Post on 26-Oct-2015
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TYPOGRAPHY DECONSTRUCTEDTAKING A CLOSER LOOK THE
BUILDING BLOCKS OF TYPE
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TYPOGRAPHY DECONSTRUCTED
SYDNEY GOLDSTEIN
UNIVERSITY OF KANSAS
SPRING 2013
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RULES DEFINED
SPECIAL CHARACTERS
GRID STRUCTURES
QUOTES
APOSTROPHES & DASHES
SMALL CAPS
NUMERICAL
X-HEIGHT
COLUMN WIDTH
LEADING
KERNING
ALIGNMENTS
HYPHENATION RULES
JUSTIFICATION
COMBINING TYPEFACES
PARAGRAPH BREAKS
HEADERS, SUBHEADS & CROSSHEADS
CAPTIONS & NOTES
FONT SPECS
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RULES DEFINEDA LIST OF TWENTY-SEVEN RULES EVERY TYPE DESIGNER NEEDS TO LIVE AND BREATHE
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INSERT ONLY A SINGLE SPACE AFTER ALL PUNCTUATION
Inserting two spaces after a period was common when using
a typewriter. Monospace typefaces were designed to occupy
the same amount of space no matter the width of the char-
acter. 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.
USE PROPER ‘EM’ DASHES, ‘EN’ DASHES, AND HYPHENS
An em is a unit of measure equal to the point size that you
are using. An em dash is a type of punctuation used to offset
clauses in a sentence or to indicate an abrupt change in
thought. An en dash is equal to half the length of an em dash.
En dashes are used to denote duration.
USE PROPER QUOTE AND APOSTROPHE MARKS
Use true quotation marks and apostrophes instead of using
inch marks and feet marks. Place all punctuations inside the
quotation marks.
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 not a good 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.
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ADD LETTER SPACING TO CAPITALIZED TEXT AND SMALL CAPS
Letterspacing is the amount of space between characters in a
word. Some software programs caller letterspacing tracking.
Use positive number values (to about 2 or 3) to open up
letterspacing to capitalized text and small caps, except when
periods are used between characters.
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
smaller point size for the lining numbers. Think of lining
numbers as upper case numbers and non-lining numbers as
lower case numbers.
USE CAPS PROPERLY
With options given to you by almost any type family (bold,
point size, etc) you will seldom need to use all caps to draw
attention to your text. Not all typefaces are legible when
set in all caps; esp. True for script and decorative typefaces.
Short headlines may be the once exception to this rule.
USE COPYRIGHT, REGISTER, AND TRADEMARK MARKS PROPERLY
The copyright, register, and trademark characters need to
be reduced to work with body text. At times, depending on
the typeface, you may need to reduce the mark somewhere
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 super scripted and should remain on the baseline. The ™
symbol is usually superscripted for the chosen font. ™ and ®
are also normally set higher then other marks. If you choose to
superscript ®, reduce it to about 60% of the size.
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ELLIPSIS CHARACTER
Use the ellipsis character and NOT three periods. You can
access the ellipsis by typing Option + : (colon). To allow a
small amount of space before and after text. However if there
is no over crowding the text, leave no space at all.
AVOID UNDERLINED TEXT
This was useful back in the days of the typewriter to draw
attention to the text. With digital type and their families, you
should not need to use underlined text.
INCREASE LINE SPACING TO IMPROVE THE READABILITY IN YOUR
BODY TEXT
Line spacing (aka leading) refers to the space between lines
of text. It is important for readability and appearance. Leading
is measured from baseline to baseline. As a rule of thumb,
allow leading that is 120% of the point size. For sans serif, you
may need 130% or more.
BODY COPY SIZE
Body text is set anywhere from 9-12 points. When you print
text, it is usually larger than what it looked like on the screen.
So, print out your text before finalizing your layout. Try type
studies to will help you determine the proper size before you
proceed with your layout.
ALTERING FONTS
Don’t alter the original typeface by stretching or condensing
the letters improperly. Certain type families should provide
you with a lot of flexibility, so you won't not need to destroy
or alter text.
SOLID LEADING
NEGATIVE LEADING
12/12 pt
12/10 pt
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LEGIBILITY OF FONTS
Sans serif typefaces work well for headlines and to set text
that is aligned to vertical/horizontal lines. Certain sans serif
typefaces which are not very geometrical work well for body
copy (i.e. Frutiger, Meta, Scala Sans, etc.)
DECREASE LINE LENGTH AND INCREASE MARGINS
Line length is a measure of text on one line. Any measure
between 45 and 75 characters is comfortable for single column
widths. The ideal measure for body text length is about 66
characters (counting both letters, punctuation, and spaces.)
For more than one column, a measure between 40 and 50
characters is ideal.
AVOID LETTERSPACING LOWERCASE BODY COPY
Don’t letterspace body copy as it really hampers the legibility.
Use letterspacing when working with caps. small caps,
numbers and display text, looser type spacing may increase
the legibility.
WORD SPACING SHOULD BE FAIRLY CLOSE
Text meant for extended reading, the amount of space
between words in a paragraph needs to 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. Try
keeping the spaces between words fairly thin and consistent
IDEAL COLUMN WIDTH
For single-column pages, 4.25 inches is ideal. For two-column
width, columns can be as narrow as 2 inches. Turning on the
hyphenation feature can improve word spacing.
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EXAMPLE
ELE-GANTLY RIGHT!
ELEGANT-LY WRONG!
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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 hyphenatation and manually hyphenating the text are
all examples of possible solutions.
CHOOSE THE ALIGNMENT THAT FITS
Make sure the alignment chosen for all areas of text are
legible and consistent with the design and guidelines. Left
aligned text is easier to read and set. Justified text is harder
to set with out inevitable word spacing problems. Right
aligned and centered are generally not used for body copy.
RULES OF HYPHENATION
Don’t rely on the software to judge where hyphens should
be placed. At the end of lines, it is best to leave at least two
characters behind and take at least three forward. Avoid
leaving the stub end of a hyphenated word or any word
shorter then four letters as the last line of a paragraph Try
to avoid more then three consecutive hyphenated lines. Don't
hyphenate or break 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.
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 BY AS WELL.
23. 24. ALWAYS SPELL CHECK!
Spell check is an application program that flags words in
a document that may not be spelled correctly. Spell checkers
may be stand-alone, capable of operating on a block of text,
or as part of a larger application.
Once you are finished with your design, spell check the text
using both of the following:
DON'T RELY SOLELY
ON SPELL CHECK!
IT'S NOT PERFECT.
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AVOID WIDOWS AND ORPHANS
Widows are either single words alone on a line or single sen-
tences alone on a new page. Orphans are single lines of copy
alone at the end of a page.
KERNING IN HEADLINES
Adjust the space between two particular letters to allow for
more consistent negative space.
INDENTS
In continuous text, mark all paragraphs after the first with
an indent of at least one “em”. Do NOT use three spaces but
rather use the tabs or indents option in your software.
ITEMS IN A SERIES
Items in a series do not use a comma before the word “and.”
(i.e., ‘peaches, apples and oranges.’)
MARKS
At times, depending on the typeface, you may need to or
be asked 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 some of
the other marks.
THE COPYRIGHT, REGISTER, AND TRADEMARK CHARACTERS
NEED TO BE REDUCED TO WORK WITH BODY TEXT.
© = 70%
® = 60%
© = 70%
® = 60%
REDUCE
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“
”
‘
’
–
—
…
•
FI
FL
©
™
°
¢
€ ⁄ ¡
¿
£
Ç
Ç
OPENING DOUBLE QUOTE
CLOSING DOUBLE QUOTE
OPENING SINGLE QUOTE
CLOSING SINGLE QUOTE
EN DASH
EM DASH
ELLIPSIS
BULLET
LIGATURE OF F AND I
LIGATURE OF F AND L
COPYRIGHT
TRADEMARK
DEGREE SYMBOL
CENT SYMBOL
EURO SYMBOL
FRACTION BAR
UPSIDE DOWN !
UPSIDE DOWN ?
POUND SYMBOL
CEDILLA
CAPITAL CEDILLA
Option + [
Option + Shift + [
Option + ]
Option + Shift + ]
Option + Hyphen
Option + Shift + Hyphen
Option + ;
Option + 8
Option + Shift + 5
Option + Shift + 6
Option + G
Option + 2
Option + Shift + 8
Option + $
Option + Shift + 2
Option + Shift + 1
Option + 1
Option + Shift + ?
Option + 3
Option + c
Option + Shift + C
ELLIPSIS CHARACTER
Use the ellipsis character and NOT three periods. You can
access the ellipsis by typing Option + : (colon). Allow a
small amount of space before and after. However if it is
not crowding the text, leave no space at all.
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GRID STUCTURES
A grid subdivides a page vertically and horizontally into margins, columns, inter-
column spaces, lines of type, and spaces between blocks of type and images. These
subdivisions form the basis of a modular and systematic approach to the layout,
particularly for multi-page documents, making the design process quicker, and
ensuring visual consistency between related pages.
At its most basic, the sizes of a grid’s component parts are determined by ease
of reading and handling. From the sizes of type to the overall page or sheet size,
decision-making is derived from physiology and the psychology of perception as
much as by aesthetics. Type sizes are generally determined by the hierarchy—
captions smaller than body text and so on—column widths by the optimum word
counts of eight to ten words to the line, and overall layout by the need to group
related items. This all sounds rather formulaic, and easy. But designers whose grids
produce dynamic or very subtle results take these rules as a starting point only,
developing flexible structures in which their sensibility can flourish.
Grids often need to be designed to give more flexibility than the single column
of text per page (Jan Tschichold's grid). This is due to to a change in our reading
patterns. Grid structures have to accommodate a greater variety of material such as
photographs, illustrations, headings, captions, references, charts; they need to be
more complicated than a grid using only text and may utilize more modules.
The design of the grid had to be relevant to the purpose.
THE GRID PROVIDES A FRAMEWORK WHERE TEXT, IMAGE AND SPACE CAN BE
COMBINED INTO A COHESIVE MANNER
COLUMNS
Columns are vertical bands of modules. There can be any
number of columns in a grid. More columns leads to more
flexibility, but can also make the grid difficult to work with.
MODULES
Modules are individual units of space that are separated by
regular intervals. Modules are the basic building blocks of
grids. When repeated they create columns and rows.
THIS BASE OF LAYOUTS
Modular grids are created by positioning horizontal guidelines in relation to a base-
line grid that governs the whole document. Baseline grids serve to anchor all (or
nearly all) layout elements to a common rhythm. Create a baseline grid by choosing
the typesize and leading of your text, such as 10-pt Scala Pro with 12 pts leading
(10/12). Avoid auto leading so that you can work with whole numbers that multiply
and divide cleanly. Use this line space increment to set the baseline grid in your
document preferences.
Adjust the top or bottom page margin to absorb any space left over by the baseline
grid. Determine the number of horizontal page units in relation to the numer of lines
in your baseline grid. Count how many lines fit in a full column of text and then
choose a number that divides evenly into the line count to create horizontal page
divisions. A column with forty-two lines of text divides neatly into seven horizontal
modules with six lines each. If your line count is not neatly divisible, adjust the top
and/or bottom page margins to absorb the leftover lines.
BASELINE GRID
GRID SPECS:
LEADING: 12 PTS
FONT SIZE: 10 PTS
MARGIN SIZE: 1' 2' 1' 2'
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SYMMETRICAL GRID
Symmetric grids sit centrally on a single page so that the left and right margins are
equal. the term can also be applied to a grid system used across facing pages where
the position of the margins and text areas are symmetrically reflected or mirrored.
Margins are not necessarily equal but run both left and right of the text area on
single pages and are mirrored across the spread.
TSCHICHOLD'S GRID
THE GOLDEN SPIRAL
This example shows a grid where the proportions of the text area are established
from the shape of the page, i.e. the height of the text area is the same as the width
of the full page. Note that the text are will always remain the same, regardless of
the scale of the page.
Grids often need to be designed to give more flexibility than the single column of
text per peg This is due to a change in our reading patterns. Although we still read
consecutively , our attention is drawn to both magazines and coffee table books
which are often larger in format and highly illustrated. The grid structures for these
formats have to accommodate a greater variety of material such as photographs,
illustrations, headings, captions, references, charts; they need to be more compli-
cated than those for a grid using only text and may utilize some more modules.
Therefore, the design of the rid has to be relevant to its purpose.
The golden section has been used for centuries. The Greeks used the golden section
to establish balance in the design for architecture, for example the Parthenon,
and it was re-discovered by artists and architects during the Renaissance period.
The golden section is constructed through mathematical calculations : the ratio
being 1:1:61803.
The Fibonacci sequence is a mathematical series discovered in the 12th century by
Leonardo Fibonacci and is used to establish proportion. The sequence of numbers
demonstrate that the sum of two numbers establishes the next number.
FIBONACCI SEQUENCE
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RECTANGLES
FIBONACCI SEQUENCE
PROPORTIONS
3:5 - 5:8 - 8:13 - 13:21 - 21:34 - 34:55 - 55:89 - 89:144 - 144:233 - 233:377 - 377:610
3 - 5 - 8 - 13 - 21 - 34 - 55 - 89 - 144 - 233- 377 - 610
1:1.667 1:1.618
THE MORE COLUMNS YOU CREATE THE MORE FLEXIBLE YOUR GRID BECOMES
These may consist of simply of a number of vertical columns used to position text
and image matter and may include the space between columns- the gutters- and
the margins of the page, which must be given consideration. It may be necessary to
produce grids with narrower sub columns to enable a greater degree of flexibility in
the design and layout of pages. Text widths can be set to multiples of the narrower
columns, allowing the design to accommodate different matter thus allowing for a
change of pace, rhythm and style from one page or section to the next, while still
relating the content.
COLUMN GRID
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GREAT FOR DIVIDING SPACE
Modular grids are associated with Swiss typography or the 'International style'
of the 1950's and 60s. As well as a vertical division of space, modular grids divide
space hormonally too, creating units or cells. The depth of the cell may depend
upon the size of the text type and leading being used. Multiples of the line depth
(leading size) form a good basis on which to construct the cells.
Use a modular grid to arrange a text in as many ways as you can. By employing
just one size of type and flush left alignment only, you will construct a typographic
hierarchy exclusively by means of spatial arrangement. To make the project more
complex, begin adding variables such as weight, size, and alignment.
MODULAR GRID
OFF-CENTERED GRIDS
These grids may have an off-center appearance either as single pages or combined
in spreads. If used in spreads, the grid is not mirrored from one page to the next as
in symmetrical grids, but is more likely to appear repeated in a single position from
page to page. Again, as with all grid systems, attention to the relationship of the
margins is important, It can be this element alone that determine the success of the
eventual layout.
ASYMMETRICAL GRID
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"NEVER DATE A GIRL WHO WORKS IN A AN ART
SUPPLY STORE. IF THE RELATIONSHIP ENDS, YOU
WON'T BE ABLE TO BUY SUPPLIES ANYMORE."
— RODNEY DAVIDSON
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QUOTES
Use real quotation marks – never those grotesque generic marks that actually sym-
bolize ditto/inch or foot marks: use “and” – not “and”. Most software applications
will convert the typewriter quotes to the real quotes for you automatically as you
type. Check the preferences for your application – you’ll find a check box to tell your
application to automatically set something like “TYPOGRAPHER’S QUOTES,” “SMART
QUOTES,” or “CURLY QUOTES.” Then as you type using the standard ditto key (“),
the software will set the correct quotation marks for you.
It is necessary to know how to set smart quotes/real quotes yourself because some-
times the software doesn’t do it or does it wrong.
BRIDGE CLEARANCE: 16'7"
THE YOUNG MAN STOOD: 6'2"
THE LENGTH OF THE WALL IS: 153'9"
OPENING DOUBLE QUOTE:
CLOSING DOUBLE QUOTE:
OPENING SINGLE QUOTE:
CLOSING SINGLE QUOTE:
“ TYPE: OPTION + [
” TYPE: OPTION + SHIFT + [
‘ TYPE: OPTION + ]
’ TYPE: OPTION + SHIFT + ]
USE TRUE QUOTATION MARKS AND APOSTROPHES INSTEAD OF USING INCH MARKS
AND FEET MARKS. PLACE ALL PUNCTUATIONS INSIDE THE QUOTATION MARKS.
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PEOPLE OFTEN ARE CONFUSED ABOUT WHERE THE APOSTROPHE BELONGS. THERE
ARE A COUPLE OF RULES THAT WORK VERY WELL: APOSTROPHE: OPTION + SHIFT + ]
APOSTROPHE
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.”
It may be easier to remember if you recall that yours, hers,
and his don’t use apostrophes — and neither should its.
CONTRACTIONS
The apostrophe replaces the missing letter. For example:
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.
OMISSION OF LETTERS
In a phrase such as Rock ’n’ Roll, there should be an apostro-
phe before and after the n, because the a and the d are both
left out. And don’t turn the first apostrophe around — just
because it appears in front of the letter does not mean you
need to use the opposite single quote. An apostrophe is still
the appropriate mark (not ‘n’).
In a phrase such as House o’ Fashion, the apostrophe takes
the place of the f. There is no earthly reason for an apostrophe
to be set before the o.
In a phrase such as Gone Fishin’ the same pattern is followed,
the g is missing.
USE PROPER ‘EM’ DASHES, ‘EN’ DASHES, AND HYPHENS. NEVER USE TWO HYPHENS
INSTEAD OF A DASH.
DASHES
Everyone knows what a hyphens is —that tiny little dash that belongs in some
words, like mother-in-law, or in phone numbers. It’s also used to break a word at
the end of a line, of course.
You might have been taught to use or given text that uses a double hyphen -- to
indicate a dash. This is a typewriter convention because typewriters didn’t have
the real dash used in professional typesetting. On a Mac, no one needs to use the
double hyphen—we have a professional em dash, the long one, such as you see in
this sentence. We also have an en dash, which is a little shorter than the em dash.
1. NEVER USE TWO HYPHENS INSTEAD OF A DASH
2. USE HYPHENS, EN DASHES, AND EM DASHES APPROPRIATELY
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OPTION + HYPHEN OPTION + SHIFT + HYPHEN
HYPHEN - EN DASH – EM DASH —
A hyphen is one third of the em rule
and is used to link words. It serves as
a compound modifier where two words
become one, such as x-height. A hyphen
is also used to break works at syllables
in text blocks.
An en dash is half of the em rule (the
width of a capital N) and is used be-
tween words that indicate a duration,
such as time or months or years. Use
it where you might otherwise use the
word “to.”
In a page layout application, the en dash
can be used with a thin space on either
side of it. If you want you can kern it so
it is not a full space.
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 type-
face you’re using at the moment. This
dash is often used in place of a colon
or parentheses, or it might indicate an
abrupt change in thought, or it’s used
in a spot where a period is too strong
and a comma is too weak. It is also used
for attribution of text. —Mac is not a
Typewriter
Our equivalent on the typewriter was
the double hyphen, but now we have a
real em dash. Using two hyphens where
there should be an em dash makes your
look very unprofessional.
When using an—no space is used on
either side.
MOTHER-IN-LAW
X-HEIGHT
SANS-SERIF
OCTOBER – DECEMBER
4 – 6 YEARS OF AGE
6:30 – 8:45 A.M.
WHEN USING AN —NO
SPACE IS USED ON
EITHER SIDE
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SMALL CAPS
Small caps are less intrusive when all uppercase appears within normal text or can
be used for special emphasis. Computer programs usually can generate small caps
for any typeface, but those are not the same as true small caps. True small caps
have line weights that are proportionally correct for the typeface, which mean 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 com-
pute 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. Small caps are capital letters that are about the size of normal lowercase
letters in a typeface.
THIS IS AN EXAMPLE OF FAKE SMALL CAPS
This Is An Example Of True Small Caps
ACRONYMS
Set acronyms such as NASA or NASDAQ in small caps when they
appear in body text or headlines.
ABBREVIATIONS
Set common abbreviations such as AM or PM in small caps so
they don’t overpower the accompanying text. Use small caps for
A.M. and P.M.; space once after the number, and use periods.
TRUE SMALL CAPS
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.
SMALL CAPS ARE UPPERCASE (CAPITAL) LETTERS THAT ARE ABOUT THE SIZE
OF NORMAL LOWERCASE LETTERS IN ANY GIVEN TYPEFACE.
USE SMALL CAPS IN ACRONYMS SUCH AS NBA, NFL, CIA, CNBAM, OR BET
If you set acronyms in regular all caps, their visual presence is unneccessarily over-
whelming. Traditionally, “a.m.” and “p.m.” are set with small caps. If you were taught
to type on a typewriter (or if you were taught on a keyboard by someone who has
taught on a typewriter), you probably learned to set these abbreviations in all caps
because there were no small caps on typewriters. But now that you have the capa-
bility, you can and should set them properly.
THE CAPITAL LETTERS IN THE MIDDLE OF THE SENTENCE CALL TOO
MUCH ATTENTION TO THEMSELVES. NOTICE HOW THE SMALL CAPS
BLEND IN WITH THE TEXT. THE CAPITAL LETTERS FOR P.M. ARE
MUCH TOO LARGE— THE ABBREVIATION IS NOT THAT IMPORTANT.
NO SMALL CAPS
Harriet, an FBI agent, turned on CNN to get the dirt on the CIA before going to bed at 9:30 P.M.
SMALL CAPS
Harriet, and fbi agent, turned on cnn to get the dirt on the cia before going to bed at 9:30 p.m.
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USE SMALL CAPS IN ACRONYMS SUCH AS NBA, NFL, CIA, CNBAM, OR BET
There are quite a few font families that include “true-drawn” small caps—letter
forms that have been redesigned to match the proportions and thickness of the
uppercase. These families are of called EXPERT sets or SMALL CAP SETS. The result
is a smooth, uniform, undistrupting tone throughout the text.
I META GUY AND HE WAS ALL LIKE CHOLLA
AT YO GURL MRS. EAVES. IT TOOK A
CENTURY TO SWIFT HER OFF HER FEET
TO BASKERVILLE THOUGH.
The Wicked Are Very Weary
True-drawn small caps
are specially drawn to
match the weight of
the capital letters in the
same face.
Small caps aren’t limited
to serif typefaces. Many
san-serif include them
as well.
Notice that the stroke
width appears uniform
throughout the text.
TYPEFACES WITH SMALLCAPS:
BASKERVILLE – CENTURY – CHOLLA – META – MRS. EAVES – SWIFT
39
NUMERALS/FIGURES
Oldstyle figures, also known as non-lining figures do not line up on the baseline as reg-
ular or lining numerals do. They can be found in various fonts. They are considerably
different from the more common “LINING” (or “ALIGNING”) figures which are all-cap
height and typically monospaced in text faces so that they line up vertically on charts.
Oldstyle 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, some-
times as the regular numerals in a font, but more often within a supplementary or
expert font. The figures are proportionately spaced, eliminating the white spaces that
result from monospaced lining figures, especially around the numeral one.
OLDSTYLE FIGURES ARE A STYLE OF NUMERAL WHICH APPROXIMATE LOWERCASE
LETTERFORMS BY HAVING AN X-HEIGHT AND VARYING ASCENDERS AND DESCENDERS.
OLDSTYLE FIGURES BLEND
Old style figures blend in without disturbing the color of the body
copy. They also work well in headlines since they’re not as intru-
sive as lining figures. In fact, many people prefer them overall for
most uses except charts tables. It’s well worth the extra effort to
track down and obtain typefaces with oldstyle figures; the fonts
that contain them might well become some of your favorites.
BODY TEXT
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.
Dear John, please call me at 438-9762 at 3:00 to discuss
marriage. Or write to me at Route 916, zip code 87505
NOTICE HOW BEAUTIFULLY THESE
NUMBERS BLEND IN WITH THE TEXT
SANS SERIF OLD STYLE NUMBERS
12 134 17 1023 323 12.5 134.0 17.8 1023.4 323.0
12 134 17 1023 323 12.5 134.0 17.8 1023.4 323.0
12 134 17 1023 323 12.5 134.0 17.8 1023.4 323.0WALBAUM
PALATINO
SABON
SANS SERIF OLD STYLE NUMBERS
12 134 17 1023 323 12.5 134.0 17.8 1023.4 323.0
12 134 17 1023 323 12.5 134.0 17.8 1023.4 323.0
12 134 17 1023 323 12.5 134.0 17.8 1023.4 323.0SCALASANS
CHOLLA
META
41 41
43
Someone that wants to read it? Someone that has to read it?
X-HEIGHT
Readability and legibility are two key elements of printed text that typographer
strive to maximize. Readability refers to whether an extended amount of text, such
as an article, book, or annual report – is easy to read. Legibility refers to whether a
short burst of text, such as a headline catalog listing, or stop sign is recognizable.
There are several factors that determine whether a text is readable. When decid-
ing what typeface should be used for a job, consideration should be given to the
font and its x-height. It is important to understand how a block of text can express
a message through its texture/color, therefore suiting a particular design solution.
Fonts set in the same size, same leading and column width will produce varying
degrees of “color”.
In typography, color can also describe the balance between black and white on the
page of text. A typeface’s color is determined by stroke width, x-height, character
width and serif styles.
AS A DESIGNER, IF YOU ARE ONLY ASKED TO MAKE THE TEXT
READABLE ON THE PAGE THE FOLLOWING QUESTIONS SHOULD
BE ASKED...
WHO IS TO READ IT?
HOW WILL IT BE READ? Quickly. In passing. Focused. Near. Far.
THE X-HEIGHT REFERS TO THE DISTANCE BETWEEN THE BASELINE AND THE MAIN LINE
OF THE TYPEFACE.
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 it's
glorified contemporary life, mainly by emphasizing two dominant themes,
the machine and motion. The works were characterized by the depiction
of several successive actions of a subject at the same time. Marinetti’s
manifesto glorified the new technology of the automobile and the beauty
of its speed, power, and movement. He exalted violence and conflict
and called for the sweeping repudiation of traditional cultural, social,
and political values and the destruction of such cultural institutions as
museums and libraries.
MRS. EAVESZuzana Licko
Transitional Serif
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by the
Italian poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant
art of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected traditions
and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were
characterized by the depiction of several successive actions of
a subject at the same time. Marinetti’s manifesto glorified the
new technology of the automobile and the beauty of its speed,
power, and movement. He exalted violence and conflict and
called for the sweeping repudiation of traditional cultural,
social, and political values and the destruction of such cultural
institutions as museums and libraries.
MELIORHermann Zapf
Transitional Serif
x-height: medium
character width: medium
color: average
x-height: small
character width: medium
color: light
Xxhg Xxhg
45
Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and editor
Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he conceived to be the
static and irrelevant art of the past and celebrating change, originality,
and innovation in culture and society. Futurism rejected traditions
and glorified contemporary life, mainly by emphasizing two dominant
themes, the machine and motion. The works were characterized by the
depiction of several successive actions of a subject at the same time.
Marinetti’s manifesto glorified the new technology of the automobile
and the beauty of its speed, power, and movement. He exalted violence
and conflict and called for the sweeping repudiation of traditional
cultural, social, and political values and the destruction of such cultural
institutions as museums and libraries.
GOUDYFrederic W. Goudy
Old Style Serif
x-height: medium
character width: medium
color: light
Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he conceived to
be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism rejected
traditions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The works were
characterized by the depiction of several successive actions of a
subject at the same time. Marinetti’s manifesto glorified the new
technology of the automobile and the beauty of its speed, power,
and movement. He exalted violence and conflict and called for the
sweeping repudiation of traditional cultural, social, and political
values and the destruction of such cultural institutions as museums
and libraries.
ROTIS SERIFOtl Aicher
New Transitional Serif
x-height: large
character width: narrow
color: average
Xxhg Xxhg
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
MEMPHISRudolf Wolf
Slab Serif x-height: medium character width: medium color: average
XxhgFuturism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and editor
Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected traditions and glorified
contemporary life, mainly by emphasizing two dominant themes, the
machine and motion. The works were characterized by the depiction
of several successive actions of a subject at the same time. Marinetti’s
manifesto glorified the new technology of the automobile and the beauty
of its speed, power, and movement. He exalted violence and conflict and
called for the sweeping repudiation of traditional cultural, social, and
political values and the destruction of such cultural institutions as museums
and libraries.
GARAMONDClause Garamond
Old Style Serif
x-height: small
character width: medium
color: average
Xxhg
47
Futurism was first announced on February 20, 1909,
when the Paris newspaper Le Figaro published
a manifesto by the Italian poet and editor Filippo
Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he
conceived to be the static and irrelevant art of the past
and celebrating change, originality, and innovation in
culture and society. Futurism rejected traditions and
glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works
were characterized by the depiction of several successive
actions of a subject at the same time. Marinetti’s
manifesto glorified the new technology of the automobile
and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping
repudiation of traditional cultral, social, and political
values and the destruction of such cultural institutions as
museums and libraries.
VOLTA TWalter Baum & Konrad Bauer
Modern Serif
x-height: medium
character width: medium
color: light
XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
ARCHERHoefler & Frere-Jones
Slab Serif
x-height: medium
character width: medium
color: average
Xxhg
SWIFT Gerard Unger
Futurism was first announced on February 20, 1909, when the
Paris newspaper Le Figaro published a manifesto by the Italian
poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what
he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and
society. Futurism rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant themes, the machine
and motion. The works were characterized by the depiction
of several successive actions of a subject at the same time.
Marinetti’s manifesto glorified the new technology of the
automobile and the beauty of its speed, power, and movement.
He exalted violence and conflict and called for the sweeping
repudiation of traditional cultural, social, and political values
and the destruction of such cultural institutions as museums
and libraries.
New Transitional Serif
x-height: medium
character width: medium
color: average
XxhgFuturism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and editor
Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected traditions and
glorified contemporary life, mainly by emphasizing two dominant
themes, the machine and motion. The works were characterized by the
depiction of several successive actions of a subject at the same time.
Marinetti’s manifesto glorified the new technology of the automobile
and the beauty of its speed, power, and movement. He exalted violence
and conflict and called for the sweeping repudiation of traditional
cultural, social, and political values and the destruction of such cultural
institutions as museums and libraries.
BASKERVILLEJohn Baskerville
Transitional Serif
x-height: small
character width: narrow
color: average
Xxhg
49
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by the
Italian poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant
art of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected traditions
and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were
characterized by the depiction of several successive actions
of a subject at the same time. Marinetti’s manifesto glorified
the new technology of the automobile and the beauty of
its speed, power, and movement. He exalted violence and
conflict and called for the sweeping repudiation of traditional
cultural, social, and political values and the destruction of
such cultural institutions as museums and libraries.
UNIVERS Adrian Frutiger
Neo-Grotesque San Serif
x-height: large
character width: wide
color: average
XxhgFuturism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by
the Italian poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism
rejected traditions and glorified contemporary life, mainly
by emphasizing two dominant themes, the machine and
motion. The works were characterized by the depiction
of several successive actions of a subject at the same
time. Marinetti’s manifesto glorified the new technology
of the automobile and the beauty of its speed, power, and
movement. He exalted violence and conflict and called
for the sweeping repudiation of traditional cultural, social,
and political values and the destruction of such cultural
institutions as museums and libraries.
GOTHAM Tobias Frere-Jones
Geometric Serif
x-height: large
character width: wide
color: light
Xxhg
Futurism was first announced on February 20, 1909, when the
Paris newspaper Le Figaro published a manifesto by the Italian
poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what
he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and
society. Futurism rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant themes, the machine
and motion. The works were characterized by the depiction
of several successive actions of a subject at the same time.
Marinetti’s manifesto glorified the new technology of the
automobile and the beauty of its speed, power, and movement.
He exalted violence and conflict and called for the sweeping
repudiation of traditional cultural, social, and political values and
the destruction of such cultural institutions as museums
and libraries.
HELVETICA NEUEMax Miedinger
Neo-Grotesque San Serif
x-height: small
character width: medium
color: average
XxhgFuturismwasfirstannouncedonFebruary20,1909,whentheParis
newspaperLeFigaropublishedamanifestobytheItalianpoetand
editorFilippoTommasoMarinetti.ThenameFuturism,coinedby
Marinetti,reflectedhisemphasisondiscardingwhatheconceivedto
bethestaticandirrelevantartofthepastandcelebratingchange,
originality,andinnovationincultureandsociety.Futurismrejected
traditionsandglorifiedcontemporarylife,mainlybyemphasizing
twodominantthemes,themachineandmotion.Theworkswere
characterizedbythedepictionofseveralsuccessiveactionsofa
subjectatthesametime.Marinetti’smanifestoglorifiedthenew
technologyoftheautomobileandthebeautyofitsspeed,power,
andmovement.Heexaltedviolenceandconflictandcalledforthe
sweepingrepudiationoftraditionalcultural,social,andpolitical
valuesandthedestructionofsuchculturalinstitutionsasmuseums
andlibraries.
METAErikSpiekermann
HumanisticSansSerif
x-height:large
characterwidth:medium
color:dark
Xxhg
51
Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism rejected
traditions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The works were
characterized by the depiction of several successive actions of a
subject at the same time. Marinetti’s manifesto glorified the new
technology of the automobile and the beauty of its speed, power,
and movement. He exalted violence and conflict and called for the
sweeping repudiation of traditional cultural, social, and political
values and the destruction of such cultural institutions as museums
and libraries.
TRADE GOTHIC Jackson Burke
Grotesque Serif
x-height: large
character width: narrow
color: dark
XxhgFuturism was first announced on February 20, 1909, when the
Paris newspaper Le Figaro published a manifesto by the Italian
poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what
he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and
society. Futurism rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant themes, the machine
and motion. The works were characterized by the depiction
of several successive actions of a subject at the same time.
Marinetti’s manifesto glorified the new technology of the
automobile and the beauty of its speed, power, and movement.
He exalted violence and conflict and called for the sweeping
repudiation of traditional cultural, social, and political values
and the destruction of such cultural institutions as museums
and libraries.
INTERSTATETobias Frere-Jones
Humanistic Sans Serif
x-height: large
character width: narrow
color: average
Xxhg
Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and celebrating
change, originality, and innovation in culture and society. Futurism
rejected traditions and glorified contemporary life, mainly by
emphasizing two dominant themes, the machine and motion.
The works were characterized by the depiction of several successive
actions of a subject at the same time. Marinetti’s manifesto glorified
the new technology of the automobile and the beauty of its speed,
power, and movement. He exalted violence and conflict and called
for the sweeping repudiation of traditional cultural, social, and
political values and the destruction of such cultural institutions as
museums and libraries.
SYNTAX Hans Eduard Meirer
Humanistic Sans Serif
x-height: large
character width: narrow
color: dark
XxhgFuturism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism rejected
traditions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The works were
characterized by the depiction of several successive actions of a
subject at the same time. Marinetti’s manifesto glorified the new
technology of the automobile and the beauty of its speed, power,
and movement. He exalted violence and conflict and called for the
sweeping repudiation of traditional cultural, social, and political
values and the destruction of such cultural institutions as museums
and libraries.
AKZIDENZ GROTESK Gunter Gerhard Lange
Transitional Serif
x-height: medium
character width: narrow
color: average
Xxhg
53
FuturismwasfirstannouncedonFebruary20,1909,whentheParis
newspaperLeFigaropublishedamanifestobytheItalianpoetand
editorFilippoTommasoMarinetti.ThenameFuturism,coinedby
Marinetti,reflectedhisemphasisondiscardingwhatheconceived
tobethestaticandirrelevantartofthepastandcelebratingchange,
originality,andinnovationincultureandsociety.Futurismrejected
traditionsandglorifiedcontemporarylife,mainlybyemphasizing
twodominantthemes,themachineanditsmotion.Theworkswere
characterizedbythedepictionofseveralsuccessiveactionsofa
subjectatthesametime.Marinetti’smanifestoglorifiedthenew
technologyoftheautomobileandthebeautyofitsspeed,power,
andmovement.Heexaltedviolenceandconflictandcalledforthe
sweepingrepudiationoftraditionalcultural,social,andthepolitical
valuesandthedestructionofsuchculturalinstitutionsasmuseums
andlibraries.
SCALASANSMartinMajoor
Humanistic Sans Serif
x-height:medium
characterwidth:narrow
color:light
XxhgFuturism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he conceived to
be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism rejected
traditions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The works were
characterized by the depiction of several successive actions of a
subject at the same time. Marinetti’s manifesto glorified the new
technology of the automobile and the beauty of its speed, power, and
movement. He exalted violence and conflict and called for the sweeping
repudiation of traditional cultural, social, and political values and the
destruction of such cultural institutions as museums and libraries.
EUROSTILE Aldo Novarese
Geometric Sans Serif
x-height: large
character width: medium
color: light
Xxhg
55
57
COLUMN WIDTH
Columns are most commonly used to break up large bodies of text that cannot fit
in a single block of text on a page. Additionally, columns are used to improve page
composition and readability. Newspapers very frequently use complex multicolumn
layouts to break up stories and longer bodies of texts within a story. Column can
also generally refer to the vertical delineations created by a typographic grid system
which type and image may be positioned.
A COLUMN IS ONE OR MORE VERTICAL BLOCKS OF CONTENT POSITIONED ON A PAGE,
SEPARATED BY GUTTERS OR RULES.
SEVERAL FACTORS TO CONSIDER WHEN DETERMINING THE
WIDTH OF A COLUMN OF TEXT ARE:
TYPEFACE
The width of the individual glyphs and the overall typeface
design affect the word count per line.
POINT SIZE
The size of the type affects how many words fit in a line.
WORD LENGTH
You can fit a greater number of shorter words than longer
ones in a given column width.
THE NASTA TEXTBOOK STANDARD CALLS FOR THE FOLLOWING
MINIMAL ALLOWABLE MARGINS:
HEAD: 3/8' GUTTER: 5/8' FRONT: 1/2' FOOT: 5/8'
The final factor to
take into account
when deciding
upon the appropri-
ate line length is
the nature of the
actual text.
The final factor to take into account
when deciding upon the appropriate
line length is the nature of the ac-
tual text. For instance, some content,
such as medical text – might involve
many longer words, lending itself to a
wider column width to avoid excessive
The final factor to take into account when deciding upon the
appropriate line length is the nature of the actual text. For
instance, some content – such as medical text – might involve
many longer words, lending itself to a wider column width to
avoid excessive hyphenations. On the other hand, text used
for children and younger readers might involve many short
words, allowing for a narrow column.
The final factor to take into account when deciding upon the appropriate line length is the nature of the actual text. For in-
stance, some content – such as medical text – might involve many longer words, lending itself to a wider column width to avoid
excessive hyphenations. On the other hand, text used for children and younger readers might involve many short words, allow-
ing for a narrow column.
WHICH DO YOU PREFER?
TOO NARROW JUST RIGHT JUST RIGHT
TOO WIDE
COLUMNS VARY DEPENDING ON THE AMOUNT
OF TEXT YOU HAVE. WHAT WORKS FOR
THING MIGHT NOT WORK FOR ANOTHER.
59
"I LOVE THE COMMENT, "YOU MUST LOVE
DESIGNING FOR A LIVING." AT THAT POINT, I
USUALLY START TO LAUGH OR BREAK INTO
UNCONTROLLABLE TEARS."
— ANDREW LEWIS
63
LEADING LEADING THE SPACE VERTICALLY BETWEEN LINES OF TEXT THE NAME COMES FROM
THE PHYSICAL PIECE OF LEAD THAT USE TO BE USED IN MECHANICAL PRINTING TO
SEPERATE THE LINES OF TEXT.
There are things now that can be done
to type, with aid of computers, that
were never intended to be possible by
the designers of the older typefaces.
Therefore one must know the limita-
tions and rules of type before they can
properly and effectively break the rules.
NORMAL
12 PT LEADING
There are things now that can be done to type, with aid of computers, that were never intended to be possible by the designers of the older typefaces. Therefore one must know the limita-tions and rules of type before they can properly and effectively break the rules.
NEGATIVE
0 PT LEADING
There are things now that can be done
to type, with aid of computers, that
were never intended to be possible by
the designers of the older typefaces.
Therefore one must know the limita-
tions and rules of type before they can
properly and effectively break the rules.
EXTREME
24 PT LEADING
NO! NO!YES!
65
METRIC KERNING
Uses the kerning tables that are built into the typeface.
When you select metric kerning in your page layout program,
you are using the spacing that was intended by the type
designer. Metric kerning usually looks good, especially at
small sizes. Cheap novelty fonts often have little or no built-in
kerning and will need to be optically kerned.
OPTICAL KERNING
Is executed automatically by the page layout program. Rather
than using the pairs addressed in the font’s kerning table,
optical kerning assesses the shapes of all characters and
adjusts the spacing wherever needed. There are ome graphic
designers that apply optical kerning to headlines and metric
kerning to text. You can make this process efficient and
KERNING IS AN ADJUSTMENT OF THE SPACE BETWEEN TWO LETTERS.
KERNING
The characters of the Latin alphabet emerged over time; they were never designed
with mechanical or automated spacing in mind. Thus some letter combinations
look awkward without special spacing considerations. Gaps occur, for example,
around letters whose forms angle outward or frame an open space (W, Y, V, T). In
metal type, a kerned letter extends past the lead slug that supports it, allowing two
letters to fit more closely together. In digital fonts, the space between letter pairs is
controlled by a kerning table created by the type designer, which specifies spaces
between problematic letter combinations. Working in a page layout program, a
designer can choose to use metric kerning or optical kerning as well as adjusting the
space between letters manually where desired. A well-designed typeface requires
little or no additional kerning, especially at text sizes.
TOO MUCH TYPOGRAPHIC TERMS TO PROCESS? MAYBE THIS WILL HELP:
CONFUSED?
X
typex-height
leading
baseline
kerning
67
X-HEIGHT
The height of a font’s main body, not including ascenders or descenders.
LEADING
The space vertically between lines of text, name comes from the physical piece of
lead that used to be used in mechanical printing process to separate lines of text.
BASELINE
The line accross the bottom of a font’s x-height, discounting descenders.
KERNING
The amount a character’s horizontal space encroaches into it’s neighbour.
69
ALIGNMENTS
In unjustified text, the text block is set with normal letter and word spacing. Because
if the even word spacing the text will have an even texture – 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. An-
other advantage to ragged text is less hyphenation is needed. Therefore, names, dates
or words which are normally read together can stay together.
WHAT’S RIGHT, WHAT’S WRONG
IF THEY ARE BOTH WRONG, THEN WHAT'S RIGHT?!
IF TWO WRONGS DON'T
MAKE A RIGHT, WHAT
DOES THREE LEFTS MAKE?
IF SOMEONE INSISTS THAT JUSTIFIED TEXT IS BETTER THAN
LEFT-ALIGNED TEXT... TELL THEM THEY ARE WRONG.
IF SOMEONE INSISTS THAT LEFT- ALIGNED TEXT IS BETTER
THAN JUSTIFIED TEXT... TELL THEM THEY ARE WRONG.
CHARACTERISTICS
Often considered more formal, less friendly than left-aligned text.
Usually allows for more characters per line, packing more into the same amount
of space (than the same text set left-aligned).
May require extra attention to word and character spacing and hyphenation to
avoid unsightly rivers of white space running through the text.May be more fa-
miliar to readers in some types of publications, such as books and newspapers.
Some people are naturally drawn to the "neatness" of text that lines up per-
fectly on the left and right.
CHARACTERISTICS
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).
JUSTIFIED TEXT
LEFT-ALIGNED, RAGGED RIGHT
RAGGED RIGHT REQUIRES LESS TIME,
ATTENTION, AND TWEAKING FROM
TO MAKE IT LOOK GOOD!
71
WHEN IN DOUBT, DON'T CENTER IT.
There is nothing inherently wrong with centered text. As with ragged right or fully-
justified text alignment, what works for one design might be totally inappropriate
for another layout. There are simply fewer situations where centered text is
appropriate. When in doubt, don't center it.
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.
There will be well-meaning friends, business associates, clients, and others who will
question your choices. Be prepared to explain why you chose the alignment you did
and be prepared to change it (and make necessary adjustments to keep it looking
good) if the person with final approval still insists on something different.
CENTERED
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.
"WE SPEND A LOT OF EFFORT TRYING TO
MAKE THINGS LOOK EFFORTLESS."
— ALEXANDER ISLEY
75
HYPHENATION RULESDON'T RELY ON THE SOFTWARE.
Don’t rely on the software to judge where hyphens should be placed. At the end
of lines, leave at least two characters behind and take at least three forward. For
example, “ele-gantly” is acceptable, but “elegant-ly” is not because it takes too
little of the word to the next line. Avoid leaving the stub end of a hyphenated word
or any word shorter then four letters as the last line of a paragraph.
Avoid more then three consecutive hyphenated lines. Avoid hyphenating or break-
ing 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 auto-
matically 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.
KEEP IN MIND:
HOW THE TEXT IS READ, AVOID WIDOWS
AVOID HYPHENATING OR LINE BRAKES OF NAMES
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 ANY WORDS IN A HEADLINE AND AVOID
HYPHENATION IN A CALLOUT
77
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 them-
selves to accommodate it. It usually looks awkward. You've seen newspaper col-
umns 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
JUSTIFICATION LET'S NOT GET AWKWARD...
When checking rivers in justified text,
print it out, turn it upside down and
squint at it.
OLDSTYLE FIGURES BLEND
Old style figures blend in without disturbing the color of the
body copy. They also work well in headlines since they’re not
as intrusive as lining figures. In fact, many people prefer them
overall for most uses except charts tables. It’s well worth the
extra effort to track down and obtain typefaces with oldstyle
figures; the fonts that contain them might well become some
of your favorites.
TRY THIS QUICK TIP!
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.
PLEASE TRY NOT TO DROWN
SWIMMING IN THAT RIVER.
79
WIDOWS AND ORPHANS
Never leave widows and orphans bereft on the page. Avoid both of these situations.
If you have editing privileges, rewrite the copy, or at least add or delete a word or
two. Sometimes you can remove spacing from the letters, words, or lines, depending
on which program 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.
WIDOWS
ORPHAN
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.
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 para-
phrased on the line
FOREVER ALONE.
NO CHILD LEFT BEHIND.
above.
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by
the Italian poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism
rejected traditions and glorified contemporary life, mainly
by emphasizing two dominant themes, the machine and
motion. The works were characterized by the depiction
of several successive actions of a subject at the same
time. Marinetti’s manifesto glorified the new technology
of the automobile and the beauty of its speed, power, and
movement. He exalted violence and conflict and called
for the sweeping repudiation of traditional cultural, social,
and political values and the destruction of such cultural
institutions as museums and libraries.
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by the
Italian poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant
art of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected traditions
and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were
characterized by the depiction of several successive actions
of a subject at the same time. Marinetti’s manifesto glorified
the new technology of the automobile and the beauty of its
speed, power, and movement. He exalted violence and conflict
and called for the sweeping repudiation of traditional cultural,
social, and political values and the destruction of such cultural
institutions as museums and libraries.
GOTHAM 85 | 110 | 250
SERIFA 85 | 110 | 250
8/12
8/12
THE SOLUTION CREATES LOTS OF SMALL
RIVERS. THE WORD SPACING GETS LARGE AND
INCONSISTANT IN PLACES. THESE ERRORS ARE
MORE NOTICEABLE IN THE SANS SERIF.
THE SOLUTION CREATES LOTS OF SMALL
RIVERS. THE WORD SPACING GETS LARGE AND
INCONSISTENT IN PLACES. THESE ERRORS ARE
MORE LESS NOTICEABLE THAN IN THE SANS
SERIF, BUT NOT PERFECT.
QUALITY: POOR
QUALITY: FAIR
81
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by the
Italian poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant
art of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected traditions
and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were
characterized by the depiction of several successive actions
of a subject at the same time. Marinetti’s manifesto glorified
the new technology of the automobile and the beauty of
its speed, power, and movement. He exalted violence and
conflict and called for the sweeping repudiation of traditional
cultural, social, and political values and the destruction of
such cultural institutions as museums and libraries.
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by the
Italian poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant
art of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected traditions
and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were
characterized by the depiction of several successive actions
of a subject at the same time. Marinetti’s manifesto glorified
the new technology of the automobile and the beauty of its
speed, power, and movement. He exalted violence and conflict
and called for the sweeping repudiation of traditional cultural,
social, and political values and the destruction of such cultural
institutions as museums and libraries.
GOTHAM 80 | 100 | 190
SERIFA 80 | 100 | 190
8/12
8/12
THERE ARE LESS RIVERS IN THIS SITUATION.
THE WORD SPACING IS STILL IN CONSISTENT, IN
PLACES THEY ARE TOO CLOSE TOGETHER.
THE SOLUTION CREATES MORE RIVERS FOR THE
SERIF. WORD SPACING IS STILL IN CONSISTENT
AND IT BECOMES DIFFICULT TO READ THE
SENTENCES IN PLACES.
QUALITY: FAIR
QUALITY: POOR
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by the
Italian poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant
art of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected traditions
and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were
characterized by the depiction of several successive actions
of a subject at the same time. Marinetti’s manifesto glorified
the new technology of the automobile and the beauty of its
speed, power, and movement. He exalted violence and conflict
and called for the sweeping repudiation of traditional cultural,
social, and political values and the destruction of such cultural
institutions as museums and libraries.
Futurism was first announced on February 20, 1909, when the
Paris newspaper Le Figaro published a manifesto by the Italian
poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what
he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and
society. Futurism rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant themes, the machine
and motion. The works were characterized by the depiction
of several successive actions of a subject at the same time.
Marinetti’s manifesto glorified the new technology of the
automobile and the beauty of its speed, power, and movement.
He exalted violence and conflict and called for the sweeping
repudiation of traditional cultural, social, and political values
and the destruction of such cultural institutions as museums
and libraries.
GOTHAM 50 | 60 | 70
SERIFA 50 | 60 | 70
8/12
8/12
THE SOLUTION GETS RID OF THE RIVERS AND
INCONSISTENT SPACING BETWEEN WORDS. THE
WORDS LOOK A LITTLE TIGHT, BUT READABLE.
ONLY ONE COUNT OF STRANGE SPACING,
BUT NOT NOTICEABLE UNLESS SOMEONE IS
SEARCHING FOR IT.
ERASES ALL RIVERS AND INCONSISTENT
SPACING. WORDS ARE A LITTLE TIGHT, BUT IS
STILL READABLE.
QUALITY: FAIR
QUALITY: GOOD
83
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by the
Italian poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant
art of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected traditions
and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were
characterized by the depiction of several successive actions
of a subject at the same time. Marinetti’s manifesto glorified
the new technology of the automobile and the beauty of
its speed, power, and movement. He exalted violence and
conflict and called for the sweeping repudiation of traditional
cultural, social, and political values and the destruction of
such cultural institutions as museums and libraries.
Futurism was first announced on February 20, 1909, when the
Paris newspaper Le Figaro published a manifesto by the Italian
poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what
he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and
society. Futurism rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant themes, the machine
and motion. The works were characterized by the depiction
of several successive actions of a subject at the same time.
Marinetti’s manifesto glorified the new technology of the
automobile and the beauty of its speed, power, and movement.
He exalted violence and conflict and called for the sweeping
repudiation of traditional cultural, social, and political values
and the destruction of such cultural institutions as museums
and libraries.
GOTHAM 70 | 130 | 140
SERIFA 70 | 130 | 140
8/12
8/12
THIS SOLUTION CREATED THE BEST WORD
SPACING THUS FAR. THERE ARE A FEW RIVERS,
BUT NOT TOO NOTICEABLE.
LOT OF RIVERS. THE WORD SPACING IS VERY
INCONSISTENT AND DISTRACTING.
QUALITY: FAIR
QUALITY: POOR
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by
the Italian poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived to be the
static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism
rejected traditions and glorified contemporary life, mainly
by emphasizing two dominant themes, the machine and
motion. The works were characterized by the depiction
of several successive actions of a subject at the same
time. Marinetti’s manifesto glorified the new technology
of the automobile and the beauty of its speed, power,
and movement. He exalted violence and conflict and called
for the sweeping repudiation of traditional cultural, social,
and political values and the destruction of such cultural
institutions as museums and libraries.
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by
the Italian poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism
rejected traditions and glorified contemporary life, mainly by
emphasizing two dominant themes, the machine and motion.
The works were characterized by the depiction of several
successive actions of a subject at the same time. Marinetti’s
manifesto glorified the new technology of the automobile
and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping
repudiation of traditional cultural, social, and political values
and the destruction of such cultural institutions as museums
and libraries.
GOTHAM 100 | 150 | 190
SERIFA 100 | 150 | 190
8/12
8/12
THE SOLUTION CREATES CONSISTENT WORD
SPACING BUT TOO MANY DISTRACTING RIVERS.
THE RIVERS ARE LESS NOTICEABLE THAN IN THE
SERIFA, SINCE GOTHAN IS MORE OPEN.
THE SOLUTION CREATES CONSISTENT AND
READABLE WORD SPACING, BUT OPENS UP TOO
MANY RIVERS.
QUALITY: FAIR
QUALITY: FAIR
85
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by the
Italian poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant art
of the past and celebrating change, originality, and innovation in
culture and society. Futurism rejected traditions and glorified
contemporary life, mainly by emphasizing two dominant
themes, the machine and motion. The works were characterized
by the depiction of several successive actions of a subject at the
same time. Marinetti’s manifesto glorified the new technology
of the automobile and the beauty of its speed, power, and
movement. He exalted violence and conflict and called for
the sweeping repudiation of traditional cultural, social, and
political values and the destruction of such cultural institutions
as museums and libraries.
Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism rejected
traditions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The works were
characterized by the depiction of several successive actions of
a subject at the same time. Marinetti’s manifesto glorified the
new technology of the automobile and the beauty of its speed,
power, and movement. He exalted violence and conflict and called
for the sweeping repudiation of traditional cultural, social, and
political values and the destruction of such cultural institutions as
museums and libraries.
GOTHAM 10 | 20 | 100
SERIFA 10 | 20 | 100
8/12
8/12
THE WORDS ARE TOO CLOSE TOGETHER,
MAKING IT TOO HARD TO READ.
TOO DIFFICULT TO READ
QUALITY: POOR
QUALITY: POOR
87
COMBINING TYPEFACES
When combining serif and sans serif text fonts, one shroud try and match the char-
acteristics of FORM and type COLOR: proportion, x-heights.
Although there is no recipe, there is a place to start: keep an eye on the character-
istic shapes of the letterform. A well designed page contains no more than TWO
different typefaces or four different type variations such as type size and bold or
italic style.
USING TWO DIFFERENT SERIF FONTS OR TWO DIFFERENT SANS SERIFS FONTS IN THE
SAME COMPOSITION IS NEVER A GOOD IDEA.
Try mixing a sanserif typeface with a
serif, they typically have the most
appealing type combinations.
AND SOMETIMES THESE TYPOGRAPHIC COMBINA-
TIONS WILL BURN A HOLE IN YOUR SOUL.
BUT DON'T WORRY! EVEN
THE EXPERTS MAKE UGLY
TYPE COMBINATIONS.
THERE IS NO PERFECT RECIPE FOR COMBINATING TYPE.
IT IS A MATTER OF TYPOGRAPHIC SENSITIVITY AND ONES
EXPERIENCE. EXPERIEMENT WITH DIFFERENT X-HEIGHTS AND
WEIGHTS. GREAT COMBINATIONS WILL TAKE YOU BY SUPRISE.
TRY THIS QUICK TIP!
aa BB ee GG gg GOUDY 9/12 AND DIN 18/12
OLD STYLE + GROTESQUE SANS SERIF
THE TYPEFACES WORK IN A COHESIVE MANNER DUE
TO THEIR CLASSIFICATION AND X-HEIGHT. DIN'S A BOLD
FONT THAT CONTRASTS WELL WITH GOUDY'S SIZE.
WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced
on February 20, 1909, when the Paris newspaper Le Figaro
published a manifesto by the Italian poet and editor Filippo
Tommaso Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he conceived to be
the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism
rejected traditions and glorified contemporary life, mainly by
emphasizing two dominant themes, the machine and motion. The
works were characterized by the depiction of several successive
actions of a subject at the same time. Marinetti’s manifesto
glorified the new technology of the automobile and the beauty
of its speed, power, and movement. He exalted violence and
conflict and called for the sweeping repudiation of traditional
cultural, social, and political values and the destruction of such
cultural institutions as museums and libraries.
WORDS IN LIBERTYA Prologue to Futurism: Futurism was first
announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian
poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis
on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism
rejected traditions and glorified contemporary life, mainly
by emphasizing two dominant themes, the machine and
motion. The works were characterized by the depiction
of several successive actions of a subject at the same
time. Marinetti’s manifesto glorified the new technology
of the automobile and the beauty of its speed, power, and
movement. He exalted violence and conflict and called for
the sweeping repudiation of traditional cultural, social,
and political values and the destruction of such cultural
institutions as museums and libraries.
aa BB ee GG gg BEMBO 9/12 AND FRUTIGER 18/12
OLD STYLE + HUMANIST SANS SERIF
THERE IS A NOTICABLE CONTRAST BETWEEN THE TWO
TYPEFACES. MAKING THE BOLD STYLE OF THE SANS
SERIF FONT MORE PROMINENT.
89
WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced
on February 20, 1909, when the Paris newspaper
Le Figaro published a manifesto by the Italian poet
and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis
on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society.
Futurism rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant themes, the
machine and motion. The works were characterized by
the depiction of several successive actions of a subject
at the same time. Marinetti’s manifesto glorified the
new technology of the automobile and the beauty of
its speed, power, and movement. He exalted violence
and conflict and called for the sweeping repudiation of
traditional cultural, social, and political values and the
destruction of such cultural institutions as museums
and libraries.
aa BB ee GG gg BASKERVILLE 9/12 AND FUTURA 18/12
TRANSITIONAL + GEOMETRIC SERIF
THERE IS A LARGE DIFFERENCE IN THE HEADING
AND BODY CONTENT, THEIR SIMILAR STROKE WIDTH
ALLOWS FOR THEM TO WORK TOGETHER NICELY.
aa BB ee GG gg MELIOR 9/12 AND ROTIS SANS 18/12
TRANSITIONAL + HUMANIST SANS SERIF
THE TYPEFACES WORK IN A COHESIVE MANNER DUE
TO THEIR CLASSIFICATION AND X-HEIGHT. DIN'S A BOLD
FONT THAT CONTRASTS WELL WITH GOUDY'S SIZE.
WORDS IN LIBERTYA Prologue to Futurism: Futurism was first
announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the
Italian poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti, reflected
his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in
culture and society. Futurism rejected traditions and
glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The
works were characterized by the depiction of several
successive actions of a subject at the same time.
Marinetti’s manifesto glorified the new technology of
the automobile and the beauty of its speed, power, and
movement. He exalted violence and conflict and called
for the sweeping repudiation of traditional cultural,
social, and political values and the destruction of such
cultural institutions as museums and libraries.
WORDS IN LIBERTYA Prologue to Futurism: Futurism was announced on
February 20, 1909, when the Paris newspaper Le Figaro
published a manifesto by the Italian poet and editor
Filippo Tommaso Marinetti. The name Futurism, coined
by Marinetti, reflected his emphasis on discarding what
he conceived to be the static and irrelevant art of the
past and celebrating change, originality, and innovation
in culture and society. Futurism rejected traditions and
glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works
were characterized by the depiction of several successive
actions of a subject at the same time. Marinetti’s
manifesto glorified the new technology of the automobile
and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping
repudiation of traditional cultural, social, and political
values and the destruction of such cultural institutions as
museums and libraries.
aa BB ee GG gg WALBAUM 9/12 AND INTERSTATE 18/12
MODERN + GEOMETRIC SANS SERIF
THESE TWO TYPEFACES CONTRAST EACH OTHER IN A
BEAUTIFUL WAY. INTERSTATE IS VERY UNIFORM AND
MODERN, WHEREAS WALBAUM HAS MORE CONTRAST.
aa BB ee GG gg DIDOT 9/12 AND AKZIDENZ GROTESK 18/12
MODERN + GROTESQUE SANS SERIF
HEIRARCHY IS DEMONSTRATED WITH THIS COMBINA-
TION. THE TITLE SEPARATES ITSELF FROM THE BODY
CONTENT IN A CLEAR, BUT COHESIVE WAY.
91
WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced
on February 20, 1909, when the Paris newspaper Le Figaro
published a manifesto by the Italian poet and editor Filippo
Tommaso Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he conceived to be
the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism
rejected traditions and glorified contemporary life, mainly by
emphasizing two dominant themes, the machine and motion.
The works were characterized by the depiction of several
successive actions of a subject at the same time. Marinetti’s
manifesto glorified the new technology of the automobile and
the beauty of its speed, power, and movement. He exalted
violence and conflict and called for the sweeping repudiation
of traditional cultural, social, and political values and the
destruction of such cultural institutions as museums
and libraries.
aa BB ee GG gg FUTURA 9/12 AND MRS. EAVES 18/12
GEOMETRIC SERIF + NEW TRANSITIONAL
NICE CONTRAST IS CREATED WITH THE TALL X-HEIGHT
OF FUTURA AND THE SMALL X-HEIGHT OF MRS. EAVES.
THEY ALSO SHARE SIMILAR COLORS.
aa BB ee GG gg CASLON 9/12 AND HELVETICA 18/12
NEW TRANSITIONAL + GROTESQUE SANS SERIF
THEY HAVE SIMILAR LETTER FORMATIONS, WHAT
HELPS SEPARATES THE TWO AREW THEIR STROKE
WEIGHTS. HELVETICA HAS A SMALLER X-HEIGHT.
WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced
on February 20, 1909, when the Paris newspaper Le
Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discard-
ing 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 tradi-
tions and glorified contemporary life, mainly by empha-
sizing two dominant themes, the machine and motion.
The works were characterized by the depiction of sev-
eral successive actions of a subject at the same time.
Marinetti’s manifesto glorified the new technology of
the automobile and the beauty of its speed, power, and
movement. He exalted violence and conflict and called
for the sweeping repudiation of traditional cultural,
social, and political values and the destruction of such
cultural institutions as museums and libraries.
WORDS IN LIBERTYA Prologue to Futurism: Futurism was first
announced on February 20, 1909, when the Paris news-
paper 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, origi-
nality, and innovation in culture and society. Futurism
rejected traditions and glorified contemporary life,
mainly by emphasizing two dominant themes, the
machine and motion. The works were characterized by
the depiction of several successive actions of a subject
at the same time. Marinetti’s manifesto glorified the
new technology of the automobile and the beauty of its
speed, power, and movement. He exalted violence and
conflict and called for the sweeping repudiation of tra-
ditional cultural, social, and political values and the
destruction of such cultural institutions as museums
and libraries.
aa BB ee GG gg ROCKWELL 9/12 AND FUTURA 18/12
SLAB SERIF + GEOMETRIC SANS SERIF
THE LARGE SANS SERIF IS A NICE CONTRAST TO
FUTURA'S MONO-WEIGHT STROKES.
aa BB ee GG gg MEMPHIS 9/12 AND GILL SANS 18/12
SLAB SERIF + GROTESQUE SANS SERIF
HEIRARCHY IS DEMONSTRATED WITH THIS COMBINA-
TION. THE TITLE SEPARATES ITSELF FROM THE BODY
CONTENT IN A CLEAR, BUT COHESIVE WAY.
93
aa BB ee GG gg GOUDY 9/12 AND DIN 18/12
OLD STYLE + GROTESQUE SANS SERIF
THE TYPEFACES WORK IN A COHESIVE MANNER DUE
TO THEIR CLASSIFICATION AND X-HEIGHT. DIN'S A BOLD
FONT THAT CONTRASTS WELL WITH GOUDY'S SIZE.
WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced
on February 20, 1909, when the Paris newspaper Le Figaro
published a manifesto by the Italian poet and editor Filippo
Tommaso Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he conceived to be
the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism
rejected traditions and glorified contemporary life, mainly by
emphasizing two dominant themes, the machine and motion. The
works were characterized by the depiction of several successive
actions of a subject at the same time. Marinetti’s manifesto
glorified the new technology of the automobile and the beauty
of its speed, power, and movement. He exalted violence and
conflict and called for the sweeping repudiation of traditional
cultural, social, and political values and the destruction of such
cultural institutions as museums and libraries.
WORDS IN LIBERTYA Prologue to Futurism: Futurism was first
announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian
poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis
on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism
rejected traditions and glorified contemporary life, mainly
by emphasizing two dominant themes, the machine and
motion. The works were characterized by the depiction
of several successive actions of a subject at the same
time. Marinetti’s manifesto glorified the new technology
of the automobile and the beauty of its speed, power, and
movement. He exalted violence and conflict and called for
the sweeping repudiation of traditional cultural, social,
and political values and the destruction of such cultural
institutions as museums and libraries.
aa BB ee GG gg BEMBO 9/12 AND FRUTIGER 18/12
OLD STYLE + HUMANIST SANS SERIF
THERE IS A NOTICABLE CONTRAST BETWEEN THE TWO
TYPEFACES. MAKING THE BOLD STYLE OF THE SANS
SERIF FONT MORE PROMINENT.
"DO THE OBVIOUS, THEN THROW IT OUT."
— GLENN MITSUI
97
PARAGRAPH BREAKSIN TYPOGRAPHY THERE ARE FOUR RULES REGARDING PARAGRAPH BREAKS:
First line at the beginning of an article should be flush left
Block paragraphs are flush left and are separated by extra
leading not a full return
The amount indent is = to the leading
Never hit two returns between paragraphs
Using the TSCHICHOLD grid system
will allow for consistant page layouts.
TRY THIS QUICK TIP!
FUTURISM WAS FIRST ANNOUNCED ON FEBRUARY 20, 1909, WHEN THE IN STYLE,
Paris newspaper Le Figaro published a manifesto by the Italian poet and editor
Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived to be the static and irrelevant art of the
past and celebrating change, originality, and innovation in culture and society.1
Futurism rejected traditions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The manifesto's rhetoric was
passionately bombastic; its tone was aggressive and inflammatory and was
purposely intended to inspire public anger and amazement, to arouse controversy,
and to attract widespread attention.
BUT IT IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE WE LIVE AND WORK as poets and artists: or, if not the movements, then their sense of art as an life itself.
All of which, as futurism, had come sharply into focus by the start of the world war:
a first radical mix of art and life, the epitome in the poplar mind of an avant-garde.
It was, on both its Russian & Italian sides, the first great "art" movement led by
poets; and if its means now sometimes seem exaggerated or unripe in retrospect,
they carry within them the seed of all that we were later to become.
WHILE MARINETTI'S OPENING MANIFESTO FOR ITALIAN FUTURISM BRISTLED WITH A polemical stance in favor of the transformed present (1909), the later manifestos
of Futurist poets and artists offered formal, "technical" approaches to the works
then getting under way. The key term--still resonant today--was parole in liberta2,
by which poetry was to become "an uninterrupted sequence of new images… (a)
strict bet of images or analogies, to be cast into the mysterious sea of phenomena."
This freedom-of-the-world, while it resembled other forms of collage and of
image juxtaposition, more fully explored the use of innovative and expressive
typography in the visual presentation of language, as set in motion by forerunners
like Mallarme. Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indifference and engagement,
to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."
99
Futurism was first announced on February 20, 1909, when the Paris newspaper
Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and society.1 Futurism
rejected traditions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The manifesto's rhetoric was
passionately bombastic; its tone was aggressive and inflammatory and was
purposely intended to inspire public anger and amazement, to arouse controversy,
and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets
and artists: or, if not the movements, then their sense of art as an life itself. All of
which, as futurism, had come sharply into focus by the start of the world war: a first
radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was,
on both its Russian & Italian sides, the first great "art" movement led by poets; and
if its means now sometimes seem exaggerated or unripe in retrospect, they carry
within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical
stance in favor of the transformed present (1909), the later manifestos of Futurist
poets and artists offered formal, "technical" approaches to the works then getting
under way. The key term--still resonant today--was parole in liberta2, by which
poetry was to become "an uninterrupted sequence of new images… (a) strict
bet of images or analogies, to be cast into the mysterious sea of phenomena."
This freedom-of-the-world, while it resembled other forms of collage and of
image juxtaposition, more fully explored the use of innovative and expressive
typography in the visual presentation of language, as set in motion by forerunners
like Mallarme. Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indifference and engagement,
to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."
Futurism was first announced on February 20, 1909, when the Paris newspaper
Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and society.1 Futurism
rejected traditions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The manifesto's rhetoric was
passionately bombastic; its tone was aggressive and inflammatory and was
purposely intended to inspire public anger and amazement, to arouse controversy,
and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets
and artists: or, if not the movements, then their sense of art as an life itself. All of
which, as futurism, had come sharply into focus by the start of the world war: a first
radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was,
on both its Russian & Italian sides, the first great "art" movement led by poets; and
if its means now sometimes seem exaggerated or unripe in retrospect, they carry
within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical
stance in favor of the transformed present (1909), the later manifestos of Futurist
poets and artists offered formal, "technical" approaches to the works then getting
under way. The key term--still resonant today--was parole in liberta2, by which
poetry was to become "an uninterrupted sequence of new images… (a) strict
bet of images or analogies, to be cast into the mysterious sea of phenomena."
This freedom-of-the-world, while it resembled other forms of collage and of
image juxtaposition, more fully explored the use of innovative and expressive
typography in the visual presentation of language, as set in motion by forerunners
like Mallarme. Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indifference and engagement,
to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."
101
Futurism was first announced on February 20, 1909, when the Paris newspaper
Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and society.1 Futurism
rejected traditions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The manifesto's rhetoric was
passionately bombastic; its tone was aggressive and inflammatory and was
purposely intended to inspire public anger and amazement, to arouse controversy,
and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets
and artists: or, if not the movements, then their sense of art as an life itself. All of
which, as futurism, had come sharply into focus by the start of the world war: a first
radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was,
on both its Russian & Italian sides, the first great "art" movement led by poets; and
if its means now sometimes seem exaggerated or unripe in retrospect, they carry
within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical
stance in favor of the transformed present (1909), the later manifestos of Futurist
poets and artists offered formal, "technical" approaches to the works then getting
under way. The key term--still resonant today--was parole in liberta2, by which
poetry was to become "an uninterrupted sequence of new images… (a) strict
bet of images or analogies, to be cast into the mysterious sea of phenomena."
This freedom-of-the-world, while it resembled other forms of collage and of
image juxtaposition, more fully explored the use of innovative and expressive
typography in the visual presentation of language, as set in motion by forerunners
like Mallarme. Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indifference and engagement,
to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."
Futurism was first announced on February 20, 1909, when the Paris newspaper
Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and society.1 Futurism
rejected traditions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The manifesto's rhetoric was
passionately bombastic; its tone was aggressive and inflammatory and was
purposely intended to inspire public anger and amazement, to arouse controversy,
and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets
and artists: or, if not the movements, then their sense of art as an life itself. All of
which, as futurism, had come sharply into focus by the start of the world war: a first
radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was,
on both its Russian & Italian sides, the first great "art" movement led by poets; and
if its means now sometimes seem exaggerated or unripe in retrospect, they carry
within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical
stance in favor of the transformed present (1909), the later manifestos of Futurist
poets and artists offered formal, "technical" approaches to the works then getting
under way. The key term--still resonant today--was parole in liberta2, by which
poetry was to become "an uninterrupted sequence of new images… (a) strict
bet of images or analogies, to be cast into the mysterious sea of phenomena."
This freedom-of-the-world, while it resembled other forms of collage and of
image juxtaposition, more fully explored the use of innovative and expressive
typography in the visual presentation of language, as set in motion by forerunners
like Mallarme. Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indifference and engagement,
to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."
103
But it is the movements which survive, oddly, here where we live and work as poets
and artists: or, if not the movements, then their sense of art as an life itself. All of
which, as futurism, had come sharply into focus by the start of the world war: a first
radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was,
on both its Russian & Italian sides, the first great "art" movement led by poets; and
if its means now sometimes seem exaggerated or unripe in retrospect, they carry
within them the seed of all that we were later to become.
Futurism was first announced on February 20, 1909, when the Paris newspaper
Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and society.1 Futurism
rejected traditions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The manifesto's rhetoric was
passionately bombastic; its tone was aggressive and inflammatory and was
purposely intended to inspire public anger and amazement, to arouse controversy,
and to attract widespread attention.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical
stance in favor of the transformed present (1909), the later manifestos of Futurist
poets and artists offered formal, "technical" approaches to the works then getting
under way. The key term--still resonant today--was parole in liberta2, by which
poetry was to become "an uninterrupted sequence of new images… (a) strict
bet of images or analogies, to be cast into the mysterious sea of phenomena."
This freedom-of-the-world, while it resembled other forms of collage and of
image juxtaposition, more fully explored the use of innovative and expressive
typography in the visual presentation of language, as set in motion by forerunners
like Mallarme. Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indifference and engagement,
to break the barriers between themselves and those who came to jeer or
cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value
is theatrical."
Futurism was first announced on February 20, 1909, when the Paris newspaper
Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and society.1 Futurism
rejected traditions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The manifesto's rhetoric was
passionately bombastic; its tone was aggressive and inflammatory and was
purposely intended to inspire public anger and amazement, to arouse controversy,
and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets
and artists: or, if not the movements, then their sense of art as an life itself. All of
which, as futurism, had come sharply into focus by the start of the world war: a first
radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was,
on both its Russian & Italian sides, the first great "art" movement led by poets; and
if its means now sometimes seem exaggerated or unripe in retrospect, they carry
within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical
stance in favor of the transformed present (1909), the later manifestos of Futurist
poets and artists offered formal, "technical" approaches to the works then getting
under way. The key term--still resonant today--was parole in liberta2, by which
poetry was to become "an uninterrupted sequence of new images… (a) strict
bet of images or analogies, to be cast into the mysterious sea of phenomena."
This freedom-of-the-world, while it resembled other forms of collage and of
image juxtaposition, more fully explored the use of innovative and expressive
typography in the visual presentation of language, as set in motion by forerunners
like Mallarme. Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indifference and engagement,
to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."
105
Futurism was first announced on February 20, 1909, when the Paris newspaper
But it is the movements which survive, oddly, here where we live and work as poets
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical
Le Figaro published a manifesto by the Italian poet and editor
Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he
conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture
and society.1 Futurism rejected traditions and glorified
contemporary life, mainly by emphasizing two dominant
themes, the machine and motion. The manifesto's rhetoric
was passionately bombastic; its tone was aggressive and
inflammatory and was purposely intended to inspire public
anger and amazement, to arouse controversy, and to attract
widespread attention.
and artists: or, if not the movements, then their sense of art as
an life itself. All of which, as futurism, had come sharply into
focus by the start of the world war: a first radical mix of art
and life, the epitome in the poplar mind of an avant-garde. It
was, on both its Russian & Italian sides, the first great "art"
movement led by poets; and if its means now sometimes seem
exaggerated or unripe in retrospect, they carry within them
the seed of all that we were later to become.
stance in favor of the transformed present (1909), the later
manifestos of Futurist poets and artists offered formal,
"technical" approaches to the works then getting under way.
The key term--still resonant today--was parole in liberta2, by
which poetry was to become "an uninterrupted sequence of
new images… (a) strict bet of images or analogies, to be cast
into the mysterious sea of phenomena." This freedom-of-the-
world, while it resembled other forms of collage and of image
juxtaposition, more fully explored the use of innovative and
expressive typography in the visual presentation of language
and was set in motion by many forerunners like Mallarme.
Outrageous and aggressive, the Futurists' performances
mixed declamation and gesture, events and surroundings,
indifference and engagement, to break the barriers between
themselves and those who came to jeer or cheer them. Wrote
Marinetti selbst3 (circa 1915), "Everything of any value is
know as theatrical."
+++ Futurism was first announced on February 20, 1909, when the Paris newspaper
Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and society.1 Futurism
rejected traditions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The manifesto's rhetoric was
passionately bombastic; its tone was aggressive and inflammatory and was
purposely intended to inspire public anger and amazement, to arouse controversy,
and to attract widespread attention. +++ But it is the movements which survive,
oddly, here where we live and work as poets and artists: or, if not the movements,
then their sense of art as an life itself. All of which, as futurism, had come sharply
into focus by the start of the world war: a first radical mix of art and life, the epitome
in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides,
the first great "art" movement led by poets; and if its means now sometimes seem
exaggerated or unripe in retrospect, they carry within them the seed of all that we
were later to become. +++ While Marinetti's opening manifesto for Italian Futurism
bristled with a polemical stance in favor of the transformed present (1909), the later
manifestos of Futurist poets and artists offered formal, "technical" approaches to
the works then getting under way. The key term--still resonant today--was parole
in liberta2, by which poetry was to become "an uninterrupted sequence of new
images… (a) strict bet of images or analogies, to be cast into the mysterious sea of
phenomena." This freedom-of-the-world, while it resembled other forms of collage
and of image juxtaposition, more fully explored the use of innovative and expressive
typography in the visual presentation of language, as set in motion by forerunners
like Mallarme. Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indifference and engagement,
to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."
107
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 Mari-
netti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding
what he conceived to be the static and irrelevant art of the past and celebrating
change, originality, and innovation in culture and society.1 Futurism rejected tradi-
tions and glorified contemporary life, mainly by emphasizing two dominant themes,
the machine and motion. The manifesto's rhetoric was passionately bombastic; its
tone was aggressive and inflammatory and was purposely intended to inspire public
anger and amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where
we live and work as poets and artists: or, if not the move-
ments, then their sense of art as an life itself. All of which,
as futurism, had come sharply into focus by the start of the
world war: a first radical mix of art and life, the epitome in
the poplar mind of an avant-garde. It was, on both its Russian
& Italian sides, the first great "art" movement led by poets;
and if its means now sometimes seem exaggerated or unripe
in retrospect, they carry within them the seed of all that we
were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical
stance in favor of the transformed present (1909), the later manifestos of Futurist
poets and artists offered formal, "technical" approaches to the works then getting
under way. The key term--still resonant today--was parole in liberta2, by which
poetry was to become "an uninterrupted sequence of new images… (a) strict bet
of images or analogies, to be cast into the mysterious sea of phenomena." This
freedom-of-the-world, while it resembled other forms of collage and of image jux-
taposition, more fully explored the use of innovative and expressive typography in
the visual presentation of language, as set in motion by forerunners like Mallarme.
Outrageous and aggressive, the Futurists' performances mixed declamation and
gesture, events and surroundings, indifference and engagement, to break the barri-
ers between themselves and those who came to jeer or cheer them. Wrote Marinetti
selbst3 (circa 1915), "Everything of any value is theatrical."
109
THIS IS A HEADER
Itio dolo et, volupid ellautemque cus il illor re odiati tendipid quuntia dollestem lam
venditatibus volores militatqui ut lab incias esci que laborerrorem alit et pore eos
nonsedit ma quam num sam se voluptatinus endionsequi optae volupta volorrum dis
dolut ilictate odiassi te si qui dolenda alicate dioreptatiam audam dis rehendae ip-
sam alibus eri occabo. Itaquas pelianiminum am quam, sam nitatqu amusant iuntior
sus molo corum ne doluptat resequa ereperoribus reperiae volupid eumque eatem
ne laborrum nemodia volorat ionsequatet alis maio qui doluptatur?
THIS IS A CROSSHEADER quos voloreh enditis dent am, sitates remolenieni od molup-
taque nonsequature laborum qui cuptiore cus, sit, santota dolupti umquid entis-
quatem quae. Itaecta quissi ipsapeliquis aliandi si offic tem vellent otaturibus ipid
eumquiam lam, ut ut volorum, sam fugit eum aborro ommolorum ut queEruptatu
ritatur re rehendiatur, ut lam re voluptiam in rate sum, ipsunt autestio tes venia si
toria ipietust odit eata is culpa veriam ium nihit asperibusa quo et, ut latumqui con
pe comnima gnimaios excerspis explab il idendus, sus, conseca borrovit, occatur,
neceperum a volor sequamus dolo omnisqu iducimu
THIS IS AN EXAMPLE OF A SUBHEADER
HEADERS
Headings are often set in all caps or
in caps and small caps. The rule once
was that the type for chapter headings
hsould be larger than the text type, but
not so large that itshould dwarf the text.
Allow it's an older concept, certain typo-
graphic conventions still apply.
SUBHEADS
Subheads have two roles: to graphically
separate sections of text and to identify
the relative significance of the text
they introduce. Ususally three levels of
subheadings in any work are sufficient,
anything beyond this and the reader is
being asked to consume too much infor-
mation at once.
CROSSHEADS
Found between paragraphs, breaking
up longers pieces of text
A PROLOGUE TO FUTURISM
Futurism was first announced on February 20, 1909, when the in style, Paris
newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo
Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis
on discarding what he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and society.1 Futurism
rejected traditions and glorified contemporary life, mainly by emphasizing two domi-
nant themes, the machine and motion. The manifesto's rhetoric was passionately
bombastic; its tone was aggressive and inflammatory and was purposely intended
to inspire public anger and amazement, to arouse controversy, and to attract wide-
spread attention.
RADICAL MIX OF ART AND LIFE
But it is the movements which survive, oddly, here where we live and work as poets
and artists: or, if not the movements, then their sense of art as an life itself. All of
which, as futurism, had come sharply into focus by the start of the world war: a first
radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was,
on both its Russian & Italian sides, the first great "art" movement led by poets; and
if its means now sometimes seem exaggerated or unripe in retrospect, they carry
within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical
stance in favor of the transformed present (1909), the later manifestos of Futurist
poets and artists offered formal, "technical" approaches to the works then getting
under way. The key term--still resonant today--was parole in liberta2, by which
poetry was to become "an uninterrupted sequence of new images… (a) strict
bet of images or analogies, to be cast into the mysterious sea of phenomena."
This freedom-of-the-world, while it resembled other forms of collage and of
image juxtaposition, more fully explored the use of innovative and expressive
typography in the visual presentation of language, as set in motion by forerunners
like Mallarme. Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indifference and engagement,
to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."
WORDS IN LIBERTY
111
A PROLOGUE TO FUTURISM
Futurism was first announced on February 20, 1909, when the in style, Paris newspaper Le Figaro
published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change, originality, and innovation in culture and society.
Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant
themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was
aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to
arouse controversy, and to attract widespread attention.
RADICAL MIX OF ART AND LIFE
But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if
not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply
into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar
mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led
by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within
them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor
of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal,
"technical" approaches to the works then getting under way. The key term--still resonant today--was
parole in liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a)
strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-
the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored
the use of innovative and expressive typography in the visual presentation of language, as set in
motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indifference and engagement, to break the barriers
between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915),
"Everything of any value is theatrical."
WORDS IN LIBERTY
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."
A P
rolo
gu
e to F
utu
rismR
adica
l mix
of art a
nd life
WORDS IN LIBERTY
113
Futurism was first announced on February 20, 1909, when the Paris newspaper
But it is the movements which survive, oddly, here where we live and work as poets
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical
Le Figaro published a manifesto by the Italian poet and editor
Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he
conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture
and society.1 Futurism rejected traditions and glorified
contemporary life, mainly by emphasizing two dominant
themes, the machine and motion. The manifesto's rhetoric
was passionately bombastic; its tone was aggressive and
inflammatory and was purposely intended to inspire public
anger and amazement, to arouse controversy, and to attract
widespread attention.
and artists: or, if not the movements, then their sense of art as
an life itself. All of which, as futurism, had come sharply into
focus by the start of the world war: a first radical mix of art
and life, the epitome in the poplar mind of an avant-garde. It
was, on both its Russian & Italian sides, the first great "art"
movement led by poets; and if its means now sometimes seem
exaggerated or unripe in retrospect, they carry within them
the seed of all that we were later to become.
stance in favor of the transformed present (1909), the later
manifestos of Futurist poets and artists offered formal,
"technical" approaches to the works then getting under way.
The key term--still resonant today--was parole in liberta2, by
which poetry was to become "an uninterrupted sequence of
new images… (a) strict bet of images or analogies, to be cast
into the mysterious sea of phenomena." This freedom-of-the-
world, while it resembled other forms of collage and of image
juxtaposition, more fully explored the use of innovative and
expressive typography in the visual presentation of language
and was set in motion by many forerunners like Mallarme.
Outrageous and aggressive, the Futurists' performances
mixed declamation and gesture, events and surroundings,
indifference and engagement, to break the barriers between
themselves and those who came to jeer or cheer them. Wrote
Marinetti selbst3 (circa 1915), "Everything of any value is
know as theatrical."
RADICAL MIX OF ART AND LIFE
A PROLOGUE TO FUTURISM
WORDS IN LIBERTY
A PROLOGUE TO FUTURISM Futurism was first announced on February 20, 1909,
when the Paris newspaper Le Figaro published a manifesto by the Italian poet
and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change, originality, and innovation in
culture and society.1 Futurism rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant themes, the machine and motion.
The manifesto's rhetoric was passionately bombastic; its tone was aggressive
and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention.
RADICAL MIX OF ART AND LIFE But it is the movements which survive, oddly, here
where we live and work as poets and artists: or, if not the movements, then their
sense of art as an life itself. All of which, as futurism, had come sharply into
focus by the start of the world war: a first radical mix of art and life, the epitome
in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides,
the first great "art" movement led by poets; and if its means now sometimes seem
exaggerated or unripe in retrospect, they carry within them the seed of all that we
were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical
stance in favor of the transformed present (1909), the later manifestos of
Futurist poets and artists offered formal, "technical" approaches to the works
then getting under way. The key term--still resonant today--was parole in
liberta2, by which the poetry was to become "an uninterrupted sequence of new
images… (a) strict bet of images or analogies, to be cast into the mysterious
sea of phenomena." This freedom-of-the-world, while it resembled other forms
of collage and of image juxtaposition, more fully explored the use of innovative
and expressive typography in the visual presentation of language, as set in
motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists'
performances mixed declamation and gesture, events and surroundings,
indifference and engagement, to break the barriers between themselves and those
who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything
of any value is theatrical."
W O R D S I N L I B E R T Y
115
A PROLOGUE TO FUTURISM
Futurism was first announced on February 20, 1909, when the Paris newspaper
Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis
on discarding what he conceived to be the static and irrelevant art of the past
and celebrating change, originality, and innovation in culture and society.1
Futurism rejected traditions and glorified contemporary life, mainly by
emphasizing two dominant themes, the machine and motion. The manifesto's
rhetoric was passionately bombastic; its tone was aggressive and inflammatory
and was purposely intended to inspire public anger and amazement, to arouse
controversy, and to attract widespread attention.
RADICAL MIX OF ART AND LIFE
But it is the movements which survive, oddly, here where we live and work as
poets and artists: or, if not the movements, then their sense of art as an life itself.
All of which, as futurism, had come sharply into focus by the start of the world
war: a first radical mix of art and life, the epitome in the poplar mind of an avant-
garde. It was, on both its Russian & Italian sides, the first great "art" movement
led by poets; and if its means now sometimes seem exaggerated or unripe in
retrospect, they carry within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical
stance in favor of the transformed present (1909), the later manifestos of
Futurist poets and artists offered formal, "technical" approaches to the works
then getting under way. The key term--still resonant today--was parole in
liberta2, by which the poetry was to become "an uninterrupted sequence of new
images… (a) strict bet of images or analogies, to be cast into the mysterious
sea of phenomena." This freedom-of-the-world, while it resembled other forms
of collage and of image juxtaposition, more fully explored the use of innovative
and expressive typography in the visual presentation of language, as set in
motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists'
performances mixed declamation and gesture, events and surroundings,
indifference and engagement, to break the barriers between themselves and those
who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything
of any value is theatrical."
WO
RD
S IN LIB
ERTY
117
CAPTIONS AND NOTES
Footnotes and endnotes are necessary components of scholarly and technical
writing. They’re also frequently used by writers of fiction, from Herman Melville
(Moby Dick) to contemporary novelists. Whether their intent is academic or artistic,
footnotes present special typographic challenges.
Specifically, a footnote is a text element at the bottom of a page of a book or
manuscript that provides additional information about a point made in the
main text. The footnote might provide deeper background, offer an alternate
interpretation or provide a citation for the source of a quote, idea or statistic.
Endnotes serve the same purpose but are grouped together at the end of a
chapter, article or book, rather than at the bottom of each page.
These general guidelines will help you design footnotes and endnotes that are
readable, legible and economical in space.
GUIDELINES FOR FOOTNOTES AND CAPTIONS
NUMBERS OR SYMBOLS
Footnotes are most often indicated by placing a superscript
numeral immediately after the text to be referenced. The
same superscript numeral then precedes the footnoted text
at the bottom of the page. Numbering footnotes is essen-
tial when there are many of them, but if footnotes are few
they can be marked with a dagger, asterisk, or other symbol
instead. Endnotes should always use numerals to facilitate
easy referencing.
SIZE
Footnotes and endnotes are set smaller than body text. The
difference in size is usually about two points, but this can
vary depending on the size, style and legibility of the main
text. Even though they’re smaller, footnotes and endnotes
should still remain at a readable size.
A PROLOGUE TO FUTURISM
Futurism was first announced on February 20, 1909, when the in style, Paris
newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo
Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his empha-
sis on discarding what he conceived to be the static and irrelevant art of the past
and celebrating change, originality, and innovation in culture and society.1 Futurism
rejected traditions and glorified contemporary life, mainly by emphasizing two domi-
nant themes, the machine and motion. The manifesto's rhetoric was passionately
bombastic; its tone was aggressive and inflammatory and was purposely intended
to inspire public anger and amazement, to arouse controversy, and to attract wide-
spread attention.
RADICAL MIX OF ART AND LIFE
But it is the movements which survive, oddly, here where we live and work as poets
and artists: or, if not the movements, then their sense of art as an life itself. All of
which, as futurism, had come sharply into focus by the start of the world war: a first
radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was,
on both its Russian & Italian sides, the first great "art" movement led by poets; and
if its means now sometimes seem exaggerated or unripe in retrospect, they carry
within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical
stance in favor of the transformed present (1909), the later manifestos of Futurist
poets and artists offered formal, "technical" approaches to the works then getting
under way. The key term--still resonant today--was parole in liberta2, by which
poetry was to become "an uninterrupted sequence of new images… (a) strict
bet of images or analogies, to be cast into the mysterious sea of phenomena."
This freedom-of-the-world, while it resembled other forms of collage and of
image juxtaposition, more fully explored the use of innovative and expressive
typography in the visual presentation of language, as set in motion by forerunners
like Mallarme. Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indifference and engagement, to
break the barriers between themselves and those who came to jeer or cheer them.
Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."
WORDS IN LIBERTY
Philip Meggs, History
of Graphic Design, Van
Nostrand Reinhold, 1988
Parole in liberta = words
set free (liberty)
selbst = himself
119
A PROLOGUE TO FUTURISM
Futurism was first announced on February 20, 1909, when the in style, Paris newspaper Le Figaro
published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1
Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant
themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was
aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to
arouse controversy, and to attract widespread attention.
RADICAL MIX OF ART AND LIFE
But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if
not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply
into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar
mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led
by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within
them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor
of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal,
"technical" approaches to the works then getting under way. The key term--still resonant today--was
parole in liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a)
strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-
the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored
the use of innovative and expressive typography in the visual presentation of language, as set in
motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indifference and engagement, to break the barriers
between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915),
"Everything of any value is theatrical."
WORDS IN LIBERTY
1. Philip Meggs, History of
Graphic Design, Van
Nostrand Reinhold, 1988
2.Parole in liberta = words
set free (liberty)
3.selbst = himself
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."
A P
rolo
gu
e to F
utu
rismR
adica
l mix
of art a
nd life
WORDS IN LIBERTY1.Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988
2.Parole in liberta = words set free (liberty)
3. Selbst is playing himself
121
Futurism was first announced on February 20, 1909, when the Paris newspaper
But it is the movements which survive, oddly, here where we live and work as poets
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical
Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding
what he conceived to be the static and irrelevant art of the
past and celebrating change, originality, and innovation in
culture and society.1 Futurism rejected traditions and glorified
contemporary life, mainly by emphasizing two dominant
themes, the machine and motion. The manifesto's rhetoric
was passionately bombastic; its tone was aggressive and
inflammatory and was purposely intended to inspire public
anger and amazement, to arouse controversy, and to attract
widespread attention.
and artists: or, if not the movements, then their sense of art as
an life itself. All of which, as futurism, had come sharply into
focus by the start of the world war: a first radical mix of art
and life, the epitome in the poplar mind of an avant-garde. It
was, on both its Russian & Italian sides, the first great "art"
movement led by poets; and if its means now sometimes seem
exaggerated or unripe in retrospect, they carry within them
the seed of all that we were later to become.
stance in favor of the transformed present (1909), the later
manifestos of Futurist poets and artists offered formal,
"technical" approaches to the works then getting under way.
The key term--still resonant today--was parole in liberta2, by
which poetry was to become "an uninterrupted sequence of
new images… (a) strict bet of images or analogies, to be cast
into the mysterious sea of phenomena." This freedom-of-the-
world, while it resembled other forms of collage and of image
juxtaposition, more fully explored the use of innovative and
expressive typography in the visual presentation of language
and was set in motion by many forerunners like Mallarme.
Outrageous and aggressive, the Futurists' performances
mixed declamation and gesture, events and surroundings,
indifference and engagement, to break the barriers between
themselves and those who came to jeer or cheer them. Wrote
Marinetti selbst3 (circa 1915), "Everything of any value is
know as theatrical."
RADICAL MIX OF ART AND LIFE
A PROLOGUE TO FUTURISM
WORDS IN LIBERTY
2.Parole in liberta =
words set free (liberty)
1.Philip Meggs, History
of Graphic Design, Van
Nostrand Reinhold, 1988 3. selbst = himself
A PROLOGUE TO FUTURISM Futurism was first announced on February 20, 1909,
when the Paris newspaper Le Figaro published a manifesto by the Italian poet
and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change, originality, and innovation in
culture and society.1 Futurism rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant themes, the machine and motion.
The manifesto's rhetoric was passionately bombastic; its tone was aggressive
and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention.
RADICAL MIX OF ART AND LIFE But it is the movements which survive, oddly, here
where we live and work as poets and artists: or, if not the movements, then their
sense of art as an life itself. All of which, as futurism, had come sharply into
focus by the start of the world war: a first radical mix of art and life, the epitome
in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides,
the first great "art" movement led by poets; and if its means now sometimes seem
exaggerated or unripe in retrospect, they carry within them the seed of all that we
were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical
stance in favor of the transformed present (1909), the later manifestos of
Futurist poets and artists offered formal, "technical" approaches to the works
then getting under way. The key term--still resonant today--was parole in
liberta2, by which the poetry was to become "an uninterrupted sequence of new
images… (a) strict bet of images or analogies, to be cast into the mysterious
sea of phenomena." This freedom-of-the-world, while it resembled other forms
of collage and of image juxtaposition, more fully explored the use of innovative
and expressive typography in the visual presentation of language, as set in
motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists'
performances mixed declamation and gesture, events and surroundings,
indifference and engagement, to break the barriers between themselves and those
who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything
of any value is theatrical."
W O R D S I N L I B E R T Y
1. Philip Meggs, History of Graphic Design,
Van Nostrand Reinhold, 1988
2. parole in liberta = words set free (liberty)
3. selbst = himself
123
A PROLOGUE TO FUTURISM
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published
a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined
by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant
art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism
rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the
machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive
and inflammatory and was purposely intended to inspire public anger and amazement, to arouse
controversy, and to attract widespread attention.
RADICAL MIX OF ART AND LIFE
But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if
not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply
into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar
mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led
by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within
them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor
of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal,
"technical" approaches to the works then getting under way. The key term--still resonant today--was
parole in liberta2, by which the poetry was to become "an uninterrupted sequence of new images…
(a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-
of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully
explored the use of innovative and expressive typography in the visual presentation of language, as set
in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indifference and engagement, to break the barriers
between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915),
"Everything of any value is theatrical."
WO
RD
S IN LIB
ERTY
Philip Meggs, H
istory of Graphic D
esign, Van N
ostrand Reinhold, 1988 | Parole
in liberta = w
ords set free (liberty) | selbst = him
self
125
DESIGNED BY SYDNEY GOLDSTEIN. CLASS PROJECT
FOR TYPOGRAPHIC SYSTEMS AT THE UNIVERSITY
OF KANSAS, SPRING 2013. THE TEXT WAS COMPILED
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