Typographic Rules by Zoe Larson

typographic rules

Designed by Zoe Larson. Class project for Typographic Systems at the University of Kansas, Spring 2018. The text was compiled from the following sources: Elements of Typographic Style by Robert Bringhurst, Getting it Right with Type: the Doâ&#x20AC;&#x2122;s and Donâ&#x20AC;&#x2122;ts of Typography by Victoria Square, Mac is Not A Typewriter by Robin Williams. This book is not to be sold to the public and to only be used by the designer for their reference and student design portfolio.

T typographic rules

table of contents

RULES CHECKSHEET

TYPOGRAPHIC RULES

SPECIAL CHARACTERS

HYPHENS & DASHES

QUOTES & APOSTROPHE

NUMERALS

SMALL CAPS

TABULAR MATTER

ALIGNMENTS

HYPHENATION ETIQUETTE

LINE LENGTH

THE END OF THE RIVER

FONT CLASSIFICATIONS

TYPOGRAPHIC COLOR

JAN TCHISCHOLD & THE GRID

PARAGRAPH BREAKS

01 rules checksheet

The following is a compendium rules and typographic details that should be checked before every project is completed.

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 space-bar 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 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.

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.

typographic rules

01. SINGLE SPACE AFTER 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.

02. USE PROPER DASHES 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).

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

04. 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; especially true for script and decorative typefaces. Short headlines may be the once exception to this rule.

05. 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.

06. ADD LETTER SPACING ALL CAPS Add letter spacing to capitalized text and small caps. Letterspacing is the amount of space between characters in a word. Some software programs call 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.

07. KERN HEADLINES Adjust the space between two particular letters to allow for more consistent negative space. Pay particular attention to A, T, W, V and Y.

08. USE OLD STYLE FIGURES 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.

09. USE 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.

10. BODY COPY SIZE Body text is set anywhere from 8.5-12 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.

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

12. USE PROPER COLUMN WIDTH 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.

13. AVOID TRACKED OUT COPY A man that would letter space lower case would steal sheep – Fredrick Goudy. Don’t letterspace body copy as it really hampers legibility. Moderate letter spacing can make a face more legible.

14. 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. 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!

15. 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.

16. 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. (how can you call out “avoid” text) - 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.

17. AVOID 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.

18. 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.

special characters

10Â˘

The following is a list of the most often-used special characters and accent marks.

“

OPTION [

OPENING DOUBLE QUOTE

”

OPTION SHIFT [

CLOSING DOUBLE QUOTE

‘

OPTION ]

OPENING SINGLE QUOTE

’

OPTION SHIFT ]

CLOSING SINGLE QUOTE; APOSTROPHE

–

OPTION HYPHEN

EN DASH

—

OPTION SHIFT HYPHEN

EM DASH

…

OPTION ;

ELLIPSIS

•

OPTION 8

BULLET

OPTION SHIFT 5

LIGATURE OF F AND I

OPTION SHIFT 6

LIGATURE OF F AND L

OPTION G

™

OPTION 2

TRADEMARK

OPTION R

REGISTERED

OPTION SHIFT 8

DEGREE SYMBOL (E.G., 102°F)

OPTION $

CENT SYMBOL

€

OPTION SHIFT 2

EURO SYMBOL

OPTION 3

BRITISH POUND

É ACUTE

An accent used on vowels á, é, í, ó, ú, ´y – in Czech, French, Gaelic, Hungarian, Icelandic, Italian, Navajo, Spanish and other languages. When we adopt words from other languages you need to use the proper marks. Example: resume is résumé or resumé, café, exposé.

Æ ACSE

This ligature is a letter of the alphabetic Danish, Norwegian and AngloSaxon. Aesc is pronounced ash.

& AMPERSAND

Was once the 27th letter. The shape of the character (&) predates the word ampersand by more than 1,500 years. In the first century, Roman scribes wrote in cursive, so when they wrote the Latin word et which means “and” they linked the e and t. Over time the combined letters came to signify the word “and” in English as well.

• =

BULLET Bullets are commonly hung like numbers in the margin to mark items in a list.

Ç CEDILLA

An accent used with consonants in Catalan, French, Nahuatl and Portuguese. The sole purpose of the cedilla is to change a hard c, pronounced [k], to a soft c, pronounced [s]. Example: façade

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 The ellipsis is a single character made up of three periods and has it own keyboard stroke. When ellipsis stands for omitted words, it usually has a letter space on either side. When it stands for an omitted word part of the letter space are omitted.

¡ EXCLAMATION

In Spanish the inverted exclamation mark is used at the beginning of the phrase and the upright mark at the end. In England the exclamation mark is often called a screamer.

Ñ ENYA

The tilda over the lower case n has been closely associated with the Spanish language. Example: niño

À GRAVE

An accent used with vowels à, è, ì, ò, ù (option `, a = à) in French, Italian, Portuguese, Catalan and many other languages. Example: papà

« » GUILLEMETS

A pair of punctuation marks in the form of sideways double chevrons (« and »), used as a type of quotation marks basically everywhere but the United States. They are not used in the English language.

FI FL LIGATURES

Ligatures are designed to avoid the clash between the finial of the f and the dot of the i. Common ligatures are fi fl ffi ffl fl. Not all fonts have all (or maybe any ligatures – look under Glyphs to see what the font you are using offers).

hyphen en dash em dash

-– —

04 hyphens & dashes

------------------------------------

EN DASH –

——————————

HYPHEN -

–––––––––––––––

Hyphens and dashes come in a variety of sizes.

A hyphen is one third of the em rule and is used to link words. They are used as a symbol to break words. The second use of a hyphen is as 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. It is also inserted when there is a chance of misreading, as for instance with co-worker (people might think a cow had an orker). Hyphens are also used to form compounds and to connect numbers and words in adjectival phrases. Some multipart words are spelled with a hyphen (topsy-turvy, cost-effective, brica-brac). But a prefix is not typically followed with a hyphen (nonprofit, not non-profit). No hyphen is necessary in phrasal adjectives that begin with an adverb ending in -ly (it’s a closely held company, not a closely-held company). A hyphen is used in phrasal adjectives (listener-supported radio, dog-and-pony show, high-school grades) to ensure clarity.

An en dash is half of the em rule (the width of a capital N). The en dash is longer than a hyphen and 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’. Usually these dashes can be replaced by commas, or the phrase can be bracketed. Also the en dash is used to indicate a duration, such as time or months or years. Use it where you might otherwise use the word “to.” An en dash is equal to half the length of an em dash. En dashes are used to denote duration (time.) Examples: October – December; 6:30 – 8:45 A.M.; 4 – 6 years of age; Pages 336 – 500

EM DASH — The em dash is twice as long as the en dash—it’s about the size of a capital letter M in whatever size and typeface you’re using at the moment. The em dash is used to demarcate parenthetical thought in English texts, but the dashes are unspaced (without white spaces on either side). 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. When using an—no space is used on either side. 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.

05 quotes & apostrophe

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QUOTES ” Smart quotes are the quotation marks used in good typography. There are four smart quote characters: the opening single quote (‘), the closing single quote (’), the opening double quote (“), and the closing double quote (”). Straight quotes are the two generic vertical quotation marks located near the return key: the straight single quote (‘) and the straight double quote (“). Straight quotes come to us from the typewriter.

‘“ '"

KEY STROKES TO GET SMART QUOTES “ ” ‘ ’

OPTION [ OPTION SHIFT [ OPTION ] OPTION SHIFT ]

Opening double quote Closing double quote Opening single quote Closing single quote

PROPER FOOT AND INCH MARKS Change to foot and inch marks (you will need to use the pull down menu) Examples: Bridge Clearance: 16'7"; The young man stood 6'2"; The length of the wall is 153'9"

APOSTROPHE ’ Also called raised comma or single close-quote.

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, you’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. 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.

1973 1973

numerals

Our uppercase alphabet came from the indiscrimination capitals of the Romans. Our lowercase alphabet came from the European uncial alphabets of the Middle Ages, which themselves evolved from scribal approximations of the uppercase alphabet. But our figures were invented in India. They spread westward through the influence of Persian and Arab mathematicians. Traditionally they were known as Arabic numerals, but latterly as Hindu-Arabic numerals. Arabic and Indic languages, of course, look very different from European languages. Thus figures have always presented a challenge for type designers, as they rely on shapes that are found nowhere in the uppercase and lowercase alphabets.

LINING FIGURES All lining figures have the same height matching the capital letters and align on the baseline. There are usually used alongside uppercase letterforms or in tabular material. However, they may also be used when the designer wishes the figures stand out from the lowercase. Lining figures: 0123456789 Fonts that have aligning figures: DIN / 0123456789 Helvetica / 0123456789 Sabon / 0123456789 Lining figures align vertically, care needs to be taken in situations where it is not appropriate for them to align such as in dates. 1973 (not corrected) 1973 (corrected) Example with lining figures: Dear John, please call me at 438.9762 at 3:00 to discuss marriage or write me at Route 916, zipcode 87505.

NON-LINING / OLD STYLE FIGURES Old Style Figures have ascenders and defenders and are set to the x-height, corresponding to the lowercase letters. Non-lining figures are usually used in text along side of lower case or next to small caps. San Serifs traditionally do not have non-lining figures but many of the contemporary fonts may have them or have both lining and non-lining figures. Old Style Figures have more of a traditional, classic look and are very useful and quite beautiful when set within text. They are only available for certain typefaces, sometimes as the regular numerals in a font, but more often within a supplementary or expert font. Non-alining figures: 0123456789 Fonts that have old style figures: Mrs. Eaves / 0123456789 Bodoni / 0123456789 Scala / 0123456789 Example with old style figures: Dear John, please call me at 438.9762 at 3:00 to discuss marriage or write me at Route 916, zipcode 87505.

07 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. When setting text that contains acronyms, select a typeface with small caps as a family. Selecting small caps from the style menus is a poor choice because the computer reduces the overall size of the type by 80%. This changes the stroke weight and the feel of the font. Expert sets in the Adobe Type Library have small caps options. Use small caps for acronyms. Set acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines. Use small caps for common abbreviations. Set common abbreviations such as AM or PM in small caps so they donâ&#x20AC;&#x2122;t overpower the accompanying text. Use small caps for A.M. and P.M.; space once after the number, and use periods (if the font does not have small caps reduce the font size slightly). Use true small caps fonts. Avoid simply resizing capital letters or using the small caps feature in some programs. Instead use typefaces that have been specifically created as small caps. Generated small cap: catcher in the rye

Fonts with small caps: Mrs. Eaves / Catcher in the Rye Bodoni / Catcher in the Rye Meta / Catcher in the Rye Example with small caps and old style numbers: Harriet, an fbi agent, turned on cnn to get the dirt on the cia before going to bed at 9:30 p.m.

08 tabular matter

Designers often encounter typographic problems that are not based on normative or instructions. Timetables, financial statements, invoices, list of dates, weather charts – many kinds of information – often need to accommodate reading in two directions. Setting up columns and rows that read clearly requires a thorough understanding of working with tabs.

CREATING A TABLE USING TABS Lining figures 12 134 17 22 6670 21 12 589 56

1023 323 973 3567 8431 409

Old style figures 12 134 17 22 6670 21 12 589 56

1023 323 973 3567 8431 409

Decimal alignment 12.5 134.4 17.8 023.4 323.0 73.05 86.5 22.11 923.55 595.0 10.25 76.10 36.70 1023.4 323.0 Example of a tabular chart

Southbound

Missouri

Lincoln

Train Name River Service Runner

Missouri

Service River Runner

Texas Lincoln Lincoln Eagle Service Service

311 301 303 313

Train Number

CHICAGO, IL

Lincoln

7 00A

9 25A

Summit, IL

21 305 307 1 45P

9 48A

5 15P

7 00P

5 37P

7 22P

Joliet, IL 7 57A Dwight, IL

10 15A R2 40P 10 49A

6 05P 6 39P

7 50P 8 24P

Pontiac, IL

11 06A

3 27P

6 56P

8 41P

11 39A

4 04P

7 29P

9 14P

Lincoln, IL

12 10P

4 37P

8 02P

9 47P

Springfield, IL

Bloomington-Normal, IL

9 14A

12 50P

5 14P

8 39P

10 24P

Carlinville, IL

10 15A

1 28P

5 49P

9 19P

11 04P

Alton, IL

11 20A

1 57P

6 20P

9 48P

11 33P

ST. LOUIS, MO

12 20P

3 00P

7 21P

10 45P

12 30A

9 15A

4 00P

Kirkwood, MO

9 44A

4 29P

Washington, MO

10 21A

5 06P

Hermann, MO

10 49A

5 34P

Jefferson City, MO

11 36A

6 22P

Sedalia, MO

12 46P

7 39P

Warrensburg, MO

1 20P

8 09P

Lee’s Summit, MO

2 04P

8 50P

Independence, MO

2 20P

9 06P

KANSAS CITY, MO

2 55P

9 40P

09 alignments

In unjustified text, the text block is set with normal letter and word spacing. Because of the even word spacing the text will have an even texture â&#x20AC;&#x201C; no large spaces between words. The lines will naturally vary in length. a ragged text block can integrate with the layout and add visual interest to the page. The difficulty is making the ragged edge have a pleasing silhouette. When the first line in the text is longer than the second, it becomes separate from the layout and creates a box-like shape. This destroys one of the advantages of unjustified text. The ragged edge needs to have a life, but a narrow column can be less active. Another advantage to ragged text is less hyphenation is needed. Therefore, names, dates or words which are normally read together can stay together. As with all layouts, alignment depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design. No matter what alignment you use, remember to pay close attention to hyphenation and word/character spacing as well to insure that your text is as readable as possible.

LEFT ALIGNED, RAGGED RIGHT Speaking just in terms of alignment, left aligned (Flush Left, Ragged Right) text is the most readable. Left aligned text uses the optimum word spacing and letter spacing that the designer built into the font, and the spacing is very consistent so you do not have to struggle through the words at all. And as you read, your key can quickly find the beginning of the next line. Often considered more informal, friendlier than justified text. The ragged right edge adds an element of white space. May require extra attention to hyphenation to keep right margin from being too ragged. Generally type set left-aligned is easier to work with (i.e. requires less time, attention, and tweaking from the designer to make it look good). Because you can control where lines end you can try to avoid beginning consecutive lines with the same word. Avoid ending consecutive lines with the same word. And avoid ending lines with the words: the, of, at, a, by...

JUSTIFIED When you justify text, the computer forces the lines to extend to a certain length by adding or deleting space between the words, and sometimes between the letters. Some programs let you specify the minimum and maximum amounts the spacing can adjust, but the computer will override your specifications if necessary. The greatest problem with justified text, both in terms of readability and aesthetics, is the uneven word spacing and letter spacing: some lines have extra spacing, some less. This irregularity is visually disturbing and interrupts reading. The shorter the line length in relation to the size of the type, the worse this problem becomes because there are fewer words between which to add or delete space. For example: The shorter the line length in relation to the size of the type, the worse this problem becomes because there are fewer words between which to add or delete space.

CENTER ALIGNED A trap that designers sometimes fall into is placing every element on the center axis of the page. While this is a more organized and symmetrical look than placing test haphazardly, it tends to be a pretty weak and easy choice. When your entire page is symmetrical, it often ends up looking boring with no visual interest. Center alignment works best when dealing with just a few short lines of text. You should never use it for full paragraphs because it makes them more difficult to read; the audience has no straight margin so their eyes must move to a new position every time they start a new line. As a general rule, if you use center alignment, make sure it’s clear that you’re using it intentionally–not just because you’re lazy. There are simply fewer situations where centered text is appropriate. When in doubt, don’t center it.

“We had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way – in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.” —Tale of Two Cities “I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.” —Maya Angelou Twenty years from now you will be more disappointed by the things that you didn’t do than by the ones you did do, so throw off the bowlines, sail away from safe harbor, catch the trade winds in your sails. Explore, Dream, Discover. —Mark Twain

the of at a by

10 hyphenation etiquette

The following rules are traditional coat practice for the setting of both ragged and justified text.

The rules below are traditional coat practice for the setting of both ragged and justified text. Hyphenation controls the number of hyphens that can appear in text. Hyphens in justified text allow some of the spacing issues to be resolved. Donâ&#x20AC;&#x2122;t rely on the software to judge where hyphens should be placed. 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 three consecutive hyphenated lines. Avoid hyphenating or breaking proper names and titles. Creating a non-breaking space before and after the name will ensure that the name will not break. Avoid beginning three consecutive lines with the same word. Since 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. Example: At hyphenated line-ends leave at least two characters behind and take three forward. Fi-nally is conventionally acceptable line-end hyphenation, but final-ly is not, because it takes too little of the word forward.

HYPHENATION RULES Avoid more then three consecutive hyphenated lines. Avoid hyphenating proper nouns. Leave a least two characters on the line and three following. Avoid beginning consecutive lines with the same word. Avoid ending consecutive lines with the same word. Avoid ending lines with the, of, at, a, by. Never hyphenate words in a headline. Avoid hyphenation in a callout.

line length

Line length is all about points and measure. Points and measure are married to each other. Optimal line length is determined by how many characters or words will fit with in the measures and this can be manipulated by point size. Having the right amount of characters on each line is key to the readability of your text. Character is a letter, number, punctuation and space. Your design should not dictates the width of your text, it should also be a matter of legibility.

GUIDELINES FOR CHARACTERS PER LINE Minimum: 27 characters are considered the minimum Optimum: 40 – 66 characters per line for single column of text Optimum: 40 – 50 chapters per line for multiple columns Maximum: 75 chapters per line Extra leading should be added to longer line lengths. Increase readability by adding leading when you have 50 – 70 characters per line. Too long the reader’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. When using a short measure (line length) it should be set ragged right. Not justified. 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). 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 you’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. Example: 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.

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. Example: 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.

25 CHARACTER LINE Ragged 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. Justified 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.

45 CHARACTER LINE Ragged 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. Justified 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.

65 CHARACTER LINE Ragged 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. Justified 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 end of the river

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. In justified text, there is always a trade-off between evenness of word spacing and frequency of hyphenation. The best available compromise will depend on the nature of the text as well as on the specifics of the design. Good compositors like to avoid consecutive hyphenated line-ends. Narrow measures prevent good 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.

The following are justification studies examining typographic rivers.

Mrs Eaves Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement.

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.

Min 80 Desired 100 Max 120 Letterspacing -5, 0, 5

Gotham Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement.

Min 80 Desired 100 Max 120 Letterspacing -5, 0, 5

Min 60 Desired 110 Max 150 Letterspacing -10, 5, 10

Min 80 Desired 105 Max 250 Letterspacing -1, 1, 3

Min 100 Desired 150 Max 200 Letterspacing -10, 5, 10

humanistic serif garalde transitional modern slab-serif humanistic sans grotesque geometric

13 font classifications

HUMANISTIC The oldest Italian, mostly Venetian, printing type, designed at the end of the fifteenth century during the Italian Renaissance, are based on the handwriting of the humanists. This script went back to the Carolingian minuscule of the ninth century. In 1470, Nicolas Jenson, a French printer who worked in Venice, was one of the first to cut a refined humanistic typeface. This is generally seen as the prime example for the first group of types we use to this day: the humanists. Garamond, Minion, Janson

GARALDE Appeared during the French Renaissance period. The name garaldes is a contraction of the names of the French punchcutter Claude Garamond and of the Venetian printer Aldus Manutius. The first garaldes were based on the humanists, but they are more sophisticated, have narrower proportions and more fluent transitions. Garamond, Baskerville, Caslon

TRANSITIONAL The transitionals are the early neoclassical typefaces that appeared in the middle of the eighteenth century and were usually designed for a specific purpose. They are seen as the first types that were really designed. The transitionals mark the transition between the Renaissance and neoclassicism. Clarendon, Mrs. Eaves, Perpetua

MODERN OR DIDONE These are the late neoclassical seriffed types and their name is a combination of the French printing family Didot and the Italian printer Bodoni of Parma. The typeface Bodoni by Giambattista Bodoni, also known as the king of the typographers (principe dei tipografi) or printer to the kings, is seen as the highlight of the didones. Bodoni, Didot, Walbaum

SLAB-SERIF The slab-serifs are constructed typefaces and in general have hardly any thick-thin contrast. Some early slab-serifs are called egyptians â&#x20AC;&#x201C; allegedly after the popularity of the Napoleonic campaign in Egypt and the resulting interest in Egyptology. (Confusingly, many of the geometrically constructed slab-serifs designed a hundred years later all bear egyptian place names such as Karnak, Luxor, Memphis etc., but they have nothing to do with the shape of the earlier egyptians which used the Grotesque form as their basis.) The Clarendon typeface is so typical for this group that in some English classifications the term slab-serif is replaced with Clarendon. Belizio, Serifa, Rockwell

HUMANISTIC SANS-SERIF Sans-serifs are typefaces that owe their essential form to writing. The French word linĂŠal unsurprisingly means advancing in a straight line. They first appeared at the beginning of the nineteenth century (Caslon Foundry, 1812-14), but only in capitals. The first sansserif with lowercase appeared in England in 1834. Towards the end of the nineteenth century, every self-respecting foundry had a number of sans-serif typefaces with several variants. The humanistic sans-serifs are different because they follow the proportions of the classical Roman capital for the capitals and the humanistic manuscript hand for lowercase letters. Meta, Gill Sans, Frutiger

GROTESQUE SANS-SERIF The sans-serif grotesques appeared as a result of the popularity of the Swiss style of typography after the Second World War. Sans-serif started to get used more and more frequently with the advent of the Helvetica in 1957, created by the Swiss Max Miedinger. Franklin Gothic, Akzidenz Grotesk, Bell Gothic

GEOMETRIC SANS-SERIF The geometric sans-serifs seem to be drawn with ruler and compass. It takes a lot of skill to produce clearly legible typography with these typefaces. Good microtypography, such as choosing the right letter spacing and line interval, is very important. Futura, Avant Garde, Century Gothic

G P S A

Garamond humanistic

Perpetua transitional

Serifa slab-serif

Akzidenz Grotesk grotesque sans-serif

B D M F

Baskerville geralde

Didot modern

Meta humanistic sans-serif

Futura geometric sans-serif

14 typographic color

When typographers mention to color, they are typically not referring to a rainbow. They are speaking, instead, of black and white and the wide range of gray textures which are called forth when white and black interact. Every typeface has its own apparent lightness or darkness, or optical weight. A typeface’s color is determined by stroke width, x-height, character width and serif styles. As the great Swiss typographer Emil Ruder put it in 1960, “The business of typography is a continual weighing up of white and black, which requires a thorough knowledge of the laws governing optical values.” Readability and legibility are two key elements of printed text that typographer strive to maximize. Readability extended amount of text – such as an article, book, or annual report – is easy to read. Legibility refers to whether an refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable. As a designer, if you are only asked to make the text readable on the page the following questions should be asked: Who is to read it? Someone that wants to read it? Someone that has to read it? How will it be read? Quickly. In passing. Focused. Near. Far.

The following are typographic color studies.

serif

X x hg Xxh g

Mrs Eaves zuzana licko

Baskerville John Baskerville

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement.

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

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

X x hg Xxhg Palatino Hermann Zapf

Belizio David Berlow

Futurism was first announced on February 20, 1909,

8/12 x-height: large character width: wide color: dark

when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement.

7/12 x-height: large character width: wide color: dark

Xx hg X xhg

Archer Tobias Frere-Jones

Cheltenham Bertram Goodhue/Ingalls Kimball

8/12 x-height: average character width: average color: light

8/12 x-height: average character width: wide color: dark

Xxh g Xx hg

Clearface Morris Fuller-Benton

Sabon Jan Tschichold

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

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

Xx hg X x hg

Bell Richard Austin

Melior Hermann Zapf

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

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

X x hg Xx hg Perpetua Eric Gill

Swift Gerard Unger

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

8/12 x-height: large character width: wide color: dark

sans-serif

X x h g X x hg

DIN Albert-Jan Pool

Futura Paul Renner

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

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

Xx hg Xxh g

Helvetica Neue Max Miedinger/Eduard Hoffmann

Gotham Tobias Frere-Jones

8/12 x-height: large character width: wide color: dark

X x hg X xhg

Kabel Rudolph Koch

Meta Erik Spiekermann

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

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

Xx hg X xhg Neutra Text Richard Neutra/Christian Schwartz

Univers Adrian Frutiger

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

8/12 x-height: large character width: wide color: dark

Xx hg Xx hg

Whitney Tobias Frere-Jones

Rotis Sans Otl Aicher

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

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

X xh g Xxhg Optima Hermann Zapf

Avant Garde Gothic Herb Lubalin

8/12 x-height: average character width: average color: light

8/12 x-height: large character width: wide color: dark

jan tschichold & the grid

In 1917 Dutch architect, designer, and painter Theo van Doesburg founded de Stijl. The importance of this movement to the grid is that it explored form as determined by function, and placed this in a political context. Arguing that simplicity of form was accessible and democratic, its members advocated minimalism, using only rectilinear forms, and eradicating surface decoration other than as a byproduct of a limited color palette: the primaries plus black and white. The typographers affiliated to de Stijl wanted to apply these ideas in the real world, not just for their artistic cause. Designers like Piet Zwart and Paul Schuitema used these principles to produce commercial advertising and publicity materials. The Bauhaus opened its doors in Weimar, Germany, in 1919, with the architect Walter Gropius as its Director. His belief that architecture, graphic art, industrial design, painting, sculpture, and so on were all interrelated had a profound impact on the development of typography and graphic design long after the school was forced to close by the Nazis in the 1930s. Within an astonishingly short period of time, graphic artists were marrying analytical skills with abstract form to arrive at mass-produced designs determined as much by political idealism as by a desire for self-expression. In 1925, Herbert Bayer was appointed to run the new printing and advertising work-shop. He paid attention to typographic detail, experimenting with a limited typographic palette in order to achieve greater visual clarity and easily navigable pages. During the late 1920s and the 1930s, typographer Jan Tschichold set out his typographic principles in two seminal books: The New Typography (1928), and Asymmetric Typography (1935). Tschichold’s work was more refined than much of that which had preceded it. He wrote of typographic consistency as a necessary precursor to understanding, described designers as akin to engineers, and argued compellingly for asymmetry as a central tenet of modernism. It was the logical way to lay out text that is read from left to right, and produced “natural” rather than “formalist” solutions to the new design challenges than classicism, with its enforced central axis. In his work Tschichold explored subtle horizontal and vertical alignments, and used a limited range of fonts, type sizes, and type weights.

The following are first page studies using the Tschichold grid.

Moby Dick

Chapter 1 Loomings

Call me Ishmael. Some years ago – never mind how long precisely – having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me. There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs – commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. Look at the crowds of water-gazers there. Circumambulate the city of a dreamy Sabbath afternoon. Go from Corlears Hook to Coenties Slip, and from thence, by Whitehall, northward. What do you see? Posted like silent sentinels all around the town, stand thousands upon thousands of mortal men fixed in ocean reveries. Some leaning against the spiles; some seated upon the pierheads; some looking over the bulwarks of ships from China; some high aloft in the rigging, as if striving to get a still better seaward peep. But these are all landsmen; of week days pent up in lath and plaster tied to counters, nailed to benches, clinched to desks. How then is this? Are the green fields gone? What do they here?

Moby Dick

Chapter One

Loomings

CALL ME ISHMAEL. Some years ago – never mind how long precisely – having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me. There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs – commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. Look at the crowds of water-gazers there. Circumambulate the city of a dreamy Sabbath afternoon. Go from Corlears Hook to Coenties Slip, and from thence, by Whitehall, northward. What do you see? Posted like silent sentinels all around the town, stand thousands upon thousands of mortal men fixed in ocean reveries. Some leaning against the spiles; some seated upon the pier-heads; some looking over the bulwarks of ships from China; some high aloft in the rigging, as if striving to get a still better seaward peep. But these are all landsmen; of week days pent up in lath and plaster tied to counters, nailed to benches, clinched to desks. How then is this? Are the green fields gone? What do they here?

Chapter 1 LOOMINGS

Moby Dick

MOBY DICK

CHAPTER 1 LOOMINGS

Moby Dick

Chapter 1

LOOMINGS

Moby Dick

Chapter 1

Loomings

all me Ishmael. Some years ago – never mind how long precisely – having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me. There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs – commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. Look at the crowds of water-gazers there. Circumambulate the city of a dreamy Sabbath afternoon. Go from Corlears Hook to Coenties Slip, and from thence, by Whitehall, northward. What do you see? Posted like silent sentinels all around the town, stand thousands upon thousands of mortal men fixed in ocean reveries. Some leaning against the spiles; some seated upon the pier-heads; some looking over the bulwarks of ships from China; some high aloft in the rigging, as if striving to get a still better seaward peep. But these are all landsmen; of week days pent up in lath and plaster tied to counters, nailed to benches, clinched to desks. How then is this? Are the green fields gone? What do they here?

Chapter One

Loomings

Moby Dick

There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs – commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. Look at the crowds of water-gazers there. Circumambulate the city of a dreamy Sabbath afternoon. Go from Corlears Hook to Coenties Slip, and from thence, by Whitehall, northward. What do you see? Posted like silent sentinels all around the town, stand thousands upon thousands of mortal men fixed in ocean reveries. Some leaning against the spiles; some seated upon the pierheads; some looking over the bulwarks of ships from China; some high aloft in the rigging, as if striving to get a still better seaward peep. But these are all landsmen; of week days pent up in lath and plaster tied to counters, nailed to benches, clinched to desks. How then is this? Are the green fields gone? What do they here?

Moby Dick

Chapter One

Loomings Call me Ishmael. Some years ago – never mind how long precisely – having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me. There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs – commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. Look at the crowds of water-gazers there. Circumambulate the city of a dreamy Sabbath afternoon. Go from Corlears Hook to Coenties Slip, and from thence, by Whitehall, northward. What do you see? Posted like silent sentinels all around the town, stand thousands upon thousands of mortal men fixed in ocean reveries. Some leaning against the spiles; some seated upon the pier-heads; some looking over the bulwarks of ships from China; some high aloft in the rigging, as if striving to get a still better seaward peep. But these are all landsmen; of week days pent up in lath and plaster tied to counters, nailed to benches, clinched to desks. How then is this? Are the green fields gone? What do they here?

Moby Dick

Chapter One

Loomings

Call me Ishmael. Some years ago – never mind how long precisely – having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me. There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs – commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. Look at the crowds of water-gazers there. Circumambulate the city of a dreamy Sabbath afternoon. Go from Corlears Hook to Coenties Slip, and from thence, by Whitehall, northward. What do you see? Posted like silent sentinels all around the town, stand thousands upon thousands of mortal men fixed in ocean reveries. Some leaning against the spiles; some seated upon the pier-heads; some looking over the bulwarks of ships from China; some high aloft in the rigging, as if striving to get a still better seaward peep. But these are all landsmen; of week days pent up in lath and plaster tied to counters, nailed to benches, clinched to desks. How then is this? Are the green fields gone? What do they here?

Moby Dick

Chapter One

—Loomings

Call me Ishmael. Some years ago – never mind how long precisely – having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me. —There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs – commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. Look at the crowds of water-gazers there. —Circumambulate the city of a dreamy Sabbath afternoon. Go from Corlears Hook to Coenties Slip, and from thence, by Whitehall, northward. What do you see? Posted like silent sentinels all around the town, stand thousands upon thousands of mortal men fixed in ocean reveries. Some leaning against the spiles; some seated upon the pier-heads; some looking over the bulwarks of ships from China; some high aloft in the rigging, as if striving to get a still better seaward peep. But these are all landsmen; of week days pent up in lath and plaster tied to counters, nailed to benches, clinched to desks. How then is this? Are the green fields gone? What do they here?

16 paragraph breaks

In typography there are four rules regarding 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.

01. FIRST LINE AT THE BEGINNING OF AN ARTICLE SHOULD BE FLUSH LEFT (DO NOT INDENT FIRST PARAGRAPH). CALL ME ISHMAEL. Some years ago – never mind how long precisely – having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me. There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs – commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. Look at the crowds of water-gazers there. Circumambulate the city of a dreamy Sabbath afternoon. Go from Corlears Hook to Coenties Slip, and from thence, by Whitehall, northward. What do you see? Posted like silent sentinels all around the town, stand thousands upon thousands of mortal men fixed in ocean reveries. Some leaning against the spiles; some seated upon the pier-heads; some looking over the bulwarks of ships from China; some high aloft in the rigging, as if striving to get a still better seaward peep. But these are all landsmen; of week days pent up in lath and plaster tied to counters, nailed to benches, clinched to desks. How then is this? Are the green fields gone? What do they here?

02. BLOCK PARAGRAPHS ARE FLUSH LEFT AND ARE SEPARATED BY EXTRA LEADING NOT A FULL RETURN. CALL ME ISHMAEL. Some years ago – never mind how long precisely – having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me. There now is your insular city of the Manhattoes, belted round by wharves as Indian isles by coral reefs – commerce surrounds it with her surf. Right and left, the streets take you waterward. Its extreme downtown is the battery, where that noble mole is washed by waves, and cooled by breezes, which a few hours previous were out of sight of land. Look at the crowds of water-gazers there. Circumambulate the city of a dreamy Sabbath afternoon. Go from Corlears Hook to Coenties Slip, and from thence, by Whitehall, northward. What do you see? Posted like silent sentinels all around the town, stand thousands upon thousands of mortal men fixed in ocean reveries. Some leaning against the spiles; some seated upon the pier-heads; some looking over the bulwarks of ships from China; some high aloft in the rigging, as if striving to get a still better seaward peep. But these are all landsmen; of week days pent up in lath and plaster tied to counters, nailed to benches, clinched to desks. How then is this? Are the green fields gone? What do they here?

03. THE INDENT AMOUNT IS EQUAL TO THE LEADING (SOMETIMES NEEDS A BIT MORE).

9 point leading = .125 inch indent

04. NEVER HIT TWO RETURNS BETWEEN PARAGRAPHS. CALL ME ISHMAEL. Some years ago – never mind how long precisely – having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me.

Circumambulate the city of a dreamy Sabbath afternoon. Go from Corlears Hook to Coenties Slip, and from thence, by Whitehall, northward. What do you see? Posted like silent sentinels all around the town, stand thousands upon thousands of mortal men fixed in ocean reveries. Some leaning against the spiles; some seated upon the pier-heads; some looking over the bulwarks of ships from China; some high aloft in the rigging, as if striving to get a still better seaward peep. But these are all landsmen; of week days pent up in lath and plaster tied to counters, nailed to benches, clinched to desks. How then is this? Are the green fields gone? What do they here?

typographic rules