostrophes / 31
F E ET & IN C HE S
Bridge Clearance: 16' 7'' The young man stood 6' 2''. The length of the wall is 153' 9''.
Option + Shift + [
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In the first place, the typographer must be capable of analyzing ‘copy’ and if need be, re-ordering its structure. A thorough understanding of the use of English is essential for him to handle efficiently any material given to him.
—Michael Twyman section name / 33
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The following is a list of the most often-used special characters and accent marks. Memorizing the associated key commands will greatly improve your work flow by allowing the insertion of special characters without having to go to the Glyphs window.
36 / microtype
“
Option + [
opening double quote
”
Option + [ + Shift
closing double quote
‘
Option + ]
opening single quote
’
Option + ] + Shift
closing single quote; apostrophe
–
Option + Hyphen
en dash
—
Option + Hyphen + Shift
em dash
…
Option + :
ellipsis
•
Option + 8
bullet
fi
Option + 5 + Shift
f and i ligature
fl
Option + 6 + Shift
f and l ligature
©
Option + G
copyright
™
Option + 2
trademark
®
Option + R
registered
°
Option + 8 + Shift
degree
¢
Option + 4
cent
¤
Option + 2 + Shift
Euro
⁄
Option + 1 + Shift
fraction bar
¡
Option + 1
inverted exclamation point
¿
Option + ? + Shift
inverted question mark
£
Option + 3
Pound
ç
Option + C
c cédille
Ç
Option + C + Shift
C cédille
special characters / 37
CO PY R IG HT, R E GISTE R E D & T R AD E M A R K
The copyright, registered, 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% to 70%. The goal is to match the x-height. The copyright mark should be approximately 70% of the surrounding text. Unlike the trademark symbol, the copyright mark should not be superscripted and should remain on the baseline. The trademark symbol and the registered mark are normally superscripted and set higher than other marks. If you choose to superscript the registered mark, reduce it to about 60% of the size.
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Option + R
ELLI PSI S 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 surrounding text, leave no space at all.
Option + :
special characters / 39
ACC E NT M A R KS
Remember, to set an accent mark over a letter, press the Option and corresponding accent key, then the character you'd like placed underneath it.
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´
Option + 3
acute accent
`
Option + <
grave accent
¨
Option + X
diaeresis
˜
Option + >
tilde accent
ˆ
Option + =
circumflex
Type is like music in having its own beauty, and in being beautiful as an accompaniment and interpretation; and typography can be used to express a state of the soul, like the other arts and crafts. But like them, it is too often used mechanically, and so the full expressiveness of this medium is unrealized. If it is used according to a rule or recipe, it becomes dull and loses vividness. Type appears at first to be a rigid medium; but like other rigid media, it is plastic to the living spirit of a craftsman.
â&#x20AC;&#x201D;J. H. Mason section name / 41
Martin Oeggerli (2004) Helicobacter Pylori 600x
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HY P HE N
EN DASH
A hyphen is one third of the em rule and is used to link words.
An en dash is half of the em rule (the width of a capital N)
It serves as a compound modifier where two words become
and is used between words that indicate a duration, such as
one, such as x-height. A hyphen is also used to break works
time or months or years. Use it where you might otherwise
at syllables in text blocks.
use the word â&#x20AC;&#x153;to.â&#x20AC;? In a page layout application, the en dash can be used with a thin space on either side of it. If you want, you can kern it so it is not a full space.
44 / microtype
E M DASH
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 text attribution. 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 you look very unprofessional. Remember, when using an em dash, no space is used on either side.
dashes / 45
0 Neil James Egan (2005)
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Small caps are uppercase (capital) letters that are about
Use small caps for acronyms. Set acronyms such as NASA
the size of normal lowercase letters in any given typeface.
or NASDAQ in small caps when they appear in body text or
Small caps are less intrusive when all uppercase appears
headlines. This allows them to blend into the body with ease.
within normal text or can be used for special emphasis. Computer programs can generate small caps for any typeface, but those are not the same as true small caps. True small caps have line weights that are proportionally correct for the typeface, which means they can be used within a body of copy without looking noticeably wrong. When setting text that contains acronyms, select a typeface with small caps as a family. Selecting small caps from the style menus is a poor choice because the computer 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.
48 / microtype
Use small caps for common abbreviations. Set common abbreviations in small caps so they don't overpower the accompanying text. Use small caps for A.M. and P.M.; space once after the number, and use periods. If the font does not have small caps, reduce the font size slightly. Use true small caps fonts. Avoid simply resizing capital letters or using the small caps feature in some programs. Instead use typefaces that have been specifically created as small caps.
EXERCISE # 1
Identify and list six serif fonts and three sans serif fonts that have small caps. Illustrate the difference between True Small Caps and small caps that are generated from InDesign by clicking the Small Caps button.
small caps / 49
1A: SERIFS
1 .01
Didot
Microscope 1 .02
Bodoni
Microscope 1 .03
Mrs. Eaves
Microscope 50 / microtype
The first, colorful example in each
for small caps. The second, black
subsection is the typeface de-
example shows the stroke weight
signer's
difference of generated small caps.
1 .0 4
specially-drawn
version
Caslon
Microscope 1 .0 5
Walbaum
Microscope 1 .0 6
Sabon
Microscope small caps / 51
1 B : SA N S
1.07
Cholla Wide
Microscope 1 .0 8
Scala Sans
Microscope 1 .0 9
Quadraat
Microscope 52 / microtype
The life of a designer is a life of fight. Fight against the ugliness. Just like a doctor fights against disease. For us, the visual disease is what we have around, and what we try to do is cure it somehow with design.
â&#x20AC;&#x201D;Massimo Vignelli
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Waldemar Bronakowski (1992) Daisy-unwrapped petals 5x
8
Oldstyle figures, also known as non-lining figures, do not line
Unlike lining figures, Oldstyle figures blend in without dis-
up on the baseline as regular or lining numerals do. They can
turbing the color of the body copy. They also work well in
be found in various fonts. Oldstyle figures are a style of nu-
headlines since they’re not as intrusive as lining figures. In
meral which approximate lowercase letterforms by having
fact, many people prefer them overall for most uses except
an x-height and varying ascenders and descenders. They are
charts and tables. It’s well worth the extra effort to track
considerably different from the more common “lining” fig-
down and obtain typefaces with oldstyle figures; the fonts
ures which are all-cap height and typically monospaced in
that contain them might well become some of your favorites.
text faces so that they line up vertically on charts.
If the body text has a significant amount of numbers, research
Oldstyle figures have more of a traditional, classic look and
a font family where they are included. If non-lining numerals
are very useful and quite beautiful when set within text.
are not available, use a slightly smaller point size for the lining
They are only available for certain typefaces, sometimes as
numbers. Think of lining numbers as upper case numbers and
the regular numerals in a font, but more often within a sup-
non-lining numbers as lower case numbers.
plementary or expert font. The figures are proportionately spaced, eliminating the white spaces that result from monospaced lining figures, especially around the numeral one.
56 / microtype
EXERCISE # 2
List and show three serif and three sans serif fonts that have old style numbers. Demonstrate the differences between old style numbers and normal numbers. Also, create a table of numbers that uses aligning figures, and the same table that does not use aligning figures.
numerals & figures / 57
2 A: S ER I F S
2 .01
Bembo
The first example in every pair of
x-height. The second example does
comparisions uses numerals that
not, and as a result, the numbers
align with the surrounding body’s
look big, chunk, and out-of-place.
Dear Mary, please call me at 785—764—1435 to discuss the finer things. Or write me at 1407 West 7th Street, Lawrence, KS 66045.
Dear Mary, please call me at 785—764—1435 to discuss the finer things. Or write me at 1407 West 7th Street, Lawrence, KS 66045.
2 .02
Sabon
Dear Mary, please call me at 785—764—1435 to discuss the finer things. Or write me at 1407 West 7th Street, Lawrence, KS 66045.
Dear Mary, please call me at 785—764—1435 to discuss the finer things. Or write me at 1407 West 7th Street, Lawrence, KS 66045.
2 .03
Janson
Dear Mary, please call me at 785—764—1435 to discuss the finer things. Or write me at 1407 West 7th Street, Lawrence, KS 66045.
Dear Mary, please call me at 785—764—1435 to discuss the finer things. Or write me at 1407 West 7th Street, Lawrence, KS 66045.
58 / microtype
2 B : SAN S
2 .0 4
Fago
Dear Mary, please call me at 785—764—1435 to discuss the finer things. Or write me at 1407 West 7th Street, Lawrence, KS 66045.
Dear Mary, please call me at 785—764—1435 to discuss the finer things. Or write me at 1407 West 7th Street, Lawrence, KS 66045.
2 .0 5
Scala Sans
Dear Mary, please call me at 785—764—1435 to discuss the finer things. Or write me at 1407 West 7th Street, Lawrence, KS 66045.
Dear Mary, please call me at 785—764—1435 to discuss the finer things. Or write me at 1407 West 7th Street, Lawrence, KS 66045.
2 .0 6
Sabon
Dear Mary, please call me at 785—764—1435 to discuss the finer things. Or write me at 1407 West 7th Street, Lawrence, KS 66045.
Dear Mary, please call me at 785—764—1435 to discuss the finer things. Or write me at 1407 West 7th Street, Lawrence, KS 66045.
numerals & figures / 59
40547527452135.25452752753767427432708572452078927982749827827878245204141410140 54.21465401502406204264724100313502321321666828312810 112164.21544520520520896354011411015011 28232151.2154 2822588412.245411002228858663852 858553488991.2389834 123.86457 9895.065345 88558522885254.231233245 58585857563.3512341 3478567.763100682821144144 453.769880 713241.9026574 85858523.56344682332354187620 254.33558437 5.665344678676448678245 4504508.236868342708008632212354534534 84899.08 7.854416987021 54.3435345453 2.3145465498784100023213213254498840611657318105492754981032874 62.15678632500342534753878 7003.4887021023435689063003301 2.223122131022354588 6.6458978675345 612.37455054345 45239.12346617245 1534556451.7748315131132301313 87875778902.338878977888 98866.086863 3546544.7 1022054987546.2 25546587.988541100548 8.92154687635123101203210210 33339.5315498798351 235.631013078537834530 27.24513376784 120145022102.8131203257453786 8.3636378341869111548978125 345453451.434345869636663 21571.645340863843 237.87887638308 15015212019.3115510044304683783 305.63430483897893604 30337.30345378935635252 1505104.5225245345 803399306.2874410214410 42042424521.05785505057783639802425402727 42339.6453453787553683337838307403338678275725275 85024208.404343483787879786783473405364853786789789645031 230123012301205.92003250348 0302120301207.2378976436436383 33337.43475785378789534534 302205.36967897845338897897897 323074545343.8123049897520202 8789.9864538783 7.298638520022504 82.2575798530153015304758345 3.18578787852202553857898745204534350 45004.9034578897837837834353783783 245027833.88378 8.154530 51.4035 73.53504789 54.5645304505457
NON-ALI G NING
40547527452135.2545275275376742743270857245207892798274982782787
654.21465401502406204264724100313502321321666828312810 2112164.21544520520520896354011411015011 28232151.2154 2822588412.245411002228858663852 858553488991.2389834 123.86457 9895.065345 88558522885254.231233245 58585857563.3512341 3478567.763100682821144144 453.769880 713241.9026574 85858523.56344682332354187620
A L I G NI N G
254.33558437 5.665344678676448678245 4504508.236868342708008632212354534534 84899.08 7.854416987021 54.3435345453
2.31454654987841000232132132544988406116573181054927 62.15678632500342534753878 7003.4887021023435689063003301 2.223122131022354588 6.6458978675345 612.37455054345 45239.12346617245 1534556451.7748315131132301313 87875778902.338878977888 98866.086863 3546544.7 1022054987546.2 25546587.988541100548 8.92154687635123101203210210 33339.5315498798351 235.631013078537834530 27.24513376784 120145022102.8131203257453786 8.3636378341869111548978125 345453451.434345869636663 21571.645340863843 237.87887638308 15015212019.3115510044304683783 305.63430483897893604 30337.30345378935635252 1505104.5225245345 803399306.2874410214410 42042424521.05785505057783639802425402727 42339.6453453787553683337838307403338678275725275
85024208.40434348378787978678347340536485378678978964503 230123012301205.92003250348 0302120301207.2378976436436383 33337.43475785378789534534 302205.36967897845338897897897 323074545343.8123049897520202 8789.9864538783 7.298638520022504 82.2575798530153015304758345 3.18578787852202553857898745204534350 45004.9034578897837837834353783783 245027833.88378 8.154530 51.4035 73.53504789 54.5645304505457
0
Viktor Sykora (2006) Seed of a Clematis Vitalba shrub 2x
9
Readability and legibility are two key elements of printed text that typographer strive to maximize. Readability refers to whether an extended amount of text—such as an article, book, or annual report—is easy to read. Legibility refers to whether a short burst of text—such as a headline catalog listing, or stop sign—is instantly recognizable. There are several factors that determine whether a text is readable. When deciding what typeface should be used for a job, consideration should be given to the typeface and its x-height. It is important to understand how a block of text can express a message through its texture/color, therefore suiting a particular design solution. Fonts set in the same size, same leading and column width will produce varying degrees of “color”. In typography, color can also describe the balance between black and white on the page of text. A typeface’s color is determined by stroke width, x-height, character width and serif styles. As a designer, if you are only asked to make the text readable on the page the following questions should be asked: Who is to read it? Someone that wants to read it. Someone that has to read it. How will it be read? Quickly. In passing. Focused. Near. Far. Examine your audience.
64 / microtype
EXERCISE # 3
You will be exploring one type of typographic color. To achieve results that can be compared you need to use the same sizes, same leading and the same column width. However, all the content has to be on the page: 1) display the x-height 2) name the font, name the designer 3) paragraph of text; all paragraphs use the exact same size and leading 4) describe the color.
x-height / 65
Gotham Book 9/12 Geometric Sans Tobias Frere-Jones 2000
3 .01
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.
X x h g
66 / microtype
Gotham Book has a large x-height. The counters are sizeable and comfortable enough to make this typeface extremely legible, even at small sizes.
DIN 9/12 Realist Sans Serif Deutsches Institut fĂźr Normung 1931
3 .02
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.
X x h g
x-height / 67
Janson Text 9/12 Old-Style Serif Miklós Tótfalusi Kis 1685
3 .03
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
X x h g
68 / microtype
Memphis 9/12 Slab Serif Rudolph Wolf 1929
3.0 4
Memphis was one of the very first Egyptian, slab-serif revival fonts. I had to use it for CCO and it's pretty much the worst ever. Unless you're working for Whole Foods.
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.
X x h g
x-height / 69
Baskerville 9/12 Transitional Serif John Baskerville 1757
3.0 5
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.
X x h g
70 / microtype
Memphis was one of the very first Egyptian, slab-serif revival fonts. I had to use it for CCO and it's pretty much the worst ever. Unless you're working for Whole Foods.
Fago 9/12 Humanist Sans Serif Ole Schäfer 1999
3.0 6
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.
X x h g
x-height / 71
Caslon 9/12 Old-Style Serif William Caslon 1722
3 .07
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.
X x h g
72 / microtype
Neutraface 9/12 Geometric Sans Serif Christian Schwartz 2002
3.0 8
Neutraface is based on geometric shapes found in architecture. It aims to be the most completely geometric sans serif.
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.
X x h g
x-height / 73
Meta 9/12 Humanist Sans Serif Erik Spiekermann 1991
3.0 9
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.
X x h g
74 / microtype
Bembo 9/12 Old-Style Serif Francesco Griffo 1495
3.1 0
The Bembo fonts used today are more modern cuts based on the work of Francesco Griffo. The most popular revival was made in 1929 under Stanley Morison.
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.
X x h g
x-height / 75
1
Dr. Paul Appleton (2006) Mouse colon cell nuclei 740x
0
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 is too short the eye will have to travel back too often, breaking the reader's rhythm. Too short lines also tend to stress people, making them begin on the next line before finishing the current one. This could mean skipping important words or information, and deters comprehension.
78 / microtype
EXERCISE # 4
Using the text below set the paragraph at 20 characters per line, 40 characters, 60 characters, and 80 characters per line. Keep the font and the leading the same, just make adjustments to the column width.
column width / 79
4 .01
Determining
4 .02
4.03
Line
Determining Line Length. A gener-
Determining Line Length. A general guide-
general
al guideline for determining if your
line for determining if your line length is long
deter-
line length is long enough to sat-
enough to satisfactorily justify the text: the line
line
isfactorily justify the text: the line
length in picas should be about twice the point
length is long enough
length in picas should be about
size of the type; that is, if the type you are us-
to satisfactorily jus-
twice the point size of the type;
ing is 12 point, the line length should be at least
tify the text: the line
that is, if the type you are using
24 picas (24 picas is 4 inches-simply divide the
length in picas should
is 12 point, the line length should
number of picas by 6, as there are 6 picas per
be about twice the
be at least 24 picas (24 picas is 4
inch). Thus 9-point type should be on an 18-
point size of the type;
inches-simply divide the number of
pica line (3 inches) before you try to justify it,
that is, if the type
picas by 6, as there are 6 picas per
and 18-point type should be on a 36-pica line
you are using is 12
inch). Thus 9-point type should be
(6 inches). The rulers in most programs can be
point, the line length
on an 18-pica line (3 inches) before
changed to picas, if you like.
should be at least 24
you try to justify it, and 18-point
picas (24 picas is 4
type should be on a 36-pica line
inches-simply
divide
(6 inches). The rulers in most pro-
the number of picas
grams can be changed to picas, if
by 6, as there are 6
you like.
Length.
A
guideline mining
if
for
your
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.
80 / microtype
4 .0 4
4.05
Determining Line Length. A general guideline for determin-
Determining Line Length. A general guideline for determining if your line
ing if your line length is long enough to satisfactorily justify
length is long enough to satisfactorily justify the text: the line length in
the text: the line length in picas should be about twice the
picas should be about twice the point size of the type; that is, if the type
point size of the type; that is, if the type you are using is 12
you are using is 12 point, the line length should be at least 24 picas (24
point, the line length should be at least 24 picas (24 picas is
picas is 4 inches-simply divide the number of picas by 6, as there are 6
4 inches-simply divide the number of picas by 6, as there are
picas per inch). Thus 9-point type should be on an 18-pica line (3 inches)
6 picas per inch). Thus 9-point type should be on an 18-pica
before you try to justify it, and 18-point type should be on a 36-pica line (6
line (3 inches) before you try to justify it, and 18-point type
inches). The rulers in most programs can be changed to picas, if you like.
should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like.
column width / 81
Edy Kieser (2005) Potassium chlorate 40x
1
1
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 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 well-spaced text block, leading usually has a higher point size than the text it is associated with. For example, 9pt text may be set with 12pt leading. Most writers use either double-spaced lines or single-spaced linesâ&#x20AC;&#x201D;nothing in betweenâ&#x20AC;&#x201D;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, line spacing 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 double-spacing is still more loose than optimal.
84 / microtype
EXERCISE # 5
Using the same column width, set paragraph leading to a negative, set solid, normal, and extreme value. Negative leading is when the leading is smaller than the type (9pt/7pt). Set solid means the leading and the type size are the same (9pt/9pt). Normal could be something like (9pt/12pt).
leading / 85
5.01
5.02
Negative
Set Solid
Gotham Book
Gotham Book
7/5
7/7
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is adjusted, and to get a wider or narrower field of view a different magnification objective lens must be used. Most modern research microscopes also have a separate set of optics for illuminating the sample.
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is adjusted, and to get a wider or narrower field of view a different magnification objective lens must be used. Most modern research microscopes also have a separate set of optics for illuminating the sample.
86 / microtype
5.03
5.04
Normal
Extreme
Gotham Book
Gotham Book
7 / 12
7 / 42
There are two basic configurations of the conventional op-
There are two basic configurations of the conventional op-
tical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens micro-
tical microscope: the simple microscope and the compound
scopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is
microscope. The vast majority of modern research micro-
adjusted, and to get a wider or narrower field of view a different magnification objective lens must be used. Most modern research microscopes also have a separate set of optics for illuminating the sample.
scopes are compound microscopes while some cheaper
commercial digital microscopes are simple single lens micro-
scopes. A magnifying glass is, in essence, a single lens sim-
ple microscope. In general, microscope optics are static; to
focus at different focal depths the lens to sample distance is
adjusted, and to get a wider or narrower field of view a differ-
ent magnification objective lens must be used. Most modern Each column is five units wide on a 12-column grid page division. For the purposes of this exercise,
research microscopes also have a separate set of optics for
no text aligns to the baseline. This gives a more accurate portrayal of the leading variations.
illuminating the sample.
leading / 87
1 Wim van Egmond (2013)
Chaetoceros debilis, a marine diatom 250x
2
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 a space. 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, 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.
90 / microtype
OPTI CAL KERNI NG
ME T R I C KE R N IN G
Optical kerning is executed automatically by the page layout program. Rather than using the pairs addressed in the font'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
Metric kerning uses the kerning tables that are built into the
and metric kerning to text. This process can be efficient and
typeface. When you select metric kerning in your page lay-
consistent by setting kerning as part of your character styles.
out program, you are using the spacing that was intended by the type designer. Metric kerning, in most cases, looks good, especially at small sizes. Cheap, novelty fonts often have little or no built-in kerning and will need to be optically kerned.
kerning / 91
MICRO TEENY ITTY FINE MINUTE 92 / microtype
Yes!
MI CRO TEENY ITTY
No!
FINE MINUTE kerning / 93
1
Sinforoso Resultay (1992) Dinosaur bone 18x
3
In unjustified text, the text block is set with normal letter and
If someone insists that fully justified text is better than left-
word spacing. Because of the even word spacing the text will
aligned text, tell them they are wrong. If someone else tells
have an even texture窶馬o large spaces between words. The
you that left-aligned text is better than justified text, tell
lines will naturally vary in length. a ragged text block can in-
them they are wrong.
tegrate with the layout and add visual interest to the page. The difficulty is making the ragged edge have a pleasing silhouette. When the first line in the text is longer than the second, it becomes separate from the layout and creates a box-like shape. This destroys one of the advantages of unjustified text. The ragged edge needs to have a life, but a narrow column can be less active. Another advantage to ragged text is less hyphenation is needed. Therefore, names, dates or words which are normally read together can stay together.
96 / microtype
If they are both wrong, then what's right? Alignment is only a small piece of the puzzle. What works for one design might be totally inappropriate for another layout. As with all layouts, it depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design.
L EF T, R AGGE D R IGHT Often considered more informal, friendlier than justified text.
Borporem olorion prest, quiamen imodipsam voluptas qui
The ragged right edge adds an element of white space. May
venimi, quodipsa cor sed eaque vollitias que dios aute
require extra attention to hyphenation to keep right margin
mqui idemqui bustemporrum rescil id excest fugitecta adi-
from being too ragged. Generally type set left-aligned is eas-
gentur soles evelest qui blam enditio cus minvel ipsan
ier to work with (i.e. requires less time, attention, and tweak-
dam hilitatis ipsum soloremporis eictem fugiae. Itatis do-
ing from the designer to make it look good).
luptatis volumqu odignim qui doloritibusa aped
C EN T E R ED There is nothing inherently wrong with centered text. As with
Borporem olorion prest, n imodipsam voluptas qui
ragged right or fully-justified text alignment, what works for
venimi, quodipsa cor sed eaque vollitias que dios autemyh-
one design might be totally inappropriate for another layout.
jkqsdaaui idemqui bustemporrum rescil id excest
There are simply fewer situations where centered text is ap-
adigesoles evelest qui blam enditio cus minvel ipsandamhkl
propriate. When in doubt, don't center it.
ipsum soporis eictem fugiaen itaisis.
J U ST I F I E D Often considered more formal, less friendly than left-aligned
Borporem olorion prest, quiamen imodipsam voluptas qui
text. Usually allows for more characters per line, packing
venimi, quodipsa cor sed eaque vollitias que dios autemqui
more into the same amount of space (than the same text set
idemqui bustemporrum rescil id excest fugitecta adigentur
left-aligned). May require extra attention to word and char-
soles evelest qui blam enditio cus minvel ipsandam hilitatis
acter spacing and hyphenation to avoid unsightly rivers of
ipsum soloremporis eictem fugiae. Itatis doluptatis volumqu
white space running through the text. May be more familiar
odignim qui doloritibusa aped ulpa volupta essitem possimo
to readers in some types of publications, such as books and
lorporesto omniamus aliquia voluptaqui dolupti berunt litam
newspapers. Some people are naturally drawn to the "neat-
fugitatur alit aut quia sequam rem cum in prae ipsandici duci-
ness" of text that lines up perfectly on the left and right.
um quae lam, sum doluptatet quodi blatur rature
alignments / 97
No matter what alignment you use, remember to pay close attention to hyphenation and word and character spacing to insure your text is as readable as possible. There will undoubtedly be well-meaning friends, business associates, clients, and others who will question your choices. Be prepared to explain why you chose the alignment you did and be prepared to change it (and make necessary adjustments to keep it looking good) if the person with final say still insists on something different.
98 / microtype
Right and wrong do not exist in graphic design. There is only effective and non-effective communication.
â&#x20AC;&#x201D;Peter Bilak
Daniel Pregibon (2007)
1
Particles used to detect multiple DNA oligomers 100x
4
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 than three 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 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.
102 / microtype
R ULES for HYPHENATI ON —Avoid widows (one word on the last line of a paragraph) —Avoid hyphenating or line breaks in names and proper nouns —Leave a least two characters on the line and three 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, and by. —Never hyphenate a word in a headline —Avoid hyphenation in a callout
hyphenation rules / 103
1
Martin Oeggerli (2009) Streptococcus 1000x
5
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, then as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. Perhaps 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.
106 / microtype
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.
justification / 107
Q U I C K TIP 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! It's worth the extra time and effort.
108 / microtype
justification / 109
1
Dr. John M. Huisman (2006) Microdictyon umbilicatum (seaweed) 20x
6
When combining serif and sans serif text fonts, one should consider the characteristics of form, type color, proportion, and x-heights. Although there is no recipe, there is a place to start: keep an eye on the characteristic shapes of the letterform. A well designed page contains no more than two different typefaces or four different type variations such as type size and bold or italic style. Using 2 different serif fonts or 2 different sans serifs fonts in the same composition is not a good idea.
112 / microtype
Didot
EXERCISE # 6
Demonstrate the type combinations listed on the following page. You are exploring what typefaces go together and why. You do not need to keep the type sizes the same. If you need to make a font larger or smaller so the x-heights become similar, that is fine. Or, you can exaggerate their differences by using different sizes, x-heights, etc. Write down the fonts used in the combination. Why you think that particular font works well with the other? What changes were necessary to make them work well together?
combining typefaces / 113
1.
Old Style + Humanist sans
2.
Old Style + Grotesque sans
3.
Transitional + Geometric sans
4.
Transitional + Humanist sans
5.
Modern + Geometric sans
6.
Modern + Grotesque sans
7.
New Transitional + Geometric sans
8.
New Transitional + Grotesque sans
9.
Slab serif + Geometric sans
10.
Slab serif + Humanist sans
114 / microtype
Combining typefaces is like making a salad. Start with a small number of elements representing different colors, tastes, and textures. Strive for contrast rather than harmony, looking for emphatic differences rather than mushy transitions. Give each ingredient a role to play: sweet tomatoes, crunchy cucumbers, and the pungent shock of an occasional anchovy.
â&#x20AC;&#x201D;Ellen Lupton section name / 115
6.01
Scala Sans makes a good header
italic to suggest the spoken word.
copy. Because my subheaders are
font because the lack of serifs
They're set in a smaller size than
quite small, I reduced the body to
Old syle + Humanist sans
gives increased legibility at large
headers, which helps separate the
8/12. Caslon maintains legibility
Caslon + Scala Sans
sizes. I made the pull quotes in an
two. Caslon makes for good body
even at small sizes.
Scala Sans Bold 20/24 Headers
Scala Sans Bold 8/12 Subhead
Caslon 540 Italic 12/24 Quotes
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majoriThere are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is adjusted, and to get a wider or narrower field of view a different magnification objective lens must be used. Most modern research microscopes also have a separate set of optics for illuminating the sample.
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are
Caslon 540 Roman 8/12 Body
116 / microtype
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is adjusted, and to get a wider or narrower field of view a different magnification objective lens must be used. Most modern research microscopes also have a separate set of optics for illuminating the sample.
6.02
In this pairing, I tried to create two
color compared to the quotes and
at small sizes, which is great for
groups of weights that worked
body. Using Garamond for headers
body copy. I increased the quotes
Old syle + Grotesque sans
well together. The headers and
gives a formal, professional feel.
leading, giving it a noticeably
Garamond + DIN
intro have a darker typographic
DIN was designed to be readable
lighter color than the body.
Garamond Bold 18/24 Headers
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority
Intro Text
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple sin-
Garamond
There are two basic configurations of the conventional optical microscope: the simple
DIN Medium 12/18
Medium 9/18 Quotes
microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the
DIN Regular 8/12 Body
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is adjusted, and to get a wider or narrower field of view a different magnification objective lens must be used. Most modern research microscopes also have a separate set of optics for illuminating the sample.
combining typefaces / 117
6.03
Futura Bold makes for in-your-face
elegant serifs, gives good contrast
size. It helps the x-heights appear
titles and headers, while the light-
when used in smaller sizes. To help
more uniform, while a Bold shift
Transitional + Geometric sans
er-color Heavy is used for subhead
the italic pull quotes fit with the
plus increased leading helps set
Baskerville + Futura
and intro text. Baskerville, with its
regular body copy, I increased the
the quotes apart from the body.
Futura Bold 20/32 Headers
There are two basic configurations of the conventional optical microscope: the sim-
Futura Heavy 14/24 Subhead
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound
Baskerville Bold Italic 10/18 Quotes
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general,
Baskerville Roman 9/12 Body
118 / microtype
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is adjusted, and to get a wider or narrower field of view a different magnification objective lens must be used. Most modern research microscopes also have a separate set of optics for illuminating the sample.
6.0 4
Meta has an all-caps setting, so it
to 10/12. Meta works as support-
match x-heights. Even though the
works as distinct titles. Mrs. Eaves
ing quotes or labels. To make
sizes are different, they appear
Transitional + Humanist sans
has a relatively small x-height, so
the smaller Meta fit with the Mrs.
similar which allows this combina-
Mrs. Eaves + Meta
I had to increase the body copy
Eaves, I used a smaller size to
tion to work.
Meta Caps Medium 24/24 Headers
there are two basic configurations of the conventional optical microscope: the simple microscope and
Intro Text
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence,
Meta
There are two basic configurations of the conventional optical microscope: the simple
Roman
microscope and the compound microscope. The vast majority of modern research micro-
Mrs. Eaves Italic 15/18
8/14 Quotes
scopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is adjusted, and to get a wider or narrower field of view a different
Mrs. Eaves Roman 10/12 Body
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is adjusted, and to get a wider or narrower field of view a different magnification objective lens must be used. Most modern research microscopes also have a separate set of optics for illuminating the sample.
combining typefaces / 119
6.0 5
I used this basic combination
provides smaller areas of dark
elegant pull quotes that contrast
throughout this book. The thick-
color for subheaders. To avoid
against the geometric color that
Modern + Geometric sans
and-thin strokes of didot are dra-
making them too dark, I added
Gotham body provides. Gotham is
Didot + Gotham
matic at larger sizes. Gotham Bold
100 tracking. Didot provides
still legible at 7/12.
Headers
There are two basic configurations of the conventional optical microscope:
Gotham Caps
T H E R E AR E T WO B AS I C CO NFIG U RAT IO NS O F T H E
Didot Bold 25/32
Bold 9/24 (100 track)
CO N V E NT I O NAL O P T I C A L MICROS CO PE : T H E S IMPLE
Subhead
MI C R OS CO P E A N D T H E CO MPO U ND MICROS CO PE . T H E VAST MA J O R I T Y O F MO D E RN RE S E ARCH MICROS CO PE S
Didot Italic 10/18 Quotes
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static;
Gotham
There are two basic configurations of the conventional optical microscope: the simple
Book
microscope and the compound microscope. The vast majority of modern research mi-
7/12
croscopes are compound microscopes while some cheaper commercial digital micro-
Body
scopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is adjusted, and to get a wider or narrower field of view a different magnification objective lens must be used. Most modern research microscopes also have a separate set of optics for illuminating the sample.
120 / microtype
6.0 6
Akzidenz Grotesk makes for a
levels of hierarchy work togeth-
lighter, more open characters. Bold
dark color body copy, so an italic
er, I increase the size of the pull
headers also bring great contrast
Modern + Grotesque sans
Bodoni contrasts nicely in the
quotes. This helps them combat
to the page, as the weights of
Bodoni + Akzidenz Grotesk
pull quotes. To help the two lower
the darkness of the body with
Bodoni are quite light in color.
Akzidenz Grotesk Bold 19/24 Headers
Bodoni Book 15/18 Intro Text
Bodoni Book Italic 11/15 Quotes
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microThere are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different
Akzidenz Grotesk
There are two basic configurations of the conventional optical microscope: the sim-
Medium
ple microscope and the compound microscope. The vast majority of modern re-
8/15 Body
search microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is adjusted, and to get a wider or narrower field of view a different magnification objective lens must
combining typefaces / 121
6.07
Neutraface is one of my favor-
modern and old-style. Neutraface
quotes are set in the same size
ite typefaces. The geometric
doesn't have stress, so it doesn't
and leading, but a weight change
Transitional + Geometric sans
counters and character elements
compete with Baskerville's gentle
will help the two levels of hierar-
Baskerville + Neutraface
compliment Baskerville's blend of
backwards slope. The subhead and
chy separate.
Neutra Text Bold 24/32 Headers
Neutra Text Demi 12/18 Subhead
Baskerville Italic 12/18 Quotes
Baskerville Roman 9/12 Body
122 / microtype
There are two basic configurations of the conventional optical microscope: the simThere are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens micro-
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is adjusted, and to get a wider or narrower field of view a different magnification objective lens must be used. Most modern research microscopes also have a separate set of optics for illuminating the sample.
6.0 8
Times is a typeface many are
This combination would be good
legible than Franklin Gothic. A
familiar with, and its pairing with
for newspapers or similiar busi-
larger x-heigh and bolder strokes
Transitional + Grotesque sans
Franklin Gothic makes for an
ness-professional publications.
make Franklin Gothic an alterna-
Times + Franklin Gothic
intertesting, yet classic approach.
Times as the body copy is more
tive for quotes and emphasis.
Franklin Gothic Heavy 19/24 Headers
Times Italic 14/18 Intro Text
Franklin Gothic Medium 9/12 Quotes
Times Roman 9/12 Body
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microThere are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is adjusted, and to get a wider or narrower field of view a
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is adjusted, and to get a wider or narrower field of view a different magnification objective lens must be used. Most modern research microscopes also have a separate set of optics for illuminating the sample.
combining typefaces / 123
6.0 9
Memphis, with its overall even
be read quickly and easily at large
Memphis Medium has a much
stroke width, makes for a good
sizes. Neutraface has a similar
darker color than Neutraface Light,
Slab serif + Geometric sans
title choice in this pairing. Even
x-height to Memphis, which allows
I increase the size of the quotes to
Memphis + Neutraface
though it's a serif, it is still able to
this pairing to work. Because
give them balance with the body.
Headers
There are two basic configurations of the conventional optical microscope:
Neutraface
There are two basic configurations of the conventional optical mi-
Memphis Medium 25/32
Demi Italic 11/18 Intro Text
croscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in es-
Neutraface Light 9/12 Quotes
Memphis Medium 8/12 Body
124 / microtype
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is adjusted, and to get a wider or narrower field of view a different magnification objective lens must
There are two basic configurations of the conventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is adjusted, and to get a wider or narrower field of view a different magnification objective lens must be used. Most modern research microscopes also have a separate set of optics for illuminating the sample.
6.10
This combination takes a contrast-
Meta has little stroke variation,
while maintaining a lightness that
ing approach to their pairings'
so I was able to set it in a lighter
would be necessary to contrast
Slab serif + Humanist sans
color. Clarendon looks nice and
weight. This would help give visual
Clarendon. For further levels of
Clarendon + Meta
heavy in bold titles and subtitles.
texture to areas of a composition
hierarchy, I'd use more Meta.
Headers
There are two basic configurations of the conventional optical
Meta
There are two basic configurations of the con-
Clarendon Bold 27/32
Italic 15/24 Intro Text
ventional optical microscope: the simple microscope and the compound microscope. The vast majority of modern research microscopes
Clarendon
There are two basic configurations of the conventional
Bold
optical microscope: the simple microscope and the com-
10/17 Quotes
pound microscope. The vast majority of modern research microscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens
Meta
There are two basic configurations of the conventional optical microscope: the simple
Normal
microscope and the compound microscope. The vast majority of modern research mi-
8/15 Body
croscopes are compound microscopes while some cheaper commercial digital microscopes are simple single lens microscopes. A magnifying glass is, in essence, a single lens simple microscope. In general, microscope optics are static; to focus at different focal depths the lens to sample distance is adjusted, and to get a wider or narrower field of view a different magnification objective lens must be used. Most modern research
combining typefaces / 125
1
7
Dr. John M. Huisman (2005)
Chaetomorpha antennina (seaweed) 20x
4 RULES FOR PA R AGR A P H B R E A KS 1.
First line at the beginning of an article should be flush left.
2.
Block paragraphs are flush left and are separated by extra leading, not a full return.
3.
The amount indent is equal to the leading (may need more).
4.
Never hit two returns between paragraphs.
Paragraph breaks set a rhythm for the reader. The breaks have a relationship with the column of text as well as the page margins. A break may be introduced as an indentation, as a space or both. The over all page feel will be influenced by your choice.
128 / microtype
EXERCISE # 7
Explore at least 10 different ways to show that there are 3 paragraphs. The investigation should be of new and different ways to show a paragraph break. Begin with 8.5/12 as a baseline size and leading. You may make text smaller or larger to show a new paragraph. Use the Tschichold Grid for this exercise. Create an area on the page that can be consistent for all 10 explorations, you are exploring only how to show a paragraph break, not how to alter layouts. There is a big difference. All solutions should be legible, clear and interesting.
paragraph breaks / 129
7.01 FUTURISM WAS FIRST announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. BUT IT IS THE movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE MARINETTI'S OPENING manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term—still resonant today—was parole in libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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."
Small cap leaders & Line break
130 / microtype
7.02 Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, 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 libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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 shift
paragraph breaks / 131
7.03 Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's 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 libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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."
Horizontal rule & Line break
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7.0 4 Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term—still resonant today—was parole in libertà2, 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 Mallarmé. 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."
First-line outdent & Line break
paragraph breaks / 133
7.0 5 Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's 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 libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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."
Entire paragraph indent & Line break
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7.0 6 Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term—still resonant today—was parole in libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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."
Weight shift & Line break
paragraph breaks / 135
7.07 • Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. • But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. • While Marinetti's 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 libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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."
Bullet & Line Break
136 / microtype
7.0 8 Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. /// But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. /// While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term—still resonant today—was parole in libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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."
Symbol
paragraph breaks / 137
7.0 9 Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's 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 libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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."
First-line weight shift & Line Break
138 / microtype
7.1 0 Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term—still resonant today—was parole in libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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."
Horizontal rule & Double return
paragraph breaks / 139
1 Paul Marshall (2008)
Carbon nanotubes, post growth 30x
8
Headers:
Any text that appears at the top of a page but is not part of the body text, such as a title, author, chapter title, etc. The headers are the top level of typographic hierarchy.
Subheads:
Text that appears just below the Headers in hierarchy. Subheads are usually set in a smaller point than Headers, and help organize the page into more manageable sections.
Crossheads:
A heading set in body text to break it into easily readable sections. Crossheads can be set in a different font, point size or color in order to create a more visually arresting break.
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EXERCISE # 8
Using your six favorite solutions from the previous paragraph break investigation, incorporate both headers and subheads. Important questions to ask yourself: How are the headers and subheads treated? How do they relate to the text? How do they react to the page?
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8.01
WORDS in LIBERTY A PROLOGUE to FUTURISM Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.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. RADICAL MIX of ART & LIFE But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term—still resonant today—was parole in libertà2, 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 Mallarmé. 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." Built from Exercise 7.04
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8 .02 Words in Liberty A Prologue to Futurism
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.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.
Radical Mix of Art & Life
But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term—still resonant today—was parole in libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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."
Built from Exercise 7.10
headers, subheads, crossheads / 145
8.03
Words in Liberty Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, odd-
A Prologue to Futurism
ly, 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 libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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."
Built from Exercise 7.02
146 / microtype
Radical Mix of Art & Life
8 .0 4 FUTURISM WAS FIRST announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. BUT IT IS THE movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE MARINETTI'S OPENING manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term—still resonant today—was parole in libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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."
Built from Exercise 7.01
headers, subheads, & crossheads / 147
8.0 5 /// Words in Liberty A PROLOGUE TO FUTURISM /// Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.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. /// RADICAL MIX OF ART & LIFE /// But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. /// While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term—still resonant today—was parole in libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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."
Built from Exercise 7.08
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8 .0 6 WORDS IN LIBERTY
A PROLOGUE TO FUTURISM Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.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.
RADICAL MIX OF ART & LIFE But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's 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 libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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." Built from Exercise 7.09
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1
9
Dr. John Hart (2008) Resorcinal, methylene, and sulphur 13x
F OOT N OT ES & E N DN OTE S
NUMBERS & SYMBOLS
Footnotes and endnotes are necessary components of schol-
Footnotes are most often indicated by placing a superscript
arly and technical writing. Theyâ&#x20AC;&#x2122;re also frequently used by
numeral immediately after the text to be referenced. The
writers of fiction, from Herman Melville to contemporary nov-
same superscript numeral then precedes the footnoted text
elists. Whether their intent is academic or artistic, footnotes
at the bottom of the page. Numbering footnotes is essential
present special typographic challenges.
when there are many of them, but if footnotes are few they
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
can be marked with a dagger, asterisk, or other symbol instead. Endnotes should always use numerical labeling to provide ease of reference.
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.
TYPE SI Z E
These general guidelines will help you design footnotes and
Footnotes and endnotes are set smaller than body text. The
endnotes that are readable, legible and economical in space.
difference in size is usually about two points, but this can
Note: Academic presses and journals can be format sticklers.
vary depending on the size, style and legibility of the main
Before proceeding, check with your client or publisher to see
text. Even though theyâ&#x20AC;&#x2122;re smaller, footnotes and endnotes
if they have a specific style sheet that must be followed.
should still be at a legible size.
152 / microtype
EXERCISE # 9
Using the six solutions from the Header and Subhead exercise, implement proper footnotes, subscript numerals and superscript numerals. Important questions to ask yourself: Am I using the rule correctly? If not, why? How can the content be treated? How do they relate to the existing text? How do they react to the page? You don't have to use the footnotes at the bottom of the page. Try to find more engaging ways to incorporate them.
captions & notes / 153
9.01
WORDS in LIBERTY A PROLOGUE to FUTURISM Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture 1.
Phillip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988
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. RADICAL MIX of ART & LIFE But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under
2.
parole in libertà means "words set free"
way. The key term—still resonant today—was parole in libertà2, 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 Mallarmé. 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
3.
selbst means "himself"
came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."
154 / microtype
9.02 Words in Liberty A Prologue to Futurism
Futurism was first announced on February 20, 1909, when the Par-
1.
is newspaper Le Figaro published a manifesto by the Italian poet
Phillip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988
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.
Radical Mix of Art & Life
But it is the movements which survive, oddly, here where we live
2.
parole in libertà means "words set free"
3.
selbst means "himself"
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 libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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."
captions & notes / 155
9.03
Words in Liberty Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, odd-
A Prologue to Futurism
ly, 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
Radical Mix of Art & Life
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 libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves
156 / microtype
1 Phillip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988
and those who came to jeer or cheer them. Wrote Marinetti selbst3
2
(circa 1915), "Everything of any value is theatrical."
3
parole in libertà means "words set free" selbst means "himself"
9.0 4 FUTURISM WAS FIRST announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. BUT IT IS THE movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. WHILE MARINETTI'S OPENING manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term—still resonant today—was parole in libertà2, by which poetry was to become "an uninterrupted sequence of new
1 Phillip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988 2 parole in libertà means "words set free" 3 selbst means "himself"
images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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."
captions & notes / 157
9.0 5 /// Words in Liberty A PROLOGUE TO FUTURISM /// Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.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. /// RADICAL MIX OF ART & LIFE /// But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. /// While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term—still resonant today—was parole in libertà2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, 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."
/
Phillip Meggs, History of Graphic
/
parole in libertà means "words set free"
/
selbst means "himself"
Design, Van Nostrand Reinhold, 1988
158 / microtype
9.0 6 WORDS IN LIBERTY
A PROLOGUE TO FUTURISM Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.† Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The 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. †Phillip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988
RADICAL MIX OF ART & LIFE But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term—still resonant today—was parole in libertà†, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst†† (circa 1915), "Everything of any value is theatrical." †parole in libertà means "words set free" ††selbst means "himself"
captions & notes / 159