Typography and You

TYPOGRAPHYAND YOU

a guide to learning to love the serifs, kearning, and more of typography

typographyand you

typographyand you

220283850647478848894108118124

rules

hyphenation

alignments

justification

combining typefaces

quotes, dashes, apostrophes

special characters

bullets

numerals & figures

small caps

paragraph breaks

headers, subheads, crossheads

captions and notes

font specs

04+

The following is a

compendium of the rules

established in this book.

You might want to check

through them each time you

complete a publication.

RULES

real apostrophes, real quotation marks, en or em dashes consistently, only one space between sentences, a one-em first-line in-dent on all indented paragraphs, a decimal or right-aligned tab for the numbers in numbered paragraphs, the special charac-ters whenever necessary, including super- and subscript, an accent mark if a correctly spelled word needs it.

justify the text on a short line, have one line in a paragraph in the column or following, use the spacebar to align text, always set tabs and use the tab key, hyphenate a words in a headline and avoid hyphenation in a callout, combine two serif fonts on one page.

more than three hyphenations in a row, too many hyphenations in any paragraph, ending lines with the words: the, of, at, a, by., ending consecutive lines with the same word, beginning consecutive lines with the same word, hyphenating or line brakes of names and proper nouns.

no widows or orphans, a least two charac-ters on the line and three following.

rules

make sure the apostrophes are where they belong, hang the punctuation off the aligned edge, keep the word spacing consistent, tighten up the leading in lines with all caps or with few ascenders and descender, adjust the spacing between paragraphs, either indent the first line of paragraphs or add extra space between them – not both, rarely combine two sans serif fonts on one page, rarely combine more than three typefaces on one page, spend the time to create nice fraction or chose a font that has fractions.

+05

MELIORherman zapf

x-height: large character width: average color: medium

9/12

Xxhg

9/12

DINalbert ian pool

x-height: large character width: narrow color: dark

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, original-ity, 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 sweep-ing repudiation of traditional cultural, social, and political values and the destruction of such cultural institu-tions as museums and libraries.

Xxhg06+


Readability and legibility are two key elements of printed text that typographer strive to maximize. Readability extend-ed amount of text – such as an article, book, or annual report – is easy to read. Legibility refers to whether an refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable.

72 pt

+07

rules

MRS EAVESzuzana licko

x-height: small character width: average color: light

Xxhg

9/12

UNIVERSadrian frutiger

x-height: large character width: narrow color: light

Xxhg

9/12

08+



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 typeface 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 de-sign solution. Fonts set in the same size, same leading and column width will produce varying degrees of “color”.

72 pt

+09

rules

HELVETCA NEUEmax miedinger

x-height: large character width: average color: medium

XxhgITC NEW BASKERVILLEjohn baskerville

x-height: average character width: average color: average

Xxhg

9/12 9/12

10+



x-height: average character width: average color: average

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.

72 pt

+11

rules

CLARENDONrobert besley

x-height: average character width: large color: dark

Xxhg

9/12

FUTURApaul renner

x-height: averagecharacter width: largecolor: light

Xxhg

9/12

12+



Xxhg 72 pt

As a designer, if you are only asked to make the text readable on the page the following questions should be asked...

Who is to read it?+ Someone that wants to read it? Some-one that has to read it?How will it be read?+ Quickly. In passing. Focused. Near. Far.

+13

rules

INTERSTATEtobais frere-jones


Xxhg

9/12

BEMBOstanley morrison

Xxhg

9/12 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, original-ity, 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 sweep-ing repudiation of traditional cultural, social, and political values and the destruction of such cultural institu-tions as museums and libraries.


14+

x-height: small character width: wide color: light

rules

Xxhg72 ptAKZIDENZ GROTESQUEgunter gerhand lange


VOLTAfrederic w. goudy

x-height: average character width: large color: dark

Xxhg

9/12 9/12

+15



x-height: small character width: wide color: light

NEWS GOTHICmorris fuller benton

x-height: tall character width: average color: medium

XxhgMEMPHISrudolph weiss

x-height: averagecharacter width: largecolor: dark

Xxhg

9/12 9/12 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, original-ity, 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 sweep-ing repudiation of traditional cultural, social, and political values and the destruction of such cultural institu-tions as museums and libraries.


16+

rules

GARAMONDclaude garamond

x-height: small character width: average color: light

Xxhg

9/12

SCALA SANSmartin majoor

x-height: averagecharacter width: average color: medium

Xxhg

9/12

72 pt



+17

TRADE GOTHICjackson burke

x-height: large character width: narrow color: light

FILOSOFIA zuzanna licko

x-height: small character width: narrow color: light

XxhgXxhg



18+

x-height: small character width: narrow color: light

rules

72 ptGILL SANSeric gill

x-height: average character width: narrow color: dark

DIDOTfirmin didot

x-height: average character width: average color: light

XxhgXxhg



+19

hyphenation

HYPHENATION

Follow these rules to

correctly use hyphenation.

22+

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, depend-ing 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.

When a paragraph ends and leaves fewer than seven characters (not words, charac-ters) 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 the last line of a paragraph, be it ever so long, won’t fit at the bottom of a column and must end itself at the top of the next column, that is an orphan. You must ALWAYS correct this.

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.

hyphenation

widows/orphans

In unjustified text, the text block is set with normal letter and word spacing. Because of the even word spacing the text will have an even texture – no large spaces between words. The lines will naturally vary in length. a ragged text block can integrate with the layout and add visual interest to the page. The difficulty is making the ragged edge have a pleasing silhouette. When the first line in the text is longer than the second, it becomes separate from the layout and creates a box-like shape. This destroys one of the advantages of unjustified text. The ragged edge needs to have a life, but a narrow column can be less active. Another advantage to ragged text is less hyphenation is needed. There-fore, names, dates or words which are normally read together can stay together.

+23

DON’T HYPHENATE HEADLINES. THAT’S A LAW.+ Don Quixote de la Man- cha

ALSO, WATCH WHERE THE FIRST LINE OF A TWO-HEADLINE ENDS—DOES IT CREATE A SILLY OR MISLEADING PHRASE? FIX IT.

+ Professor and The- rapist to Lecture

DON’T LEAVE WIDOWS (VERY SHORT LAST LINES) IN HEADLINES.

+ Man Walks Barefoot Across Bay Bridge

FIX IT EITHER WAY, OR REWRITE!

+ Man walks barefoot across Bay Bridge+ Man walks barefoot across Bay Bridge

24+

hyphenation

+ avoid hyphenating or line brakes of names and proper nouns+ how the text is read avoid widows (one word on the last line of a paragraph)+ avoid ending consecutive lines with the same word+ leave at least 2 characters on the line and 3 following+ avoid beginning consecutive lines with the same word+ never hyphenate a words in a headline and avoid hyphenation in a callout+ avoid ending lines with the words: the, of, at, a, by..

+25

CASING ADDERBAT

Heresy borsch-boil starry a

boarder borsch boil gam

plate lung, lung a gore in-

ner ladle wan-hearse torn

coiled Mutt-fill.

Mutt-fill worsen mush of-

fter torn, butted hatter putty

gut borsch-boil tame, an off

oiler pliers honor tame, door

moist cerebrated worse Cas-

ing. Casing worsted sickened

basement, any hatter betting

orphanage off .526 (fife toe

sex).

Casing worse gut lurking

an furry poplar—spatially

wetter gull coiled Any-bally.

Any-bally worse Casing’s

sweat-hard, any harpy cobble

wandered toe gat merit,

bought Casing worse tow pore

toe becalm Any-bally’s

horsebarn. (Boil pliers honor

Mutt-fill tame dint gat mush

offer celery; infect, day gut

nosing atoll.)

Butt less gat earn wetter star-

ry.

Heresy borsch-boil starry

a boarder borsch boil gam

plate lung, lung a gore inner

ladle wan-hearse torn coiled

Mutt-fill.

Mutt-fill worsen mush

offter torn, butted hatter putty

gut borsch-boil tame, an

off oiler pliers honor tame,

door moist cerebrated worse

Casing. Casing worsted sick-

ened basement, any hatter

betting orphanage off .526

(fife toe sex).

Casing worse gut lurking

an furry poplar—spatially

wetter gull coiled Any-bally.

Any-bally worse Casing’s

sweat-hard, any harpy cobble

wandered toe gat merit, bought

Casing worse tow pore toe

becalm Any-bally’s horsebarn.

(Boil pliers honor Mutt-fill

tame dint gat mush offer celery;

infect, day gut nosing atoll.)

Butt less gat earn wetter

starry.

1

2

3

4

5

6

7

8

9

CASING ADDER BAT

story by Howard Chace26+

hyphenation

What are bad line breaks anyway?+ Look for bad line breaks throughout ever line of body copy. Of course, do this only on final copy, after all editing has been done. Here are several examples of the sorts of thigns to look for...

1 Justify the headlines so it stays on one line. 2 Use a line break (Shift Return) to bump “a” down to the next line, where it fits very nicely. 3 Kern the line a tiny bit to bring the rest of the word up. 4 Type a dischy in front of the wrod to bump it down. 5 Never hyphenate a person’s name. I had to go up a few lines, bump “off” down, which bumped the other line ending down. 6 Fix Widow. 7 There is plenty of room to squeeze “bought” on this line, perhaps by kerning the line a tiny bit. 8 “Horsebarn” is a good, long word that could be hyphenated; type a dischy. Better yet, when “brought” moved up, it gave enough room to move “horsebarn” up. If not, try opening the text box a wee bit. 9 Edit: to get rid of that terrible widow, exchange a short word for a long word.

+27

alignments

“Right and wrong do not

exist in graphic design.

There is only effective and

non-effective communica-

tion.” — Peter Bilak

ALIGNMENTS

30+

If someone insists that fully justified text is better than left-aligned text, tell them they are wrong. If someone else tells you that left-aligned text is better than justified text, tell them they are wrong.

If they are both wrong, then what’s right? Alignment is only a small piece of the puz-zle. What works for one design might be totally inappropriate for another layout. As with all layouts, it depends on the purpose of the piece, the audience and its expecta-tions, 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.

alignments

general advice

+31

Often considered more

formal, less friendly than

left-aligned text.

ALIGNMENTS

32+

Traditionally, many books, newsletters, and newspapers use full-justification as a means of packing as much information onto the page as possible to cut down on the number of pages needed. While the alignment was chosen out of necessity, it has become so familiar to us that the same types of publications set in left-aligned text would look odd, even unpleasant.

You may find that fully-justified text is a necessity either due to space constraints or expectations of the audience. If possible though, try to break up dense blocks of texts with ample subheadings, margins, or graphics.

+ Often considered more formal, less friendly than left-aligned text.+ Usually allows for more characters per line, packing more information 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.+ Some people are naturally drawn to the “neatness” of text that lines up perfectly on the left and right.+ May be more familiar to readers in some types of publications (books and newspapers).

alignments

justified text

+33

ALIGNMENTS

When in doubt,

don’t center it.

34+

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 appropri-ate. 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.

No matter what alignment you use, remem-ber to pay close attention to hyphenation and word/character spacing as well to in-sure that your text is as readable as possible.

There will undoubtedly 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 is unsatisfied.

alignments

+35

ALIGNMENTS

Often considered more

informal, friendlier than

justified text.

36+

+ Often considered more informal, friend-lier than justified text.+ The ragged right edge adds an element of white space.+ May require extra attention to hyphen-ation to keep right margin from becoming too ragged.+ Generally, type set left-aligned is easier to work with (i.e. requires less time, atten-tion, and tweaking from the designer to make it look good).

alignments

left-aligned, ragged right

+37

justification

40+

DINthe words really crowd together, and it becomes difficult to distin-guish a beginning and end.

minimum: 50%maximum: 50%desired: 50%

The only time you can safely get away with justifying text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. Gross. But that’s what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squished together.

When your work comes out of the printer, turn it upside down and squint at it. The rivers will be very easy to spot. Get rid of them. Try squinting at the example on the bottom of the previous page.

Here is a general guideline for determin-ing if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 pi-cas is 4 inches-simply divide the number

9/12 of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like.

Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

MELIORthe text is a little too tight, and the letters start to blend into each other


The only time you can safely get away with justifying text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accom-modate it. It usually looks awkward. You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the col-umn, or a little word on either side of the column with a big gap in the middle. Gross. But that’s what can hap-pen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squished together.

When your work comes out of the printer, turn it upside down and squint at it. The rivers will be very easy to spot. Try squinting at the example on the bot-tom of the previous page.

Here is a general guideline for determin-ing if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line

9/12 length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 pi-cas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like.

Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, an-nual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

+41

justification

DINtoo many rivers are created with this justification and the spacing really starts to become uneven.


The only time you can safely get away with justifying text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where all text is justified, often with a word stretch-ing 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 short, you will inevita-bly end up with uncomfortable gaps in some lines, while other lines will be all squished together.

When your work comes out of the printer, turn it upside down and squint at it. The rivers will be very easy to spot. Get rid of them. Try squinting at the example on the bot-tom of the previous page.

Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas

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

Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy some-thing is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (maga-zines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

42+

justification

MELIORthere is far too much uneven spac-ing, widows, and orphans for this setting to work.


The only time you can safely get away with justifying text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where all text is justi-fied, 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 newspa-per column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squished together.


Here is a general guideline for determining if your line length is

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

Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, incon-sistent gaps between the words in-hibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newslet-ters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

+43

DINthe type is still spaced out too far, and rivers become more common.


The only time you can safely get away with justifying text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. Gross. But that’s what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfort-able gaps in some lines, while other lines will be all squished together.

When your work comes out of the printer, turn it upside down and squint at it. The rivers will be very easy to spot. Get rid of them. Try squinting at the exam-ple on the bottom of the previous page.

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

Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disrup-tive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

44+

justification

MELIORstill, too much spacing between the words and too many rivers.


The only time you can safely get away with justifying 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 columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. Gross. But that’s what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with un-comfortable gaps in some lines, while other lines will be all squished together.


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

Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disrup-tive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally print-ed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

+45

DINthe type is uncomfortably close and words start to feel rushed.


The only time you can safely get away with justifying text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awk-ward. You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. Gross. But that’s what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squished together.


Here is a general guideline for determin-ing if your line length is long enough to sat-isfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there

9/12 are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) be-fore you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like.


46+

justification

MELIORthe spacing is far too close for the reader to feel comfortable and let-ters start to combine.


The only time you can safely get away with justifying text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspa-per columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. Gross. But that’s what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squished together.


Here is a general guideline for determin-ing if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4

9/12 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like.


+47

DINthis justification is a little nicer, although some rivers are created and awkward spacing.


The only time you can safely get away with justifying text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awk-ward. You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. Gross. But that’s what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squished together.

When your work comes out of the printer, turn it upside down and squint at it. The rivers will be very easy to spot. Get rid of them. Try squinting at the example on the bottom of the previ-ous page.

Here is a general guideline for de-termining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is,

9/12 if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply di-vide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like.


EXPLORATION 548+

justification

MELIORthere is some loose spacing, but overall it’s better.


The only time you can safely get away with justifying text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper 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 col-umn, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squished together.

When your work comes out of the printer, turn it upside down and squint at it. The rivers will be very easy to spot. Get rid of them. Try squinting at the example on the bot-tom of the previous page.

Here is a general guideline for de-termining if your line length is long enough to satisfactorily justify the text: the line length in picas should

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

Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disrup-tive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at profession-ally printed work (magazines, news-letters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

+49

combiningtypefaces

“There is no binding recipe

for type combinations. It

is a matter of typographic

sensitivity and experience.

Expert typographers, as

well as careless amateurs

permit themselves combi-

nations that would horrify

colleagues with more tradi-

tional sympathies.”

COMBINING TYPEFACES

52+

When combining serif and sans serif text fonts, one should try and match the charac-teristics of form and type color: proportion and x-heights.

Although there is not recipe there is a place to start: keep an eye on the charac-teristic shapes of the letterform. A well designed page contains no more than two different typefaces or four different type variations such as type size and bold or italic style. {Using 2 different serif fonts or 2 different sans serifs fonts in the same composition is never a good idea}.

combiningtypefaces

+53

FRUTIGER AND BEMBOhumanist san serif with old style

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 Mari-netti, 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 char-acterized 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

8/11

aaBBee

GGgg

These two fonts work well together based on the stroke weight. The contrast in x-height made for a more interesting font combina-tion to increase hierarchy and to have a quick read, I used Frutiger 13-point for the header and Frutiger 8-point for the sub-head. I used Bembo 8-point for the body.

54+

ROTIS SAN SERIF AND GARAMOND grotesque san serif with old style

WORDS IN LIBERTYA Prologue to Futurism: Futurism was first an-nounced 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

8/11

aaBBee

GGgg

These two fonts work well together based on the varying stroke weight. The two together create a lighter text box and is easier to read. I used Rotis San Serif 13-point for the header and Fruitiger 8-point for the sub-head and Garamond 8-point for the body.

+55

combiningtypefaces

GILL SANS AND MRS EAVES geometric sans serif with transitional

WORDS IN LIBERTYA Prologue to Futurism: Futurism was first an-nounced 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 con-ceived to be the static and irrelevant art of the past and celebrating change, originality, and innova-tion in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the ma-chine 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

8/11

aaBBee

GGgg

These two fonts work well together based on the contrast in x-height. I used Gill Sans 13-point for the header and Mrs Eaves 8-point for the sub-head and Bembo 8-point for the body.

56+

FRUTIGER AND MELIOR humanist san serif with transitional

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

8/11

aaBBee

GGgg

Frutiger makes for a strong headline because of how bold it is, and melior’s curved serifs are welcoming to a large body of text. I used Frutiger 13-point for the head-er and Melior 8-point for the sub-head and Bembo 8-point for the body.

combiningtypefaces

+57

INTERSTATE AND FILOSOFIA geometric sans serif with modern


8/11

aaBBee

GGgg

Interstate and Filosofia make for an interest-ing combination because of how straight for-ward Interstate is and how distinct Filosofia’s bowls are. I used Interstate 13-point for the header and Filosofia 8-point for the sub-head and Bembo 8-point for the body.

58+

aaBBee

GGgg

NEWS GOTHIC AND DIDOTgrotesque san serif with modern

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 Fu-turism, coined by Marinetti, reflected his emphasis on discarding what he con-ceived to be the static and irrelevant art of the past and celebrating change, original-ity, 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

8/11

aaBBee

GGgg

News Gothic and Didot’s contrast in x-height made hierarchy much clearer and interest-ing. I used News Gothic 13-point for the header and Didot 8-point for the sub-head and Bembo 8-point for the body.

combiningtypefaces

+59

FUTURA AND NEW BASKERVILLE geometric sans serif with new transitional


8/11

aaBBee

GGgg

The contrasting stroke width and exaggera-tion of New Baskerville’s serif, really bring the two to an unlikely pair, but the two work well in contrast. I used Interstate 13-point for the header and Filosofia 8-point for the sub-head and Bembo 8-point for the body.

60+

TRADE GOTHIC AND CASLONgrotesque san serif with new transitional


8/11

aaBBee

GGgg

Trade Gothic’s taller x-height makes for a nice headline, and the thinness of

combiningtypefaces

+61

GILL SANS AND BELIZIO geometric sans serif with slab serif

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 Mari-netti, 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 char-acterized 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

8/11

The variation between the two stroke widths and how narrow Belizio is compared to gill sans really contrasts each other in a nice way. I used Bembo 13-point for the header and Bembo 8-point for the sub-head and Gill Sans 8-point for the body.

aaBBee

GGgg

62+

META AND VOLTAhumanist san serif with slab serif

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 empha-sizing 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 automo-bile and the beauty of its

8/11

Volta’s wideness adds a nice opposite to how thin Meta is. Volta’s serifs are also subtle enough that the two still work nicely together. I used Volta 13-point for the header and Volta 8-point for the sub-head and Meta 8-point for the body.

aaBBee

GGgg

combiningtypefaces

+63

opening double quote: “

option + [

closing double quote: ”

option + shift + ]

opening single quote: ‘

option + [

closing single quote: ’

option + shift + ]

QUOTES, DASHES, APOSTROPHES

66+

Use real quotation marks—never those gro-tesque generic marks that actually symbolize ditto/inch or foot marks: use “and”—not “and”. Most software applications will convert the typewriter quotes to the real quotes for you automatically as you type. Check the preferences for your applica-tion—you will 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.

But it is necessary to know how to set them yourself because sometimes 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”.


+67

hyphen: -

en dash: –

option + -

em dash: —

option + shift + -


68+

Never use two hyphens instead of a dash.Always use hyphens, en dashes, and em dashes appropriately.

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 a double hyphen to indicate a dash (--), this is a typewriter convention because type-writers 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.


+69

Apostrophe: ’

option + shift + ]


70+


As as aside, people often are confused about where the apostrophe belongs. There are a couple of rules that work very well.

For possessives: Turn the phrase around. The apostrophe will be placed after what-ever 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 apostro-phe! The word it only has an apostrophe as a contraction—“it’s” always means “it is” or “it has.” Always.It may be easier to remember if you recall that yours, hers, and his don’t use apostro-phes—and neither should its.

For contractions: The apostrophe replaces the missing letter. For example: your’re always means you are; the apostrophe is replacing the a from are. That’s an easy way to distinguish it from your as in your house and to make sure you don’t say: Your going to the store.

As previously noted, it’s means “it is”; the apostrophe is indicating where the ‘i’ is left out. Don’t means “do not”; the apostrophe is indicating where the ‘o’ is left out.

For omission of letters: In a phrase such as “Rock ’n’ Roll”, there should be an 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 not earthly reason for an apostrophe to be set before the o.

In a phrase such as Gone Fishin’ the same pattern is followed—the g is missing.

In a date when part of the year is left out, an apostrophe is needed to indicate the missing year. In the 80s would mean the temperature; but In the ’80s would mean the decade. Notice there is no apostrophe before the s! Why would there be? It is not possessive, nor is it a contraction—it is simply plural.

+71

This is where the real

punctuation is hidden.


72+


An en dash is half of the em rule (the width of a capital N) and is used between words that indicate a duration, (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.

October – December6:30 – 8:45 A.M.4 – 6 years of age

The em dash is twice as long as the en dash—it’s about the size of a capital letter M in whatever size and typeface you’re using at the moment. This dash is often used in place of a colon or parentheses, or it might indicate an abrupt change in thought, or it’s used in a spot where a pe-riod is too strong and a comma is too weak.

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.

en dash

hyphen

em dash

A hyphen is one third of the em rule and is used to link words. It serves as a com-pound modifier where two words become one, such as x-height. A hyphen is also used to break works at syllables in text blocks.

+73

specialcharacters

“”‘’

–—≠

•fifl

©™®° ¢€⁄¡¿£çÇ

option + [ opening double quote

option + shift + [ closing double quote

option + ] opening single quote

option + shift + ] closing single quote

option + - en dash

option + shift + - em dash

option + ; ellipsis

option + 8 bullet

option + shift + 5 ligature of f and i

option + shift + 6 ligature of f and l

option + g copyright symbol

option + 2 trademark symbol

option + r

option + shift + 8 degree symbol

option + $ cent symbol

option + shift + 2 euro symbol option + shift + 1 fraction bar option + 1 option + shift + ?

option + 3

option + c

option + shift + c

76+

SPECIAL CHARACTERSRemember, to set an accent mark over a letter, press the Option key and the letter, then press the letter you want under it.

´`¨˜ˆ

option + e

option + ~

option + u

option + n

option + i

specialcharacters

The following is a list of the most often-used special characters and accent marks. On the following pages are key combi-nations for just about every accent you might need.

+77

bullets

This very useful typo-

graphic element can add

emphasis, clarity, and vi-

sual interest to all kinds

of copy.

BULLETS

80+

bullets

Simply put, a bullet is a large dot used to draw attention to each item in a list or series. The items can be single words, phrases, sentences or paragraphs. Even if you use the bullet that is part of your font, don’t automatically assume it’s the right size: it might need to be altered in scale or position to make it look balanced next to the text.

Bullets should be centered on either the cap height or x-height, depending on the nature of your copy. If all of your items begin with a cap, center the bullet on the cap, or a bit lower so it balances with the negative spaces created by the lowercase. If your items all begin with lowercase char-acters, center the bullets on the x-height. Insert some spacing after the bullet to avoid crowding.

The preferred way to align bullets is with the left margin. You can also have the bul-lets overhang the margin, and keep all your text aligned with the left margin. Which-ever style you choose, your listing will look best if items that run more than one line are indented so that the copy aligns with itself, and not with the bullet on the first line.

+81

To be more creative, substitute symbols or dingbats for the actual bullets. Try squares, triangles or check marks (just not all at once, as shown in the illustration!). Keep these simple and in proportion with the rest of your text.

82

choose a dingbat instead of the dumb ‘ol bullet

• lovely• surly• ghastly• womanly • saintly• ungodly • stately• sprightly

pick any three adjectives that describe yourself:

you have lots of dingbats to choose from, but they are usually too big

+ lovelys surly_ ghastly 4 womanlyp saintlyl ungodly F stately v sprightly


you can decrease the point size of the bullet, but then it sits too low

s lovelys surlys ghastly s womanly s saintlys ungodly s statelys sprightly


raise the dingbat higher off the baseline

lovely surly ghastly womanly saintly ungodly stately sprightly


s

s

s

s

s

s

s

s

82+

bullets

Another occasion to take advantageof the baseline shift feature is when using dingbats or ornaments. Suppose you have a list of items and you really want to use a fancy dingbat from the Zapf Dingbats font, instead of using the boring ol’ round bullet, but the Zapf Dingbat character is too big. If you reduce its size, the dingbat is too low because the character is still sitting on the baseline. So select the character and shift it up above the baseline.

+83

numerals& figures

Oldstyle figures are a

style of numeral which

approximate lowercase

letterforms by having an

x-height and varying as-

cenders and descenders.

NUMERALS & FIGURES

86+

numerals& figures

Oldstyle figures are a style of numeral which approximate lowercase letterforms by having an x-height and varying ascend-ers and descenders. 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 tra-ditional, classic look. They are only avail-able for certain typefaces, sometimes as the regular numerals in a font, but more often within a supplementary or expert font. The figures are proportionately spaced, eliminating the white spaces that result from monospaced lining figures, especially around the numeral one.

Oldstyle figures are very useful and quite beautiful when set within text. Unlike lin-ing figures, they blend in without disturb-ing the color of the body copy. They also work well in headlines since they’re not as intrusive as lining figures. In fact, many people prefer them overall for most uses except charts and tables. It’s well worth the extra effort to track down and obtain typefaces with oldstyle numerals; the fonts that contain them might well become some of your favorites.

Notice how large and chunky these numbers appear: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 into the text:Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505

+87

small caps

Small caps are less intru-

sive when all uppercase

appears within normal

text or can be used for

special emphasis.

SMALL CAPS

91+

small caps

Small caps are uppercase (capital) letters that are about the size of normal lowercase letters in any given typeface. Small caps are less intrusive when all uppercase ap-pears within normal text or can be used for special emphasis. Computer programs can generate small caps for a any typeface, but those are not the same as true small caps. True small caps have line weights that are proportionally correct for the type-face, which me and that they can be used within a body of copy without looking noticeably wrong.

+ Set acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines.+ Avoid simply resizing capital letters or using the small caps feature in some pro-grams. Instead use typefaces that have been specifically created as small caps.+ Use small caps for common abbrevia-tions. 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. (if the font does not have small caps reduce the font size slightly)

+90

9/12

MRS EAVESused for small caps

The weight of the computer-drawn small caps is thinner than the weight of the regular initial (first letter) caps. Typeface is Mrs. Eaves.

There are quite a few font families that include “true-drawn” small caps—let-terforms that have been redesigned to match the proportions and thickness of the uppercase. These families are often called “expert” sets or perhaps “small cap” sets. The result is a smooth, uni-form, undisturbing tone throughout the text.

True-drawn small caps are specially drawn to match the weight of the capital letters in the same face.

There Is No Rest For The WickedThe Wicked Are Very Weary

92+

small caps

If you set acronyms in regular all caps, their visual presence is unnecessarily overwhelming. One standard and prac-tical place to use small caps is in acro-nyms such as FBI, NRC, or CBS.

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 was taught on a typewriter), you prob-ably learned to set these abbreviations in all caps because there were no small caps on typewriters. But now that you have the capability, 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 abbre-viation is not that important.

Harriet, an FBI agent, turned on CNN to get the dirt on the CIA before going to bed at 9:30 P.M.

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

+93

paragraphbreaks

Paragraph breaks set a

rhythm for the reader. The

breaks have a relationship

with the column of text as

well as the page margins.

PARAGRAPH BREAKS

98+

A break may be introduced as an indenta-tion, as a space or both. The overall page feel will be influenced by your choice.

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

paragraphbreaks

+97

MELIOR

8.5/12

Futurism was first announced on Febru-ary 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 Futur-ism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. He exalted vio-lence 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. The manifesto’s rhetoric was passionately bombastic; its tone was aggres-sive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to at-tract widespread attention.

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if

98+

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 trans-formed present (1909), the later mainfestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , 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. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

paragraphbreaks

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 Fu-turism rejected traditions and glorified contemporary life, mainly by emphasiz-ing two dominant themes, the machine and motion. The works were character-ized by the depiction of several suc-cessive 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 re-pudiation of traditional cultural, social, and political values and the destruc-tion of such cultural institutions as museums and libraries. 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 is 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

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& 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 mani-festo for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later mainfestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still reso-nant today--was parole in liberta 2 , 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 forerun-ners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and sur-roundings, 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.”

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Futurism was first announced on Febru-ary 20, 1909, when the Paris new paper Le Figar published a mani-festo by the Italian poet and editor Filippo Tommaso Marinetti. The na Futurism, coined by Marinetti, re-flected 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 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 automo-bile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of tradi-tional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rheto-ric was passionately bombastic; its tone was aggressive and inflamma-tory and was purposely intended to inspire public anger and amaze-ment, to arouse controversy, and to attract widespread attention.

But is is the movements which survive, oddly, here where we live an work as poets and artists: or, if not the movements, then their sense of

100+

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 bris-tled with a polemical stance in favor of the transformed present (1909), the later mainfestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , 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 re-sembled 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. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surround-ings, 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.”

paragraphbreaks

Futurism was first an-nounced on February 20, 1909, when the Paris new paper Le Figara published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The na Futurism, coined by Marinetti, reflect-ed his emphasis on discard-ing what he conceived to be the static and irrelevant art of the past and celebrat-ing 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 glo-rified the new technology of the automo-bile 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. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public an-ger and amazement, to arouse contrversy, and to attract widespread attention.

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But is is the movements which survive, oddly, here where we live an 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 mainfestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , 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 juxtapo-sition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indif-ference 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.”

DIN

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Futurism was first announced on Febru-ary 20, 1909, when the Paris new paper Le Figar published a manifesto by the Italian poet and edi-tor Filippo Tommaso Marinetti. The na Futurism, coined by Marinetti, reflected his emphasis on discarding what he con-ceived to be the static and irrelevant art of the past and celebrating change, origi-nality, 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 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 cul-tural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifes-to’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 move-ments which survive, oddly, here where we live an 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

102+

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 mani-festo for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later mainfestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , 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 phenom-ena.” 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. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. 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.”

paragraphbreaks

Futurism was first announced on Febru-

ary 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 in-

novation in culture and society. Futur-

ism rejected traditions and glorified con-

temporary 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 move-

ment. He exalted violence and conflict

and called for the sweeping repudia-

tion of traditional cultural, social, and

political values, and the destruction of

such cultural institutions as museums

and libraries. 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

MELIOR

8.5/1614/16

+103

where we live and work as poets and artists; if not the move-

ments, then their sense of art as an life itself survives. 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 Rus-

sian & Italian sides, the first great “art” movement led by poets;

and if its means now sometimes seem exaggerated or unripe

in retrospect, they carry the seed of all that we were later

to become. // While Marinetti’s opening mani-

festo for Italian Futurism bristled with a polemical stance in

favor of the transformed present (1909), the later manifestos of

Futurist poets & artists offered formal “technical” approaches

to the works then getting under way. The key term—still reso-

nant today—was parole in liberta 2 , 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. But the verbal liberation didn’t end

with the page; it moved, rather, toward a new performance

art and a poetry that “scurried off the page in all directions at

once,” as Emmett Williams phrased it for the “language hap-

penings” of a later decade. Outrageous and aggressive, the Fu-

tur- ists’ 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.”

MELIOR

9/14Futurism ws first announced on Feb-

ruary 20, 1909, when the Paris news-

paper Le Figaro published a manifesto

by the Italian poet and editor Filippo

Tommaso Marinetti. The name ‘Futur-

ism’, coined by Marinetti, reflected

his emphasis on discarding what he

conceived to be the static and irrel-

evant art of the past, and celebrating

change, originality, and innovation in

culture and society. Futurism rejected

traditions and glorified contempo-

rary life, mainly by emphasizing two

dominant themes: the machine and


by the depiction of several successive









such cultural institutions as muse-

ums and libraries. The manifesto’s

rhetoric was passionately bombastic;

its tone was aggressive and inflamma-

tory and was purposely intended to

inspire public anger and amazement,

to arouse controversy, and to attract

104+

widespread attention. >> But it is the movements which

survive, oddly, here where we live and work as poets and

artists; if not the movements, then their sense of art as an

life itself survives. All of which, as Futurism, had come

sharply into focus by the start of the world war: a first radi-

cal 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 & artists offered formal “technical” ap- pro-

aches to the works then getting under way. The key term—

still resonant today—was parole in liberta 2 , 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 innova-

tive and expressive typography in the visual presentation

of language, as set in motion by forerunners like Mal-

larme. But the verbal liberation didn’t end with the page; it

moved, rather, toward a new performance art and a poetry

that “scurried off the page in all directions at once,” as

Emmett Williams phrased it for the “language happenings”

of a later decade. 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): “Every-

thing of any value is theatrical.”

paragraphbreaks

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


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


was passionately bombastic; its tone was

aggressive and inflammatory and was

purposely intended to inspire public an-

ger and amazement, to arouse controver-

sy, and to attract widespread attention.

BUT it is the movements which sur-

DIN

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+105

vive, oddly, here where we live and work as poets and artists;

if not the movements, then their sense of art as an life itself

survives. 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 & artists

offered formal “technical” approaches to the works then getting

under way. The key term—still resonant today—was parole in

liberta 2 , 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 innova-

tive and expressive typography in the visual presentation of

language, as set in motion by forerunners like Mallarme. But the

verbal liberation didn’t end with the page; it moved, rather, to-

ward a new performance art and a poetry that “scurried off the

page in all directions at once,” as Emmett Williams phrased it

for the “language happenings” of a later decade. Outrageous and

aggressive, the Futur- ists’ 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.”

Futurism was first announced on Feb-











traditions and glorified contemporary

life, mainly by emphasizing two domi-

nant themes: the machine and motion.

The works were characterized by

the depiction of several successive















to arouse controversy, and to attract

MELIOR

9/14

106+

widespread attention.

But it is the movements which survive, oddly, here where

we live and work as poets and artists; if not the move-

ments, then their sense of art as an life itself survives. 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” move-

ment 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


Futurist poets & artists offered formal “technical” ap-

proaches to the works then getting under way. The key

term—still resonant today—was parole in liberta 2 , 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 “free-

dom of the world”, while it resembled other forms of col-

lage 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. But the verbal liberation didn’t end with the

page; it moved, rather, toward a new performance art and a

poetry that “scurried off the page in all directions at once,”

as Emmett Williams phrased it for the “language happen-

ings” of a later decade. 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.”

FUTURISM WAS FIRST AN-NOUNCED ON FEBRUARY 20, 1909, when the Paris newspaper








novation in culture and society. Futurism

rejected traditions and glorified con-









ment. He exalted violence and conflict

and called for the sweeping repudiation

of traditional cultural, social, and politi-

cal values, and the destruction of such

cultural institutions as museums and

libraries. The manifesto’s rhetoric was

passionately bombastic; its tone was ag-

gressive and inflammatory and was pur-

posely intended to inspire public anger

and amazement, to arouse controversy,

and to attract widespread attention.

DIN

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BUT IT IS THE MOVEMENTS WHICH SUR-VIVE, ODDLY, HERE WHERE



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 retro-

spect, they carry within them the seed of all that we were later

to become.

WHILE MARINETTI’S OPENING MANIFES-TO FOR ITALIAN FUTURISM bristled with a polemical stance in favor of the trans-

formed present (1909), the later manifestos of Futurist poets

& artists offered formal “technical” approaches to the works

then getting under way. The key term—still resonant today—

was parole in liberta 2 , 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 presenta-

tion of language, as set in motion by forerunners like Mallarme.

But the verbal liberation didn’t end with the page; it moved,

rather, toward a new performance art and a poetry that “scur-

ried off the page in all directions at once,” as Emmett Williams

phrased it for the “language happenings” of a later decade.

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.”

headerssubheads

crossheads

header: that material

which is separated form

the main body of text and

appears at the top of

a printed page.

subhead: a phrase,

sentence, or several sen-

tences near the title of

the article or story.

HEADERS, SUBHEADS, CROSSHEADS

110+

The main header or “headline” is essential to be bold and leap out as the main title of the page or chapter start. If it does not, the reader may be confused as to where the document actually starts. So I always think its a good rule to ensure the reader knows where a section starts and make it quite plain. The main header should also look like it belongs to the first sentence. This can be achieved by ensuring that its paragraph spacing (the space after a hard return) is smaller than the paragraph spac-ing of the first sentence. Paragraph spac-ing is not commonly used - even amongst designers, but it is an extremely useful tool. Many people add spacing by hitting return but this does not give much control and cannot be styled from style sheets.

Introduction paragraphs are a useful way to entice the reader to continue on read-ing. They also help not to waste a readers time if they are not interested in reading further. Typographically speaking these into paragraphs need to be easy to read but more distant than the body text

headerssubheads

crossheads

below. They are not the main article and need to be distinguished from it.

The purpose of a subheader is to split up body text so that a reader can find their way around the document with ease. it also makes the document more readable because the viewer is not faced with a page of block text. Each subheader needs to be linked with the corresponding body text underneath it. This should be achieved by using correct spacing after and before the subheader (You find these settings in most “Paragraph” tool pallets and the example below demonstrates how it looks when executed)

+111

WO

RD

S IN

LIB

ERTY

radical mix of art and life

a prologue to futurism

112+

FUTURISM was first announced






























BUT it is the movements which survive, oddly, here where we

live and work as poets and artists; if not the movements, then

their sense of art as an life itself survives. All of which, as Futur-

ism, 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.





















“Everything of any value is theatrical.”

headerssubheads

crossheads

WORDS IN

LIB

ERTY

+113

a prologue to futurism: Futur-

ism ws first announced on February

20, 1909, when the Paris newspaper

Le Figaro published a manifesto by

the Italian poet and editor Filippo



























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; if not the

movements, then their sense of art as an life itself survives.

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. >>

radical mix of art and life: 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 & artists offered formal “tech-

nical” approaches to the works then getting under way.

The key term—still resonant today—was parole in liberta

2 , by which poetry was to become “an uninterrupted se-

quence 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



like Mal- larme. But the verbal liberation didn’t end with

the page; it moved, rather, toward a new performance art

and a poetry that “scurried off the page in all directions

at once,” as Emmett Williams phrased it for the “language

happenings” of a later decade. Outrageous and aggres-

sive, the Futurists’ performances mixed declamation and

gesture, events and surroundings, indifference and engage-

ment, to break the barriers between themselves and those

who came to jeer or cheer them. Wrote Marinetti Selbst 3



WORDS IN LIBERTY

114+

Futurism was first announced on Feb-





ism’, coined by Marinetti, reflected his

emphasis on discarding what he con-

ceived to be the static and irrelevant


originality, and innovation in culture

and society. Futurism rejected tradi-

tions and glorified contemporary life,

mainly by emphasizing two dominant

themes: the machine and motion. The

works were characterized by the depic-

tion 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 exalt-

ed 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.

The manifesto’s rhetoric was passion-

ately 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 sur-

vive, oddly, here where we live and work as poets and

artists; if not the movements, then their sense of art as an







they carry within them the seed of all that we were later to

become.
























headerssubheads

crossheads

a pr

olog

ue

to fu

turi

sm


+115





WO

RD

S IN

LIBERTY116+

FUTURISM WAS FIRST AN-NOUNCED ON FEBRUARY 20, 1909, when the Paris newspaper






































to become.





















headerssubheads

crossheads



WORDS

IN LIBERTY

+117





captions

These general guidelines

will help you design foot-

notes and endnotes that

are readable, legible and

economical in space.

CAPTIONS

120+

Footnotes and endnotes are necessary com-ponents 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 manu-script 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.

captions

+121

These general guidelines

will help you design foot-

notes and endnotes that

are readable, legible and

economical in space.

CAPTIONS

122+

Footnotes are most often indicated by placing a superscript numeral immediately after the text to be referenced. The same superscript numeral then precedes the footnoted text at the bottom of the page. Numbering footnotes is essential when there are many of them, but if footnotes are few they can be marked with a dagger, asterisk, or other symbol instead. Endnotes should always use numerals to facilitate easy referencing.

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 legibil-ity of the main text. Even though they’re smaller, footnotes and endnotes should still remain at a readable size.

captions

+123

124+

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

WO

RD

S IN

LIB

ERTY

a prologue to futurismFUTURISM was first announced






























BUT it is the movements which survive, oddly, here where we

live and work as poets and artists; if not the movements, then

their sense of art as an life itself survives. All of which, as Futur-

ism, 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.





















captions

WORDS IN

LIB

ERTY

+125

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

LIB

ERTY

a prologue to futurism: Futur-

ism ws first announced on February

20, 1909, when the Paris newspaper

Le Figaro published a manifesto by

the Italian poet and editor Filippo



























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; if not the

movements, then their sense of art as an life itself survives.

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. >>

radical mix of art and life: 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 & artists offered formal “tech-

nical” approaches to the works then getting under way.

The key term—still resonant today—was parole in liberta

2 , by which poetry was to become “an uninterrupted se-

quence 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



like Mal- larme. But the verbal liberation didn’t end with

the page; it moved, rather, toward a new performance art

and a poetry that “scurried off the page in all directions

at once,” as Emmett Williams phrased it for the “language

happenings” of a later decade. Outrageous and aggres-

sive, the Futurists’ performances mixed declamation and

gesture, events and surroundings, indifference and engage-

ment, to break the barriers between themselves and those

who came to jeer or cheer them. Wrote Marinetti Selbst 3

126+

1. Philip Meggs, History of Graphic Design, Van Nostr-and Reinhold, 1988

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

3. selbst = himself



WORDS IN LIBERTYFuturism was first announced on Feb-





ism’, coined by Marinetti, reflected his

emphasis on discarding what he con-

ceived to be the static and irrelevant


originality, and innovation in culture

and society. Futurism rejected tradi-

tions and glorified contemporary life,

mainly by emphasizing two dominant

themes: the machine and motion. The

works were characterized by the depic-

tion 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 exalt-

ed 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.

The manifesto’s rhetoric was passion-

ately 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 sur-

vive, oddly, here where we live and work as poets and

artists; if not the movements, then their sense of art as an







they carry within them the seed of all that we were later to

become.
























captions

+127

1. P

hil

ip M

eggs

, His

tory

of G

rap

hic

Des

ign

, V

an N

ostr

and

Rei

nh

old

, 198

8 2.

par

ole

in li

bert

a =

wor

ds

set f

ree

(lib

erty

) 3.

sel

bst =

him

self

a pr

olog

ue

to fu

turi

sm






128+

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

WO

RD

S IN

LIBERTYFUTURISM WAS FIRST AN-NOUNCED ON FEBRUARY 20, 1909, when the Paris newspaper






































to become.





















captions

+129

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

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

3. selbst = himself



WORDS

IN LIBERTY





font specs

CLASSIFICATION

“By all means break the

rules, and break them

beautifully, deliberately,

and well. That is one of

the ends for which they

exist.” —Robert Bringhurst

132+

font specs

+133

Every font came from a basic straight line, but each font has its own curve and flair for itself. Within the next few pages, a selection of fonts have been chosen to explore the dif-ferent styles, thickness, and size. With slight line adjustments and serifs added, each character becomes unique to its specific font family and displays its own personality.

Throughout this book, typography has been shown through a multitude of ways: poorly with bad kearning, and nicely with surpris-ing font combinations. The only true way to develop a relationship with type is to study it, read it, breathe it, and live it. So begin exhaling.

archerslab serif

MaxogGdQRstBOOK

HAIRLINE

SEMI-BOLD

BOLD ITALIC

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

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

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


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


font specs

MaxogGdQRstROMAN

BOLD

BLACK


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




akzidenz grotesksan serif

MxaogGdQRtREGULAR

SMALL CAPS

ITALIC

BOLD

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






baskervilletranstional

font specs

MxagGdQrRREGULAR

ITALIC

BOLD

BLACK ITALIC

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

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





belizioslab serif

LIGHT

BOLD

BLACK

A basic system for classifying typefaces

was devised in the nineteenth century, when

printers sought to identify a heritage for their

own craft analogous to that of art history.

Humanist letterforms are closely connected

to calligraphy and the movement of the hand.

Transitional and modern typefaces are more

abstract and less organic. These three main

groups correspond roughly to the Renais-

sance, Baroque, and Enlightenment periods in

art and literature. Designers in the twentieth

and twenty-first centuries have continued

to create new typefaces based on historic

characteristics.




bell gothicslab serif

MxagGdQrRI

MxagGdQrRI

font specs

MxnogGdQrRstA basic system for classifying typefaces was

devised in the nineteenth century, when print-

ers sought to identify a heritage for their own

craft analogous to that of art history. Humanist

letterforms are closely connected to calligraphy

and the movement of the hand. Transitional

and modern typefaces are more abstract and

less organic. These three main groups cor-

respond roughly to the Renaissance, Baroque,

and Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first

centuries have continued to create new type-

faces based on historic characteristics.


was devised in the nineteenth century,

when printers sought to identify a heri-

tage for their own craft analogous to that

of art history. Humanist letterforms are

closely connected to calligraphy and the

movement of the hand. Transitional and

modern typefaces are more abstract and

less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods

in art and literature. Designers in the

twentieth and twenty-first centuries have

continued to create new typefaces based

on historic characteristics.





REGULAR

ITALIC

BOLD

EXTRA BOLD

bembomodern

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

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





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bookmantransitional

MxaogGdQrR

font specs

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

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

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



REGULAR

ITALIC

BOLD

bodonimodern

REGULAR

ITALIC

SWASH

ORNAMENT

ALTERNATE





Aa Ba Ca Da Ea Fa Ga Ha Ia Ja Ka La Ma Na Oa Pa Qa Ra Sa Ta Ua Va Wa Xa Ya Z

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

c h i k l Ss T t

caslontransitional

MxanogGdQRt

MxanogGdQRt

font specs

MxaogGdQrRt

BOLD ITALIC







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century schoolbookgrotesque

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MaxogGdQrRs

MaxogGdQrRs

font specs

MaxnogGdQrRstUNICASE

REGULAR

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









less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art

and literature. Designers in the twentieth



characteristics.

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn

Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2

3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *


chollamodern

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





LIGHT

REGULAR

BOLD

clarendonslab serif

MxagGdQrRt

font specs

MaxnogGdQRsREGULAR



clickerslab serif

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

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




REGULAR

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MxaogGdQrRt

font specs

LIGHT

REGULAR

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

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

dingrotesque

MaxnogGdQrRt

MaxngdQHAMBURGLIGHT CONDENSED

REGULAR CONDENSED

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MaxngdQHAMBURG

font specs

MxnatQbWFGdRREGULAR

ITALIC

ITALIC

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in the nineteenth century, when printers sought

to identify a heritage for their own craft analo-

gous to that of art history. Humanist letterforms

are closely connected to calligraphy and the

movement of the hand. Transitional and modern

typefaces are more abstract and less organic.

These three main groups correspond roughly to

the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the

twentieth and twenty-first centuries have con-

tinued to create new typefaces based on historic

characteristics.

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo

Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8

9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp

Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0

( ) { } ? ! @ & *

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo

Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7

8 9 0 ( ) { } ? ! @ & *

disturbanceserif

MxnaopQrRtfgREGULAR


Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *Idunt aliquam adignim velit utat. Etuer accum dunt ad magniam, ven-diat lam verostrud essi tetum illa facipisl utet endre feu faccum dit praessi. Ing ea feuguer aessenim atisi.Delessi. Sectet, sit, ver si.Alit ipit esequis exer adigna adignit aliquat lam dunt utpat aut nisisi.Tate conse nim adionsecte feuis etum dolobore molore verit veniss

fette frakturblack letter

MxnaopQrRtfg

font specs

MxnaopQrRtfGgREGULAR

FRACTIONS

UNICASE


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




filosofiamodern

MaxodQRtfGgBOOK

DEMI

HEAVY

CONDENSED


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





franklin gothicgrotesque

font specs

MaxodQRtfGgCONDENSED

REGULAR

BOLD

ULTRA BLACK

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

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





frutiger humanist sans

MxaopQRstGgBOOK

BOLD

EXTRA BOLD


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




futura geometric sans

font specs

gothammodern

MaxnbyogGQRtREGULAR

ITALIC

BOLD

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



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


gothamhumanist sans

MayogGdQRtBOOK

BOLD

ITALIC

LIGHT

A basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art history.

Humanist letterforms are closely con-

nected to calligraphy and the move-

ment of the hand. Transitional and

modern typefaces are more abstract

and less organic. These three main

groups correspond roughly to the

Renaissance, Baroque, and Enlight-

enment periods in art and litera-

ture. Designers in the twentieth and

twenty-first centuries have continued

to create new typefaces based on

historic characteristics.

A basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art history.

Humanist letterforms are closely

connected to calligraphy and the

movement of the hand. Transitional

and modern typefaces are more ab-

stract and less organic. These three

main groups correspond roughly

to the Renaissance, Baroque, and

Enlightenment periods in art and

literature. Designers in the twenti-

eth and twenty-first centuries have

continued to create new typefaces

based on historic characteristics.





MayogGdQRt

font specs

MaoygGdQrRtREGULAR

CONDENSED

BLACK EXTENDED


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





THIN

helveticagrotesque

MaoygGdQrRtREGULAR

BOLD

BLACK

BOLD CONDENSED



when printers sought to identify a

heritage for their own craft analogous to

that of art history. Humanist letterforms

are closely connected to calligraphy

and the movement of the hand. Transi-

tional and modern typefaces are more

abstract and less organic. These three

main groups correspond roughly to the

Renaissance, Baroque, and Enlighten-

ment periods in art and literature. De-

signers in the twentieth and twenty-first

centuries have continued to create new

typefaces based on historic character-

istics.

A basic system for classifying typefac-

es was devised in the nineteenth cen-

tury, when printers sought to identify

a heritage for their own craft analo-

gous to that of art history. Humanist

letterforms are closely connected to

calligraphy and the movement of the

hand. Transitional and modern typefac-

es are more abstract and less organic.

These three main groups correspond

roughly to the Renaissance, Baroque,

and Enlightenment periods in art and

literature. Designers in the twentieth

and twenty-first centuries have contin-

ued to create new typefaces based on






interstategrotesque

MaoygGdQrRt

font specs

xyogGdQrRstREGULAR


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kunstler scriptscript

MayogGdQrRtREGULAR

ITALIC

BOLD

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

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




meliortransitional

MayogGdQrRt

font specs

MxagGdQrRtLIGHT

MEDIUM

EXTRA BOLD


A basic system for classifying typefac-es was devised in the nineteenth cen-tury, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letter-forms are closely connected to callig-raphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and En-lightenment periods in art and litera-ture. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.




memphisslab serif

REGULAR

CAPS

BLACK

ITALIC

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






MaxogGdQrRst

metahumanist serif

MaxogGdQrRst

font specs

MaxogGdQrRstREGULAR

ITALIC

BOLD

FRACTIONS

A basic system for classifying typefaces was

devised in the nineteenth century, when print-

ers sought to identify a heritage for their own

craft analogous to that of art history. Humanist

letterforms are closely connected to calligraphy

and the movement of the hand. Transitional

and modern typefaces are more abstract and less

organic. These three main groups correspond

roughly to the Renaissance, Baroque, and

Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first cen-

turies have continued to create new typefaces


A basic system for classifying typefaces was devised in the

nineteenth century, when printers sought to identify a heritage

for their own craft analogous to that of art history. Humanist

letterforms are closely connected to calligraphy and the move-

ment of the hand. Transitional and modern typefaces are more

abstract and less organic. These three main groups correspond

roughly to the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the twentieth and

twenty-first centuries have continued to create new typefaces






mrs eavesold style

REGULAR

ITALIC

BOLD

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

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




news gothicgrotesque

MaxogGdQrRst

MaxogGdQrRst MaopQRfGgREGULAR

A basic system for clas-

sifying typefaces was

devised in the nineteenth

century, when printers

sought to identify a heri-

tage for their own craft

analogous to that of art

history. Humanist let-

terforms are closely con-

nected to calligraphy and

the movement of the hand.

Transitional and modern

typefaces are more histor-

ic characteristics.


font specs

ocr ageometric sans

MxaopQRstGgBOOK

ITALIC

BOLD






optima humanist sans

font specs

MxaopQRstGgLIGHT

OLD STYLE

REGULAR

BOLD







palatinoold style

MxaopQRstGgqREGULAR

ITALIC

BOLD


A basic system for classifying typefaces was devised in

the nineteenth century, when printers sought to identify

a heritage for their own craft analogous to that of art

history. Humanist letterforms are closely connected to cal-

ligraphy and the movement of the hand. Transitional and

modern typefaces are more abstract and less organic. These

three main groups correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first centuries

have continued to create new typefaces based on historic

characteristics.




perpetuatransitional

font specs

MaxbyogGQrRtTHIN

REGULAR

HEAVY




tage for their own craft analogous to

that of art history. Humanist letter-

forms are closely connected to cal-

ligraphy and the movement of the hand.

Transitional and modern typefaces are

more abstract and less organic. These

three main groups correspond roughly to

the Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and twenty-

first centuries have continued to create

new typefaces based on historic charac-

teristics.




tage for their own craft analogous to

that of art history. Humanist letter-

forms are closely connected to cal-

ligraphy and the movement of the hand.

Transitional and modern typefaces are

more abstract and less organic. These

three main groups correspond roughly to

the Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and twenty-

first centuries have continued to create

new typefaces based on historic charac-

teristics.

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll

Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx

Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }

? ! @ & *



Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }

? ! & *



Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }

? ! @ & *

plateletgeometric sans

MxanopdrRtSfGgREGULAR

ALTERNATE

BOLD


devised in the nineteenth century, when

printers sought to identify a heritage for

their own craft analogous to that of art

history. Humanist letterforms are closely

connected to calligraphy and the move-

ment of the hand. Transitional and modern

typefaces are more abstract and less or-

ganic. These three main groups correspond





typefaces based on historic characteristics.

A basic system for classifying typefaces was devised

in the nineteenth century, when printers sought to

identify a heritage for their own craft analogous to

that of art history. Humanist letterforms are closely

connected to calligraphy and the movement of the

hand. Transitional and modern typefaces are more

abstract and less organic. These three main groups

correspond roughly to the Renaissance, Baroque, and

Enlightenment periods in art and literature. Design-

ers in the twentieth and twenty-first centuries have

continued to create new typefaces based on historic

characteristics.




priori sanshumanist sans

font specs

MxanodQrRtSfgREGULAR

ALTERNATE

BOLD



printers sought to identify a heritage for

their own craft analogous to that of art

history. Humanist letterforms are closely

connected to calligraphy and the move-

ment of the hand. Transitional and modern

typefaces are more abstract and less or-

ganic. These three main groups correspond





typefaces based on historic characteristics.

A basic system for classifying typefaces was de-

vised in the nineteenth century, when printers

sought to identify a heritage for their own craft

analogous to that of art history. Humanist let-

terforms are closely connected to calligraphy

and the movement of the hand. Transitional and

modern typefaces are more abstract and less

organic. These three main groups correspond




centuries have continued to create new type-

faces based on historic characteristics.




priori seriftransitional

MxanopQrRtGg(55) SANS

ITALIC

SERIF

ITALIC

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






rotis humanist sans

font specs

MxayogGQfRREGULAR

SMALL CAPS

BOLD

BOLD ITALIC







sabonold style

MxabyogGdQrRREGULAR

CAPS

ITALIC

BOLD






to calligraphy and the movement of the

hand. Transitional and modern typefaces

are more abstract and less organic. These

three main groups correspond roughly to the

Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in

the twentieth and twenty-first centuries have

continued to create new typefaces based on







to calligraphy and the movement of the

hand. Transitional and modern typefaces

are more abstract and less organic. These

three main groups correspond roughly to the

Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in

the twentieth and twenty-first centuries have

continued to create new typefaces based on






scala sanshumanist sans

font specs

MxaoygGdQRREGULAR

ITALIC

BOLD

BLACK


was devised in the nineteenth cen-

tury, when printers sought to identify

a heritage for their own craft analo-

gous to that of art history. Humanist

letterforms are closely connected to

calligraphy and the movement of the

hand. Transitional and modern typefac-

es are more abstract and less organic.

These three main groups correspond

roughly to the Renaissance, Baroque,

and Enlightenment periods in art and

literature. Designers in the twentieth

and twenty-first centuries have contin-

ued to create new typefaces based on







serifaslab serif

axogbGdQrRstREGULAR


Dolessecte ver sim er aut wismod mincilit loboreet praessed tat. Iquis eu feuis dolore faci ercil eriurer sisi tet, quamconse do odolor amcommodit vulla feugait luptatisl dolorer augait praessi. Lut vel iri-uscil et luptat. Nullandre magna feugiam, quis aute conullu ptatincip ea alit wis et volore dip et, cortin henisi. Quis autet, veros accum ipit vel ute mod ting eumsandreet am, qui te faciniat nummod eu feugiat ex essim vent vendre tat venibh et pratuer ipsum volortio eniat praessed mincilit dolobortie tat. Lam dolut amcommy nos eraessed tin ulput ut vulputat, quat, volobor incip et essi.orper sum quamconsed magniam, quisit accum voloborem alit iuscipit la consequam dit nulput acing eu feum quat. Ut luptat at.

snell roundhandscript

font specs

MxaoygGdQrRBOLD CONDENSED

REGULAR

ITALIC

BOLD









less organic. These three main groups cor-

respond roughly to the Renaissance, Ba-

roque, and Enlightenment periods in art

and literature. Designers in the twentieth



characteristics.





Humanist letterforms are closely connected to

calligraphy and the movement of the hand.

Transitional and modern typefaces are more

abstract and less organic. These three main

groups correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art

and literature. Designers in the twentieth and

twenty-first centuries have continued to create

new typefaces based on historic characteristics.





swiftnew transitional

REGULAR

BOLD

BLACK






syntaxhumanist sans

MxaoygGdQrR

MxaoygGdQrR

font specs

MxanyogGdQrRCONDENSED

MEDIUM

BOLD

BOLD NO.2







trade gothichumanist sans

MxyagGdQrRREGULAR

ITALIC

SMALL CAPS

BOLD

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

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





walbaummodern

MxyagGdQrR

font specs

MyogGdQrRREGULAR

MEDIUM

MEDIUM ITALIC

BOLD

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

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





voltanew transitional

9/12

TYPOGRAPHY 02ali fisher

university of kansasspring 2012professor selby

Text for the book was compiled from the following sources: Elements of Ty-pographic Style by Robert Bringhurst, Getting it Right with Type: the Do’s and Don’ts of Typography by Victoria Square, Mac is Not A Typewriter by Robin Williams. This book is not to be sold to the public and to only be used by the designer for their reference and student design portfolio.

XxhgTYPOGRAPHY AND YOU

184

Typography and You

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Transcript of Typography and You