Type book for issuu by Sydney Aaranson

NEW ZEALAND A Designer’s Guide

Roads of North New Zealand Island

MAP KEY state highway

national park

touring route

alt. route

main truck railway

CONTENTS Rules Check Sheet ...11 Typographic Rules ...19 Grids Structures...32 Column Width...44 Leading...47 Hyphenation Rules...56 Justification...62 Legibility...75 Color...80 Special Characters ... 96 Quotes and Apostrophes ... 98 Hyphens and Dashes ... 102 Combining Typefaces... 113 Paragraph Breaks ... 145 Small Caps ... 161 Numerals/Figures ... 164 Kerning... 171 Headers and Subheads ... 174 Captions and Notes... 187 Font Specs... 199

ONE

CHAPTER ONE Traveling to Paihia This first chapter will travel through the North city of Paihia, New Zealand. This city is full of tourism. Just as a tourist must start their trip by learning about the city and culture that they are traveling around, designers must start by learning the basic rules of design. This chapter focuses on the basics of design. Paihia is the main tourist town in the Bay of Islands in the far north of the North Island of New Zealand. It is located close to the historic towns of Russell and Kerikeri, 60 kilometres north of Whangarei. Missionary Henry Williams named the mission station Marsdenâ&#x20AC;&#x2122;s Vale and eventually the Paihia became the accepted name of the settlement there. Nearby to the north is the historic settlement of Waitangi, and the residential and commercial areas of Haruru Falls/Watea are to the west. The port and township of Opua, and the small settlement of Te Haumi, lie to the south. The population of Paihia was 1770 in the 2006 Census, a decrease of 69 from 2001.

Rules Check Sheet... 4 Typographic Rules...6 Special Characters...8 7

TOUR PAI HIA

â&#x20AC;&#x153; The kiwi is a national symbol of New Zealand, and the association is so strong that the term Kiwi is used internationally as the colloquial demonym for New Zealanders.â&#x20AC;?

TYPE RULES • Use only one space between sentences. • Use real quotation marks.

• Use real apostrophes.

• Make sure the apostrophes are where they belong. • Hang the punctuation off the aligned edge. • Use en or em dashes, use consistently. • Kern all headlines where necessary. • Never use the spacebar to align text, always set tabs and use the tab key. • Leave no widows or orphans. • Avoid more than 3 hyphenations in a row. • Avoid too many hyphenations in any paragraph. • Avoid hyphenating and line brakes of all names and proper nouns. • Leave a least 2 characters on the line and 3 following.

• Avoid beginning consecutive lines with the same word.

• Avoid ending consecutive lines with the same word. • Avoid ending lines with the words: the, of, at, a, by... • Never hyphenate a words in a headline and avoid hyphenation in a callout. • Never justify the text on a short line. • Keep the word spacing consistent. • Tighten up the leading in lines with all caps or with few ascenders and descenders. • Use a one-em first-line indent on all indented paragraphs. • Adjust the spacing between paragraphs. • Either indent the first line of paragraphs or add extra space between them – not both. • Use a decimal or right-aligned tab for the numbers in numbered paragraphs. • Never have one line in a paragraph in the column or following. • Never combine two serif fonts on one page. • Rarely combine two sans serif fonts on one page. • Rarely combine more than three typefaces on one page. • Use the special characters whenever necessary, including super- and subscript. • Spend the time to create nice fraction or chose a font that has fractions. • If a correctly spelled word needs an accent mark, use it.

NATIVE NEW

Kiwi (pronounced /kiË?wiË?/) or kiwis are flightless birds

native to New Zealand, in the genus Apteryx and family Apterygidae. At around the size of a domestic chicken, kiwi are by far the smallest living ratites (which also consist of ostriches, emus, rheas, and cassowaries), and lay the largest egg in relation to their body size of any species of bird in the world. DNA sequence comparisons have yielded the surprising conclusion that kiwi are much more closely related to the extinct Malagasy elephant birds than to the moa with which they shared New Zealand.

ZEALAND Common places where kiwis live in New Zealand

TWO

CHAPTER TWO Traveling to Auckland This second chapter will travel through the North city of Auckland, New Zealand. This city is referred to as the “city of sails”. Just as a sailor must have all of the skills of sailing in order to have a successful boat, designers must know the ropes to the rules in order to be successful. This chapter focuses on the next steps of the basics of design. Auckland, in the North Island of New Zealand, is the largest and most populous urban area in the country. Auckland has a population of 1,454,300 - 32 percent of New Zealand’s population. It is part of the wider Auckland Region, which includes the rural areas and towns north and south of the urban area, plus the islands of the Hauraki Gulf, resulting in a total population of 1,570,500 that is governed by the Auckland Council. Auckland also has the largest Polynesian population of any city in the world. In Maori, Auckland’s name is Tāmaki Makaurau and the adaptation of Auckland, to suit Maori phonetic rules, is karana.

Rules Check Sheet... 4 Typographic Rules...6 Special Characters...8 15

THE CITY OF

SAILS 17

Donâ&#x20AC;&#x2122;t be knotty

FOLLOW THE RULES 1. Insert only a single space after all punctuation Inserting two spaces after a period was common when using a typewriter. Monospace typefaces were designed to occupy the same amount of space no matter the width of the character. Therefore, two spaces were needed to identify the end of a sentence and the beginning of another sentence. With the introduction of the Mac and digital type, characters are designed proportionately, which allows for the correct practice of using one space after all punctuation.

2. Use proper ‘em’ dashes, ‘en’ dashes, and hyphens An em is a unit of measure equal to the point size that you are using. An em dash is a type of punctuation used to offset clauses in a sentence or to indicate an abrupt change in thought. An en dash is equal to half the length of an em dash. En dashes are used to denote duration (time.) 3. Use proper quote and apostrophe marks

Use true quotation marks and apostrophes instead of using inch marks and feet marks. Place all punctuations inside the quotation marks.

4. Use True Small Caps

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

5. Add letter spacing to capitalized text and small caps

Letterspacing is the amount of space between characters in a word. Some software programs caller letterspacing tracking. Use positive number values (to about 2 or 3) to open up letterspacing to capitalized text and small caps, except when periods are used between characters.

6. Use old style figures when appropriate

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

7. Use caps properly

With options given to you by almost any type family (bold, point size, etc) you will seldom need to use all caps to draw attention to your text. Not all typefaces are legible when set in all caps; esp. true for script and decorative 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.

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.

Sailboats by Auckland, 14/3/16

The term “posh” is commonly used in New Zealand to describe a wealthy person, however the word originated when the trunks of wealthy sailing passengers carried the label “POSH,” which stood for “Portside Out Starboard Home.”

Hidden Beach, 14/3/16

10. Increase line spacing to improve readability in body text

Line spacing (aka leading) refers to the space between lines of text. It is important for readability and appearance. Leading is measured from baseline to baseline. As a rule of thumb, allow leading that is 120% of the point size. For sans serif, you may need 130% or more. When setting headlines, solid leading (leading = point size, 12/12) or negative leading (leading =< point size, 12/10) may be appropriate.

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

Donâ&#x20AC;&#x2122;t alter the original typeface by stretching or condensing the letters improperly. Certain type families provide you with a lot of flexibility, so you should not need to destroy/alter text.

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

Donâ&#x20AC;&#x2122;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. Left-aligned text is easier to read and set. Justified text is harder to set w/o inevitable word spacing problems. Right-aligned and centered are generally not used for body copy.

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.’)

THREE

CHAPTER THREE Traveling to Tauranga This third chapter is dedicated to Tauranga’s love for rugby. The sport of rugby is very physical. Players get knocked down every few minutes and must jump back up to keep the game going. Designers sometimes get knocked down by critiques on their work, but must get up and continue to strive for the end goal. The New Zealand national men’s rugby union team, officially nicknamed the All Blacks, represents New Zealand in men’s rugby union, which is regarded as the country’s national sport. The All Blacks are three time winners, and current holders of the Rugby World Cup, having won the inaugural competition in 1987, then won consecutive titles in 2011 and 2015, and are the 2015 World Rugby Team of the Year. They have won over 76% of their test matches and are the leading test match points scorers of all time. Their win ratio puts them amongst the most successful teams of any sport in history.

Rules Check Sheet... 4 Typographic Rules...6 Special Characters...8 29

HAR BOURS

SIDE CITY 31

GRID STRUCTURES When Designing a layout and working with text and/or images the use of a grid is essential, as it is the basis on which information is organized and clarified, ensuring legibility. The grid provides a framework were text, image and space can be combined into a cohesive manner. A grid subdivides a page vertically and horizontally into margins, columns, inter-column spaces, lines of type, and spaces between blocks of type and images. These subdivisions form the basis of a modular and systematic approach to the layout, particularly for multi-page documents, making the design process quicker, and ensuring visual consistency between related pages. At its most basic, the sizes of a gridâ&#x20AC;&#x2122;s component parts are determined by ease of reading and handling. From the sizes of type to the overall page or sheet size, decision-making is derived from physiology and the psychology of perception as much as by aesthetics. Type sizes are generally determined by hierarchyâ&#x20AC;&#x201D;captions smaller than body text and so onâ&#x20AC;&#x201D;column widths by optimum word counts of eight to ten words to the line, and overall layout by the need to group related items. This all sounds rather formulaic, and easy. But designers whose grids produce dynamic or very subtle results take these rules as a starting point only, developing flexible structures in which their sensibility can flourish. Grids often need to be designed to give more flexibility than the single column of text per page (Jan Tschichold's grid). This is due to to a change in our reading patterns. Grid structures have to accommodate a greater variety of material such as photographs, illustrations, headings, captions, references, charts; they need to be more complicated than a grid using only text and may utilize more modules. The design of the grid had to be relevant to the purpose.

“ The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice.” —Josef Müller-Brockmann 33

1) Tschichold's grid / symmetrical grid

2) The Golden Section

A Fibonacci spiral approximates the golden spiral using quarter-circle arcs inscribed in squares of integer Fibonacci-number side, shown for square sizes 1, 1, 2, 3, 5, 8, 13, 21, and 34.

In geometry, a golden spiral is a logarithmic spiral whose growth factor is Ď&#x2020;, the golden ratio. That is, a golden spiral gets wider (or further from its origin) by a factor of Ď&#x2020; for every quarter turn it makes.

3) Column grid

4) Modular Grid

6) Baseline Grid

7) Asymmetrical grid

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

Rivers In typography, rivers, or rivers of white, are visually unattractive gaps appearing to run down a paragraph of text. They can occur with any spacing, though they are most noticeable with wide word spaces caused by either full text justification or monospaced fonts. Widows and Orphans Never leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program youâ&#x20AC;&#x2122;re working in. Sometimes widening a margin just a hair will do it. But it must be done. Widows and orphans on a page are wrong. Widow When a paragraph ends and leaves fewer than seven characters (not words, characters) on the last line, that line is called a widow. Worse than leaving one word 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.

Warriors Rugby game, 20/3/16

LEADING Line spacing is the vertical distance between lines of text. Leading is the hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them accurately. Leading is specified in points and refers now days to the space between lines of a text block. Leading introduces space into the text block and allows characters to "breathe" so that the information is easy to read. To achieve a balanced and and well-spaced text block, leading usualy has a higher point size than the text it is associated with. 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 spacing.

NEGATIVE Rugby league football, usually called rugby league, league, rugby or football , is a full contact sport played by two teams of thirteen players on a rectangular field. One of the two codes of rugby football, it originated in England in 1895 as a split from the Rugby Football Union over the issue of payments to players. Its rules gradually changed with the purpose of producing a faster, more entertaining game for spectators. It has been cited as the toughest, most physically demanding of team sports. In rugby league, points are scored by carrying the ball and touching it to the ground beyond the opposing team's goal line; this is called a try, and is the primary method of scoring. The opposing team attempts to stop the attacking side scoring points by tackling the player carrying the ball. In addition to tries, points can be scored by kicking goals. After each try, the scoring team gains a free kick to try at goal with a conversion for further points. Kicks at goal may also be awarded for penalties, and field goals can be attempted at any time. Rugby league is a popular sport in Northern England, the states of Queensland and New South Wales in Australia, New Zealand, southwest France and Papua New Guinea, where it is the national sport. The European Super League and Australasian National Rugby League (NRL) are the premier club competitions. Rugby league is played internationally, predominantly by European, Australasian and Pacific Island countries, and is governed by the Rugby League International Federation. The first Rugby League World Cup was held in France in 1954; the current holders are Australia. 10pt/8pt

Rugby league football, usually called rugby league, league, rugby or football , is a full contact sport played by two teams of thirteen players on a rectangular field. One of the two codes of rugby football, it originated in England in 1895 as a split from the Rugby Football Union over the issue of payments to players. Its rules gradually changed with the purpose of producing a faster, more entertaining game for spectators. It has been cited as the toughest, most physically demanding of team sports. In rugby league, points are scored by carrying the ball and touching it to the ground beyond the opposing team's goal line; this is called a try, and is the primary method of scoring. The opposing team attempts to stop the attacking side scoring points by tackling the player carrying the ball. In addition to tries, points can be scored by kicking goals. After each try, the scoring team gains a free kick to try at goal with a conversion for further points. Kicks at goal may also be awarded for penalties, and field goals can be attempted at any time. Rugby league is a popular sport in Northern England, the states of Queensland and New South Wales in Australia, New Zealand, southwest France and Papua New Guinea, where it is the national sport. The European Super League and Australasian National Rugby League (NRL) are the premier club competitions. Rugby league is played internationally, predominantly by European, Australasian and Pacific Island countries, and is governed by the Rugby League International Federation. The first Rugby League World Cup was held in France in 1954; the current holders are Australia. 10 pt/8 pt

SOLID Rugby league football, usually called rugby league, league, rugby or football , is a full contact sport played by two teams of thirteen players on a rectangular field. One of the two codes of rugby football, it originated in England in 1895 as a split from the Rugby Football Union over the issue of payments to players. Its rules gradually changed with the purpose of producing a faster, more entertaining game for spectators. It has been cited as the toughest, most physically demanding of team sports. In rugby league, points are scored by carrying the ball and touching it to the ground beyond the opposing team's goal line; this is called a try, and is the primary method of scoring. The opposing team attempts to stop the attacking side scoring points by tackling the player carrying the ball. In addition to tries, points can be scored by kicking goals. After each try, the scoring team gains a free kick to try at goal with a conversion for further points. Kicks at goal may also be awarded for penalties, and field goals can be attempted at any time. Rugby league is a popular sport in Northern England, the states of Queensland and New South Wales in Australia, New Zealand, southwest France and Papua New Guinea, where it is the national sport. The first Rugby League World Cup was held in France in 1954; the current holders are Australia. 10 pt/10 pt

Rugby league football, usually called rugby league, league, rugby or football , is a full contact sport played by two teams of thirteen players on a rectangular field. One of the two codes of rugby football, it originated in England in 1895 as a split from the Rugby Football Union over the issue of payments to players. Its rules gradually changed with the purpose of producing a faster, more entertaining game for spectators. It has been cited as the toughest, most physically demanding of team sports. In rugby league, points are scored by carrying the ball and touching it to the ground beyond the opposing team's goal line; this is called a try, and is the primary method of scoring. The opposing team attempts to stop the attacking side scoring points by tackling the player carrying the ball. In addition to tries, points can be scored by kicking goals. After each try, the scoring team gains a free kick to try at goal with a conversion for further points. Kicks at goal may also be awarded for penalties, and field goals can be attempted at any time. Rugby league is a popular sport in Northern England, the states of Queensland and New South Wales in Australia, New Zealand, southwest France and Papua New Guinea, where it is the national sport. The first Rugby League World Cup was held in France in 1954; the current holders are Australia. 10 pt/10 pt

NORMAL Rugby league football, usually called rugby league, league, rugby or football , is a full contact sport played by two teams of thirteen players on a rectangular field. One of the two codes of rugby football, it originated in England in 1895 as a split from the Rugby Football Union over the issue of payments to players. It has been cited as the toughest, most physically demanding of team sports. In rugby league, points are scored by carrying the ball and touching it to the ground beyond the opposing team's goal line; this is called a try, and is the primary method of scoring. After each try, the scoring team gains a free kick to try at goal with a conversion for further points. Kicks at goal may also be awarded for penalties, and field goals can be attempted at any time. Rugby league is a popular sport in Northern England, the states of Queensland and New South Wales in Australia, New Zealand, southwest France and Papua New Guinea, where it is the national sport. Rugby league is played internationally, predominantly by European, Australasian and Pacific Island countries, and is governed by the Rugby League International Federation. the current holders are Australia. 10 pt/12 pt

Rugby league football, usually called rugby league, league, rugby or football , is a full contact sport played by two teams of thirteen players on a rectangular field. One of the two codes of rugby football, it originated in England in 1895 as a split from the Rugby Football Union over the issue of payments to players. It has been cited as the toughest, most physically demanding of team sports. In rugby league, points are scored by carrying the ball and touching it to the ground beyond the opposing team's goal line; this is called a try, and is the primary method of scoring. After each try, the scoring team gains a free kick to try at goal with a conversion for further points. Kicks at goal may also be awarded for penalties, and field goals can be attempted at any time. Rugby league is a popular sport in Northern England, the states of Queensland and New South Wales in Australia, New Zealand, southwest France and Papua New Guinea, where it is the national sport. Rugby league is played internationally, predominantly by European, Australasian and Pacific Island countries, and is governed by the Rugby League International Federation. the current holders are Australia. 10 pt/12 pt

EXTREME Rugby league football, usually called rugby league,

Rugby league football, usually called rugby league, league, rugby or football , is a

league, rugby or football , is a full contact sport played

full contact sport played by two teams of thirteen players on a rectangular field.

by two teams of thirteen players on a rectangular field.

One of the two codes of rugby football, it originated in England in 1895 as a split

One of the two codes of rugby football, it originated

from the Rugby Football Union over the issue of payments to players. It has been

in England in 1895 as a split from the Rugby Football

cited as the toughest, most physically demanding of team sports.

Union over the issue of payments to players. It has

In rugby league, points are scored by carrying the ball and touching it to the

been cited as the toughest, most physically demanding

ground beyond the opposing team's goal line; this is called a try, and is the primary

of team sports.

method of scoring. The opposing team attempts to stop the attacking side scoring

In rugby league, points are scored by carrying

points by tackling the player carrying the ball. In addition to tries, points can be

the ball and touching it to the ground beyond the

scored by kicking goals. Kicks at goal may also be awarded for penalties, and field

opposing team's goal line; this is called a try, and is

goals can be attempted at any time.

the primary method of scoring. The opposing team

Rugby league is a popular sport in Northern England, the states of Queensland

attempts to stop the attacking side scoring points by

and New South Wales in Australia, New Zealand, southwest France and Papua New

tackling the player carrying the ball. In addition to

Guinea, where it is the national sport. The first Rugby League World Cup was held

tries, points can be scored by kicking goals. Kicks at

in France in 1954; the current holders are Australia.

goal may also be awarded for penalties, and field goals can be attempted at any time. Rugby league is a popular sport in Northern England, the states of Queensland and New South Wales in Australia, New Zealand, southwest France and Papua New Guinea, where it is the national sport. The first Rugby League World Cup was held in France in 1954; the current holders are Australia.

10 pt/12 pt

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 hyphenating or line brakes of names and proper nouns • leave a least 2 characters on the line and 3 following • avoid beginning consecutive lines with the same word • avoid ending consecutive lines with the same word • avoid ending lines with the words: the, of, at, a, by... • never hyphenate a words in a headline and avoid hyphenation in a callout

Warriors Rugby game, 20/3/16

FOUR

CHAPTER FOUR Traveling to Rotorua This fourth chapter is dedicated to Rotoua’s love for the haka. A haka is a traditional ancestral war cry, dance or challenge of the Maori people of New Zealand which the New Zealand national rugby union team, the “All Blacks”, and a number of other New Zealand national teams perform before their international matches. Some non-New Zealand sports teams have also adopted the haka. The haka, just like design, takes hard work and strength. Rotorua, a town set on its namesake lake on New Zealand’s North Island, is a cultural centre for the indigenous Maori people. Te Puia cultural centre, in the Whakarewarewa valley, has geysers and thermal mud pools fueled by the area’s geothermal activity, and houses the New Zealand Maori Arts and Crafts Institute. The Pohutu geyser here erupts many times daily. The name Rotorua comes from Maori, the full name being Te Rotorua-nui-a-Kahumatamomoe; roto means lake and rua two – Rotorua thus meaning ‘Second lake’.

Rules Check Sheet... 4 Typographic Rules...6 Special Characters...8 59

"Ka Mate" Ringa pakia! Uma tiraha! Turi whatia! Hope whai ake! Waewae takahia kia kino nei hoki! Ka mate, ka mate Ka ora' Ka ora' Ka mate, ka mate Ka ora Ka ora " Tinei te tangata pihuruhuru Nina ne I tiki mai whakawhiti terÄ A Upane! Ka Upane! A Upane Kaupane" Whiti teirÄ ,! Hi! Slap the hands against the thighs! Puff out the chest. Bend the knees! Let the hips follow! Stomp the feet as hard as you can! You die, You die, I live, I live You die, You die, I live, I live, This is the hairy man ...Who caused the sun to shine again for me Up the ladder, Up the ladder Up to the top The sun shines!

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.

110, 5, 95. A bit spaced.

100, 0, 120. Pretty normal.

100, 3, 75. Pretty normal.

100, 0, 50. Pretty normal.

133, 0, 80. A bit off.

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

FIVE

CHAPTER FIVE Traveling to Wellington This fifth chapter is dedicated to traveling around Wellington. This is the last city on the north island, and it is one of the most well known cities of New Zealand. It has been ranked as one of the best cities to visit and has great culinary diversity. For dishes that have a distinctly New Zealand style, there are lamb, pork and cervena (venison), salmon, crayfish (lobster), Bluff oysters, kiwifruit and tamarillo; and the national dessert of pavlova. Remembering from the previous chapter that New Zealanders are often called “kiwis”, this chapter focuses on the kiwifruit. Many times designers must use puns or representations that are unusual to relate to their audience. Wellington is the capital city and second most populous urban area of New Zealand, with 398,300 residents. It is located at the south-western tip of the North Island, between Cook Strait and the Rimutaka Range. It is the major population centre of the southern North Island, and is the administrative centre of the Wellington Region, which also includes the Kapiti Coast and Wairarapa. Wellington is the world’s southernmost capital city of a sovereign state.

Rules Check Sheet... 4 Typographic Rules...6 Special Characters...8 77

W WE

WINDY ELLING TON 79

Xxh g

Xxhg

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

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

Futura Robert Slimbach

Arial Robin Nicholas

X xh g Xxhg ITC Avant Garde Gothic Herb Lubalin

Gotham Hoefler and Frere-Jones

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

X xhg

Xxh g

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

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

X x hg

Xxhg

Calibri Lucas de Groot

Avenir Robert Slimbach

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

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

Franklin Gothic Morris Fuller Benton

72 point

Baskerville John Baskerville

72 point

Xx hg Meta Serif Book Erik Spiekermann

Xxhg Memphis Rudolf Wolf

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

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

X x hg Xxhg Sabon Jan Tschichold

Helvetica Max Miedinger

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

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

X xhg Xxhg

72 point

Walbaum Justus Erich Walbaum

Palatino Hermann Zapf

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

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

X xh g

Xx hg

Optima Hermann Zapf

Akzidenz Grotesk Ferdinand Theinhardt

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

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

72 point

X xhg mrs eaves Zuzana Licko

X xhg ITC New Baskerville John Baskerville

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

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

X xhg

Xxhg

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

Times New Roman Stanley Morrison

Garamond Pro Claude Garamond

X xhg Xxh g

72 point

ITC Century Linn Boyd Benton

Baskerville John Baskerville

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

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

Xxhg

Xxh g

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

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

Big Caslon William Caslon

72 point

Myriad Pro Robert Slimbach

Roads of South New Zealand Island

MAP KEY

SIX

CHAPTER SIX Traveling to Kaikoura This fifth chapter is dedicated to traveling around Kaikoura. This is one of the northern cities on the south island. Kaikouraâ&#x20AC;&#x2122;s community cares about its enviroment and is taking steps to protect it. The enviroment is important for many reasons, and is traveled often in New Zealand by hikers. The silver fern is a plant that is common around New Zealand and can be seen everywhere. It ties the country together just as a designer must tie their work together to make it flow. Kaikoura has a rich history and culture to explore. There is plenty to choose from and lots of activities that cater for all abilities marine or land based. The local speciality is crayfish, you will be spoilt for choice whether you are eating in or dining out. Few places in the world can boast of such nature wonders as those offered by land and sea in Kaikoura. The seaside settlement is the most northern district in the Canterbury region located on the east coast of the South Island (an ideal location for both north and south bound travellers). 2.5 hours drive from Christchurch, 1.5 hours from Blenheim and only 2 hours from Picton - the gateway to the North Island. Rules Check Sheet... 4 Typographic Rules...6 Special Characters...8 91

HIKE KAIKO

OURA 93

SHORTCUTS ” Option [ opening double quote ” Option Shift [ closing double quote ’ Option ] opening single quote ’ Option Shift ] closing single quote; apostrophe – Option Hyphen en dash … Option Shift Hyphen em dash x Option ; ellipsis* • Option 8 bullet (easy way to remember as it's the asterisk key) ﬁ Option Shift 5 ligature of f and i ﬂ Option Shift 6 ligature of f and l

¡ Option 1 (one) ¿ Option Shift ? £ Option 3 ç Option c Ç Option Shift c

Use copyright, register, and trademark marks properly. The copyright, register, and trademark characters need to be reduced to work with body text. At times, depending on the typeface, you may need to reduce the mark between 50% and 70%. The goal is to match the x-height. The copyright mark should be approximately 70% of the surrounding text. Unlike the ™ symbol, the © should NOT be superscripted and should remain on the baseline. ™ is usually superscripted for the chosen font. ™ and ® are normally set higher then other marks. If you choose to superscript ®, reduce it to about 60% of the size.

Ellipsis Character

Accent Marks

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

QUOTES AND APOSTROPHES Use true quotation marks and apostrophes instead of using inch marks and feet marks. Place all punctuations inside the quotation marks. Use real quotation marks – never those grotesque generic marks that actually symbolize ditto/inch or foot marks: use “and” – not "and ". Most software applications will convert the typewriter quotes to the real quotes for you automatically as you type. Check the preferences for your application – you’ll find a check box to tell your application to automatically set something like “typographer’s quotes,” “smart quotes,” or “curly quotes.” Then as you type using the standard ditto key (“), the software will set the correct quotation marks for you. It is necessary to know how to set smart quotes/real quotes yourself because sometimes the software doesn't do it or does it wrong. Quotes: Opening double quote: “ Type: Option [ Closing double quote: ’’ Type: Option Shift ] Opening single quote: ' Type: Option [ Closing single quote: ’ Type: Option Shift ] Examples: Bridge Clearance: 16’ 7’’ The young man stood 6’ 2’’ The length of the wall is 153 9’’. Apostrophe Apostrophe: ’ Type: Option shift ] As as aside, people often are confused about where the apostrophe belongs. There are a couple of rules that work very well. For possessives: Turn the phrase around. The apostrophe will be placed after whatever word you end up with. For example, in the phrase the boys’ camp, to know where to place the apostrophe say to yourself, “The camp belongs to the boys.” The phrase the boy’s camp says “The camp belongs to the boy.”

“The big exception to this is “its.” “Its” used as a possessive never has an apostrophe! The word it only has an apostrophe as a contraction — “it’'s” always means “it is” or “it has.” Always. It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes — and neither should its. For contractions: The apostrophe replaces the missing letter. For example: your’re always means you are; the apostrophe is replacing the a from are. That’s an easy way to distinguish it from your as in your house and to make sure you don’t say: Your going to the store. As previously noted, it’s means “it is”; the apostrophe is indicating where the i is left out. Don’t means “do not”; the apostrophe is indicating where the o is left out. For omission of letters: In a phrase such as Rock ‘n‘ Roll, there should be an apostrophe before and after the n, because the a and the d are both left out. And don’t turn the first apostrophe around — just because it appears in front of the letter does not mean you need to use the opposite single quote. An apostrophe is still the appropriate mark (not ‘n’). In a phrase such as House o’ Fashion, the apostrophe takes the place of the f. There is not earthly reason for an apostrophe to be set before the o. In a phrase such as Gone Fishin’ the same pattern is followed — the g is missing. In a date when part of the year is left out, an apostrophe needs to indicate the missing year. In the 80s would mean the temperature; In the ’80s would mean the decade. (Notice there is no apostrophe before the s! Why would there be? It is not possessive, nor is it a contraction — it is simply plural).

SEVEN

CHAPTER SEVEN Traveling to Greymouth This seventh chapter is dedicated to the south island city of Greymouth. Greymouth is the largest town in the West Coast region in the South Island of New Zealand, and the seat of the Grey District Council. The population of the whole Grey District is 13,650, which accounts for 42% of the West Coast’s inhabitants. The map of New Zealand puts Greymouth into perspective. Although it is such a large city, it is quite small compared to the country and the country of New Zealand is quite small compared to other countries of the world. Designers must remember this comparison and know that when they get frusterated over little items on a project, they need to step back and look at the big picture. The town is located at the mouth of the Grey River, on a narrow coastal plain close to the foot of the Southern Alps. In clear weather, Aoraki / Mount Cook can be clearly seen to the south from near the town. The mouth of the river divides the town into three areas: Blaketown, close to the river’s mouth on the south bank; Karoro, to the southeast, separated from Blaketown by a series of small estuarine lakes; and Cobden, formerly a separate town, on the river’s north bank. Rules Check Sheet... 4 Typographic Rules...6 Special Characters...8 101

HYPHENS The hyphen and the dash deserve lot of attentions as they are often misused. They come in a variety pf sizes. hyphen en dash – em dash —

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 bee given text that uses a double hyphen • to indicate a dash. This is a typewriter convention because typewriters didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hyphen—we have a professional em dash, the long one, such as you see in this sentence. We also have an en dash, which is a little shorter than the em dash. En Dash (–) option -

An en dash is half of the em rule (the width of a capital N).

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

The end says is used to indicate a range of values, such as those between dates, times and numbers and approximately replace the word ‘to’: 1914 – 1918 May 2 – 8 6:30 – 8:45 A.M. or in the meaning ‘from…to’ the New York – New Haven train. – the en dash is used to indicate parenthetical thought – as a replacement for the word ‘to’ – in the meaning ‘from…to’ - as a minus sign – as a bullet sign

103

Em Dash (—) option shift An em is a unit of measure equal to the point size that you are using. The em dash is twice as long as the en dash—it’s about the size of a capital letter M in whatever size and typeface you’re using at the moment. This dash is often used in place of a colon or parentheses, or it might indicate an abrupt change in thought, or it’s used in a spot where a period is too strong and a comma is too weak. It is also used for attribution of text. —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.

107

EIGHT

CHAPTER EIGHT Traveling to Christchurch This seventh chapter is dedicated to the south island city of Christchurch. Christchurch is a garden city on the east coast of New Zealandâ&#x20AC;&#x2122;s South Island, set on the Canterbury Plains. Flat-bottomed punts glide on the Avon River, which runs through the city centre. On its banks are cycling paths, the green expanse of Hagley Park and the Christchurch Botanic Gardens. In 2010 and 2011, 2 major earthquakes destroyed many city-centre buildings, and restoration work continues. In 2016 New Zealand had a vote to see if their flag should be changed to something new. The people ended up voting to keep the old flag. This relates to design because sometimes a new design is not the better one. The flag features a Blue Ensign defaced with four stars of the Crux Australis in red, outlined in white. The flag of New Zealand is a defaced Blue Ensign with the Union Flag in the canton, and four red stars with white borders to the right. The starsâ&#x20AC;&#x2122; pattern represents the asterism within the constellation of Crux, the Southern Cross.

Rules Check Sheet... 4 Typographic Rules...6 Special Characters...8

109

111

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

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

113

Typeface: ITC Century Bold

36pt: Header

New Zealand Typeface: Futura Medium

18pt: Subhead

D E C I DE S TO KE E P T H E I R F L AG Typeface: ITC Century Book

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: ITC Century Book

9pt: Body Text

The judges weighed 10,292 options — including a flightless kiwi bird firing lasers from its eyes — and the country spent two years thinking about it. But in the end, New Zealanders chose decisively to keep their century-old flag, a blue ensign with Britain’s Union Jack in the upper left corner and the four stars of the Southern Cross in red on the right. Preliminary results of a nationwide postal vote, which pitted the incumbent against the final challenger — a flag known as the Silver Fern (Black, White and Blue) — showed on Thursday that 56.6 percent had voted to keep the existing flag flying, despite the assertion by Prime Minister John Key that it symbolized a colonial era whose time had passed.

Font Combination Rational

These two fonts work together because...the rounded fonts have just enough contrast to stand out from each other without being too overwhelming.

Typeface: Times New Roman Bold

36pt: Header

New Zealand Typeface: Univers 45 Light

18pt: Subhead

DE C I DE S TO K E E P T H E IR F L AG Typeface: Times New Roman Regular

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Times New Roman Regular

9/12pt: Body Text

Font Combination Rational

These two fonts work together because...the different sizes of line weight help the reader to not be overwhelmed. The serif font at first glance is a bit crowded, so the crispness of the sans serif helps to make the page more legible.

115

Typeface: Minon Pro Bold

36pt: Header

New Zealand Typeface: Helvetica Regular

18pt: Subhead

DE CI DE S TO KE EP T H EIR F L A G Typeface: Minon Pro Regular

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Minon Pro Regular

9pt: Body Text

Font Combination Rational

These two fonts work together because... the thin lines on the serif font match the

Typeface: ATVeljovic

36pt: Header

New Zealand Typeface: Berthod

18pt: Subhead

D E C I D E S TO K E E P T H E I R F L AG Typeface: Times New Roman Regular

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: ATVeljovic

9/12pt: Body Text

Font Combination Rational

These two fonts work together because...the different sizes of the weights help to contrast each other while the roundness in both typefaces makes them similar so they go together but still stand out from each other.

117

Typeface: Meta Serif Book

36pt: Header

New Zealand Typeface: Gujarati

18pt: Subhead

D E C ID E S TO K E E P T H E I R F L A G Typeface: Meta Serif Book

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Meta Serif Book

9pt: Body Text

Font Combination Rational

These two fonts work together because... they are both subtle and don’t contrast against each other harshly.

Typeface: Berthold

36pt: Header

New Zealand Typeface: Univers 55 Roman

18pt: Subhead

DE C I DE S T O K E E P T H E IR F L A G Typeface: Berthold

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Berthold

9/12pt: Body Text

Font Combination Rational

These two fonts work together because...the artsy boldness of the header is simplified by the sans serif typeface.

119

121

Typeface: Mongolian Bati

36pt: Header

New Zealand Typeface: Helvetica Regular

18pt: Subhead

DE CI DE S TO KE EP T H EIR F L A G Typeface: Mongolian Bati

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Mongolian Bati

9pt: Body Text

Font Combination Rational

These two fonts work together because... the thin lines on the serif font match the

Typeface: Superclarendon

36pt: Header

New Zealand Typeface: Telugu

18pt: Subhead

DECI DES TO K E E P T H E I R F L A G Typeface: Superclarendon

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Superclarendon

9/12pt: Body Text

These two fonts work together because...the round overdone shapes contrast against the simplified sans serif font.

123

Typeface: Memphis

36pt: Header

New Zealand Typeface: Guildsans

18pt: Subhead

D E C ID E S TO K E E P T H E I R F L AG Typeface: Memphis

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Memphis

9pt: Body Text

These two fonts work together because... the bold lines go together but are not static.

Typeface: Serifa

36pt: Header

New Zealand Typeface: Futura Medium

18pt: Subhead

D EC I D ES T O K E E P TH E I R F L A G Typeface: Serifa

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Serifa

9/12pt: Body Text

Font Combination Rational

These two fonts work together because...the thin stokes of the fonts go well together without overwhelming the viewer.

125

Typeface: Mrs. Eaves

36pt: Header

New Zealand Typeface: Hammer

18pt: Subhead

DE C I DE S T O KE E P T H E I R F L AG Typeface: Mrs. Eaves

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Mrs. Eaves

9pt: Body Text

Font Combination Rational

These two fonts work together because...both typefaces have curved lines but the difference of thickness helps them to stand out from each other.

Typeface: Volta

36pt: Header

New Zealand Typeface: Syntax

18pt: Subhead

DE C I DE S TO K E E P T H E IR F L AG Typeface: Volta

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Volta

9/12pt: Body Text

These two fonts work together because... the simplicity contrasts the complex serif font.

127

Typeface: Aldus

36pt: Header

New Zealand Typeface: Arial

18pt: Subhead

DECIDE S TO K E E P T H E I R F LA G Typeface: Aldus

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Aldus

9pt: Body Text

Font Combination Rational

These two fonts work together because... the thin lines on the serif font match the

Typeface: Archer

36pt: Header

New Zealand Typeface: Arial

18pt: Subhead

DE CI DE S TO K EE P T H E IR F L AG Typeface: Archer

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Archer

9/12pt: Body Text

Font Combination Rational

These two fonts work together because...the blockiiness of the font contrast to the roundness of the sans serif font.

131

Typeface: Janson

36pt: Header

New Zealand Typeface: Guild sans

18pt: Subhead

D E C ID E S TO K E E P T H E I R F L AG Typeface: Janson

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Janson

9pt: Body Text

Font Combination Rational

These two fonts work together because... the thin lines on the serif font match the sans serif ones, but the shapes of the figures help them to stand out from each other.

Typeface: Administrator

36pt: Header

New Zealand Typeface: Source Sans Pro

18pt: Subhead

DE CIDE S TO KE E P T H E I R F L AG Typeface: Administrator

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Administrator

9/12pt: Body Text

Font Combination Rational

These two fonts work together because...the thick and thin strokes contrast against each other to really pop.

133

Typeface: Optima

36pt: Header

New Zealand Typeface: Gurmukhi

18pt: Subhead

DE C IDE S T O K EEP TH EI R FL AG Typeface: Minon Pro Regular

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Minon Pro Regular

9pt: Body Text

Font Combination Rational

These two fonts work together because... they are both a bit decorative so they go together.

Typeface: ATBramley Bold

36pt: Header

New Zealand Typeface: Tahoma

18pt: Subhead

DE C I DE S TO K E E P T H E I R F LA G Typeface: ATBramley light

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: ATBramley light

9/12pt: Body Text

Font Combination Rational

These two fonts work together because...the playful serif font is subdued by the simple sans serif font.

135

Typeface: Modern

36pt: Header

New Zealand Typeface: GuildSans

18pt: Subhead

D E C ID E S TO K E E P T H E I R F L AG Typeface: Modern

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Modern

9pt: Body Text

Font Combination Rational

These two fonts work together because... the single stroke weight is a nice contrast to the multi stroke weights.

Typeface: Weiss Bold

36pt: Header

New Zealand Typeface: Tamil

18pt: Subhead

D E CI D E S TO K EE P T H E IR F L A G Typeface: Weiss Regular

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Weiss Regular

9/12pt: Body Text

Font Combination Rational

These two fonts work together because...the boldness of the serif font contrasts against the sans serif thin font.

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Typeface: Berthold Baskerville Regular

36pt: Header

New Zealand Typeface: AT Aura

18pt: Subhead

D EC ID ES TO K EEP TH E I R FLAG Typeface: Berthold Baskerville Bold

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Berthold Baskerville Regular

9pt: Body Text

Font Combination Rational

These two fonts work together because... the thin lines on the serif font match the

Typeface: Times New Roman Bold

36pt: Header

New Zealand Typeface: TW Cen

18pt: Subhead

D EC ID ES TO K E E P T H E I R F L AG Typeface: Times New Roman Regular

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Times New Roman Regular

9/12pt: Body Text

Font Combination Rational

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Typeface: Museo Slab

36pt: Header

New Zealand Typeface: Helvetica Regular

18pt: Subhead

DE CI DE S TO KE EP T H EIR F L A G Typeface: Museo

18pt: Intro Text, Pull Quotes

Prime Minister John Key of New Zealand announced that despite having over 10,000 options, citizens have voted to stick with their current flag. Typeface: Museo

9pt: Body Text

Font Combination Rational

These two fonts work together because... the thin lines on the serif font match the

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NINE

CHAPTER NINE Traveling to Mt Cook Mount Cook is the highest mountain in New Zealand. Its height since 2014 is listed as 3724m (12,218 ft), down from 3,764 metres (12,349 ft) before December 1991, due to a rockslide and subsequent erosion. It lies in the Southern Alps, the mountain range which runs the length of the South Island. A popular tourist destination, it is also a favourite challenge for mountain climbers. Aoraki / Mount Cook consists of three summits, from South to North the Low Peak (3,593 metres (11,788 ft)), Middle Peak (3,717 metres (12,195 ft)) and High Peak. The summits lie slightly south and east of the main divide of the Southern Alps, with the Tasman Glacier to the east and the Hooker Glacier to the west. Just as someone who travels to the mountains must adjust to the climate, a designer must adjust during each project to fit the clientâ&#x20AC;&#x2122;s needs. The koru is a spiral shape based on the shape of a new unfurling silver fern frond and symbolizing new life, growth, strength and peace. It is an integral symbol in Maori art, carving and tattoos. The circular shape of the koru helps to convey the idea of perpetual movement while the inner coil suggests a return to the point of origin. Rules Check Sheet... 4 Typographic Rules...6 Special Characters...8 143

MT. C

FIND COOK 145

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

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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 Fu turism 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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-ofthe-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

149

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 Fu turism 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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. •But 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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announcefd 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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

153

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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

155

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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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TEN

CHAPTER TEN Traveling to Timaru Timaru is a major port city in the southern Canterbury region of New Zealand, located 157 kilometres southwest of Christchurch and about 196 kilometres northeast of Dunedin on the eastern Pacific coast of the South Island. The Timaru District, a territorial authority of 49,850 people in and around Timaru City (37,205), includes a prosperous agricultural hinterland with links to smaller rural communities such as Pleasant Point (1,310), Temuka (4,780), and Geraldine (2,904). The town of Waimate is about 43 kilometres to the south just off the main highway to Oamaru and Dunedin. The Timaru urban area is the second largest city in the Canterbury Region, after Christchurch. Agriculture in New Zealand is a very common trade. Just as a farmer must tend to their crops, a designer must tend to their project and keep focused on it. There is about 30 million sheep in New Zealand. That is seven sheep to every person who lives there. Yes, there are more sheep than people in New Zealand.

Rules Check Sheet... 4 Typographic Rules...6 Special Characters...8 159

7: SHEEP TO PEOPLE RATIO OF NEW ZEALAND

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this is small caps. THIS IS NOT SMALL CAPS.

SMALL CAPS Small caps are uppercase (capital) letters that are about the size of normal lowercase letters in any given typeface. Small caps are less intrusive when all uppercase appears within normal text or can be used for special emphasis. Computer programs can generate small caps for a any typeface, but those are not the same as true small caps. True small caps have line weights that are proportionally correct for the typeface, which me and that they can be used within a body of copy without looking noticeably wrong. Use 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 don't overpower the accompanying text. Use small caps for a.m. and p.m.; space once after the number, and use periods. Small Caps: Harriet, an FBI agent, turned on cnn to get the dirt on the cia before going to bed at 9:30 pm. Not Small Caps: Harriet, an fbi agent, turned on cnn to get the dirt on the cia before going to bed at 9:30 pm. Fonts with small caps: Serifs: Bodoni, Mrs. Eaves, Goudy, Bauer, Granjon, Sabon Sans Serifs: Priori Sans, Scala Sans, Nuetra

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NUMERALS/ FIGURES 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.

12 134 17 1023 323

12.5 134.76 17.8567 1023.4 323.12

New Zealand yachtsmen have won more than 60 world titles. There are more than 120 sailing clubs are around New Zealand and it is the #1 water sport of Auckland.

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However, Oldstyle figures 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. Fonts with Oldstyle figures: Serif: Aldus (Example: Hello 2001), Caslon (Example: Hello 2001), Linotype (Example: Hello 2001) Sans Serif: Bodega (Example: Hello 2001), Berthold Akzidenz Grotesque (Example: Hello 2001), ChollaWide (Example: Hello 2001) Unlike lining figures, Oldstyle figures blend in without disturbing the color of the body copy. They also work well in headlines since theyâ&#x20AC;&#x2122;re not as intrusive as lining figures. In fact, many people prefer them overall for most uses except charts and tables. Itâ&#x20AC;&#x2122;s well worth the extra effort to track down and obtain typefaces with oldstyle figures; the fonts that contain them might well become some of your favorites. If the body text has a significant amount of numbers, research a font family where they are included. If 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. Use of oldstyle numbers: Dear John, please call me at 438. 9762 at 3:00 to discuss marriage or write me at Route 916, zipcode 87505 Use of aligning numbers: Dear John, please call me at 438. 9762 at 3:00 to discuss marriage or write me at Route 916, zipcode 87505

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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 font's kerning table, optical kerning assesses the shapes of all characters and adjusts the spacing wherever needed. Some graphic designers apply optical kerning to headlines and metric kerning to text. You can make this process efficient and consistent by setting kerning as part of your character styles.

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TEN

CHAPTER ELEVEN Traveling to Wanaka Wanaka, a resort town on New Zealand’s South Island, is set on the southern end of its namesake lake with views of snowcapped mountains. It’s the gateway to the Southern Alps’ Mount Aspiring National Park, a wilderness of glaciers, beech forests and alpine lakes. Treble Cone and Cardrona ski resorts are near the park. Just outside the town is the outdoor maze and sculpture gallery of Puzzling World. Just as the landscape of Wanaka is diverse and the people who live there must adapt to different climates, a designer must be diverse in their work and adapt to different clients. One of the bright sides of being in a diverse enviroment, is having a diverse population of animals. The Australasian swamphen (Porphyrio melanotus) is a species of swamphen occurring in eastern Indonesia, the Moluccas, Aru and Kai Islands, as well as in Papua New Guinea and Australia. It is also found in New Zealand, where it is known as the Pukeko, a term derived from the Maori language. The Australasian swamphen previously was considered a subspecies of the purple swamphen.

Rules Check Sheet... 4 Typographic Rules...6 Special Characters...8 175

HEADERS, SUBHEADERS, AND CROSSHEADS

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RADICAL MIX OF ART AND LIFE

A PROLOGUE TO FUTURISM

WORDS IN LIBERTY

WORDS IN LIBERTY A prologue to futurism

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 Fu turism 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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-ofthe-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

179

WORDS IN LIBERTY A PROLOGUE TO FUTURISM

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 Fu turism 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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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 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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

181

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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

183

WORDS IN LIBERTY A prologue to futurism

Radical mix of art and life

WORDS IN LIBERTY Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the 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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

A prologue to futurism

Radical mix of art and life

185

Radical mix of art and life

A prologue to futurism

WORDS IN LIBERTY Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.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 Fu turism 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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-ofthe-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

187

CAPTIONS AND NOTES 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.

189

Radical mix of art and life

A prologue to futurism

WORDS IN LIBERTY Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.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 Fu turism 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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-ofthe-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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

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

3. selbst

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

191

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 1. Philip Meggs, History of Graphic Deand glorified contemporary life, mainly by emsign, Van Nostrand Reinhold, 1988 phasizing 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 Fu turism 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 libert`a2, by which poetry was to be- 2. parole in liberta = words set free come "an uninterrupted sequence of new images… (also known as liberty) (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedomof-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), 3. selbst “Everything of any value is theatrical.”

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 libert`a2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

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

193

WORDS IN LIBERTY A prologue to futurism 1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988

Radical mix of art and life

2. parole in liberta = words set free (also known 3. selbst

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

RADICAL MIX OF ART AND LIFE

A PROLOGUE TO FUTURISM

WORDS IN LIBERTY

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

3. selbst

195

TWELVE

CHAPTER TWELVE Traveling to Wanaka Wanaka, a resort town on New Zealand’s South Island, is set on the southern end of its namesake lake with views of snowcapped mountains. It’s the gateway to the Southern Alps’ Mount Aspiring National Park, a wilderness of glaciers, beech forests and alpine lakes. Treble Cone and Cardrona ski resorts are near the park. Just outside the town is the outdoor maze and sculpture gallery of Puzzling World. Just as hikers on mountains must pace themselves in order to make it to the top without being exsausted, designers must pace themselves on projects. This is so that they can be completed on time. Tramping, trekking, hiking, strolling, rambling, yomping, whatever you prefer to call it, this is the place to be a happy wanderer to your heart’s content.Whether it’s walking to a winery or mastering a mountain, there’s literally something for every fitness level and incentive! The Lake Wanaka region’s reputation for great walking sees the Te Araroa trail bisecting Wanaka and Hawea on its journey between New Zealand’s far north and deep south.

Rules Check Sheet... 4 Typographic Rules...6 Special Characters...8 197

FONT SPECS 201

CLASSIFICATION:

Archer

MaxogGdQRst BOOK

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

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

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

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

BOLD ITALIC

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

CLASSIFICATION: GROTESQUE

Akzidenz Grotesk

MaxogGdQRst ROMAN

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

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

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

203

CLASSIFICATION: TRANSITIONAL

Baskerville

MxaogGdQRt REGULAR

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

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

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

BOLD

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

CLASSIFICATION: TRANSITIONAL

Bau

MxaogGdQRt REGULAR

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

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

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

205

CLASSIFICATION: SLAB SERIF

Belizio

MxagGdQrR REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 ITALIC

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 BOLD

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

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

CLASSIFICATION: GROTESQUE

Bell Gothic

MxagGdQrRI LIGHT

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

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

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

207

CLASSIFICATION: OLD STYLE

Bembo

MxnogGdQrRst REGULAR

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

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

BOLD

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

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

CLASSIFICATION: NEW TRANSITIONAL

Bookman

MxaogGdQrR REGULAR

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4

BOLD ITALIC

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

209

CLASSIFICATION: MODERN (DIDONE)

Bodoni

MxaogGdQrRst REGULAR

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

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

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

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

Caslon

CLASSIFICATION: TRANSITIONAL

MxanogGdQRt REGULAR

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

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

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

SWASH

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

A a Bb C c D d Ee F f G g H h Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr S s Tt Uu Vv Ww X x y Z z 1 2 3 4 211

CLASSIFICATION: TRANSITIONAL

Century Schoolbook

MxaogGdQrRt REGULAR

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

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

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

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

CLASSIFICATION: OLD STYLE

Cheltenham

MaxogGdQrRs REGULAR

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {}?!@&* 213

CLASSIFICATION: SLAB SERIF

Clarendon

MxagGdQrRt LIGHT

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 BOLD

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

CLASSIFICATION: MODERN

Didot

MxaogGdQrRt REGULAR

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( SMALL CAPS OLD STYLE

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?!@&* 215

CLASSIFICATION: GROTESQUE

DIN

MaxnogGdQrRt LIGHT

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

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

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

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

CLASSIFICATION: GROTESQUE

DIN

MaxngdQHAMBURG LIGHT CONDENSED

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (){}?!@&* 217

CLASSIFICATION: MODERN

Filosofia

MxnaopQrRtfGg REGULAR

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

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

UNICASE

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

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

CLASSIFICATION: GROTESQUE

Franklin Gothic

MaxodQRtfGg BOOK

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7890(){}?!@&* EXTRA CONDENSED

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

219

CLASSIFICATION: HUMANIST

Frutiger

MaxodQRtfGg CONDENSED

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

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

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

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

CLASSIFICATION: GEOMETRIC

Futura

MxaopQRstGg BOOK

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 67890(){}?!@&* EXTRA BOLD

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

221

CLASSIFICATION: HUMANIST

Gill Sans

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

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

BOLD

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

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

CLASSIFICATION: GEOMETRIC

Gotham

MayogGdQRt BOOK

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0(){}?!@&* 223

CLASSIFICATION:

Helvetica

MaoygGdQrRt

REGULAR

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

BOLD

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

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

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

CLASSIFICATION:

Interstate

MaoygGdQrRt REGULAR

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4567890(){}?!@&* 225

CLASSIFICATION:

Kunstler Script

xyogGdQrRst REGULAR

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

CLASSIFICATION:

Melior

MayogGdQrRt REGULAR

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 227 0(){}?!@&*

CLASSIFICATION:

Memphis

MxagGdQrRt

LIGHT

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

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

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

CLASSIFICATION: