Type Handbook

type handbook

>> Designed by ALEX MILBOURN. Class project for Professor Michael Selby’s Typography 02 at the UNIVERSITY OF KANSAS, SPRING 2012.

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.

table ofcontents

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)

RULES

X-HEIGHT

HYPHENATION

ALIGNMENTS

JUSTIFICATION

COMBINING TYPEFACES

QUOTES, APOSTROPHES, DASHES

SPECIAL CHARACTERS

BULLETS

NUMERALS, FIGURES

SMALL CAPS

PARAGRAPH BREAKS

HEADERS SUBHEADS CROSSHEADS

CAPTIONS & NOTES

FONT SPECIFICATIONS

FONT DETAILS

3

4-5

6-19

20-27

28-31

32-43

44-55

56-61

62-63

64-67

68-69

70-73

74-85

86-93

94-103

104-113

114-165

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rules

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rules

Use only one space between sentences. Use real quotation marks. Use real apostrophes. Make sure the apostrophes are where they belong. Hang the punctuation off the aligned edge. Use en or em dashes, use consistently. Kern all headlines where necessary. Never use the spacebar to align text, always set tabs and use the tab key. Leave no widows or orphans. Avoid more than 3 hyphenations in a row. Avoid too many hyphenations in any paragraph. Avoid hyphenating or line brakes of names and proper nouns. Leave a least 2 characters on the line and 3 following. Avoid beginning consecutive lines with the same word. Avoid ending consecutive lines with the same word. Avoid ending lines with the words: the, of, at, a, by.. Never hyphenate a words in a headline and avoid hyphenation in a call out. Never justify the text on a short line. Keep the word spacing consistent. Tighten up the leading in lines with all caps or with few ascenders and descenders. Use a one-em first-line indent on all indented paragraphs. Adjust the spacing between paragraphs. Either indent the first line of paragraphs or add extra space between them – not both. Use a decimal or right-aligned tab for the numbers in numbered paragraphs. Never have one line in a paragraph in the column or following. Never combine two serif fonts on one page. Rarely combine two sans serif fonts on one page. Rarely combine more than three typefaces on one page. Use the special characters whenever necessary, including super- and subscript. Spend the time to create nice fraction or chose a font that has fractions. If a correctly spelled word needs an accent mark, use it.

The following is a compendium of the rules established in this book. You might want to check through them each time you com-plete a publication.

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x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x xx x x x x xx x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x xx x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x xx x xx x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x x x x x xx x x x x x x x x x xx x x x x x x x x x x x x x x xx x x x x x x x x x x x x x x x x x x x x x x x x x x x x

x x-height

>> Readability and legibility are two key ele-ments of printed text that typographer strive to maximize.

Readability extended amount of text – such as an article, book, or annual report – is easy to read. Legibility refers to whether an refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable.

There are several factors that determine whether a text is readable. When deciding what typeface should be used for a job, con-sideration 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 design solution. Fonts set in the same size, same leading and column width will produce varying degrees of “color”.

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When deciding what typeface should be used for a job, consideration should be given to the typeface and its x-height. It is impor-tant to understand how a block of text can express a message through its texture/color, therefore suiting a particular design solu-tion. Fonts set in the same size, same leading and column width will produce varying degrees of “color”.

In typography, color can also describe the balance between black and white on the page of text.

A typeface’s color is determined by stroke width, x-height, character width and serif styles.

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

WHO IS TO READ IT?Someone that wants to read it? Someone that has to read it?

HOW WILL IT BE READ?Quickly. In passing. Focused. Near. Far.

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Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. 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 repu-diation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

MRS EAVESZUZANA LICKO

9/12 X-HEIGHT: SMALL CHARACTER WIDTH: NARROW COLOR: LIGHT

Xxhg 72 point

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 sweeping repudiation of traditional cul-tural, social, and political values and the destruction of such cultural institutions as museums and libraries.

ADOBE GARAMONDJEAN JANNON

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9/12 X-HEIGHT: AVERAGE CHARACTER WIDTH: WIDE COLOR: DARK

x-height

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 inno-vation 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 con-flict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he con-ceived 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 glori-fied 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 institu-tions as museums and libraries.

ARCHERHOEFLER & FRERE-JONES

XxhgMELIORHERMANN ZAPF

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9/12X-HEIGHT: AVERAGE CHARACTER WIDTH: NARROW COLOR: LIGHT

11

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Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were charac-terized 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 repudia-tion of traditional cultural, social, and political values and the destruc-tion of such cultural institutions as museums and libraries.

BASKERVILLEJOHN BASKERVILLE

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on dis-carding 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 glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were character-ized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-nology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

PALATINOHERMANN ZAPF

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9/12 X-HEIGHT: AVERAGE CHARACTER WIDTH: WIDE COLOR: LIGHT

9/12X-HEIGHT: LARGE CHARACTER WIDTH: WIDECOLOR: LIGHT

x-height

72 point

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a mani-festo 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 cel-ebrating 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 speed, power, and movement. He exalted violence and conflict and called for the sweeping repu-diation of traditional cultural, social, and political val-ues and the destruction of such cultural institutions as museums and libraries.

CLARENDONROBERT BESLEY

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on dis-carding 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 glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were character-ized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-nology 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 insti-tutions as museums and libraries.

DIDOTFIRMIN DIDOT

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9/12 X-HEIGHT: TALLCHARACTER WIDTH: AVERAGE COLOR: LIGHT

9/12X-HEIGHT: LARGE CHARACTER WIDTH: AVERAGE COLOR: LIGHT

13

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Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrel-evant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected tra-ditions and glorified contemporary life, mainly by empha-sizing two dominant themes, the machine and motion. The works were characterized 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 repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

MEMPHISRUDOLPH WOLF

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a mani-festo 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 cel-ebrating change, originality, and innovation in culture and society. Futurism rejected 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 actions of a subject at the same time. Marinetti’s mani-festo 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 polit-ical values and the destruction of such cultural institu-tions as museums and libraries.

WALBAUM JUSTUS ERICH WALBAUM

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9/12X-HEIGHT: SMALLCHARACTER WIDTH: NARROW COLOR: LIGHT

9/12 X-HEIGHT: LARGE CHARACTER WIDTH: WIDE COLOR: LIGHT AND DARK

Desiuger | Justus Erich Walbaum

x-height

72 point

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 irrel-evant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected tra-ditions 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 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 institutions as museums and libraries.

UNIVERS 55ADRIAN FRUTIGER

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and soci-ety. 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 sev-eral successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

HELVETICA NEUE 35MAX MIEDINGER

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9/12X-HEIGHT: LARGE CHARACTER WIDTH: WIDE COLOR: DARK


15

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Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cel-ebrating 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 succes-sive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

AKZIDENZ GROTESKGUNTER GERHART LANGE

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on dis-carding 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 glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were character-ized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-nology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

DINALBERT JAN POOL

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9/12X-HEIGHT: LARGE CHARACTER WIDTH: WIDE COLOR: DARK

9/12 X-HEIGHT: LARGE CHARACTER WIDTH: AVERAGE COLOR: LIGHT

x-height

72 point

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 dis-carding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

TRADE GOTHICJACKSON BURKE

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cel-ebrating 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 succes-sive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

SCALA SANSMARTIN MAJOOR

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17

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Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrel-evant 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 succes-sive actions of a subject at the same time. Marinetti’s mani-festo 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 repudia-tion of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

FRUTIGER 55ADRIAN FRUTIGER

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the auto-mobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repu-diation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

FUTURAPAUL RENNER

Xxhg

9/12 X-HEIGHT: LARGECHARACTER WIDTH: WIDECOLOR: DARK

9/12 X-HEIGHT: LARGE CHARACTER WIDTH: NARROW COLOR: DARK

x-height

72 point

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 con-ceived 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 glori-fied the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

METADONALD KNUTH

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrel-evant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

SYNTAX

Xxhg

9/12X-HEIGHT: LARGE CHARACTER NARROW COLOR: DARK

9/12X-HEIGHT: LARGECHARACTER WIDTH: AVERAGECOLOR: DARK

>> x-height

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

hyphenation-

HYPHENATION RULES

How the text is read avoid widows (one word on the last line of a paragraph)

Avoid hyphenating or line brakes of names and proper nouns

Leave a least 2 characters on the line and 3 following

Avoid beginning consecutive lines with the same word

Avoid ending consecutive lines with the same word

Avoid ending lines with the words: the, of, at, a, by..

Never hyphenate a words in a headline and avoid hyphen-ation in a call out

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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 unjusti-fied text. The ragged edge needs to have a life, but a narrow column can be less active. Another advantage to ragged text is less hyphenation is needed. Therefore, names, dates or words which are normally read together can stay together.

hyphenation

Don’t hyphenate, that’s the law.

Also, watch where the first line of a two-line headline ends—does it create a silly or mislead-ing phrase? Fix it.

Don’t leave widows (very short lines) in head-lines.

Fix it either way, or rewrite!

Don Quixote de le Mancha

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Professor and Therapost to Lecture

>> Don’t Lose Your SelfRespect

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Man Walks Barefoot Across Bay Bridge

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Man walk barefoot across Bay Bridge

Man walks barefootacross Bay Bridge

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Justify the headline so it stays on one line. Use a line break (Shift Return) to bump “a” down to the next line, where it fits very nicely. Kern the line a tiny bit to bring the rest of the word up. Type a dischy in front of the word to bump it down. Never hyphenate a person’s name. I had to go up a few lines, bump “off ” down, which bumped the other line endings down. This also took care of the inap-propriate widow in . There is plenty of room to squeeze “bought” on this line, perhaps by kerning the line a tiny bit. “Horsebarn” is a good long word thay could be hyphenated; type a dischy. Better yet, when “bought” moved up, it gave enough room to move “horsebarn” up. If not, try opening the text block or text box a wee bit. Edit: to get rid of that terrible widow, exchange a short word for a long word. Story is by Haward Chase.

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hyphenation

CASING ADDERBATHeresy borsch-boil starry aboarder borsch boil gamplate lung, lung a gore in-ner ladle wan-hearse torn coiled Mutt-fill. Mutt-fill worsen mush of-fer torn, butted hatter puttygut borsch-boil tame, an offoiler pilers honor tame, doormoist cerebrated worse Cas-ing. Casing worsted sickenedbasement, any hatter bettingorphanage off .526 (fife toesex). Casing worse gut lurkingan furry poplar—spatially wetter gull coiled Any-bally.Any-bally worse Casing’s sweat-hard, any harper cobblewandered toe gat merit,bought Casing worse toe poretoe becalm. Any-bally’s horsebarn. (Boil pliers honorMutt-fill tame dint gat mushoffer celery; infect, day gut nosing atoll.) Butt less gat earn wetter star-ry.

CASING ADDER BATHeresy borsch-boil starry a boarder borsch boil gamplate lung, lung a gore inner ladle wan-hearse torn coiled Mutt-fill. Mutt-fill worsen mush offer torn, butted hatter puttygut borsch-boil tame, an off oiler pilers honor tame, door moist cerebrated worse Casing. Casing worsted sick-ened basement, any hatter betting orphanage off .526 (fife toesex). Casing worse gut lurkingan furry poplar—spatially wetter gull coiled Any-bally.Any-bally worse Casing’s sweat-hard, any harper cobblewandered toe gat merit, bought Casing worse toe 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.

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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.

WIDOWS AND ORPHANS>>

hyphenation

WIDOWWhen a paragraph ends and leaves fewer than seven characters (not words, characters) on the last line, that line is called a widow. Worse than leaving one word at the end of a line is leaving part of a word, the other part being paraphrased on the line above.

ORPHANWhen 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 col-umn, that is an orphan. ALWAYS

correct this.

RIVERSIn typography, rivers, or rivers of white, are visually unattractive gaps appearing to run down a paragraph of text. They can oc-cur with any spacing, though they are most noticeable with wide word spaces caused by either full text justification or mono-spaced fonts.

>>widow

>> orphan

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river

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> > > > > > > > > >> > > > > > > > > > > > > > >> > > > > > > > > > > > > > > > > > > > > > >> > > > >> > > > > > > > > > > > > > > > > >> > > > > > > > > > > > > > > > > > > > > > > > > > > > >> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > >> > > > > > > > > > > > > > > > > > > > > >> > > > > > > > > > >> > >>> > > > > > > > > > >> > > > > > > > > > > > > > > >> > > > > > > > > > > > > > > > > > > > > > > > >> > > > > > > > > > > > >> > > > > > >> > > > > > > > > > > > > > > > > > > > > >> > > > > > > > > > > > > > > > > > > > > > > > > > > > >> > > > > > > > > > > > > > > > > >> > > > > > > > > > > >> > > > > > > >> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > >> > > > > > > > > > > > > > > > > > > >> > > > > > > > > > >> > > > > > > > > > > > > > > > > > > > > > > > > > > > >> > > > > > > > > > > > > > >> > > > > > > > > >> > > > > > > > > > > > > >

“Right and wrong do not exist in graphic design. There is only effective and non-effective communication.”

— Peter Bilak - Illegibility

alignments

>

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.

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If they are both wrong, then what’s right? Alignment is only a small piece of the puzzle. 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.

As with all layouts, alignment depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design.

No matter what alignment you use, remember to pay close attention to hyphenation and word/character spac-ing as well to insure 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 insists on something different.

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JUSTIFIED TEXTTraditionally 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 fa-miliar to us that those same types of publica-tions 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 into the same amount of space (than the same text set left-aligned).

May require extra attention to word and character spacing and hyphenation to avoid unsightly rivers of white space running through the text.

May be more familiar to readers in some types of publications, such as books and newspapers.

Some people are naturally drawn to the “neatness” of text that lines up perfectly on the left and right.

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alignments

LEFT-ALIGNED, RAGGED RIGHT

Often considered more informal, friendlier than justified text.

The ragged right edge adds an element of white space.

May require extra attention to hyphenation to keep right margin from being too ragged.

Generally type set left-aligned is easier to work with (i.e. requires less time, attention, and tweaking from the designer to make it look good).

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CENTEREDThere 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 situ-

ations where centered text is appropriate. When in doubt, don’t center it.

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justification

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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 shows 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.

Justify text only if the line is long enough to prevent awkward and inconsistent word 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 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 newspa-per column, but if your lines are relatively short, you will inevita-bly 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 long enough to satisfactorily justify the text:

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

The 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 programs can be changed to picas, if you like.

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EXPLORATION 1Here 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 1–-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 re-search done on readability (how easy something is to read) and it shoes that those disruptive, incon-sistent 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, jour-nals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

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MINIMUM: 40%DESIRED: 80%MAXIMUM: 120%

Uneven spacing between words

justification

EXPLORATION 2

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Here is a general guideline for determining if your line length is long enough to satisfac-torily 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 deal of research done on readability (how easy some-thing is to read) and it shoes that those dis-ruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at pro-fessionally 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.

35

Letters are squished together

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EXPLORATION 3Here 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 disruptive, inconsis-tent 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.

>>


Words are way too close together, too many words on one line, not enough spacing

justification

EXPLORATION 4>> 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 some-thing is to read) and it shoes that those dis-ruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at pro-fessionally 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.


Words are way too close together, too many words on one line, not enough spacing

37

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EXPLORATION 5>> 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 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 readabil-ity (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 profession-ally 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.


Awkward rivers and too much spacing between words

justification

EXPLORATION 6>> 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, 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 disruptive, inconsistent gaps between the words inhibit the flow of read-ing. Besides, they look dumb. Keep your eyes open as you look at pro-fessionally 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.


Awkward rivers and too much spacing between words

39

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EXPLORATION 7Here 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 disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at pro-fessionally 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.

>>


Good spacing between words

justification

EXPLORATION 8>> Here is a general guideline for determining

if your line length is long enough to satis-factorily 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 us-ing 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) 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.

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. Be-sides, 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.


Good spacing between words

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EXPLORATION 9>> Here is a general guideline for determining

if your line length is long enough to satisfac-torily 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 disruptive, inconsistent gaps between the words inhibit the flow of reading. Be-sides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, jour-nals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.


A bit too much spacing between words

justification

EXPLORATION 10>> 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 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 in-hibit 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.


Uneven spacing between words, too much

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& & & & & & & & & & & & & & & & & & && & & & & & & & & & & & & & & & & & & & & & & && & & & & & & & & & && & & & & & & & & & & & & && & & & & && & & & & & & & & & & & & & & & & && & & & & & & & & & & & & & & & & & & & & & & && & & & & & & & & & & & & & & & & & & & & & & & & & & && & & & & & & & & & & & & & & && & & & & & & & & & & & & & & & & & & & & & & & && & & & & & && & & & & & & & & & && & & && & & & & & & & && & & & & & & & & & & & & & & & & & & && & & & & & & & & & & & && && & & & & & & & & & & & & & & & & & & & & & & & & & & && & & & & & & & & & & & & & & & & & & & & & & & & & & & & & && & & & & & & & & && & & & & & & & & & & & & & & & & && & & & & & & & & & & & & & & & & & & & & & & && & & & & & && & & & & & & & & & & & && & & & & & & & & & & & & & & & & & & & & && & & & & & & & & & & & & & & & && & & & && & & & & & & && && & & & & & & & & & & & & & & & & & &

&

combiningtypefaces

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

“There is not binding recipe for type combinations. It is a matter of typo-graphic sensitivity and experience. Expert typographers, as well as careless ama-teurs permit themselves combinations that would horrify colleagues with more traditional sympathies.”

Although there is not recipe there is a place to start: keep an eye on the characteristic shapes of the lette rform. 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}

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A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. 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 sub-ject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

WORDS IN LIBERTY

aa BB ee GG gghelvetica 16: grotesque | mrs. eaves 24: transitional

Helvetica and Mrs Eaves work well together because Helvetica is such a straight forward geometric font while Mrs Eaves has a small x-height and a contrast between thick and thin lines

combining typefaces

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. 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 succes-sive 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 repu-diation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

WORDS IN LIBERTY

aa BB ee GG ggfrutiger 16: humanist | bembo 24: old style

47

Bembo is an old style serif with many curves, while Frutiger is a sans serif straight lines and little contrast between thin and thick lines

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A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and edi-tor 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 emphasiz-ing two dominant themes, the machine and motion. The works were character-ized 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 val-ues and the destruction of such cultural institutions as museums and libraries.

WORDS IN LIBERTY

aa BB ee GG ggpalatino 16: old style | franklin gothic 24: grotesque

combining typefaces

Palantino is an old style with a small x-height and a varia-tion in stroke width, while Franklin Gothic has a slight variation in stroke width and has all straight lines.

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

WORDS IN LIBERTY

aa BB ee GG ggfutura 16: geometric | melior 24: transitional

49

Melior has a strong variation in stroke width and Futura is a monoweight

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WORDS IN LIBERTY

aa BB ee GG ggbelizio 16:slab serif | eurostile 24: geometric

combining typefaces

Eurostile has a small x-height and is a boxy font and Belizio has a lot of curves and round finials.

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of sev-eral successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

WORDS IN LIBERTY

aa BB ee GG ggbauer bodoni 16: modern | news gothic 24: grotesque

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Bodoni has a very strong variation in thin and thin strokes while News Gothic has a slight variation

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A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. 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 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 repu-diation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

WORDS IN LIBERTY

aa BB ee GG ggmelior 16:humanist sans serif | serifa 24: sans serif

combining typefaces

Serifa is a chunky slab serif with slight variation in stroke width and a tall x-height, and Melior very rounded with a small x-height

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrat-ing change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasiz-ing 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 auto-mobile and the beauty of its speed, power, and movement. 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.

WORDS IN LIBERTY

aa BB ee GG ggclarendon 16: slab serif | optima 24: geometric sans serif

53

Optima has very thin strokes with a strong variation in thin and thick strokes and Clarendon is a slab serif with rounded lowercase letters

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A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected tradi-tions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

WORDS IN LIBERTY

aa BB ee GG ggfilosophia 16: modern | priori sans 24: geometric

combining typefaces

Priori Sans is a font with a very small x-height with mono weight lines. Filosophia has a variation in stroke width but has elegant curves at the finials.


WORDS IN LIBERTY

aa BB ee GG ggrockwell 16: slab serif | frutiger 24: humanist

55

Rockwell is a boxy slab serif font with little variation in stroke width and Frutiger is a thin monoweight font

“ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ ““ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘“ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘“ ‘ “ ‘ “ ‘ “ ‘“ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘“ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ ““ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ ““ ‘ “ ‘ “ ‘ “ ‘ “ ‘ ““ ‘ “ ‘“ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ ““ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘“ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ ““ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ ““ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ ““ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘“ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘“ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘“ ‘ “ ‘ “ ‘ “ ‘“ ‘ “ ‘“ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ ““ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘“ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘“ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘“ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ ““ ‘ “ ‘ “ ‘ ““ ‘ “ ‘“ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ ““ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ ““ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘“ ‘ “ ‘ “ ‘ “ ‘ “ ‘ “ ‘

‘ “

quotes, apostrophes

& dashes

QUOTATION MARKSUse real quotation marks – never those grotesque generic marks that actually symbolize ditto/inch or foot marks: use "and" – not “and”. Most software applications will convert the typewriter quotes to the real quotes for you automatically as you type.

Check the preferences for your application – you’ll find a check box to tell your application to automatically set something like “typog-rapher’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 some-times the software doesn't do it or does it wrong.

OPENING DOUBLE QUOTE: “ TYPE: OPTION [CLOSING DOUBLE QUOTE: ” TYPE: OPTION SHIFT ]OPENING SINGLE QUOTE: ‘ TYPE: OPTION [CLOSING SINGLE QUOTE: ’ TYPE: OPTION SHIFT ]

Bridge Clearance: 16’ 7”The young man stood 6’ 2”The length of the wall is 153’9”.

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APOSTROPHEApostrophe: ’ option shift ]

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

“The big exception to this is “its.” “Its” used as a possessive never has an apostrophe! The word it only has an apostrophe as a con-traction — “it’s” always means “it is” or “it has.” Always.

It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes — and neither should its.

FOR POSSESSIVES: Turn the phrase around. The apostrophe will be placed after whatever word you end up with. For Example:

>> In the phrase the boys’ camp, to know where to place the apostrophe say to yourself, “The camp belongs to the boys.” The phrase the boy’s camp says “The camp belongs to the boy.”

FOR CONTRACTIONS: The apostrophe replaces the missing letter. For example:

>> You’re always means you are; the apostro-phe 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.

quotes, apostrophes & dashes

FOR OMISSION OF LETTERS: In a phrase such as Rock ’n’ Roll, there should be an apostrophe be-fore and after the n, because the a and the d are both left out. And don’t turn the first apostrophe around — just because it appears in front of the letter does not mean you need to use the opposite single quote. An apostrophe is still the appropriate mark (not ‘n’).

In a phrase such as House o’ Fashion, the apostrophe takes the place of the f. There is not earthly reason for an apostrophe to be set before the o.

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

In a date when part of the year is left out, an apostrophe needs to indicate the missing year. In the 80s would mean the tempera-ture; 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.

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DASHESNever use two hyphens instead of a dash.

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, like so : -- . This is a typewriter convention because typewrit-ers didn’t have the real dash used in profes-sional 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 sen-tence. We also have an en dash, which is a little shorter than the em dash.

HYPHEN -EN DASH –EM DASH —

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quotes, apostrophes & dashes

EM DASH -To type an em dashem dash — Shift Option Hyphenhold the Shift and Option keys down, then tap the hyphen key.

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

Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Using two hyphens(or worse, one) where there should be an em dash makes your look very unprofessional.

When using an—no space is used on either side.

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

EN DASH -To type an en dashen dash – Option Hyphenhold the Option key down, then tap the hyphen key

An en dash is half of the em rule (the width of a capital N) and is used between words that indicate a duration, such as time or months or years. Use it where you might otherwise use the word “to.”

In a page layout application, the en dash can be used with a thin space on either side of it. If you want you can kern it so it is not afull space.

OCTOBER – DECEMBER6:30 – 8:45 A.M.4 – 6 YEARS OF AGE

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¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡ ¡

¡

special characters

“ OPTION [ opening double quote” OPTION SHIFT [ closing double quote‘ OPTION ] opening single quote’ OPTION SHIFT ] closing single quote; apostrophe– OPTION HYPHEN en dash— OPTION SHIFT HYPHEN em dash… OPTION ; ellipsis • OPTION 8 bulletfi OPTION SHIFT 5 ligature of f and ifl OPTION SHIFT 6 ligature of f and l© OPTION G copyright™ OPTION 2 ® OPTION R ° OPTION SHIFT 8 degree symbol (e.g., 102°F)¢ OPTION $ cents€ OPTION SHIFT 2 Euro symbol⁄ OPTION SHIFT 1 (ONE) fraction bar ¡ OPTION 1 (ONE) upsidedown explanation mark¿ OPTION SHIFT ? upsidedown question mark£ OPTION 3Ç OPTION C ‹ OPTION SHIFT C

The following is a list of the most often-used special characters and accent marks. This page contains the key combinations for just about every accent you might need.

Remember, to set an accent mark over a letter, press the Op-tion key and the letter, then press the letter you want under it.´ OPTION E` OPTION ~ (upper-left or next to the spacebar)¨ OPTION U˜ OPTION Nˆ OPTION I

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bullets

Simply put, a bullet is a large dot used to draw attention to each item in a list or se-ries. 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

This very useful typographic element can add emphasis, clarity and visual interest to all kinds of copy.

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lower so it balances with the negative spaces created by the lowercase. If your items all begin with lowercase characters, center the bullets on the x-height. Insert some space 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. Whichever 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.

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.

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DINGBATS AS BULLETS

Another occasion to take advantage of the baseline shift feature is when using ding-bats 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 bullets. But the Zapf Bigbat 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.

bullets

Pick any three adjectives that describe yourself

• lovely• surly• ghastly• womanly• saintly• stately


3 lovely5 surlyt ghastlyv womanlyj saintly; stately

t lovelyt surlyt ghastlyt womanlyt saintlyt stately

t lovelyt surlyt ghastlyt womanlyt saintlyt stately

You have lots of ding-bats to chose from, but they are usually too big. (Chose one dingbat.)

Choose a dingbat instead of the dumb ol’ bullet (the bullet is Option 8).

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

Raise the dingbat higher off the baseline.



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8 8 8 8 8 8 8 8 8 88 8 8 8 8 8 8 8 8 8 8 8 8 8 8 88 8 8 8 8 8 88 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 88 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 88 8 8 8 8 8 8 8 8 8 8 88 8 88 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 88 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 88 8 8 8 8 8 8 8 8 88 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 88 8 8 8 8 88 8 8 8 8 8 8 8 8 8 8 8 88 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 88 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 88 8 8 8 8 8 8 8 88 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 88 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 88 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 88 88 8 8 8 8 8 8 8 8 8 8 8 88 8 8 88 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 88 8 8 8 8 8 8 8 8 88 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 88 8 8 8 8 8 88 8 8 8 8 8 8 8 8 8 8 8 8 8 88 8 88 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8

8

numerals & figures

They are considerably different from the more common “lin-ing” (or “aligning”) figures which are all-cap height and typically monospaced in text faces so that they line up vertically on charts. Oldstyle figures have more of a traditional, classic look. They are only available for certain typefaces, sometimes as the regular numer-als 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.

Notice how large and clunky 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.

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

Oldstyle figures are a style of numerals which approximate lowercase letterforms by having an x-height and varying as-cenders and descenders.

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M W M W M W M W M WW M W M W M W MM W M W M W M W M W M W M WW M W M W M W M W M WM W M W M W M W M W M W M W M W MW M W M W M W M W M W M W M W M W M W M W M W MM W M W M W M WW MM W M W M W M W M W M WW M W M W M W M W MM W M W M W M W M W M W M W MW M W M W M W M W M W M W M W M W M WM W M W M W M W W M W M W M W M W M W M W MW M W M W M W M W MM W M W M W M W M W M W M W M WW M W M WM W MW M W M W M W MM W M W M W M W M W M W M WW M W M W M W M W M W M W M W MM W M W M W M W M W MW M W MM W M W M W M W M W M W M W M W M W MW M WM W M W M W M W M W M W M W MW M W M W M W MM W M W MW M W M W M W M W M W M W M W MM W M W M W M W M W M W M W M W M W MW M W M W M W M W M

small caps

M W

Small caps are less intrusive when all uppercase appears within nor-mal text or can be used for special emphasis. Computer programs can generate small caps for a any typeface, but those are not the same as true small caps. True small caps have line weights that are proportionally correct for the typeface, which me and that they can be used within a body of copy without looking noticeably wrong.

Small caps are uppercase (capital) letters that are about the size of normal lower-case letters in any given typeface.

Use small caps for acronyms. Set acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines.

Use small caps for common abbreviations. Set common abbreviations such as AM or PM in small caps so they don’t overpower the accompanying text. Use small caps for A.M. and P.M.; space once after the num-ber, and use periods. (if the font does not have small caps reduce the font size slightly)

Use true small caps fonts. Avoid simply resizing capital letters or using the small caps feature in some programs. Instead use typefaces that have been specifically created as small caps.

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THIS IS AN EXAMPLE OF FAKE SMALL CAPS

this is an example of real small caps

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WHERE TO USE SMALL CAPS

If you set acronyms in regular all caps, their visual presence in un-necessarily overwhelming. One standard and practical place t use small caps is in acronyms such as fbi, nrc, cbs, or simm.

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 probably learned to set these abbreviations in all caps because there were no small caps on typewriters. But now you have the capability, you can and should set them properly.

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

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

The capital letters in the middle of the sentence call too much attention to them-selves. Notice how the small caps blend in with the text. The capital letters for p.m. are much too large—the abbreviation is not that important.

small caps

The Wicked Are Very WeAry.

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

TRUE-DRAWN SMALL CAPSThere are quite a few font families that include “true-drawn”small caps—letterforms that have been redesigned to match the proportions and thicknesses of the uppercase. There families are often called “expert” sets or perhaps “small cap” sets. The result is a smooth, uniform, undisturbing tone throughout the text.

There is No resT For The Wicked.

The Wicked Are Very WeAry.

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

Typefaces are Caslon Semibold, Caslon Expert Semibold, Caslon Regular, Caslon Expert Regular.

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… … … …… … … … … … … … … … …… … … … … … …… … … … … … … … … … … … … …… … … … … … … … … … … …… … … … …… …… … … … … … … … … … … …… … … … … … … … … … … … … … … … … …… … … … … … … … … … … … … … … … … … … … …… … … … … …… … … … … … … … … … … …… … … … … …… … …… … … … … … … … … … … … … … …… … … … …… … … … … … … … … … … … … … … … …… … … … … … … … … ……… … … … … … …… … … … … … … … … … … … … … … … … … … … …… … … … … … … … … …… … … … … …… … … … … … … … … … …… … … … …… … … … … … … … …… … …… … … … … … … … … … … … …… … … … … … … … … …… … … … … … … … … … … … … … … …

…

paragraph breaks

Paragraph breaks set a rhythm for the reader. The breaks have a relationship with the column of text as well as the page margins. A break may be introduced as an indentation, as a space or both. The over all page feel will be influenced by your choice.

DEFINITIONS:In typography there are 4 rules regarding paragraph breaks:

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

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Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract wide-spread attention.

But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists of-fered formal, "technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an uninterrupted 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 use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outra-geous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."

EXPLORATION 1

paragraph breaks

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contem-porary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.


While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an unin-terrupted 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 expres-sive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers be-tween themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."

EXPLORATION 2

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Futurism was first announced on February 20, 1909, when the Paris newspaper Le

EXPLORATION 3

Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name 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 manifesto's rhetoric was pas-sionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But it is the movements which survive, oddly, here where we live and work as poets

and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners. Outrageous and aggressive, the Futurists' per-formances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between them-selves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."

paragraph breaks

Futurism was first announced on February 20, 1909, when the Paris

newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso

Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding

what he conceived to be the static and irrelevant art of the past and celebrating change,

originality, and innovation in culture and society.1 Futurism rejected traditions and glorified

contemporary life, mainly by emphasizing two dominant themes, the machine and motion.

The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflamma-

tory and was purposely intended to inspire public anger and amazement, to arouse contro-

versy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the move-

ments, then their sense of art as an life itself. All of which, as futurism, had come sharply

into focus by the start of the world war: a first radical mix of art and life, the epitome in

the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great

"art" movement led by poets; and if its means now sometimes seem exaggerated or unripe

in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's opening manifesto for Italian Futurism bristled with a polemi-

cal stance in favor of the transformed present (1909), the later manifestos of Futurist poets

and artists offered formal, "technical" approaches to the works then getting under way. The

key term--still resonant today--was parole in liberta2, by which poetry was to become "an

uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast

into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled

other forms of collage and of image juxtaposition, more fully explored the use of innova-

tive and expressive typography in the visual presentation of language, as set in motion by

forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed

declamation and gesture, events and surroundings, indifference and engagement, to break

the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti

selbst3 (circa 1915), "Everything of any value is theatrical."

EXPLORATION 4

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Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futur-ism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was ag-gressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

EXPLORATION 5


While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indiffer-ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."

paragraph breaks

EXPLORATION 6Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract attention.But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indiffer-ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."

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EXPLORATION 7 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 con-ceived 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 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 movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indiffer-ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."

paragraph breaks

EXPLORATION 8FUTURISM WAS FIRST ANNOUNCED IN FEBRUARY 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, origi-nality, and innovation in culture and society.1 Futurism rejected traditions and glorified con-temporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.BUT IT IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE WE live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.WHILE MARINETTI'S OPENING MANIFESTO FOR ITALIAN FUTURISM BRIS-tled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analo-gies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."

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EXPLORATION 9 Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was ag-gressive and inflammatory and was purposely intended to inspire public anger and amaze-ment, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of lan-guage, as set in motion by forerunners like Mallarme. 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 selbst3 (circa 1915), "Everything of any value is theatrical."

paragraph breaks

EXPLORATION 10Futurism 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 innova-tion in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exag-gerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an uninter-rupted 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 expres-sive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers be-tween themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."

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^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^ ^ ^ ^ ^

^

headers subheads & crossheads

HEADER

SUBHEAD

That material which is separated from the main body of the text and appears on the top of a printed page

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>> A phrase, sentence, or several sentences near the title of the article or story

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EXPLORATION 1

WORDS IN LIBERTYA Prologue to Futurism

Radical mix of art and life

headers & subheads




EXPLORATION 2

Words In L iber tyA PROLOGUE TO FUTURISM

RADICAL MIX OF ART AND LIFE

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EXPLORATION 3


But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Ital-ian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "techni-cal" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of 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. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."



headers & subheads

EXPLORATION 4

WORDS IN LIBERTY

A 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 ir-relevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. RADICAL MIX OF ART AND LIFE But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the move-ments, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" 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.


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EXPLORATION 5

But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indiffer-ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."

Radical mix of art

and life

Words In Liberty

A Prologue to Futurism

headers & subheads

EXPLORATION 6

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.


>>


A PROLOGUE TO FUTURISM

>>

WORDS IN LIBERTY

93

captions & notes

+ + + + + + + + + + + + + + + + + + + + + + ++ + + + + + + + + + + + + + + + + + + + + + + + + + ++ + + + + + + ++ + + + + + + + + + + + ++ + + + + + + + + + + + + + + + + + + + + ++ ++ + + + + + + + + + + ++ + + + + ++ + + + + + + + + + + + + + + + + + ++ + + + + + + + + + + + + + + + + + + + + + + + + + + + ++ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + ++ + + + + + ++ + + + + + + + + + + + + + + + + + + +++ + + + + ++ + + + + + + + + + + + + ++ + + + + + + + + + + + + + + + + + + + + + + + ++ + + + + + + ++ + + + + + + + + + + + + + + + ++ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + ++ + + + + + + + + + + + + + + + + + + + + + + + + + + ++ + + + + + ++ + + + + + + + + + + + + + + + + + + ++ + + + + + + + + + + + + + + + + + + + + + + + + + + + + ++ + + + + + + + + + + + ++ + + + + + + + + + + + + + + + + ++ + + + + + + + + + + + + + + + + + + + + + + ++ + + + + + + + + + ++ + + + + + + + + + + + + + + + + + + + + + + + + + + +

+

A properly set caption should be distinct from the body text, yet still be in visual har-mony with it.

A caption is the brief text description accompanying a photograph, illustration, or cartoon, most often as a part of a longer article. Nei-ther body text nor display text, captions require special treatment to be set for optical effectiveness. It’s worth the trouble, though: cap-tions tend to be among the most-read portions of any printed piece.

The most foolproof strategy is to use a corresponding bold weight. Make sure it’s heavy enough for good contrast with the body text, yet still readable.

Try corresponding bold weight. Make sure it’s heavy enough for good contrast with body text, yet still readable.

A clean, simple bold sans serif font often works well in captions with a serif body text.

Captions are slightly subordinate to the body text, so set them any-where from .5 to 2 points smaller.

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95

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FOOTNOTES AND ENDNOTESFootnotes and endnotes are necessary components of scholarly and technical writing. They’re also frequently used by writers of fiction, from Herman Melville (Moby-Dick) to contemporary novelists. Whether their intent is academic or artistic, footnotes present spe-cial typographic challenges.

Specifically, a footnote is a text ele-ment at the bottom of a page of a book or manuscript that provides additional information about a point made in the main text.

The footnote might provide deeper back-ground, 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 & notes

>>

>>

These general guidelines will help you design footnotes and endnotes that are readable, legible and economical in space. (Note that academic presses and journals can be sticklers for format: before proceeding, check with your client or publisher to see if they have a specific stylesheet that must be followed.)

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

SIZE: Footnotes and endnotes are set smaller than body text. The differ-ence in size is usually about two points, but this can vary depend-ing on the size, style and legibility of the main text. Even though they’re smaller, footnotes and endnotes should still remain at a readable size.

97

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While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists of-fered 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 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 use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outra-geous 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."

EXPLORATION 1



2. parole in liberta = words set free (liberty)3. selbst = himself

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

captions & notes




EXPLORATION 2

Words In L iber tyA PROLOGUE TO FUTURISM


1. Philip Meggs, History of Graphic

Design, Van Nostrand Reinhold, 1988

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

3. selbst = himself

99

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EXPLORATION 3


But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Ital-ian 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 lat-er manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915), "Everything of any value is theatrical."





captions & notes

EXPLORATION 4

WORDS IN LIBERTY

A 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 ir-relevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. RADICAL MIX OF ART AND LIFE But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the move-ments, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" 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.


1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 19882. parole in liberta = words set free (liberty)3. selbst = himself

101

>>


EXPLORATION 5


Radical mix of art

and life

Words In Liberty

A Prologue to Futurism



captions & notes

EXPLORATION 6

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.


>>


A PROLOGUE TO FUTURISM

>>

WORDS IN LIBERTY

> 2. parole in liberta = words set free (liberty)> 3. selbst = himself

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

103

: : : : : : : : : : : : : : : : : : : : : : : : : : : : : :: : : : : : : : : : : : :: : : : : : : : : : : : : : : : : : : : : : :: : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : :: : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : :: : : : :: : : : : : : : :: : : : : : : : : : : : : : : : : : : : : : : : : : : : : :: : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : :: : : : : : : : : : : : : : : : : :: : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : :: : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : :: : : : : : : : : : : : : :: : : : : : : : : : : : : : : : : : : : : : : : : : :: : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : :: : : : : : : :: : : : : : : : : : : : : :: : : : : :: :: : : : : : : : : : : : : : : : : : : : : : : : : :: : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : :: : : : : : : : : : : : : : : : : : : : : :: : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : :: : : : : : : : : : : : : :: : : : : : : : : : : : : : : : : : : : : : : : : : :: : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : :: : : : : : : : : : : : : : : : : : : : : : : : : : : :: : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : : :: : : : : : : : : : : : : : : : : : :: : : : : : : : : :

:

font classifications

>> SANS SERIF

GROTESQUE

x A a g• Slight contrast in the stroke weight• Slight squarness to the curves• Usually a tall x-height : short ascenders and descenders • Usually a 2 two story lowercase a• Capital R usually has a curved leg• Capital G has a spur HELVETICA, UNIVERS, AKZIDENZ GROTESK, DIN

GEOMETRIC

xAag• Very little contrast in the stroke weight (monoline)• A little wider set• Constructed from simple shapes: circle and rectangle• One story lowercase a• Upper case A has a pointed apex FUTURA, KABEL, METRO

HUMANIST

x A a g• Based on the proportions of the Roman capitals• Some contrast in the stroke weight• Lowercase a and g are usually two story SYNTAX, FRUTIGER, PRAXIS, STONE SANS

105

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>> SERIF

HUMANIST

x o a e n g d p• Little contrast between thick and thin strokes• Stroke weight has inflections similar to handwriting• Strong diagonal stress suck as the letter e• Sloping bar on the letter e JENSON, GOUDY’S KENNERLY, BRUCE ROGER’S CENTAUR

GERALD (OLD STYLE)

x o a e n g d p• Contrast between thick and thin strokes is more pronounced• Horizontal bar on e• Diagonal stress is less prominent• Shorter x-height• Scooped serifs, sturdy without being heavy SABON, GARAMOND, BEMBO, TIMES, PLANTIN, CASLON OLD STYLE, PALANTINO

TRANSITIONAL

x o a e n g d p• Contrast between thick and thin strokes is pronounced• Very slight diagonal stress• Bracketed serifs• Horizontal bar on e• Tall x-height BASKERVILLE, CASLON, PERPETUA, (NEWER GARAMONDS)

font classifications

DIDONE (MODERN)

x o a e n g d p• Extreme contrast between thick and thin strokes• Hairline (strokes) serifs• Horizontal stress• Horizontal bar on e OCR, JENSON, GOUDY’S KENNERLY, BRUCE ROGER’S CENTAUR

NEW TRANSITIONAL

x o a e n g d p• Sturdy typefaces hold up under poor printing• Little contrast between thick and thin strokes• Horizontal stress• Horizontal bar on e• Tall x-height• Shorter ascenders and descenders BOOKMAN, CENTURY SCHOOLBOOK, CHELTENHAM

EGYPTIAN OR SLAB SERIF

x o a e n g d p• Mono weight• Square ended serifs• Horizontal stress• Horizontal bar on e BASKERVILLE, CASLON, PERPETUA, (NEWER GARAMONDS)

107

HAMBURGERQ hamburgerq ?!&

>> FONT LIST

AKZIDENZ GROTESK

Desiuger | Gunter Gerhart Lange Classification | Grotesque Characteristics | spur on g, tal x-height, short ascenders and descenders, short tail on q

HAMBURGERQ hamburgerq ?!&BASKERVILLE

Desiuger | John BaskervilleClassification | Transitional Characteristics | Diagonal stress, bracketed

serifs, tall x-height

HAMBURGERQ hamburgerq ?!&BELIZIO

Desiuger | David Berlow Classification | Slab Serif Characteristics | Monoweight, square serifs, ball terminals

HAMBURGERQ hamburgerq ?!&BEMBO

Desiuger | Stanley Morison Classification | Old Style Characteristics | High contrast between thick and thin strokes

HAMBURGERQ hamburgerq ?!&BOOKMAN

Desiuger | Alexandra PhemisterClassification | New Transitional Characteristics | Horizontal stress, tall x-height

HAMBURGERQ hamburgerq ?!&BODONI

Desiuger | Giambattista Bodoni Classification | Didone (modern) Characteristics | Extreme contrast between thick and thin strokes



HAMBURGERQ hamburgerq ?!&CASLON

Desiuger | Carol Twombly Classification | Transitional

HAMBURGERQ hamburgerq ?!&CHOLLA

Desiuger | Sibylle HagmannClassification | n/a

HAMBURGERQ hamburgerq ?!&CLARENDON

Desiuger | Robert Besley Classification | Slab Serif

HAMBURGERQ hamburgerq ?!&CLICKER

Desiuger | Greg Thompson Classification | Grid based sans-serif

HAMBURGERQ hamburgerq ?!&DIDOT

Desiuger | Firmin Didot Classification | Modern

HAMBURGERQ hamburgerq ?!&DIN

Desiuger | Albert Jan Pool Classification | Grotesque

Characteristics | Long tail on g, slight diagonal stress

Characteristics | Squared curves, short ascenders and descenders

Characteristics | Monoweight, large ball terminals

Characteristics | Little stroke contract, technol-ogy based, tall x-height

Characteristics | High contrast stroke weight, tall x-height

Characteristics |No stroke contract, tall x-height, short ascenders and descenders

HAMBURGERQ hamburgerq ?!&DISTURBANCE

Desiuger | Jermy Tankard Classification | New Transitional

HAMBURGERQ hamburgerq ?!&FILOSOFIA

Desiuger | Zuzana Licko Classification | Modern

Characteristics | Mix of upper and lowercase, unique g and q, bracketed serif

Characteristics |Bracketless serif, contrasting stroke

109

HAMBURGERQ hamburgerq ?!&FUTURA

Desiuger | Paul Renner Classification | Geometric

HAMBURGERQ hamburgerq ?!&GARAMOND

Desiuger | Claude GaramondClassification | Old Style

HAMBURGERQ hamburgerq ?!&GILL SANA

Desiuger | Eric Gill Classification | Humanist

HAMBURGERQ hamburgerq ?!&GOUDY

Desiuger | Frederic W. Goudy Classification | Old Style

HAMBURGERQ hamburgerq ?!&HELVETICA

Desiuger | Max Medinger Classification | Grotesque

HAMBURGERQ hamburgerq ?!&INTERSTATE

Desiuger | Tobias Frere- Jones Classification | Grotesque

Characteristics | Circular bowls/counters, monoweight, wide

Characteristics | Bracketed serifs, short x-height, variable weight

Characteristics | Minimal stroke width, wide character width

Characteristics | Short x-height, diagonal stress, stroke variation

Characteristics | Tall x-height, two story a, squared leg kicks

Characteristics |Short ascenders and descenders, angled finials

HAMBURGERQ hamburgerq ?!&KUNSTLER SCRIPT

Desiuger | Hans Bohn Classification | Script

HAMBURGERQ hamburgerq ?!&MELIOR

Desiuger | Herman Zapf Classification | Transitional Serif

Characteristics | Different line weights, ball terminals, goudy caps

Characteristics |High stroke contrast, square serif ending




HAMBURGERQ hamburgerq ?!&MEMPHIS

Desiuger | Emil Rudolf Weiss Classification | Slab Serif

HAMBURGERQ hamburgerq ?!&MRS. EAVES

Desiuger | Zuzana LickoClassification | Transitional

HAMBURGERQ hamburgerq ?!&NEWS GOTHIC

Desiuger | Morris Fuller Benton Classification | Grotesque

HAMBURGERQ hamburgerq ?!&PLATELET

Desiuger | Conor Mangat Classification | Geometric

HAMBURGERQ hamburgerq ?!&ROCKWELL

Desiuger | Monotype Corporation Classification | Slab Serif

HAMBURGERQ hamburgerq ?!&ROTIS SANS SERIF

Desiuger | Otl Aicher Classification | Humanist Sans Serif

Characteristics | Mono weight, square serifs, horizontal stress

Characteristics | Vertical stress, g has no open counter, thick and thin strokes

Characteristics | Tall x-height, shallow descend-ers

Characteristics | No stroke variation, half up-per/half lower

Characteristics | Mono weight, square serifs

Characteristics |Tall x-height, two story a, Q tail is above baseline

HAMBURGERQ hamburgerq ?!&ROTIS SERIF

Desiuger | Otl Aicher Classification | Humanist Serif

HAMBURGERQ hamburgerq ?!&SABON

Desiuger | Jan Tschchold Classification | Old Style

Characteristics | Bracketed serifs, tall x-height, subtle stroke contrast

Characteristics |Thicks and thins, short x-height, scooped serifs

111

HAMBURGERQ hamburgerq ?!&SHELLEY

Desiuger | Matthew Carter Classification | Script

HAMBURGERQ hamburgerq ?!&SNELL ROUNDHAND

Desiuger | Matthew Carter (Charles Snell)

Classification | Script

HAMBURGERQ hamburgerq ?!&SWIFT

Desiuger | Gerard Unger Classification | New Transitional/Hu-manistic

HAMBURGERQ hamburgerq ?!&TRADE GOTHIC

Desiuger | Jackson Burke Classification | Humanistic Sans Serif

HAMBURGERQ hamburgerq ?!&UNIVERS

Desiuger | Adrian Frutiger Classification | Grotesque

HAMBURGERQ hamburgerq ?!&WALBAUM

Desiuger | Justus Erich Walbaum Classification | Modern

Characteristics | all characters connect, consis-tent loop

Characteristics | Calligraphy influenced, strong stroke variation

Characteristics | Sturdy, tall x-height, short ascenders and descenders

Characteristics | Tall x-height, short ascenders and descenders

Characteristics | Mono weight, heavy, short ascenders and descenders

Characteristics |Extreme contrast, hairline serifs, horizontal stress



113

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|font

details

BOOK

HAIRLINE

SEMI-BOLD

BOLD ITALIC

Archer

MaxogGdQRstA 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.

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 { } ? ! @ & *


Classification: Slab Serif

115

ROMAN

BOLD

BLACK

Akzidenz Grotesk

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 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.




Classification: Grotesque

MaxogGdQRst

REGULAR

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 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.


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 ( ) { } ? ! @ & *



MaxogGdQRstBaskerville

117

Classification: Transitional

REGULAR

ITALIC

BOLD

BLACK ITALIC

Belizio

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.






MaxogGdQRs

LIGHT

BOLD

BLACK

Bell Gothic

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.





MaxogGdQRs MaxogGdQRst

119

REGULAR

ITALIC

BOLD

EXTRA BOLD

Bembo

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 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.





Classification: Old Style

MaxogGdQRst

REGULAR

ITALIC

BOLD

ORNAMENTS

Bodoni

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.

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 litera-ture. 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




Classification: Modern (Didone)

MaxogGdQRst

121

REGULAR

ITALIC

BOLD

BOLD ITALIC

Bookman

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.





Classification: New Transitional

MaxogGdQRst

REGULAR

ITALIC

SWASH

ALTERNATE

Caslon





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

c h i k l Ss T t


BOLD


MaxogGdQRst MaxogGdQRst

123

REGULAR

ITALIC

BOLD

BOLD ITALIC

Century Schoolbook

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 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.







MaxogGdQRst

REGULAR

ITALIC

BOLD

BOLD ITALIC

Cheltenham







Classification: Old Transitional

MaxogGdQRst

125

UNICASE

REGULAR

Cholla

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 ( ) { } ? ! @ & *


Classification: Modern

MaxogGdQRst

LIGHT

REGULAR

BOLD

Clarendon

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 literature. Designers in the twentieth and twen-ty-first centuries have continued to create new typefaces based on historic characteristics.






MaxogGdQRst

127

REGULAR

Clicker



Classification: Grid Based Sans Serif

MaxogGdQRst

REGULAR

ITALIC

BOLD

Didot


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.





MaxogGdQRst

129

DIN

LIGHT CONDENSED

REGULAR CONDENSED

BOLD CONDENSED

BLACK CONDENSED








MaxogGdQRst

DIN

LIGHT

REGULAR

MEDIUM

BLACK





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

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 { ? ! @ & *


MaxogGdQRst

131

REGULAR

ITALIC

BOLD

Disturbance

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

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 ( ) { } ? ! @ & *

Classification: Serif

MaxogGdQRst

REGULAR

Fette Fraktur


devised in the nineteenth century, when



Humanist letterforms are closely connected to

calligraphy and the movement of the hand.



groups correspond roughly to the Renaissance,


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 ( ) { } ? ! @ & *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

Classification: Blackletter

MaxogGdQRst

133

REGULAR

FRACTIONS

UNICASE

Filosofia


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 let-terforms 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.





MaxogGdQRst

BOOK

ITALIC

MEDIUM

CONDENSED

Franklin Gothic

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 type-faces 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.







MaxogGdQRst

135

CONDENSED

REGULAR

BOLD

ULTRA BLACK

Frutiger

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.





Classification: Humanist

MaxogGdQRst

BOOK

BOLD

EXTRA BOLD

Futura


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.




Classification: Geometric

MaxogGdQRst

137

REGULAR

ITALIC

BOLD

Gill Sans

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 ( ) { } ? ! & *



MaxogGdQRst

BOOK

BOLD

ITALIC

LIGHT

Gotham

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.





Classification: Geometric

MaxogGdQRst

139

REGULAR

BOLD

CONDENSED BOLD

Helvetica


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 cor-respond 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.





ULTRA LIGHT


MaxogGdQRst

REGULAR

BOLD

BLACK

BOLD CONDENSED

Interstate



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







MaxogGdQRst

141

REGULAR

Kunstler Script

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

Pat. San ea consectet ad duis dolorem eu facil dit am, summy nisim ipit, quat, velit pratismodo diat.Et lorperi liquat lor sequam zzrilit, velese facin ut verosti nciduis modit, qui erosto odit ut verit nos nos amet iure doluptatisl digna facin hendre ming ea feum incilla ad dunt dunt ipit vulput lor-per sumsand ionsenit num ip erit la feu feumsan henis exerci esto etumsan hent am, velit, quisit nummy nosto dolutat irit veniam zzrilit, qui tincilit wis eum zzriustis ex eraestrud delit lamcon vero exercidunt aliscidui bla facip et veniam eum illan veros dignit alit vullandiat nis nisl dunt aliquam consent alit etuero odionsecte dunt nulla faci et in vulla feugait lore eum zzril ullamco nsequi bla autpatet nummodipisi.Ed etummodit vullamcon utat ulluptat delendit nonsenim in-ciliqui tio odoloreet ver sum velis aliquis del irit aut nosto conse-quam zzrit aut ipsum diamcon sequam num et wisi tio dolorem elesto dolobor iuscilisci et, quis endre te dolobor sum volenibh exerit utpat. Uptat, vel dolese molorem eraessis nit niamcorperos autat, venit in etum erilissit irit eui bla feum iurem nonsequi e

Classification: Script

REGULAR

ITALIC

BOLD

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. 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.





Classification: Transitional Serif

MaxogGdQRstMelior

143

LIGHT

MEDIUM

EXTRA BOLD

Memphis


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.





MaxogGdQRst

REGULAR

CAPS

BLACK

ITALIC

Meta

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.






Classification: Humanist Sans Serif

MaxogGdQRst

145

REGULAR

ITALIC

BOLD

FRACTIONS

Mrs Eaves


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







MaxogGdQRst

REGULAR

ITALIC

BOLD

News Gothic

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 lit-erature. Designers in the twentieth 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 contin-ued to create new typefaces based on historic characteristics.




Classification: Sans Serif

MaxogGdQRst

147

REGULAR

OCR A

MaoxpQRfgA 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.



MaoxpQRfgBOOK

ITALIC

BOLD

Optima






Classification: Geometric Sans Serif

MaxogGdQRst

149

LIGHT

OLD STYLE

ITALIC

BOLD

Palatino








MaxogGdQRst

REGULAR

ITALIC

BOLD

Perpetua


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.





MaxogGdQRst

151

THIN

REGULAR

HEAVY

Platelet

MaxbyogGQrRtA basic system for classifying typefaces



heritage for their own craft analogous

to that of art history. Humanist let-

terforms 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.




heritage for their own craft analogous

to that of art history. Humanist let-

terforms 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 ( ) { }

? ! @ & *

Classification: Geometric Sans Serif

REGULAR

ALTERNATE

BOLD

Priori Sans

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 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.





MaxogGdQRst

153

REGULAR

ALTERNATE

BOLD

Priori Serif


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 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.

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

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.





MaxogGdQRst

(55) SANS

ITALIC

SERIF

ITALIC

Rotis

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.






Classification: Humanistic Sans Serif

MaxogGdQRst

155

REGULAR

SMALL CAPS

BOLD

BOLD ITALIC

Sabon








MaxogGdQRst

REGULAR

CAPS

ITALIC

BOLD

Scala Sans






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







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157

REGULAR

ITALIC

BOLD

BLACK

Serifa


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








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REGULAR

Snell Roundhand

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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 iriuscil 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 num-mod 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.

Classification: Script

MaxogGdQRst

159

BOLD CONDENSED

REGULAR

ITALIC

BOLD

Swift









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.



groups correspond roughly to the Renaissance,


and literature. Designers in the twentieth and

twenty-first centuries have continued to create

new typefaces based on historic characteristics.





Classification: Transitional Serif

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REGULAR

BOLD

BLACK

BLACK

Syntax








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161

CONDENSED

MEDIUM

BOLD

BOLD NO.2

Trade Gothic







Classification: Sans Serif

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REGULAR

ITALIC

SMALL CAPS

BOLD

Walbaum

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 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 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.





Classification: Modern Serif

MaxogGdQRst

163

REGULAR

MEDIUM

MEDIUM ITALIC

BOLD

Volta

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.





Classification: Transitional Slab Serif

MaxogGdQRst

MaxogGdQRst

Documents

Type Handbook