Type Specimen: Odile by Tracy Thanh Tran

TJ I O d LG 4

K JI e

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Odile Initials, 400 pt. Odile Semi-Bold Italics, 270 pt. Odile Deco Initials, 335 pt. Odile Light, 295 pt. Odile Black, 270 pt.

About the Typeface

Odile

Odile is a contemporary display serif

typeface inspired by William Addison

Sibylle Hagmann

Swiss-born Sibylle Hagmann came to

California in the 1990s to continue her graphic design studies at CalArts. With teachers like Jeffery Keedy and Ed Fella, the school was the perfect counterpoint to her Bauhaus-infused, functionalist Basel education. Hagmann’s contrasting influences have resulted in a unique body of work. As a type designer she has created a small but distinguished collection of typefaces that mix an adventurous spirit with a thoughtful and precise way of working. To complement her own fonts, we invited her to present a collection of favorites. New to MyFonts: Sibylle Hagmann and her well-established one-woman foundry, Kontour Type.

Dwiggins’ works. It’s a wonderful hybrid, a mixture of adorned basic

shapes with a luscious palette of alternates, calligraphic swashes and

fancy ligatures. Odile has six weights

with interesting italic styles, a pair of initial caps fonts, an upright italic and a set of alluring and illustrative ornaments. This typeface definitely has its vintage charm and energy with distinctive features. Odile’s characteristics range from a delicate light texture all the way to a stark heavy black. Odile’s type designer, Sibylle Hagmann, a Swiss-born then Californian since the 1990's continued her graphic design studies at CalArts.

As a type design she has also designed: Cholla, Elido and Axia.

The Odile family is a free reinterpretation of one of W.A. Dwigginsâ&#x20AC;&#x2122; unpublished, yet famed experimental typefaces called, Charter (ca. 19371955). Dwiggins contemplated Charter as the italic companion to Arcadia, Experimental No. 221. Odile, similar to Charter, explores the strokes and curves and how they might vary in intensity and yet still be cohesive within a type family structure.

This description of Odile, is set in Odile Book, 9/14 pt. The large uppercase "ODILE" is set in Odile Black, 155 pt.

ODI

W. A . D w i g g i n s I n s p i r e d William Addison Dwiggins was an American type designer, calligrapher, and book designer. The Odile family is a free reinterpretation of one of W.A. Dwigginsâ&#x20AC;&#x2122; unpublished, yet famed experimental typefaces called, Charter (ca. 1937-1955). His work can be described as ornamented and geometric, similar to the Art Moderne and Art Deco styles of the period, breaking from the more antiquarian styles of his colleagues and mentors Updike, Cleland and Goudy.

ABCDEF a

G H I J K g

LMNOP l

QRSTU q

VWXYZ v

Odile Light, 48 pt.

Odile Light Italic, 18 pt.

Odile Regular, 48 pt.

Odile Regular Italic, 18 pt.

Odile Semi-Bold, 48 pt.

Odile Semi-Bold Italic, 18 pt.

Odile Bold, 48 pt.

Odile Bold Italic, 18 pt.

Odile Black, 48 pt.

Odile Black Italic, 18 pt.

t S yle This description is set in Odile Book, 24 pt.

"Style" is set in a variety of weights, styles and scale. Deco Initials, Light Italics, Upright Italics, Regular and Black are represented here.

LMNOP l

Q R ST U q

V W X YZ v

Odile Upright Italic, 48 pt.

Odile Semi-Bold Italic, 18 pt.t.

Odile Initials, 48 pt.

Odile Initials, 18 pt.

Odile Deco Initials 48 pt.

Odile Deco Initials, 18 pt.

Light Book Regular Roman Semi-Bold Bold Black

Upright Italics, Initials, Deco Initials, abfokh

ODILEâ&#x20AC;&#x2122;S DIFFERENT ITALICS Italics are used primarily to denote titles and names of particular works or objects in order to allow that title or name to stand out from the surrounding sentence. Italics may also be used for emphasis.

Light Italic Book Italic Italic Semi-Bold Italic Bold Italic Black Italic For reference, these italics are set at 45/55pt.

O This large “O” framing the text is set in Odile Upright Italics, 490 pt.

Upright Initials, Initials, and

Deco Initials

“Two sorts of Initials, one amplified with interweaving swashes, the other more restrained, both are clearly derived from the Upright Italic. This mid-contrast serif offers a wide range of tools for text and display typography with a palette of strict to playful.”

KONTOUR TYPE

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwx yz Odile Upright Initials, 19pt.

ABCD EFGHIJK LM NO P Q R ST UV W X YZ abcdefghijklm nopqrstuvwxyz

Odile Initials, 19pt.

A BCDEFGHIJKLM NO P Q RST UV W X YZ abcdefghijklm nopqrstuvwxyz 15

Odile Deco Initials, 19pt.

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dile

LICE

Alice’s Adventure In Wonderland

Charles Lutwidge Dodgson (January 1832 – 14 January 1898), better known by his pen name Lewis Carroll, was an English writer, mathematician, logician, Anglican deacon, and photographer. His most famous writings are Alice’s Adventures in Wonderland, its sequel Through the Looking-Glass, which includes the poem “Jabberwocky”, and the poem The Hunting of the Snark, all examples of the genre of literary nonsense. He is noted for

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Alice’s Adventures in Wonderland (commonly shortened to Alice in Wonderland) is an 1865 novel written by English mathematician Charles Lutwidge Dodgson under the pseudonym Lewis Carroll. It tells of a girl named Alice falling through a rabbit hole into a fantasy world populated by peculiar, anthropomorphic creatures. The tale plays with logic, giving the story lasting popularity with adults as well as with children. It is considered to be one of the best examples of the literary nonsense genre. Its narrative course and structure, characters and imagery have been enormously influential in both popular culture and literature, especially in the fantasy genre.

his facility at word play, logic and fantasy. There are societies in many parts of the world dedicated to the enjoyment and promotion An excerpt from Alice’s Adventure in Wonderland to showcase the illustriative, decorative yet quirky characteristics and qualities of the typeface, Odile.

of his works and the investigation of his life.

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Down, A down,

waistcoat-pocket, or a watch to take out of it, and burning with curiosity, she ran across the field after it, and fortunately was just in time to see it pop down a large rabbit-hole under the hedge. In another moment down went Alice after it, never once considering how in the world she was to get out again. The rabbit-hole (Dinah was the went straight cat.) “I hope on like a tunnel they’ll rememfor some way, ber her saucer and then dipped of milk at suddenly down, so suddenly tea-time. that Alice had Dinah my dear! I wish you were not a moment to think about down here stopping herself with me! before she found herself falling down a very deep well. Either the well was very deep, or she fell very slowly, for she had plenty of time as she went down to look about her and to wonder what was going to happen next. First, she tried to look down and make out what she was coming to, but it was too dark to see anything; then she looked at the sides of the well, and noticed that they were filled with cupboards and bookshelves; here and there she saw maps and pictures hung upon pegs. She took down a jar from one of the shelves as she passed; it was labelled “ORANGE MARMALADE”, but to her great disappointment it was empty.

down. Excerpt from story is set in Odile Roman, 7/10 pt. Large text on this page is set in Odile Bold, 85 pt. Blue pull-quotes on this page are set in Odile Bold, 8.5/12 pt. This caption is set in 6/8 pt.

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C h a p t e r I , Down the Rabbit-Hole

lice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, ‘and what is the use of a book,’ thought Alice ‘without pictures or conversation?’ So she was Down, down, considering in down. There her own mind was nothing (as well as she else to do, so could, for the Alice soon hot day made her feel very began talking sleepy and again. “Dinah’ll stupid), whether miss me very the pleasure of much to-night, making a daiI should think!” sy-chain would be worth the trouble of getting up and picking the daisies, when suddenly a White Rabbit with pink eyes ran close by her. There was nothing so very remarkable in that; nor did Alice think it so very much out of the way to hear the Rabbit say to itself, “Oh dear! Oh dear! I shall be late!” (when she thought it over afterwards, it occurred to her that she ought to have wondered at this, but at the time it all seemed quite natural); but when the Rabbit actually took a watch out of its waistcoat-pocket, and looked at it, and then hurried on, Alice started to her feet, for it flashed across her mind that she had never before seen a rabbit with either a

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PROPORTIONAL FIGURES Changes figures with tabular widths to figures with proportional widths.

2,5,7 | 2,5,7

A K 7 Ao

O 2 K K k5 O O O 7o

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These replicate playing cards to illustrate the soldiers named Two, Five and Seven, in Aliceâ&#x20AC;&#x2122;s story.

C h a p t e r V I I , The Mad Tea-Party

I Acouldn’t help it.

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painting those roses?” Five and Seven said nothing, but looked at Two. Two began in a low voice, “Why the fact is, you see, Miss, this here ought to have been a red rose-tree, and we put a white one in by mistake; and if the Queen was to find it out, we should all have our heads cut off, you know. So you see, Miss, we’re doing our best, afore she comes, and, last of all to—” At this this grand moment Five, who had been procession, anxiously lookcame the King ing across the and Queen of garden, called Hearts. out “The Queen! The Queen!” and the three gardeners instantly threw themselves flat upon their faces. There was a sound of many footsteps, and Alice looked round, eager to see the Queen. First came ten soldiers carrying clubs; these were all shaped like the three gardeners, oblong and flat, with their hands and feet at the corners: next the ten courtiers; these were ornamented all over with diamonds, and walked two and two, as the soldiers did. After these came the royal children; there were ten of them, and the little dears came jumping merrily along hand in hand, in couples: they were all ornamented with hearts. Next came the guests, mostly Kings and Queens, and among them Alice recognised the White Rabbit: it was talking in a hurried nervous manner, smiling at everything that Excerpt from story is set in Odile Roman, 7/10 pt. Large text on this page is set in Odile Semi-Bold and SemiBold Italics, 80/70 pt. Blue pull-quotes on this page are set in Odile Bold, 8.5/12 pt.

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C h a p t e r V I I I , The Queen’s Croquet-Ground

large rose-tree stood near the entrance of the garden: the roses growing on it were white, but there were three gardeners at it, busily painting them red. Alice thought this a very curious thing, and she went nearer to watch them, and just as she came up to them she heard one of them say, “Look out now, Five! Don’t go splashing paint Then followed over me like the Knave of that!” “I couldn’t Hearts, carryhelp it,” said ing the King’s Five, in a sulky crown on a tone; “Seven jogged my elbow.” crimson velvet cushion; On which Seven looked up and said, “That’s right, Five! Always lay the blame on others!” “You’d better not talk!” said Five. “I heard the Queen say only yesterday you deserved to be beheaded!” “What for?” said the one who had spoken first. “That’s none of your business, Two!” said Seven. “Yes, it is his business!” said Five, “and I’ll tell him—it was for bringing the cook tulip-roots instead of onions.” Seven flung down his brush, and had just begun “Well, of all the unjust things—” when his eye chanced to fall upon Alice, as she stood watching them, and he checked himself suddenly: the others looked round also, and all of them bowed low. “Would you tell me,” said Alice, a little timidly, “why you are

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NUMBERS

0 Light italic, 75pt.

Book italic, 75pt.

Italic, 75pt.

Upright Italic, 75pt.

Semi-Bold Italic, 75pt.

Bold Italic, 75pt.

Black Italic, 75pt.

0123456789

Odile has some oldstyle figures that show some typographic elements as short, some de足scend be足low the base足line, and some as足cend.

10/6 The Madhatter's Hat

The “10/6” label on the hat of the

Madhatter in the writings of Lewis

Carroll is a price that means, “10 shillings and a sixpence”. This meaning is explained in Chapter 10 (“The Mad Tea Party”) of the book The Nursery Alice by Lewis Carroll. The quote is as follows: “The Hatter used to carry about hats to C h a p t e r V I I , The Mad Tea-Party

sell: and even the one that he's got on his head is meant to be sold. You see it's got its price marked on it—a “10” and a “6”—that means “ten shillings and sixpence.” Wasn't that a funny way of selling hats?”

This is supplementary text about the Madhatter, a character in Alice’s Adventure in Wonderland, to compliment the Odile’s numerals.

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HE HAD BEEN LOOKING AT ALICE FOR SOME TIME WITH GREAT CURIOSITY, AND THIS WAS HIS FIRST SPEECH. “YOU SHOULD LEARN NOT TO MAKE PERSONAL REMARKS,” ALICE SAID WITH SOME SEVERITY; “IT'S VERY RUDE.”

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Pull-quote underneath is set in uppercases, Odile Regular, Odile Bold, 15/22 pt.

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10 Fraction figures are sometimes separated by a slash as a common representation of (diagonal) fractions.

0/6

The “10/6” that’s on the Madhatter’s hat is set in Odile Light, 400 pt.

+<=± /# ÷×/# L E W I S C A R R O L L & M AT H E M AT I C S

In 1855, Charles L. Dodgson became the mathematical lecturer at Christ Church College in the University of

Oxford, UK. Dodgson (1832–98) would go on to publish

Alice’s Adventures in Wonderland (1865) and Through the

Looking-Glass (1871) under the pen name Lewis Carroll, but he also produced many pamphlets and ten books on mathematical topics. What unifies Carroll’s oeuvre is the wit and colour apparent in the manifestations of his wide-ranging mathematical interests, particularly in geometry and logic. The Alice books contain many supreme examples. The “Mad Tea-Party”, for instance, has the Hare, Hatter, Dormouse and Alice circling around static place settings like numbers on a circle, as in a modular system, rather than in a line. Carroll developed the earliest modern use of today’s ‘logic trees’, a graphical technique for determining the validity of complex arguments that he called the ‘method of trees’. This was a step towards automated approaches to solving multiple connected problems of logic. True to form, the puzzles that Carroll solves with his trees are given quirky names — “The Problem of Grocers on Bicycles”, “The Pigs and Balloons Problem”.

Mathematics influenced Carroll’s writings, giving his books a connective logic among the insanity of visual literacy components.

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However, Odile can create a few basic fraction figures, such as:

1/4, 3/4, 1/3, 2/3,

1/2

Odi l e ’s O r nam ents (ABCD)

These are Odile’s ornaments organized in order of the alphabet (A-Z). It is set in Odile Ornaments (ABCD), 65/73 pt.

ABCDE FGHIJK LMNOPQ RSTU VWXYZ 30

M M This large “M” ornament is is set in Odile Ornaments (ABCD), 475 pt.

And the large “M” behind the ornament is is set in Odile Light, 350pt.

DECO RATI VE O R NA M E N T S Inspired by a 1937 experimental design by W.A. Dwiggins,Â Sibylle Hagmannâ&#x20AC;&#x2122;s vibrant serif face includes a delightful Ornaments font. The Art Deco-style graphic perfectly harmonize with the weight and shape details of the letters.

hfL The large ornaments (exc) are set at 245 pt.

I A

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itself (as she described it afterwards), and the next moment she found herself actually walking in at the door. “Oh, it’s too bad!” she cried. “I never saw such a house for getting in the way! Never!” However, there was the hill full in sight, so there was nothing to be done but start again. This time she came upon a she whispered, large flower-bed, “If you don’t with a border of daisies, and hold your a willow-tree tongues, I’ll growing in the pick you!” middle. “O Tiger-lily,” said Alice, addressing herself to one that was waving gracefully about in the wind, “I wish you could talk!” “We can talk,” said the Tiger-lily: “when there’s anybody worth talking to.” Alice was so astonished that she could not speak for a minute: it quite seemed to take her breath away. At length, as the Tiger-lily only went on waving about, she spoke again, in a timid voice — almost in a whisper. “And can all the flowers talk?” “As well as all can,” said the Tigerlily. “And a great deal louder.” “It isn’t manners for us to begin, you know,” said the Rose, “and I really was wondering when you’d speak! Said I to myself, “Her face has got some sense in it, thought it’s not a clever one!” Still, you’re the right colour, and that goes a long way.”

This excerpt in particular is actually taken from the sequal, Through the Looking Glass to reflect Odile’s floral, decorative ornaments, and is set in Odile Roman, 7/10 pt. Large text on this page is set in Odile Bold, 80/68 pt.

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C h a p t e r I I , The Garden of Live Flowers

“I

I’ll pick you!

should see the garden far better,’ said Alice to herself, “if I could get to the top of that hill: and here’s a path that leads straight to it — at least, no, it doesn’t do that — “(after going a few yards along the path, and turning several sharp corners), “but I suppose it will at last. But how curiously it twists! It’s more like a corkscrew than a path! Well, this turn Alice said in a goes to the hill, soothing tone, I suppose — no, it doesn’t! This and stooping goes straight down to the back to the daisies, who house! Well then, were just beginI’ll try it the ning again, other way.” And so she did: wandering up and down, and trying turn after turn, but always coming back to the house, do what she would. Indeed, once, when she turned a corner rather more quickly than usual, she ran against it before she could stop herself. “It’s no use talking about it,” Alice said, looking up at the house and pretending it was arguing with her. “I’m not going in again yet. I know I should have to get through the Looking-glass again — back into the old room — and there’d be an end of all my adventures!” So, resolutely turning back upon the house, she set out once more down the path, determined to keep straight on till she got to the hill. For a few minutes all went on well, and she was just saying, “I really shall do it this time — “when the path gave a sudden twist and shook

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ODILEâ&#x20AC;&#x2122;S PUNCTUATIONS & GLYPHS.

C h a p t e r I V, The Rabbit Sends in a Little Bill

DAK Alice noticed with some surprise that the pebbles were all turning into little cakes as they lay on the floor, and a bright idea came into her head. “If I eat one of these cakes,” she thought, “it’s sure to make some change in my size; and as it can’t possibly make me larger, it must make me smaller, I suppose.”

This quote above from Chapter 4, “The Rabbit Sends in a Little Bill.”, and is set in Odile Roman, 16/24 pt.

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Cap itals CAPITALS & Small Capitals

SMALL CAPITALS FROM CAPITALS Turns caps (and sometimes numerals and punctuations) into small small caps. Mostly used together to get an all-small caps setting.

CAPS | caps

SMALL CAPITALS Turns lowercase letters into small caps.

Small | Small 37

Small

Capi

CAPIT ALS "CAPITALS" is set in Odile Black, 117 pt, while the "Small Capitals" is set in Odile Black, 113 pt. and 193 pt.

itals

C h a p t e r I V, The Rabbit Sends in a Little Bill

Above, the excerpt from Alice’s Adventure in Wonderland is set in Odile Light, 11/15 pt.

By this time she had found her way into a tidy little room with a table in the window, and on it (as she had hoped) a fan and two or three pairs of tiny white kid gloves: she took up the fan and a pair of the gloves, and was just going to leave the room, when her eye fell upon a little bottle that stood near the looking-glass. There was no label this time with the words “DRINK ME,” but nevertheless she uncorked it and put it to her lips. “I know something interesting is sure to happen,” she said to herself, “ whenever I eat or drink anything; so I’ll just see what this bottle does. I do hope it’ll make me grow large again, for really I’m quite tired of being such a tiny little thing!” This display serif offers a wide range of tools for text and display typography with a palette of a playful taste. The gracefully seriffed type harmonizes perfectly with Elido, Odile’s sans serif companion.

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Above, the excerpt from Alice’s Adventure in Wonderland is from Chapter 4, “The Rabbit Sends in a Little Bill”.

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“Swa s h es & L i g a tu res” Odile has beautiful cal-

Odile is quirky and playful, yet elegant with a vintage charm and has a well-balanced structure and whimsicality. This type is a text typeface Odile is also accompanied with interweaving discretionary ligatures, which with bracketed head and generally features ct, st, sp ligatures. bracket-free bottom lower case serifs, a quality that counters rigidness most traditional slab serif typefaces possess. The six optically balanced weights range from the delicate and softeness of Light to the stark contrast of Black, accompanied by display variants with flowing flair and swashes, and illustriative ornaments. This display serif offers a wide range of tools for text and display typography with a palette of strict to playful. The gracefully seriffed type harmonizes perfectly with Elido, Odile’s sans serif companion. The ‘st’ ligature is set in Odile Black, 100 pt, while the description of Odile below is set in Odile Regular, 11/15 pt.

ligraphic swashes and fancy ligatures. A swash is a typographical flourish, such as an exaggerated serif, terminal, tail, entry stroke, etc., on a glyph.

C h a p t e r I I , The Pool of Tears

“ You ought to be ashame “a great girl like you,” (she m on crying in this way! Stop

But she went on all the same, shedd a large pool all round her, about fo down th

After a time she heard a little pattering of feet in the di coming. It was the White Rabbit returning, splendidly d a large fan in the other: he came trotting along in a gr Duchess, the Duchess! Oh! Won’t sh

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Alice’s Adventure in Wonderland

ed of yourself,” said Alice, might well say this), “to go p this moment, I tell you!”

ding gallons of tears, until there was our inches deep and reaching half he hall.

istance, and she hastily dried her eyes to see what was dressed, with a pair of white kid gloves in one hand and reat hurry, muttering to himself as he came, “Oh!The he be savage if I’ve kept her waiting!”

These quotes above are from Chapter 2, “The Pool of Tears”.

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This pull-quote from Alice is set in Odile Deco Initials, 24/30 pt.

This pull-quote is set in Odile Upright Italic, 18/24 pt.

This pull-quote is set in Odile Regular, 12/18 pt.

These are a few of Odileâ&#x20AC;&#x2122;s punctuations used as Eastern emoticons, (Eastern emoticons generally are not rotated, and may include non-Latin characters to allow for additional complexity) to convey the characters in the excerpt on the left, and used to show how the puncuations and glyphs set.

{!?&} (*>_<*) (=^Âˇ^=) \(-0-)/ These sets of punctuations are set in set in Odile Regular, 65 pt.

“Please would you tell me,” said Alice, a little timidly, for she was not quite sure whether it was good manners for her to speak first, “why does your cat grins like that?” “It’s a Cheshire cat,” said the Duchess, “and that’s why. Pig!” This excerpt is set in Odile Regular, 14/15 pt.

This excerpt is set in Odile Regular, 9/10 pt.

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C h a p t e r V I , Pig and Pepper

MNOPBC ABCKDIJ

I’m afraid, sir.

M KDAK

C h a p t e r V, Advice from a Caterpillar

lice remained looking thoughtfully at the mushroom for a minute, trying to make out which were the two sides of it; and as it was perfectly round, she found this a very difficult question. However, at last she stretched her arms round it as far as they would go, and broke off a bit of the edge with “But I’m not a each hand. “And serpent, I tell now which is you!” said Alice. which?” she said “I’m a--I’m a--” to herself, and nibbled a little of “Well! what are you?” said the right-hand bit to try the the Pigeon. “I effect: the next can see you’re moment she trying to invent felt a violent something!” blow underneath her chin: it had struck her foot! She was a good deal frightened by this very sudden change, but she felt that there was no time to be lost, as she was shrinking rapidly; so she set to work at once to eat some of the other bit. Her chin was pressed so closely against her foot, that there was hardly room to open her mouth; but she did it at last, and managed to swallow a morsel of the lefthand bit. “Come, my head’s free at last!” said Alice in a tone of delight, which changed into alarm in another moment, when she found that her shoulders were nowhere to be found: all she could see, when she looked down, was an immense length of neck, which seemed to rise

Excerpt from story is set in Odile Regular, 7/10 pt. Large text on this page is set in Odile Regular, 93 pt. Blue pull-quotes on this page are set in Odile Bold, 8.5/12 pt.

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like a stalk out of a sea of green leaves that lay far below her. “What can all that green stuff be” said Alice. “And where have my shoulders got to? And oh, my poor hands, how is it I can’t see you?” She was moving them about as she spoke, but no result seemed to follow, except a little shaking among the “I--I’m a little distant green girl,” said Alice, leaves. As there rather doubtseemed to be no fully, as she chance of getting remembered her hands up to the number of her head, she changes she had tried to get her head down to gone through them, and was that day. delighted to find that her neck would bend about easily in any direction, like a serpent. She had just succeeded in curving it down into a graceful zigzag, and was going to dive in among the leaves, which she found to be nothing but the tops of the trees under which she had been wandering, when a sharp hiss made her draw back in a hurry: a large pigeon had flown into her face, and was beating her violently with its wings. “Serpent!” screamed the Pigeon. “I’m not a serpent!” said Alice indignantly. “Let me alone!” “Serpent, I say again!” repeated the Pigeon, but in a more subdued tone, and added with a kind of sob, “I’ve tried every way, and nothing seems to suit them!’

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Pull-quote underneath is set in uppercases, Odile Regular, Odile Bold and Odile Bold Italics, 20/28 pt.

“I DON’T SEE,” SAID THE CATERPILLAR.

DI KJ LMNOPKDAB CKDAIJ 47 of 55

CKDAIJ

“I CAN’T EXPLAIN MYSELF, I’M AFRAID, SIR” SAID ALICE, “BECAUSE I’M NOT MYSELF, YOU SEE.”

C h a p t e r V I I , The Mad Tea-Party

â&#x20AC;&#x153;Twinkle little How I w what yo 48 of 55

Alice’s Adventure in Wonderland

e, twinkle, e bat! wonder ou’re at!” This quote above from Chapter 7, “The Mad Tea-Party”, is set in Odile Bold and Odile Bold Italics, 70/80 pt.

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C h a p t e r V I I , The Mad Tea-Party

â&#x20AC;&#x153;Up a the world Like a t in the Twinkle, t 50 of 55

Alice’s Adventure in Wonderland

above d you fly, tea-tray e sky. twinkle—” This quote above from Chapter 7, “The Mad TeaParty”, is set in Odile Deco Initials, 60/65 pt.

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Pull-quote underneath is set in uppercases, Odile Regular, Odile Bold and Odile Bold Italics, 20/28 pt.

C h a p t e r X I I , Alice’s Evidence

“OFF WITH HER HEAD!” THE QUEEN SHOUTED AT THE TOP OF HER VOICE. NOBODY MOVED. “WHO CARES FOR YOU?” SAID ALICE.

KLMNOPKDAB CKDAIJ 52 of 55

M KDAK

Off A with her head.

t this the whole pack rose up into the air, and came flying down upon her: she gave a little scream, half of fright and half of anger, and tried to beat them off, and found herself lying on the bank, with her head in the lap of her sister, who was gently brushing away some dead leaves that had fluttered down “Stuff and nonfrom the trees sense!” said upon her face. Alice loudly. “Wake “The idea of up, Alice dear!” having the said her sister; “Why, what a sentence first!’ long sleep you’ve “Hold your had!” tongue!’ said “Oh, I’ve the Queen, had such a turning purple. curious dream!” said Alice, and she told her sister, as well as she could remember them, all these strange Adventures of hers that you have just been reading about; and when she had finished, her sister kissed her, and said, “It was a curious dream, dear, certainly: but now run in to your tea; it’s getting late.” So Alice got up and ran off, thinking while she ran, as well she might, what a wonderful dream it had been. But her sister sat still just as she left her, leaning her head on her hand, watching the setting sun, and thinking of little Alice and all her wonderful Adventures, till she too began dreaming after a fashion, and this was her dream. First, she dreamed of

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little Alice herself, and once again the tiny hands were clasped upon her knee, and the bright eager eyes were looking up into hers--she could hear the very tones of her voice, and see that queer little toss of her head to keep back the wandering hair that would always get into her eyes--and still as she listened, or seemed to listen, the whole “I won’t!” said place around her Alice. became alive the “Off with her strange creahead!” the tures of her little Queen shouted sister’s dream. The long at the top of grass rustled her voice. Nobody moved. at her feet as the White Rabbit hurried by — the frightened Mouse splashed his way through the neighbouring pool — she could hear the rattle of the teacups as the March Hare and his friends shared their never-ending meal, and the shrill voice of the Queen ordering off her unfortunate guests to execution — once more the pig-baby was sneezing on the Duchess’s knee, while plates and dishes crashed around it — once more the shriek of the Gryphon, the squeaking of the Lizard’s slate-pencil, and the choking of the suppressed guinea-pigs, filled the air, mixed up with the distant sobs of the miserable Mock Turtle. So she sat on, with closed eyes, and half believed herself in Wonderland, though she knew she had but to open them again, and all would change to dull

Excerpt from story is set in Odile Roman, 7/10 pt. Large text on this page is set in Odile Black, 60 pt. Orange pull-quotes on this page are set in Odile Bold, 9/12 pt.

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C h a p t e r X I I , Aliceâ&#x20AC;&#x2122;s Evidence

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Alice’s Adventure in Wonderland

HE ND. “The End” is set in Odile Black’s Uppercases, 175/145 pt.

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