NOT MY TYPE: Breaking up with bad type by Roxanne Townsend

NOT MY TYPE breaking up with bad type

ROXY TOWNSEND

5_RULES CHECK SHEET 6_TYPOGRAPHIC RULES 12_SPECIAL CHARACTERS 14_QUOTES AND APOSTROPHES 16_HYPHENS AND DASHES 18_HYPHENATION RULES 23_NUMERALS/FIGURES 27_SMALL CAPS 28_KERNING

I just feel like Iâ&#x20AC;&#x2122;m missing out on something.

32_COMBINING TYPEFACES 46_GRIDS STRUCTURES 54_LEGIBILITY 62_COLUMN WIDTH AND LEADING 68_JUSTIFICATION 76_PARAGRAPH BREAKS 92_HEADS AND SUBHEADS 94_CAPTIONS AND NOTES

contents

WE NEED TO TALK. type rules checksheet

ALWAYS _Use only one space between sentences. _Use real quotation marks. _Use real apostrophes. _Make sure the apostrophes are where they belong.

NEVER (IF YOU CAN HELP IT) _Hang the punctuation off the aligned edge.

_Never begin consecutive lines with the same word.

_Use en or em dashes, use consistently. _Kern all headlines where necessary. _Remedy widows and orphans.

_Never create more than three hyphenations in a row. _Never end consecutive lines with the same word.

_Keep the word spacing consistent. _Tighten up the leading in lines with all caps or with lines containing few ascenders and descenders. _Use a one-em first-line indent on all indented paragraphs. _Leave at least 2 characters on the line and 3 following.

_Never end lines with the words: the, of, at, a, by... _Never have too many hyphenations in any paragraph. _Never hyphenate or use line brakes within names and proper nouns. _Never hyphenate words in a headline or callout.

_Adjust the spacing between paragraphs. _Never justify the text on a short line. _Either indent the first line of paragraphs or add extra space between them but do not do both.

_Never leave only one line in a paragraph in the column or following.

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

_Never use the spacebar to align text, always set tabs and use the tab key.

_Use special characters when necessary, including superscript and subscript.

_Rarely combine two serif fonts on one page.

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

_Rarely combine two sans serif fonts on one page.

_Use accent marks if a correctly spelled word needs one.

_Rarely combine more than three typefaces on one page.

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

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

3_USE PROPER APOSTROPHE AND QUOTE MARKS Use true quotation marks and apostrophes instead of using inch marks and feet marks. Place all punctuations inside the quotation marks.

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

5_ADD LETTER SPACING TO CAPITALIZED TEXT AND SMALL CAPS Letterspacing is the amount of space between characters in a word. Some software programs refer to letterspacing as ‘tracking.’ Use positive number values (to about 2 or 3) to open up letterspacing to capitalized text and small caps, except when periods are used between characters.

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

7_USE CAPS PROPERLY With options given to you by almost any type family (bold, point size, etc) you will seldom need to use all caps to draw attention to your text. Not all typefaces are legible when set in all caps; esp. true for script and decorative typefaces. Short headlines may be the once exception to this rule. 8_USE COPYRIGHT, REGISTER, AND TRADEMARK MARKS PROPERLY The copyright, register, and trademark characters need to be reduced to work with body text. At times, depending on the typeface, you may need to reduce the mark between 50% and 70%. The goal is to match the x-height. The copyright mark should be approximately 70% of the surrounding text. Unlike the ™ symbol, the © should NOT be superscripted and should remain on the baseline. ™ is usually superscripted for the chosen font. ™ and ® are normally set higher then other marks. If you choose to superscript ®, reduce it to about 60% of the size.

type rules Itâ&#x20AC;&#x2122;s the little things that really add up.

Youâ&#x20AC;&#x2122;re not even trying.

9_ELLIPSIS CHARACTER Use the ellipsis character and NOT three periods. You can access the ellipsis by typing Option + : (colon). Allow a small amount of space before and after. However if it is not crowding the text, leave no space at all. 10. Avoid underlined text This was useful back in the days of the typewriter to draw attention to the text. With digital type and their families, you should not need to use underlined text. 10_INCREASE LINE SPACING TO IMPROVE LEGIBILITY IN BODY TEXT Line spacing (aka leading) refers to the space between lines of text. It is important for readability and appearance. Leading is measured from baseline to baseline. As a rule of thumb, allow leading that is 120% of the point size. For sans serif, you may need 130% or more. When setting headlines, solid leading (leading = point size, 12/12) or negative leading (leading =< point size, 12/10) may be appropriate. 11_BODY COPY SIZE Body text is set anywhere from 9-12 points. When you print text, it is usually larger than what it looked like on the screen. So, print out your text before finalizing your layout. Type studies will help you determine the proper size before you proceed with your layout. 12_ALTERING FONTS Don’t alter the original typeface by stretching or condensing the letters improperly. Certain type families provide you with a lot of flexibility, so you should not need to destroy/alter text. 13_LEGIBILITY OF FONTS Sans serif typefaces work well for headlines and to set text that is aligned to vertical/horizontal lines. Certain sans serif typefaces which are not very geometrical work well for body copy (i.e. Frutiger, Meta, Scala Sans, etc.)

14_DECREASE LINE LENGTH AND INCREASE MARGINS Line length is a measure of text on one line. Any measure between 45 and 75 characters is comfortable for single column widths. The ideal measure for body text length is 66 characters (counting both letters, punctuation, and spaces.) For multiple columns, a measure between 40 and 50 characters is ideal. 15_AVOID LETTERSPACING LOWERCASE BODY COPY Don’t letterspace body copy as it really hampers legibility. Use letterspacing when working with caps. small caps, numbers and display text where looser type spacing may increase legibility. 16_WORD SPACING SHOULD BE FAIRLY CLOSE For text meant for extended reading, the amount of space between words in a paragraph should be fairly close– about the width of a lowercase “i.” If the word spacing is too close, it appears as one giant word and legibility is decreased. Keep the spaces between words fairly thin, consistent and even! 17_IDEAL COLUMN WIDTH For single-column pages, 4.25 inches is ideal. For two-column width, columns can be as narrow as 2 inches. Turning on the hyphenation feature can improve word spacing.

18_JUSTIFICATION OF TEXT Justification can be appropriate in certain places. However, it can create certain problems such as rivers and word spacing. Adjusting size of margins, decreasing body copy size, turning on auto hyphenation and manually hyphenating the text are all examples of possible solutions. 19_CHOOSE THE ALIGNMENT THAT FITS Make sure the alignment chosen for all areas of text are legible and consistent with the design and guidelines. Leftaligned text is easier to read and set. Justified text is harder to set w/o inevitable word spacing problems. Rightaligned and centered are generally not used for body copy. 20_RULES OF HYPHENATION Don’t rely on the software to judge where hyphens should be placed. At the end of lines, leave at least two characters behind and take at least three forward. For example, “ele-gantly” is acceptable, but “elegant-ly” is not because it takes too little of the word to the next line. Avoid leaving the stub end of a hyphenated word or any word shorter then four letters as the last line of a paragraph. Avoid more then 3 consecutive hyphenated lines. Avoid hyphenating or breaking proper names and titles. Creating a non-breaking space before and after the name will ensure that the name will not break. 21_AVOID BEGINNING THREE CONSECUTIVE LINES WITH THE SAME WORD Since software programs deal with line breaks automatically based upon a number of variables, it is possible to have paragraphs with consecutive lines beginning with the same word. When this happens simply adjust the text to avoid/fix the problem.

22_ALWAYS SPELL CHECK Once you are finished with your design, spell check the text using both of the following: a. Use spell=check option that comes with the software you are using for the project. b. Print the document and read it. The monitor and design of the document will make text look perfect when it may not be. Even if text is given to you by a client, check it. Never ever assume that it is correct. Keep a dictionary close as well. 23_AVOID WIDOWS AND ORPHANS Widows are either single words alone on a line or single sentences alone on a new page. Orphans are single lines of copy alone at the end of a page. 24_KERNING IN HEADLINES Adjust the space between two particular letters to allow for more consistent negative space. 25_INDENTS In continuous text, mark all paragraphs after the first with an indent of at least one “em” (3 spaces). Do NOT use three spaces but rather use the tabs or indents option in your software. 26_ITEMS IN A SERIES Items in a series do not use a comma before the word “and.” (i.e., ‘peaches, apples and oranges.’)

USE CAPS PROPERLY STOP YELLING AT ME.

special characters

Not every character is special.

A LIST OF THE MOST OFTEN-USED SPECIAL CHARACTERS AND ACCENT MARKS.

1_Opening double quote ( “ ) Option+[

12_Trademark ( ™ ) Option+2

2_Closing double quote ( ” ) Option+Shift+[

13_Registered ( ® ) Option+R

3_Opening single quote ( ‘ ) Option+]

14_Degree symbol ( ° ) Option+Shift+8

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

ACCENT MARKS 4_Closing single quote; apostrophe ( ’ ) Option+Shift+]+:

15_Cent symbol ( ¢ ) Option+$

5_En dash ( – ) Option+Hyphen

16_Euro symbol ( € ) Option+Shift+2

6_Em dash ( — ) Option+Shift+Hyphen

17_Fraction bar ( ⁄ ) Option Shift+1

Remember, to set an accent mark over a letter, press the Option key and the letter, then press the letter you want under it. ´ Option+E ` Option+~ ¨ Option+U

7_Ellipsis* Option+;

18_Upside down exclamation mark ( ¡ ) Option+1

8_Bullet ( • ) Option+8

19_Upside down question mark ( ¿ ) Option+Shift+?

9_Ligature of f and i ( ﬁ ) Option+Shift+5

20_British pound ( £ ) Option+3

10_Ligature of f and l ( ﬂ ) Option+Shift+6

21_Lowercase cedilla ( ç ) Option+C

11_Copyright ( © ) Option+G

22_Uppercase cedilla ( Ç ) Option+Shift+C

˜ Option+N ˆ Option+I

quotes and apostrophes

QUOTES Use true quotation marks and apostrophes instead of using inch marks and feet marks. Place all punctuations inside the quotation marks. Use real quotation marks – never those grotesque generic marks that actually symbolize ditto/inch or foot marks: use “and” – not “and”. Most software applications will convert the typewriter quotes to the real quotes for you automatically as you type. Check the preferences for your application – you’ll find a check box to tell your application to automatically set something like “typographer’s quotes,” “smart quotes,” or “curly quotes.” Then as you type using the standard ditto key (“), the software will set the correct quotation marks for you. It is necessary to know how to set smart quotes/real quotes yourself because sometimes the software doesn’t do it or does it wrong.

Opening double quote ( “ ) Option+[

Closing double quote ( “ ) Option+Shift+]

Opening single quote ( ‘ ) Option+[

Closing single quote ( ‘ ) Option Shift+]

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

APOSTROPHE

Apostrophe ( ‘ ) Option+shift+]

“!#&” “?@!” People often are confused about where the apostrophe belongs. There are a couple of rules that work very well. _POSSESSIVES: Turn the phrase around. The apostrophe will be placed after whatever word you end up with. For example, in the phrase the boys’ camp, to know where to place the apostrophe say to yourself, “The camp belongs to the boys.” The phrase the boy’s camp says “The camp belongs to the boy.” “The big exception to this is “its.” “Its” used as a possessive never has an apostrophe! The word it only has an apostrophe as a contraction — “it’s” always means “it is” or “it has.” Always.It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes — and neither should its.

_CONTRACTIONS: The apostrophe replaces the missing letter. For example: ‘your’re’ always means ‘you are;’ the apostrophe is replacing the a from are. That’s an easy way to distinguish it from your as in your house and to make sure you don’t say: Your going to the store. As previously noted, it’s means “it is”; the apostrophe is indicating where the i is left out. Don’t means “do not”; the apostrophe is indicating where the letter o is left out. For omission of letters: In a phrase such as Rock ‘n’ Roll, there should be an apostrophe before and after the n, because the a and the d are both left out. And don’t turn the first apostrophe around — just because it appears in front of the letter does not mean you need to use the opposite single quote. An apostrophe is still the appropriate mark (not ‘n’).

In a phrase such as House o’ Fashion, the apostrophe takes the place of the f. There is not earthly reason for an apostrophe to be set before the o. In a phrase such as Gone Fishin’ the same pattern is followed — the g is missing. In a date when part of the year is left out, an apostrophe needs to indicate the missing year. In the 80s would mean the temperature; In the ’80s would mean the decade. (Notice there is no apostrophe before the s! Why would there be? It is not possessive, nor is it a contraction — it is simply plural.

LETâ&#x20AC;&#x2122;S TAKE A BREAK.

hyphens and dashes THE HYPHEN AND DASH DESERVE A LOT OF ATTENTION AS THEY ARE OFTEN MISUSED.

_HYPHENS (-) Hyphens are, first off, used as a symbol to break words. Although every software program has a setting for automatic hyphenation most designers will turn off this setting to avoid multiple hyphenation. The reason for manual hyphenation is that compound words are best divided into their components, as in infra-red or job-center. The next step is to hyphenate prefixes and suffices like pre-school. The second use of a hyphen is a trait d’union. A hyphen is added when two consonants or vowels are pronounced separately rather than as a diphthong, for instance in bowl-like or anti-intellectual.Finally, the hyphen is sometimes used in dates (9-8-2016) or phone numbers (785-666-2525) although full stops are more frequently used. (9.8.2016 or 785.666.2525). You might have been given text that uses a double hyphen (--) to indicate a dash. This is a typewriter convention because typewriters didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hyphen—we have a professional em dash, the long one, such as you see in this sentence. We also have an en dash, which is a little shorter than the em dash.

_EN DASH (–) Option+ -

An en dash is half of the em rule (the width of a capital N). The en dash is longer than the hyphen ash is used to demarcate a parenthetical thought or to indicate a sudden change of direction as in, for instance: ‘Unfortunately the document to be discussed – which you received via email – is no longer up to date’. Typically these dashes can be replaced by commas, or the phrase can be bracketed. Therefore it is very important to decide which option is best. If dashes frequently occur – thereby disturbing the reading comfort – using a comma might be a better option. If a sentence really needs to stand out, and if they are not used to open, dashes are the best choice. The en dash is used to indicate a range of values, such as those between dates, times and numbers to replace the word ‘to’:

An em is a unit of measure equal to the point size that you are using. The em dash is twice as long as the en dash—it’s about the size of a capital letter M in whatever size and typeface you’re using at the moment. This dash is often used in place of a colon or parentheses, or it might indicate an abrupt change in thought, or it’s used in a spot where a period is too strong and a comma is too weak. It is also used for attribution of text. —Mac is not a Typewriter Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Using two hyphens (or worse, one) where there should be an em dash makes your look very unprofessional. When using an—no space is used on either side.

1914 – 1918

_EM DASH (—)

May 2 – 8

6:30 – 8:45 A.M. Or in the meaning ‘from…to’ The New York – New Haven train. The en dash is also used:

– to indicate parenthetical thought

– as a replacement for ‘to’

– as a minus sign

– as this bullet sign

Option+shift+ -

SIZE MATTERS.

HYPHEN EN DASH – EM DASH —

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

HYPHENATION RULES : _Pay attention to how the text is read avoid widows (one word on the last line of a paragraph). _Avoid ending consecutive lines with the same word. _Avoid hyphenating or line brakes of names and proper nouns. _Leave a least 2 characters on the line and 3 following. _Avoid beginning consecutive lines with the same word. _Avoid ending lines with the words: the, of, at, a, by... _Never hyphenate a words in a headline and avoid hyphenation in a callout.

DON’T RELY ON THE SOFTWARE TO JUDGE WHERE HYPHENS SHOULD OCCUR. YOU’RE BETTER THAN THAT.

please donâ&#x20AC;&#x2122;t.

numerals LINE UP YOUR NUMERALS BY THE DECIMALS.

12 12.5 134 134.76 17 17.8567 1023 1023.4 323 323.12

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

Unlike lining figures, Oldstyle figures blend in without disturbing the color of the body copy. They also work well in headlines since they’re not as intrusive as lining figures. In fact, many people prefer them overall for most uses except charts and tables. It’s well worth the extra effort to track down and obtain typefaces with oldstyle figures; the fonts that contain them might well become some of your favorites. If the body text has a significant amount of numbers, research a font family where they are included. If 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. The numbers here appear clunky and large. They stick out like a sore thumb. Dear John, please call me at 438. 9762 at 3:00 to discuss marriage or write me at Route 916, zipcode 87505 Aligning numbers Dear John, please call me at 438. 9762 at 3:00 to discuss marriage or write me at Route 916, zipcode 87505

BAUER BODONI

1234567 GOUDY

1234567

SABON

1234567

890 890

7890

small caps Small caps are uppercase (capital) letters that are about the size of normal lowercase letters in any given typeface. Small caps are less intrusive when all uppercase appears within normal text or can be used for special emphasis. Computer programs can generate small caps for a any typeface, but those are not the same as true small caps. True small caps have line weights that are proportionally correct for the typeface, which means they can be used within a body of copy without looking noticeably wrong.. Use true small caps fonts. Avoid simply resizing capital letters or using the small caps feature in some programs. Instead use typefaces that have been specifically created as small caps. When setting text that contains acronyms, select a typeface with small caps as a family. Selecting small caps from the style menus is a poor choice because

the compute reduces the overall size of the type by 80%. This changes the stroke weight and the feel of the font. Expert sets in the Adobe Type Library have small caps options. Use small caps for acronyms. Set acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines. Use small caps for common abbreviations. Set common abbreviations such as AM or PM in small caps so they donâ&#x20AC;&#x2122;t overpower the accompanying text. Use small caps for A.M. and P.M.; space once after the number, and remember to use periods.

TYPEFACE

SMALL CAPS

FAKE SMALL CAPS

EXAMPLE

BAUER BODONI

Stop Yelling At Me.

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

MRS. EAVES

Stop Yelling At Me.

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

FILOSOFIA

Stop Yelling At Me.

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

SCALA

Stop Yelling At Me.

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

BASKERVILLE

Stop Yelling At Me.

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

LINOTYPE DIDOT

Stop Yelling At Me.

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

SCALA SANS

Stop Yelling At Me.

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

NEUTRA

Stop Yelling At Me.

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

META

Stop Yelling At Me.

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

I NEED SPACE.

kerning

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

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

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

Optical

WILL YOU JUST LOOK AT ME? Metrics

WILL YOU JUST LOOK AT ME?

WE ARENâ&#x20AC;&#x2122;T COMPATIBLE.

font combinations

Typeface: Bauer Bodoni Bold

36pt: Header

It’s Not You, It’s Me. Typeface: Bauer Bodoni Roman

18pt: Subhead

It’s not me, i t ’s y o u. Typeface: Futura Book

18/18pt: Intro Text, Pull Quotes

“A relationship, I think, is like a shark. You know? It has to constantly move forward or it dies. And I think what we got on our hands is a dead shark.” Typeface: Futura Light

9/12pt: Body Text

“We would have been all right if there hadn’t been any mess. But you can’t handle mess. You need everything neat and easy. I don’t know. Maybe you can’t love anybody. It was so much Buck. When Buck died, it was like you buried all your love with him, and I don’t understand that, I just don’t know, I don’t… maybe it wasn’t even Buck; maybe it was just you. Maybe, finally, it was the best of you that you buried. But whatever it was… I don’t know who you are. I don’t know what we’ve been playing at. So I was crying. Because I don’t know if I love you any more. And I don’t know what I’m going to do without that.”

Font Combination Rationale

The boldness of Bodoni contrasts with the geometric style of Futura.

Typeface: Futura Bold

36pt: Header

It’s Not You, It’s Me. Typeface: Futura Book

18pt: Subhead

I t’s not me , it ’s y o u. Typeface: Memphis Light

18/18pt: Intro Text, Pull Quotes

“A relationship, I think, is like a shark. You know? It has to constantly move forward or it dies. And I think what we got on our hands is a dead shark.” Typeface: Memphis Light

9/12pt: Body Text

Font Combination Rationale

Futura and Memphis are both somewhat whimsical and have a similar aesthetic despite having different classifications.

Typeface: Century Schoolbook Bold

36pt: Header

It’s Not You, It’s Me. Typeface: Century Schoolbook Roman

18pt: Subhead

It ’s not me , i t ’s yo u . Typeface: Avenir Book

18/18pt: Intro Text, Pull Quotes

“A relationship, I think, is like a shark. You know? It has to constantly move forward or it dies. And I think what we got on our hands is a dead shark.” Typeface: Avenir Book

9/12pt: Body Text

Font Combination Rationale

Century Schoolbook is a transitional font which complements the humanist and geometric aspects of Avenir.

Typeface: Scala Sans Bold

36pt: Header

It’s Not You, It’s Me. Typeface: Scala Sans Bold

18pt: Subhead

I t ’s not me, i t’ s you. Typeface: ITC New Baskerville Bold

18/18pt: Intro Text, Pull Quotes

“A relationship, I think, is like a shark. You know? It has to constantly move forward or it dies. And I think what we got on our hands is a dead shark.” Typeface: ITC New Baskerville Italic

9/12pt: Body Text

Font Combination Rationale

Scala’s boldness and tall x-height provide contrasting solid color with Baskerville’s dazzle.

Typeface: Akzidenz Grotesque Medium

36pt: Header

It’s Not You, It’s Me. Typeface: Akzidenz Grotesque Light

18pt: Subhead

It’s not me, i t ’ s yo u . Typeface: Mrs. Eaves Roman

18/18pt: Intro Text, Pull Quotes

“A relationship, I think, is like a shark. You know? It has to constantly move forward or it dies. And I think what we got on our hands is a dead shark.” Typeface: Mrs. Eaves Roman

9/12pt: Body Text

Font Combination Rationale

Akzidenz’ wide tracking complements the width of Mrs. Eaves.

YOUâ&#x20AC;&#x2122;RE GROTESQUE.

Typeface: Bookman Oldstyle Bold

36pt: Header

It’s Not You, It’s Me. Typeface: Bookman Oldstyle Roman

18pt: Subhead

It’s not me, it ’s y ou. Typeface: Univers 55 Roman

18/18pt: Intro Text, Pull Quotes

“A relationship, I think, is like a shark. You know? It has to constantly move forward or it dies. And I think what we got on our hands is a dead shark.” Typeface: Univers 45 Light

9/12pt: Body Text

Font Combination Rationale

The slab aspects of Bookman offer a whimsical counter to serious Univers.

Typeface: Garamond Bold

36pt: Header

It’s Not You, It’s Me. Typeface: Garamond Regular

18pt: Subhead

It’s no t me, it’s you . Typeface: Avenir Light

18/18pt: Intro Text, Pull Quotes

“A relationship, I think, is like a shark. You know? It has to constantly move forward or it dies. And I think what we got on our hands is a dead shark.” Typeface: Avenir Light

9/12pt: Body Text

Font Combination Rationale

Classy Garamond offers a traditional face while Avenir supports legibility.

WHO ARE YOU CALLING BEMBO?

Typeface: Bembo Bold

36pt: Header

It’s Not You, It’s Me. Typeface: Bembo Regular

18pt: Subhead

It’s not me, it ’s yo u . Typeface: Gill Sans Regular

18/18pt: Intro Text, Pull Quotes

“A relationship, I think, is like a shark. You know? It has to constantly move forward or it dies. And I think what we got on our hands is a dead shark.” Typeface: Gill Sans Regular

9/12pt: Body Text

“We would have been all right if there hadn’t been any mess. But you can’t handle mess.You need everything neat and easy. I don’t know. Maybe you can’t love anybody. It was so much Buck. When Buck died, it was like you buried all your love with him, and I don’t understand that, I just don’t know, I don’t… maybe it wasn’t even Buck; maybe it was just you. Maybe, finally, it was the best of you that you buried. But whatever it was… I don’t know who you are. I don’t know what we’ve been playing at. So I was crying. Because I don’t know if I love you any more. And I don’t know what I’m going to do without that.”

Font Combination Rationale

Bembo and Gill Sans both have dense color despite their different classifications.

Typeface: Trade Gothic Bold

36pt: Header

It’s Not You, It’s Me. Typeface: Trade Gothic Light

18pt: Subhead

I t ’s not me , it ’s y o u. Typeface: Belizio Regular

18/18pt: Intro Text, Pull Quotes

“A relationship, I think, is like a shark. You know? It has to constantly move forward or it dies. And I think what we got on our hands is a dead shark.” Typeface: Belizio Regular

9/12pt: Body Text

Font Combination Rationale

The dramatic style of Trade Gothic plays well with the whimsy of Belizio.

Typeface: Mrs. Eaves Bold

36pt: Header

It’s Not You, It’s Me. Typeface: Mrs. Eaves Regular

18pt: Subhead

It’ s n o t me , i t ’s y ou . Typeface: Meta Plus Normal

18/18pt: Intro Text, Pull Quotes

“A relationship, I think, is like a shark. You know? It has to constantly move forward or it dies. And I think what we got on our hands is a dead shark.”

Typeface: Meta Plus Normal

9/12pt: Body Text

Font Combination Rationale

Mrs. Eaves and Meta offer a classic combination of serif and sans serif.

the grid

THE GRID SYSTEM IS AN AID, NOT A GUARANTEE... ONE MUST LEARN HOW TO USE THE GRID; IT IS AN ART THAT REQUIRES PRACTICE.” —JOSEF MÜLLER-BROCKMANN

Grid Structures When Designing a layout and working with text and/or images the use of a grid is essential, as it is the basis on which information is organized and clarified, ensuring legibility. The grid provides a framework where text, image and space can be combined in a cohesive manner. A grid subdivides a page vertically and horizontally into margins, columns, inter-column spaces, lines of type, and spaces between blocks of type and images. These subdivisions form the basis of a modular and systematic approach to the layout, particularly for multi-page documents, making the design process quicker, and ensuring visual consistency between related pages. At its most basic, the sizes of a 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 determined by hierarchy—captions smaller than body text and so on—column widths by optimum word counts of eight to ten words to the line, and overall layout by the need to group related items. This all sounds rather formulaic, and easy. But designers whose grids produce dynamic or very subtle results take these rules as a starting point only, developing flexible structures in which their sensibility can flourish. Grids often need to be designed to give more flexibility than the single column of text per page (Jan Tschichold’s grid). This is due to to a change in our reading patterns. Grid structures have to accommodate a greater variety of material such as photographs, illustrations, headings, captions, references, charts; they need to be more complicated than a grid using only text and may utilize more modules. The design of the grid had to be relevant to the purpose.

TSCHICOLD’S GRID Jan Tschichold was an influential designer in the 20th century who determined standards for typography and editorial design, among other things. Tschichold’s grid utilizes the Golden Ratio and Fibonacci numbers to dictate the proportions of text fields to exist in the most pleasing manner aesthetically and functionally. The following breakup letter from history utilizes a Tschichold’s grid layout.

FROM EDITH WHARTON TO W. MORTON FULLERTON, APRIL 1910 Don’t think I am “fâchée,” as you said yesterday; but I am sad & bewildered beyond words, & with all my other cares & bewilderments, I can’t go on like this! When I went away I thought I shd perhaps hear once from you. But you wrote me every day — you wrote me as you used to three years ago! And you provoked me to answer in the same way, because I could not see for what other purpose you were writing. I thought you wanted me to write what was in my heart! Then I come back, & not a word, not a sign. You know that here it is impossible to exchange two words, & you come here, & come without even letting me know, so that it was a mere accident that I was at home. You go away, & again dead silence. I have been back three days, & I seem not to exist for you. I don’t understand. If I could lean on some feeling in you — a good & loyal friendship, if there’s nothing else! — then I could go on, bear things, write, & arrange my life… Now, ballottée perpetually between one illusion & another by your strange confused conduct of the last six months, I can’t any longer find a point de repère. I don’t know what you want, or what I am! You write to me like a lover, you treat me like a casual acquaintance! Which are you — what am I? Casual acquaintance, no; but a friend, yes. I’ve always told you I foresaw that solution, & accepted it in advance. But a certain consistency of affection is a fundamental part of friendship. One must know à quoi s’en tenir. And just as I think we have reached that stage, you revert abruptly to the other relation, & assume that I have noticed no change in you, & that I have not suffered or wondered at it, but have carried on my life in serene insensibility until you chose to enter again suddenly into it. I have borne all these inconsistencies & incoherences as long as I could, because I love you so much, & because I am so sorry for things in your life that are difficult & wearing — but I have never been capricious or exacting, I have never, I think, added to those difficulties, but have tried to lighten them for you by a frank & faithful friendship. Only now a sense of my worth, & a sense also that I can bear no more, makes me write this to you. Write me no more such letters as you sent me in England. It is a cruel & capricious amusement. — It was not necessary to hurt me thus! I understand something of life, I judged you long ago, & I have accepted you as you are, admiring all your gifts & your great charm, & seeking only to give you the kind of affection that should help you most, & lay the least claim on you in return. But one cannot have all one’s passionate tenderness demanded one day, & ignored the next, without reason or explanation, as it has pleased you to do since your enigmatic change in December. I have had a difficult year — but the pain within my pain, the last turn of the screw, has been the impossibility of knowing what you wanted of me, & what you felt for me — at a time when it seemed natural that, if you had any sincere feeling for me, you should see my need of an equable friendship — I don’t say love because that is not made to order! — but the kind of tried tenderness that old friends seek in each other in difficult moments of life. My life was better before I knew you. That is, for me, the sad conclusion of this sad year. And it is a bitter thing to say to the one being one has ever loved d’amour.

NOTHING IS REALLY PERFECT. ASYMMETRICAL GRID Asymmetrical grids modify Tschicold’s grid or grids using the golden ratio in order to create a more interesting or dynamic layout. Though they are asymmetrical, it is important to stay consistent so nobody thinks your book is unorganized.

FROM ANAÏS NIN TO C. L. (LANNY) BALDWIN, 1945 My poor Lanny, how blind you are! A woman is jealous only when she has nothing, but I who am the most loved of all women, what can I be jealous of? I gave you up long ago, as you well know, also I refused you the night you wept-I only extended the friendship as I told you then until you found what you wanted-When you did I withdrew it merely because I have no time for dead relationships. The day I discovered your deadness-long ago-my illusion about you died and I knew you could never enter my world, which you wanted so much. Because my world is based on passion, and because you know that it is only with passion that one creates, and you know that my world which you now deride because you couldn’t enter it, made Henry [Miller] a great writer,

because you know the other young men you are so jealous of enter a whole world by love and are writing books, producing movies, poems, paintings, composing. I am in no need of “insisting” upon being loved. I’m immersed and flooded in this. That is why I am happy and full of power and find friendship pale by comparison. But in the middle of this fiery and marvellous give and take, going out with you was like going out with a priest. The contrast in temperature was too great. So I waited for my first chance to break-not wanting to leave you alone. You ought to know my value better than to think I can be jealous of the poor American woman who has lost her man to me continually since I am hereAnaïs

13 2 1 3

1 5

GOLDEN RATIO The golden ratio is based on the Fibonnacci sequence. By definition, the first two numbers in the Fibonacci sequence are either 1 and 1, or 0 and 1, depending on the chosen starting point of the sequence, and each subsequent number is the sum of the previous two. Some twentieth-century artists and architects, including Le Corbusier and DalĂ, have proportioned their works to approximate the golden ratioâ&#x20AC;&#x201D;especially in the form of the golden rectangle, in which the ratio of the longer side to the shorter is the golden ratioâ&#x20AC;&#x201D;believing this proportion to be aesthetically pleasing. The golden ratio appears in some patterns in nature, including the spiral arrangement of leaves and other plant parts.

COLUMN GRID Column grids are a simple organization method that creates consistent column widths among all page elements including body copy, callouts, headlines, captions, and even the other visual elements on the page such as the iimages. They only use vertical divisions.

GET YOUR TOGETHER

MODULAR GRID Similar but more â&#x20AC;&#x153;restrictiveâ&#x20AC;? than the column grid, the modular grid utilizes veritcal and horizontal divisions. This establishes consistency with spacing as well as provides venues for hanglines to further unify and organize text and content on the page. The effectiveness of the modular grid relies heavily on use of the baseline grid.

SH!T

BASELINE GRID Baseline grids serve to anchor all (or nearly all) layout elements to a common rhythm. Create a baseline grid by choosing the type size and leading of your text, such as 10-pt Scala Pro with 12 pts leading (10/12). Avoid auto leading so that you can work with whole numbers that multiply and divide cleanly. Use this line space increment to set the baseline grid in your document preferences. Adjust the top or bottom page margin to absorb any space left over by the baseline grid. Determine the number of horizontal page units in relation to the number of lines in your baseline grid. Count how many lines fit in a full column of text and then choose a number that divides evenly into the line count to create horizontal page divisions. A column with forty-two lines of text divides neatly into seven horizontal modules with six lines each. If your line count is not neatly divisible, adjust the top or bottom page margins to absorb the leftover lines.

NONE OF THIS MAKES SENSE.

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

x-height

X xh g Xx h g Univers Adrian Frutiger

Gotham Tobias Frere-Jones

We would have been all right if there hadn’t been any mess. But you can’t handle mess. You need everything neat and easy. I don’t know. Maybe you can’t love anybody. It was so much Buck. When Buck died, it was like you buried all your love with him, and I don’t understand that, I just don’t know, I don’t... maybe it wasn’t even Buck; maybe it was just you. Maybe, finally, it was the best of you that you buried. But whatever it was... I don’t know who you are. I don’t know what we’ve been playing at. So I was crying. Because I don’t know if I love you any more. And I don’t know what I’m going to do without that.

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

X x hg

Futura Paul Renner

Whitney Tobias Frere-Jones

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

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

HE WAS TOO SHORT FOR ME.

X xhg Xxhg Archer Tobias Frere-Jones and Jonathan Hoefler

Memphis Rudolf Wolf

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

X xhg

Xx hg

Bauer Bodoni Bauer Type Foundry

Bembo Francesco Griffo

We would have been all right if there hadn’t been any mess. But you can’t handle mess.You need everything neat and easy. I don’t know. Maybe you can’t love anybody. It was so much Buck. When Buck died, it was like you buried all your love with him, and I don’t understand that, I just don’t know, I don’t... maybe it wasn’t even Buck; maybe it was just you. Maybe, finally, it was the best of you that you buried. But whatever it was... I don’t know who you are. I don’t know what we’ve been playing at. So I was crying. Because I don’t know if I love you any more. And I don’t know what I’m going to do without that.

8.5/12 x-height: short character width: average color: regular

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

X x hg

Xxhg

Meta Plus Book Erik Spiekermann

Akzidenz Grotesque Berthold Type Foundry

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

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

Xxhg

X xh g

Big Caslon William Caslon

Garamond Claude Garamond

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

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

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

I’m spreading myself thin. I need more space. I feel trapped. You’re being really short with me.

Find your happy medium. Ten words per line is reasonable and acceptable for column width, unless we’re talking novels.

I know I’m rambling, so I guess I’ll try to wrap it up, but don’t you think maybe we should give this a try? We’ve been at this so long, let’s just keep going, just through summer, just until fall. Let’s just see where this goes and where we could go and see how we grow as people.

HAVING THE RIGHT AMOUNT OF CHARACTERS ON EACH LINE IS KEY TO THE READABILITY OF YOUR TEXT.

RIVERS In typography, rivers, or rivers of white, are visually unattractive gaps appearing to run down a paragraph of text. They can occur with any spacing, though they are most noticeable with wide word spaces caused by either full text justification or monospaced fonts. You can spot rivers easily by flipping your page over and looking at the text upside-down.

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

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

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

CRY ME A RIVER.

QUIT LEADING ME ON.

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

NEGATIVE LEADING

8.5x6.5

SET SOLID LEADING

8.5x8.5

I’m not trying to lead you on. I just don’t know what I want. I’m at a weird time in my life. Sorry.

NORMAL LEADING

8.5x12

I’m not trying to lead you on. I just don’t know what I want. I’m at a weird time in my life. Sorry.

EXTREME LEADING

8.5x16

I’m not trying to lead you on. I just don’t know what I want. I’m at a weird time in my life. Sorry.

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

SPACING IS TOO WIDE

MINIMUM: 80%

DESIRED: 100%

MAXIMUM: 133%

TOO WIDE

MINIMUM: 85%

RIVERS 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.

DESIRED: 110%

MAXIMUM: 150%

BIG RIVER

MINIMUM: 60%

DESIRED: 90%

MAXIMUM: 100%

TOO WIDE

MINIMUM: 95%

DESIRED: 110%

MAXIMUM: 120%

RAGGED EDGE, SOMEHOW

MINIMUM: 95%

DESIRED: 100%

MAXIMUM: 110%

IF YOU ARE ONLY ASKED TO MAKE THE TEXT READABLE ON THE PAGE ASK THE FOLLOWING QUESTIONS:

WHO IS TO READ IT? SOMEONE THAT WANTS TO READ IT? SOMEONE THAT HAS TO READ IT? HOW WILL THEY READ IT? IN PASSING? FOCUSED? QUICKLY? NEAR? FAR?

THEY SAY THAT BREAKING UP IS HARD TO DO

paragraph breaks Paragraph breaks set a rhythm for the reader. The breaks have a relationship with the column of text as well as the page margins. A break may be introduced as an indentation, as a space or both. The over all page feel will be influenced by your choice.

DON’T INDENT FIRST PARAGRAPH

EXDENT 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 freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like 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.”

RULE 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.”

INDENT 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.”

I’M SICK OF YOUR RULES.

ENTIRE PARAGRAPH INDENT

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.”

BLOCK PARAGRAPHS ARE FLUSH LEFT AND ARE SEPARATED BY EXTRA LEADING, NOT A FULL RETURN

ALL CAPS, COLORED FIRST WORDS

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-ofthe-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like 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.”

NEVER HIT TWO RETURNS BETWEEN PARAGRAPHS.

COLORED UNDERSCORE

ITALIC MIDDLE PARAGRAPH

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.”

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 everywhere. 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.”

THE INDENT SHOULD BE GREATER THAN OR EQUAL TO THE LEADING

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

But 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.”

TEXT WRAPPED BULLET/BLOCK 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.”

THERE YOU GO AGAIN, BLOCKING THINGS OUT.

subheads

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 AND 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.”

IT’S NOT WHAT YOU SAID, IT’S HOW YOU SAID IT.

RADICAL MIX OF ART & LIFE

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But 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 freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like 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.”

Words in Liberty

A PROLOGUE TO FUTURISM

wordsinliberty A P RO LO G U E Futurism was first announced on February 20, TO FUTURISM 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 But it is the movements which survive, OF ART & LIFE

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. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

words in liberty A P RO LO G U E TO FUTURISM

RADICAL MIX OF ART & LIFE

WORDSINLIBERTY 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.

MIX OF ART AND LIFE

WORDS IN LIBERTY

a prologue to futurism

radical mix of art & life

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

GET OUT OF YOUR HEAD.

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

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

WORDS IN LIBERTY

RADICAL MIX OF ART AND LIFE But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the moveDesign, Van ments, then their sense of art as an life itself. All of which, Nostrand Reinhold, as futurism, had come sharply into focus by the start of 1988 the world war: a first radical mix of art and life, the epito2. parole in me in the poplar mind of an avant-garde. It was, on both its liberta = words set Russian & Italian sides, the first great “art” movement led free (liberty) by poets; and if its means now sometimes seem exaggerat3. selbst = ed or unripe in retrospect, they carry within them the seed himself 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.” 1. Philip Meggs,

History of Graphic

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

MIX OF ART AND LIFE

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

3. selbst = himself

WORDS IN LIBERTY

a prologue to futurism

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

radical mix of art & life

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

3. selbst = himself

words in liberty A P RO LO G U E TO FUTURISM

RADICAL MIX OF ART & LIFE

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

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

3. selbst = himself

RADICAL MIX OF ART & LIFE

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But 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 freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like 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.”

Words in Liberty

A PROLOGUE TO FUTURISM

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

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.”

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

RADICAL MIX OF ART & LIFE

A P RO LO G U E TO FUTURISM

wordsinliberty

101

Iâ&#x20AC;&#x2122;LL GET OVER IT.

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Designed by Roxy Townsend Class project for Typographic Systems at the University of Kansas, Spring 2016. The text was compiled from the following sources: Elements of Typographic Style by Robert Bringhurst Getting it Right with Type: the Doâ&#x20AC;&#x2122;s and Donâ&#x20AC;&#x2122;ts of Typography by Victoria Square Mac is Not A Typewriter by Robin Williams.

Illustrations by Jarek Puczel. This totally awesome book is not to be sold to the public and to only be used by the designer for their reference and student design portfolio.