Typograffiti

university of

2013

elizabeth post

typography

Class project for Typographic Systems at the University

of Kansas, Spring 2013. The text was compiled from the

following sources: Elements of Typographic Style by Robert

Bringhurst, Getting it Right with Type: the Do’s and Don’ts

of Typography by Victoria Square, and Mac is Not A Type-

writer 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.

tableof contents

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5

rulescheck sheet

use only one space between sentences

use real quotation marks

use real apostrophes

make sure the apostrophes are where they belong

hang the punctuation off the aligned edge

use en or em dashes, use consistently

kern all headlines where necessary

never use the space bar to align text, always set tabs and use the tab key

leave no widows or orphans

avoid more than three hyphenations in a row

avoid too many hyphenations in any paragraph

avoid hyphenating or line breaks of names and proper nouns

leave at least two characters on the line and three following

avoid beginning consecutive lines with the same word

avoid ending consecutive lines with the same word

avoid ending lines with the words: the, of, at, a, by

never hyphenate words in a headline and avoid hyphenation in a callout

never justify the text on a short line

keep the word spacing consistent

tighten up the leading in lines with all caps or with few ascenders and descenders

use a one-em first-line indent on all indented paragraphs

adjust the spacing between paragraphs

either indent the first line of paragraphs or add extra space between them - not both

use a decimal or right-aligned tab for 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

6

7RULES

typographicrules

Inserting two spaces after a period was

common when using a typewriter. Mono-

space typefaces were designed to occupy the

same amount of space no matter the width

of the character. Therefore, two spaces were

needed to identify the end of a sentence and

the beginning of another sentence. With the

introduction of the Mac and digital type, char-

acters are designed proportionately, which

allows for the correct practice of using one

space after all punctuation.

An em is a unit of measure equal to the point

size that you are using. An em dash is a

type of punctuation used to offset clauses in

a sentence or to indicate an abrupt change

in thought. An en dash is equal to half the

length of an em dash. En dashes are used to

denote duration (time.)

INSERT ONLY A SINGLE SPACE AFTER ALL PUNCTUATION

USE PROPER ‘EM’ DASHES, ‘EN’ DASHES, AND HYPHENS

8

Use true quotation marks and apostrophes in-

stead of using inch marks and feet marks. Place

all punctuations inside the quotation marks.

When setting text that contains acronyms,

select a typeface with small caps as a family. Se-

lecting small caps from the style menus is a poor

choice because the compute reduces the overall

size of the type by 80%. This changes the stroke

weight and the feel of the font. Expert sets in the

Adobe Type Library have small caps options.

USE PROPER QUOTE AND APOSTROPHE MARKS USE TRUE SMALL CAPS

9RULES

Letterspacing is the amount of space between

characters in a word. Some software programs

caller letterspacing tracking. Use positive num-

ber values (to about 2 or 3) to open up letterspac-

ing to capitalized text and small caps, except

when periods are used between characters.

Old style figures, also known as non-lining

figures do not line up on the baseline as regular

or lining numerals do. They can be found in

various fonts. If the body text has a significant

amount of numbers, research a font family

where they are included. If non-lining numerals

are not available, use a slightly smaller point

size for the lining numbers. Think of lining

numbers as upper case numbers and non-lining

numbers as lower case.

ADD LETTER SPACING TO CAPITALIZED TEXT AND SMALL CAPS

USE OLD STYLE FIGURES WHEN APPROPRIATE

10

With options given to you by almost any type

family (bold, point size, etc) you will seldom

need to use all caps to draw attention to your

text. Not all typefaces are legible when set in

all caps; esp. true for script and decorative type-

faces. Short headlines may be the once excep-

tion to this rule.

The copyright, register, and trademark char-

acters need to be reduced to work with body

text. At times, depending on the typeface, you

may need to reduce the mark between 50% and

70%. The goal is to match the x-height. The

copyright mark should be approximately 70%

of the surrounding text. Unlike the ™ sym-

bol, the © should NOT be superscripted and

should remain on the baseline. ™ is usually

superscripted for the chosen font. ™ and ® are

normally set higher then other marks. If you

choose to superscript ®, reduce it to about 60%

of the size.

USE CAPS PROPERLY USE COPYRIGHT, REGISTER, AND TRADEMARK MARKS PROPERLY

11RULES

Use the ellipsis character and NOT three peri-

ods. You can access the ellipsis by typing Op-

tion + : (colon). Allow a small amount of space

before and after. However if it is not crowding

the text, leave no space at all.

This was useful back in the days of the type-

writer to draw attention to the text. With digi-

tal type and their families, you should not need

to use underlined text.

ELLIPSIS CHARACTER AVOID UNDERLINED TEXT

12

Line spacing (aka leading) refers to the space

between lines of text. It is important for readabil-

ity and appearance. Leading is measured from

baseline to baseline. As a rule of thumb, allow

leading that is 120% of the point size. For sans

serif, you may need 130% or more. When setting

headlines, solid leading (leading = point size,

12/12) or negative leading (leading =< point size,

12/10) may be appropriate.

Body text is set anywhere from 9-12 points.

When you print text, it is usually larger than

what it looked like on the screen. So, print out

your text before finalizing your layout. Type stud-

ies will help you determine the proper size before

you proceed with your layout.

INCREASE LINE SPACING TO IM-PROVE READABILITY IN BODY TEXT BODY COPY SIZE

13RULES

Don’t alter the original typeface by stretching or

condensing the letters improperly. Certain type

families provide you with a lot of flexibility, so

you should not need to destroy/alter text.

Sans serif typefaces work well for headlines and

to set text that is aligned to vertical/horizontal

lines. Certain sans serif typefaces which are not

very geometrical work well for body copy (i.e.

Frutiger, Meta, Scala Sans, etc.)

ALTERING FONTS LEGIBILITY OF FONTS

14

Line length is a measure of text on one line.

Any measure between 45 and 75 characters is

comfortable for single column widths. The ideal

measure for body text length is 66 characters

(counting both letters, punctuation, and spaces.)

For multiple columns, a measure between 40 and

50 characters is ideal.

Don’t letterspace body copy as it really hampers

legibility. Use letterspacing when working with

caps. small caps, numbers and display text where

looser type spacing may increase legibility.

DECREASE LINE LENGTH AND INCREASE MARGINS

AVOID LETTERSPACING LOWERCASE BODY COPY

15RULES

For text meant for extended reading, the

amount of space between words in a para-

graph should be fairly close–about the width

of a lowercase “i.” If the word spacing is too

close, it appears as one giant word and leg-

ibility is decreased. Keep the spaces between

words fairly thin, consistent and even!.

For single-column pages, 4.25 inches is ideal.

For two-column width, columns can be as nar-

row as 2 inches. Turning on the hyphenation

feature can improve word spacing.

WORD SPACING SHOULD BE FAIRLY CLOSE IDEAL COLUMN WIDTH

16

Justification can be appropriate in cer-

tain places. However, it can create certain

problems such as rivers and word spacing.

Adjusting size of margins, decreasing body

copy size, turning on auto hyphenatation and

manually hyphenating the text are all exam-

ples of possible solutions.

Make sure the alignment chosen for all areas

of text are legible and consistent with the de-

sign and guidelines. Left-aligned text is easier

to read and set. Justified text is harder to set

w/o inevitable word spacing problems. Right-

aligned and centered are generally not used

for body copy.

JUSTIFICATION OF TEXT CHOOSE THE ALIGNMENT THAT FITS

17RULES

Don’t rely on the software to judge where

hyphens should be placed. At the end of lines,

leave at least two characters behind and take

at least three forward. For example, “ele-

gantly” is acceptable, but “elegant-ly” is not be-

cause it takes too little of the word to the next

line. Avoid leaving the stub end of a hyphen-

ated word or any word shorter then four letters

as the last line of a paragraph. Avoid more

then 3 consecutive hyphenated lines. Avoid

hyphenating or breaking proper names and

titles. Creating a non-breaking space before

and after the name will ensure that the name

will not break.

Since software programs deal with line breaks

automatically based upon a number of vari-

ables, it is possible to have paragraphs with

consecutive lines beginning with the same

word. When this happens simply adjust the

text to avoid/fix the problem.

RULES OF HYPHENATION AVOID BEGINNING THREE CONSECU-TIVE LINES WITH THE SAME WORD

18

Once you are finished with your design, spell

check the text using both of the following:

a. Use spell=check option that comes with the

software you are using for the project.

b. Print the document and read it. The moni-

tor and design of the document will make text

look perfect when it may not be. Even if text is

given to you by a client, check it. Never ever

assume that it is correct. Keep a dictionary

close as well.

Widows are either single words alone on a

line or single sentences alone on a new page.

Orphans are single lines of copy alone at the

end of a page.

ALWAYS SPELL CHECK! AVOID WIDOWS AND ORPHANS

19RULES

Adjust the space between two particular letters

to allow for more consistent negative space.

In continuous text, mark all paragraphs after

the first with an indent of at least one “em” (3

spaces). Do NOT use three spaces but rather

use the tabs or indents option in your software.

KERNING IN HEADLINES INDENTS

20

21

22

gridstructures

When Designing a layout and working with text

and/or images the use of a grid is essential, as it

is the basis on which information is organized and

clarified, ensuring legibility. The grid provides a

framework were text, image and space can be com-

bined into a cohesive manner.

A grid subdivides a page vertically and horizon-

tally into margins, columns, inter-column spaces,

lines of type, and spaces between blocks of type

and images. These subdivisions form the basis of

a modular and systematic approach to the layout,

particularly for multi-page documents, making the

design process quicker, and ensuring visual consis-

tency between related pages.

23GRIDS

At its most basic, the sizes of a grid’s compo-

nent parts are determined by ease of reading

and handling. From the sizes of type to the

overall page or sheet size, decision-making is

derived from physiology and the psychology of

perception as much as by aesthetics. Type sizes

are generally determined by hierarchy—cap-

tions smaller than body text and so on—column

widths by optimum word counts of eight to

ten words to the line, and overall layout by the

need to group related items. This all sounds

rather formulaic, and easy. But designers

whose grids produce dynamic or very subtle

results take these rules as a starting point only,

developing flexible structures in which their

sensibility can flourish.

Grids often need to be designed to give more

flexibility than the single column of text per

page (Jan Tschichold’s grid). This is due to to a

change in our reading patterns. Grid structures

have to accommodate a greater variety of ma-

terial such as photographs, illustrations, head-

ings, captions, references, charts; they need

to be more complicated than a grid using only

text and may utilize more modules. The design

of the grid had to be relevant to the purpose.

“The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appro-priate to his personal style. But one must learn how to use the grid; it is an art that re-quires practice.” —Josef Müller-Brockmann

24

Modular grids are created by positioning

horizontal guidelines in relation to a baseline

grid that governs the whole document. Base-

line grids serve to anchor all (or nearly all)

layout elements to a common rhythm. Create

a baseline grid by choosing the type size and

leading of your text, such as 10-pt Scala Pro

with 12 pts leading (10/12). Avoid auto lead-

ing so that you can work with whole numbers

that multiply and divide cleanly. Use this line

space increment to set the baseline grid in

your document preferences.

Adjust the top or bottom page margin to

absorb any space left over by the baseline

grid. Determine the number of horizontal

page units in relation to the number of lines

in your baseline grid. Count how many lines

fit in a full column of text and then choose a

number that divides evenly into the line count

to create horizontal page divisions. A column

with forty-two lines of text divides neatly

into seven horizontal modules with six lines

each. If your line count is not neatly divisible,

adjust the top and/or bottom page margins to

absorb the leftover lines.

BASELINE GRIDS

25GRIDS

26

27GRIDS

The perfect book. This is how designer-genius

Jan Tschichold described this system.This

method existed long before the computer, the

printing press and even a defined measuring

unit. No picas or points, no inches or millime-

ters. It can be used with nothing more than a

straight edge, a piece of paper and a pencil.

And you can still use it. This is a system which

is still as valid, beautiful and elegant with ul-

tra-modern design as it ever was for the work

of the scribes, Gutenberg and Tschichold.

A module is to a grid, as a cell is to a table.

Then there is the fact that on a spread, the text-

blocks on both pages will be the same distance

apart, over the gutter, as they are from the

outer edge of the page.

TSCHICHOLD’S GRID / SYMMETRICAL GRID

28

The √5 rectangle is closely related to the

golden mean rectangle. The golden mean

is not a rooted rectangle because it does not

subdivide into an exact number of similar rect-

angles. The golden mean rectangle has a ratio

of 1:1:618.

Because of its unique properties, the golden

mean is sometimes called the “whirling

square” rectangle. Proportionally decreas-

ing squares can produce a spiral by using the

length of their sides for the radius of a circle.

This phenomenon is illustrated by the Fibo-

nacci mathematical sequence. The Fibonacci

sequence is produced by starting with 1 and

adding the previous two numbers, in order to

arrive at the next, continuing to infinity.

The first twelve numbers are:

1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144

FIBONACCI’S SEQUENCE & THE GOLDEN MEAN

29GRIDS

30

31GRIDS

These may consist simply of a number of vertical

columns used to position text and image matter,

and may include the space between columns --

the gutters -- and the margins of the page, which

must be given consideration. It may be necessary

to produce grids with narrower subcolumns to

enable a greater degree of flexibility in the de-

sign and layout of pages. Text widths can be set

to multiples of the narrower columns, allowing

the design to accommodate different matter thus

allowing for a change of pace, rhythm and style

from one page or section to the next, while still

relating the content.

COLUMN GRID

32

Modular grids are associated with Swiss

typography or the ‘International Style’ of the

1950s and 60s. As well as a vertical division

of space, modular grids divide space horizon-

tally too, creating units or cells. The depth of

the cell may depend upon the size of the text

type and leading being used. Multiples of the

line depth (leading size) form a good basis on

which to construct the cells.

For example, ten lines of 10pt type type on

12pt leading could allow for a cell height of

120pt within the grid. Again, each cell divi-

sion is spaced by the equivalent of a gutter

both vertically and horizontally. Vertical col-

umns still appear, but further rationalization as

to the position of text and image in relation to

the depth of the page can be made via the grid.

MODULAR GRID

33GRIDS

34

35GRIDS

These grids may have an off-centre appearance

either as single pages or combined in spreads.

If used in spreads, the grid is not mirrored

from one page to the next as in symmetrical

grids, but is more likely to appear repeated in

a single position from page to page. Again, as

with all grid systems, attention to the relation-

ship of the margins is important. It can be this

element alone that determines the success of

the eventual layout.

ASYMMETRICAL GRID

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columnwidth

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.

DETERMINING LINE LENGTH

39

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 ma-

chine and motion. The works were character-

ized by the depiction of several successive ac-

tions 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.

DEFINITION VISUALIZED 8 PT / 16 PICAS

40

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alignment

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 lon-

ger than the second, it becomes separate from

the layout and creates a box-like shape. This

destroys one of the advantages of unjustified

text. The ragged edge needs to have a life, but

a narrow column can be less active. Another

advantage to ragged text is less hyphenation

is needed. Therefore, names, dates or words

which are normally read together can stay

together.If someone insists that fully justified

text is better than left-aligned text, tell them

they are wrong. If someone else tells you that

left-aligned text is better than justified text, tell

them they are wrong.

If they are both wrong, then what’s right?

Alignment is only a small piece of the 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 expectations, the fonts, the

margins and white space, and other elements

on the page. The most appropriate choice is

alignment that works for a particular design.

43

As with all layouts, alignment 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 appropri-

ate 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/char-

acter spacing 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 pre-

pared to change it (and make necessary adjust-

ments to keep it looking good) if the person with

final approval still insists on something different.

44

•Oftenconsideredmoreformal,lessfriendly

than left-aligned text.

•Usuallyallowsformorecharactersperline,

packing more into the same amount of space

(than the same text set left-aligned).

•Mayrequireextraattentiontowordand

character spacing and hyphenation to avoid

unsightly rivers of white space running

through the text.

•Maybemorefamiliartoreadersinsome

types of publications, such as books and

newspapers.

•Somepeoplearenaturallydrawntothe

“neatness” of text that lines up perfectly on

the left and right.

JUSTIFIED TEXT

•Oftenconsideredmoreinformal,friendlierthan

justified text.

•Theraggedrightedgeaddsanelementof

white space.

•Mayrequireextraattentiontohyphenationto

keep right margin from being too ragged.

•Generallytypesetleft-alignediseasierto

work with (i.e. requires less time, attention,

and tweaking to make it look good).

LEFT-ALIGNED, RAGGED RIGHT

45ALIGNMENT

There is nothing inherently wrong with

centered text. As with ragged right or fully-

justified text alignment, what works for one

design might be totally inappropriate for an-

other layout. There are simply fewer situations

where centered text is appropriate. When in

doubt, don’t center it.

CENTERED TEXT

46

47

48

Kerning is an adjustment of the space be-

tween two letters. The characters of the Latin

alphabet emerged over time; they were never

designed with mechanical or automated spac-

ing in mind. Thus some letter combinations

look awkward without special spacing con-

siderations. Gaps occur, for example, around

letters whose forms angle outward or frame

an open space (W, Y, V, T). In metal type, a

kerned letter extends past the lead slug that

supports it, allowing two letters to fit more

closely together. In digital fonts, the space

between letter pairs is controlled by a kerning

table created by the type designer, which speci-

fies spaces between problematic letter combi-

nations. Working in a page layout program, a

designer can choose to use metric kerning or

optical kerning as well as adjusting the space

between letters manually where desired. A

well-designed typeface requires little or no ad-

ditional kerning, especially at text sizes.

49

kerning

METRIC KERNING OPTICAL KERNING

Metric kerning is using the kerning tables that

are built into the typeface. When you select

metric kerning in your page layout program,

you are using the spacing that was intended by

the type designer. Metric kerning usually looks

good, especially at small sizes. Cheap novelty

fonts often have little or no built-in kerning

and will need to be optically kerned.

Optical kerning is executed automatically by

the page layout program. Rather than using

the pairs addressed in the font’s kerning table,

optical kerning assesses the shapes of all

characters and adjusts the spacing wherever

needed. Some graphic designers apply optical

kerning to headlines and metric kerning to

text. You can make this process efficient and

consistent by setting kerning as part of your

character styles.

50

51

52

justification

Justify text only if the line is long enough

to prevent awkward and inconsistent word

spacing. The only time you can safely justify

text is if your type is small enough and your

line is long enough, as in books where the

text goes all the way across the page. If your

line is shorter, as in newsletter, or if you don’t

have many words on the line, than as the

type aligns to the margins the words space

themselves to accommodate it. It usually looks

awkward. You’ve seen newspaper columns

where all text is justified, often with a word

stretching all the way across the column, or a

little word on either side of the column with a

big gap in the middle. Gross. But that’s what

can happen with justified type. When you

do it, the effect might not be as radical as the

newspaper column, but if your lines are rela-

tively short, you will inevitably end up with

uncomfortable gaps in some lines, while other

lines will be all squished together.

When your work comes out of the printer,

turn it upside down and squint at it. The riv-

ers will be very easy to spot. Get rid of them.

Try squinting at the example on the bottom of

the previous page.

53

In typography, rivers, or rivers of white, are

visually unattractive gaps appearing to run

down a paragraph of text. They can occur with

any spacing, though they are most noticeable

with wide word spaces caused by either full text

justification or monospaced fonts.

Never leave widows and orphans bereft on the

page. Avoid both of these situations. If you have

editing privileges, rewrite the copy, or at least

add or delete a word or two. Sometimes you can

remove spacing from the letters, words, or lines,

depending on which program you’re working in.

Sometimes widening a margin just a hair will

do it. But it must be done. Widows and orphans

on a page are wrong.

RIVERS WIDOWS AND ORPHANS

54

When a paragraph ends and leaves fewer than

seven characters (not words, characters) on

the last line, that line is called a widow. Worse

than leaving one word at the end of a line is

leaving part of a word, the other part being

paraphrased on the line above.

When the last line of a paragraph, be it ever

so long, won’t fit at the bottom of a column and

must end itself at the top of the next column,

that is an orphan. ALWAYS correct this.

WIDOW ORPHAN

55JUSTIFICATION

Us re magnam acimpore magnimo loritib us-

trumque nonsed que voluptae pliaectiat quiat

labore in et delloris re si ut et, odis modignis-

cid quos a eum receria cum volorpos el most

ium, natem entiore etur sequid ut ped mollam

re plia comnimp ellaces eostemp oresequi dolest

iusaectur millesentis rem et ullende bitatur se-

quaeperum que dit ma voluptatur, sitisquiae vel

explis expediti rate elique nimagnis mi, utectus

ciliquas as rest, num ex expero es de porum ea-

quias ditatem pelique vent ab is ullaut reprae

suntur sunt.

90% MIN / 100% DESIRED / 110% MAXVOLTA REGULAR 8/11

90% MIN / 100% DESIRED / 110% MAXAKZIDENZ GROTESQUE 8/11

Us re magnam acimpore magnimo loritib ustrumque non-

sed que voluptae pliaectiat quiat labore in et delloris re si

ut et, odis modigniscid quos a eum receria cum volorpos

el most ium, natem entiore etur sequid ut ped mollam re

plia comnimp ellaces eostemp oresequi dolest iusaectur

millesentis rem et ullende bitatur sequaeperum que dit

ma voluptatur, sitisquiae vel explis expediti rate elique ni-

magnis mi, utectus ciliquas as rest, num ex expero es de

porum eaquias ditatem pelique vent ab is ullaut reprae

suntur sunt.

TOO MANY RIVERS

56












suntur sunt.










suntur sunt.



JUST RIGHT

57JUSTIFICATION












suntur sunt.










suntur sunt.



TOO OPEN

58












suntur sunt.







ma voluptatur, sitisquiae vel explis expediti rate elique

nimagnis mi, utectus ciliquas as rest, num ex expero es

de porum eaquias ditatem pelique vent ab is ullaut reprae

suntur sunt.



TOO OPEN / TOO MANY RIVERS

59JUSTIFICATION




labore in et delloris re si ut et, odis modigniscid

quos a eum receria cum volorpos el most ium,

natem entiore etur sequid ut ped mollam re plia

comnimp ellaces eostemp oresequi dolest iusaec-

tur millesentis rem et ullende bitatur sequaepe-

rum que dit ma voluptatur, sitisquiae vel explis

expediti rate elique nimagnis mi, utectus ciliquas

as rest, num ex expero es de porum eaquias dita-

tem pelique vent ab is ullaut reprae suntur sunt.






millesentis rem et ullende bitatur sequaeperum que dit ma

voluptatur, sitisquiae vel explis expediti rate elique nimagnis

mi, utectus ciliquas as rest, num ex expero es de porum

eaquias ditatem pelique vent ab is ullaut reprae suntur sunt.


TOO TIGHT

60

61

62

x-heightxxx x

Readability and legibility are two key elements of

printed text that typographer strive to maximize.

Readability extended amount of text – such as an

article, book, or annual report – is easy to read.

Legibility refers to whether an refers to whether

a short burst of text – such as a headline catalog

listing, or stop sign – is instantly recognizable.

There are several factors that determine whether

a text is readable. When deciding what typeface

should be used for a job, consideration should be

given to the typeface and its x-height. It is im-

portant to understand how a block of text can ex-

press a message through its texture/color, there-

fore suiting a particular design solution. Fonts set

in the same size, same leading and column width

will produce varying degrees of “color”.

In typography, color can also describe the balance

between black and white on the page of text. A

typeface’s color is determined by stroke width, x-

height, character width and serif styles.

IMPORTANCE OF THE X-HEIGHT

63

64

AS A DESIGNER, if you are only asked to

make the text readable on the page the follow-

ing questions should be asked ...Readability and

legibility are two key elements of printed text that

typographer strive to maximize. Readability ex-

tended 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, 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 suit-

ing a particular design solution. Fonts set in the

same size, same leading and column width will

produce varying degrees of “color”.

In typography, color can also describe the balance

between black and white on the page of text. A

typeface’s color is determined by stroke width, x-

height, character width and serif styles.

65X-HEIGHT

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.

66

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 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 emphasiz-ing 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.

new baskervillejohn baskerville

9/12 x-height: average character width: average color: light

Xxhg XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-lished 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 contem-porary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

univers 55adrian frutiger

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67X-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 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 move-ment. 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.

adobe caslon prowilliam caslon

Xxhg XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-lished 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 con-temporary 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 manifesto glorified the new technol-ogy 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.

9/12x-height: average character width: narrow color: light

9/12x-height: average character width: wide color: dark

memphisemil rudolf wolf

72 point

68

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 depic-tion of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He 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 muse-ums and libraries.

helvetica neuemax miedinger

9/12 x-height: large character width: average color: light

Xxhg 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 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 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.

scala sansmartin majoor

9/12x-height: average character width: narrow color: light

69X-HEIGHT

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 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 political values and the destruction of such cultural institutions as museums and libraries.

bodonigiambattista bodoni

Xxhg 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 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 values and the destruction of such cultural institutions as museums and libraries.

9/12 x-height: small character width: narrow color: light

9/12x-height: large character width: narrow color: light

akzidenz grotesquegunter gerhard lange

70

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 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.

adobe garamond proclaude garamont

9/12x-height: small character width: narrow color: light

Xxhg 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 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 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.

sabonjan tschichold


71X-HEIGHT

Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, 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 technol-ogy 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

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

9/12 x-height: large character width: narrow color: dark

9/12x-height: large character width: average color: light

rotis sans serifotl aicher

72

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

archer bookjesse ragan :: jonathan hoefler :: tobias frere-jones

9/12 x-height: small character width: average color: light

Xxhg 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 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 values and the destruction of such cultural institutions as museums and libraries.

metaerik spiekermann

9/12x-height: large character width: average color: dark

73X-HEIGHT

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 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 succes-sive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automo-bile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

trade gothicjackson burke

Xxhg 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 depic-tion of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He 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.

9/12x-height: large character width: narrow color: dark

9/12x-height: large character width: wide color: dark

futurapaul renner

74

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 move-ment. He exalted violence and conflict and called for the sweeping repudiation of tradi-tional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

clarendonrobert besley


Xxhg XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-lished 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 contem-porary 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 tradi-tional cultural, social, and political values and the destruction of such cultural institutions as muse-ums and libraries.

meliorhermann zapf

9/12x-height: average character width: average color: light

75X-HEIGHT

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 values and the destruction of such cultural institutions as muse-ums and libraries.

gill sanseric gill

Xxhg X x h gFuturism 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 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.


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filosofiazuzana licko

76

77

quotes

Use true quotation marks and apostrophes

instead of using inch marks and feet marks. USE REAL QUOTATION MARKS –

never those grotesque generic marks that

actually symbolize ditto/inch or foot marks:

use “and” – not “and”. Most software applica-

tions 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.

It is necessary to know how to set smart

quotes/real quotes yourself because sometimes

the software doesn’t do it or does it wrong.

opening single quote

opening double quote

closing single quote

closing double quote

option + ]

option + [

option + shift + ]

option + shift + [

Place all punctuation inside the quotation marks.“ ”

Bridge Clearance: 16'7"The young man stood 6'2"The length of the wall is 153'9"{

BE SURE TO USE CORRECT FEET AND INCH MARKS:

78

& apostrophes

Turn the phrase around. The apostrophe will

be placed after whatever word you end up

with. For example, in the phrase the boys’

camp, to know where to place the apostrophe

say to yourself, “The camp belongs to the

boys.” The phrase the boy’s camp says “The

camp belongs to the boy.”

“The big exception to this is “its.” “Its” used

as a possessive never has an apostrophe! The

word it only has an apostrophe as a contraction

— “it’s” always means “it is” or “it has.”

It may be easier to remember if you recall that

yours, hers, and his don’t use apostrophes —

and neither should its.

FOR POSSESSIVES:

The apostrophe replaces the missing letter. For

example: your’re always means you are; the

apostrophe is replacing the a from are. That’s

an easy way to distinguish it from your as in

your house and to make sure you don’t say:

Your going to the store.

As previously noted, it’s means “it is”; the

apostrophe is indicating where the i is left out.

Don’t means “do not”; the apostrophe is indi-

cating where the o is left out.

FOR CONTRACTIONS:

79

In a phrase such as Rock ’n’ Roll, there should

be an apostrophe before and after the n,

because the a and the d are both left out. And

don’t turn the first apostrophe around — just

because it appears in front of the letter does

not mean you need to use the opposite single

quote. An apostrophe is still the appropriate

mark (not ‘n’).

In a phrase such as House o’ Fashion, the apos-

trophe takes the place of the f.

In a phrase such as Gone Fishin’ the same pat-

tern 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 temperature; In the

’80s would mean the decade. (Notice there is

no apostrophe before the s! Why would there

be? It is not possessive, nor is it a contraction

— it is simply plural.

FOR OMISSION OF LETTERS:

People often are confused about where the apostrophe belongs.“ ”

opening single quote option + shift + ]

80

81

dashes

Everyone knows what a hyphens is —that tiny little

dash that belongs in some words, like mother-in-law,

or in phone numbers. It’s also used to break a word

at the end of a line, of course.

You might have been taught to use or given text that

uses a double hyphen -- to indicate a dash. This is a

typewriter convention because typewriters didn’t

have the real dash used in professional typesetting.

On a Mac, no one needs to use the double hyphen—

we have a professional em dash, the long one, such

as you see in this sentence. We also have an en dash,

which is a little shorter than the em dash.

HYPHEN -EN DASH –EM DASH —

An em is a unit of measure equal to the point size

that you are using. An em dash is a type of punctua-

tion used to offset clauses in a sentence or to indicate

an abrupt change in thought. An en dash is equal to

half the length of an em dash. En dashes are used to

denote duration (time.)

82

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.

HYPHEN:

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 a full space.

EN DASH:

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

83DASHES

The em dash is twice as long as the en dash—

it’s about the size of a capital letter M in what-

ever size and typeface you’re using at the mo-

ment. This dash is often used in place of a colon

or parentheses, or it might indicate an abrupt

change in thought, or it’s used in a spot where

a period is too strong and a comma is too weak.

It is also used for attribution of text. —Mac is

not a Typewriter

Our equivalent on the typewriter was the

double hyphen, but now we have a real em

dash. Using two hyphens (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.

EM DASH:

en dash

em dash

option + hyphen

option + shift + hyphen

Use proper ‘em’ dashes, ‘en’ dashes, and hy-phens. Never use two hyphens instead of a dash.“ ”

84

”

85

hyphenation

Don’t rely on the software to judge where

hyphens should be placed. At the end of lines,

leave at least two characters behind and take at

least three forward. For example, “ele-gantly”

is acceptable, but “elegant-ly” is not because

it takes too little of the word to the next line.

Avoid leaving the stub end of a hyphenated

word or any word shorter then four letters as

the last line of a paragraph.

Avoid more then 3 consecutive hyphenated

lines. Avoid hyphenating or breaking proper

names and titles. Creating a non-breaking space

before and after the name will ensure that the

name will not break. Avoid beginning three con-

secutive lines with the same word

Since software programs deal with line breaks

automatically based upon a number of vari-

ables, it is possible to have paragraphs with

consecutive lines beginning with the same

word. When this happens simply adjust the text

to avoid/fix the problem.

•howthetextisread

•avoidwidows

•avoidhyphenatingorlinebrakesof

names and proper nouns

•leaveatleast2charactersontheline

and 3 following

•avoidbeginningconsecutivelines

with the same word

•avoidendingconsecutivelineswith

the same word

•avoidendinglineswiththewords:the,

of, at, a, by..

•neverhyphenateawordsinaheadline

and avoid hyphenation in a callout

HYPHENATION RULES TO PAY ATTENTION TO:

86

87

88

“

”

‘

’

–

—

…

•

fi

fl

©

™

®

°

¢

€⁄

¡

¿

£

ç

Ç

specialcharacters

The copyright, register, and trademark char-

acters need to be reduced to work with body

text. At times, depending on the typeface, you

may need to reduce the mark between 50% and

70%. The goal is to match the x-height. The

copyright mark should be approximately 70%

of the surrounding text. Unlike the ™ sym-

bol, the © should NOT be superscripted and

should remain on the baseline. ™ is usually

superscripted for the chosen font. ™ and ® are

normally set higher then other marks. If you

choose to superscript ®, reduce it to about 60%

of the size.

USE COPYRIGHT, REGISTER, AND TRADEMARK MARKS PROPERLY

89

Use the ellipsis character and NOT three peri-

ods. You can access the ellipsis by typing Op-

tion + : (colon). Allow a small amount of space

before and after. However if it is not crowding

the text, leave no space at all.

Remember, to set an accent mark over a letter,

press the Option key and the letter, then press

the letter you want under it.

ELLIPSIS CHARACTER ACCENT MARKS

´`¨˜ˆ

option + e

option + ~

option + u

option + n

option + i

90

“”‘’

–—…•fifl©

option + [

option + shift + [

option + ]

option + shift + ]

option + hyphen

option + shift + hyphen

option + ;

option + 8

option + shift + 5

option + shift + 6

option + g

opening double quote

closing double quote

opening single quote

closing single quote / apostrophe

en dash

em dash

ellipsis

bullet

ligature of f and i

ligature of F and L

copyright

91SPECIALCHARACTERS

option + 2

option + r

option + shift + 8

option + $

option + shift + 2

option + shift + 1

option + 1

option + shift + ?

option + 3

option + c

option + shift + c

trademark

registered

degree symbol (e.g., 102°F)

cent symbol

Euro symbol

fraction

inverted exclamation point

inverted question mark

British Pound symbol

cedilla

capital cedilla

™®°¢€⁄¡¿£çÇ

92

93

CAPSsmall caps

Small caps are uppercase (capital) letters that

are about the size of normal lowercase letters

in any given typeface. Small caps are less

intrusive when all uppercase appears within

normal text or can be used for special empha-

sis. Computer programs can generate small

caps for a any typeface, but those are not the

same as true small caps. True small caps have

line weights that are proportionally correct

for the typeface, which me and that they can

be used within a body of copy without looking

noticeably wrong.

When setting text that contains acronyms,

select a typeface with small caps as a family.

Selecting small caps from the style menus is a

poor choice because the compute reduces the

overall size of the type by 80%. This changes

the stroke weight and the feel of the font.

Expert sets in the Adobe Type Library have

small caps options.

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 number, and

use periods. (if the font does not have small

caps reduce the font size slightly)

Use true small caps fonts. Avoid simply resiz-

ing capital letters or using the small caps

feature in some programs.

Use typefaces that have been specifically created as small caps.

“”

94

If you set acronyms in regular small caps, their

visual presence is unnecessarily overwhelm-

ing. One standard and practical place to use

small caps is in acronyms such as FBI, NRC,

CBS, or AIGA.

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 those abbreviations

in all caps because there were no small caps on

typewriters. But now that you have the capabil-

ity, you can and should set them properly.

WHERE TO USE SMALL CAPS

95SMALL CAPS

COMPUTER DRAWN SMALL CAPS:

The Wicked Are Very WeAryThe weight of the computer drawn small caps is thinner than the weight of

the regular initial (first letter) caps.

Typeface is Akzidenz Grotesque.

96

TRUE DRAWN SMALL CAPS

There are several font families that include

“true-drawn” small caps—letterforms that have

been redesigned to match proportions and

thicknesses of the uppercase. These families

are often called “expert” sets or perhaps “small

cap” sets. The result is a smooth, uniform, un-

disturbing tone throughout the text.

Serif:

•Baskerville•Filosofia•Mrs Eaves•Sabon•Bodoni•Caslon

Sans Serif:

•Scala Sans•Meta•Cholla

TYPEFACES WITH TRUE SMALL CAPS

97SMALL CAPS

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 Filosofia Small Caps and Caslon 3 Small Caps.

98

99

Oldstyle figures, also known as non-lining fig-

ures, do not line up on the baseline as regular

or lining numerals do. Oldstyle figures are a

style of numeral which approximate lowercase

letterforms by having an x-height and varying

ascenders and descenders. They are consider-

ably different from the more common “lining” (or

“aligning”) figures which are all-cap height and

typically monospaced in text faces so that they

line up vertically on charts.

Oldstyle figures have more of a traditional, clas-

sic look and are very useful and quite beautiful

when set within text. The figures are proportion-

ately spaced, eliminating the white spaces that

result from monospaced lining figures, especially

around the numeral one.

Unlike lining figures, Oldstyle figures blend in

without disturbing the color of the body copy.

They also work well in headlines since they’re

not as intrusive as lining figures. In fact, many

people prefer them overall for most uses except

charts and tables. It’s well worth the extra effort

to track down and obtain typefaces with oldstyle

figures; the fonts that contain them might well

become some of your favorites.

If the body text has a significant amount of

numbers, research a font family where they are

included. If non-lining numerals are not avail-

able, use a slightly smaller point size for the lin-

ing numbers. Think of lining numbers as upper

case numbers and non-lining numbers as lower

case numbers.

OLDSTYLE FIGURES

numerals& figures

100

Serif:

•Baskerville

•Goudy

•Walbaum

•Sabon

Sans Serif:

•Meta

•ScalaSans

FONTS WITH OLDSTYLE FIGURES

1234567890123456789012345678901234567890

12345678901234567890

Notice how large and clunky these numbers appear?

Dear John, please call me at 438-9762 at 3:00 to discuss marriage.Or write 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 me at Route 916, zip code 87505.

OLD STYLE VS. ALIGNING NUMERALS

101NUMERALS

12 12.5

134 1134.012

17 817.8

1023 1023.4

323 323.06

ALIGNING NUMERALS

Using the tabs menu, numbers can be aligned in sever-

al different ways. Tabs can create left, right, centered,

or decimal indention.

102

103

combiningtypefaces

When combining serif and sans serif

text fonts, one should try and match the

characteristics of form and type color:

proportion, x-heights. Although there is

not recipe there is a place to start: keep

an eye on the characteristic shapes of the

letterform. A well designed page contains

no more than two different typefaces or

four different type variations such as type

size and bold or italic style.

USING A DIFFERENT SERIF FONT OR A DIFFERENT SANS SERIF FONTS IN THE SAME COMPOSI-TION IS NEVER A GOOD IDEA!

104

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

aa BB ee GG gg

These two typefaces work well together because

they share the same x-height and varying stroke

weight. The stroke weight lightens and also

becomes heavy in the same spots, creating a similar

humanist approach overall. the characteristic of the

“g” are also quite similar, as are the tails of the “a.”

FONT COMBINATION 1

CHELTENHAM 11PT : OLD STYLESYNTAX 8PT : HUMANIST

105COMBININGTYPEFACES

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

aa BB ee GG gg

These two typefaces work well together because one

is uniform and plain, and the other has nice angular

“chisel” cuts that complement one another.

FONT COMBINATION 2

UNIVERS EXTENDED 11PT : GROTESQUESABON 8PT : OLD STYLE

106

WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected 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.

aa BB ee GG gg

These two typefaces do not go well together due

to their stark contrast in width, stroke weight, and

uneven x-height.

FONT COMBINATION 3

MRS EAVES 14PT : TRANSITIONALEUROSTILE 8PT : GEOMETRIC


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

aa BB ee GG gg

These typefaces go well together because of the

similar stroke weight and width.

FONT COMBINATION 4

META 12PT : HUMANISTSWIFT 8PT : TRANSITIONAL

108

WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when

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

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

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

change, originality, and innovation in culture and society. Futurism rejected traditions and

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

motion. The works were characterized by the depiction of several successive actions of a 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.

aa BB ee GG gg

These two typefaces look great together for the

complementary stroke weight differences and their

chiseled appearance.

FONT COMBINATION 5

BODONI 12PT : MODERNPRIORI SANS 8PT : GEOMETRIC


WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, origi-nality, 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 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 institu-tions as museums and libraries.

aa BB ee GG gg

These typefaces work together because of the plain

appearance of the grotesque against the chiseled

contrast of the modern. Opposites attract!

FONT COMBINATION 6

TRADE GOTHIC 12PT : GROTESQUEWALBAUM BOOK 8PT : MODERN

110

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

aa BB ee GG gg

These two typefaces work together because of their

similar stroke weights and wide width.

FONT COMBINATION 7

BOOKMAN 11PT : NEW TRANSITIONALFUTURA 8PT : GEOMETRIC


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

aa BB ee GG gg

Despite their width differences, these two typeface

work well together because of the similar stroke

weight.

FONT COMBINATION 8

HELVETICA 11PT : GROTESQUECLARENDON 8PT : NEW TRANSITIONAL

112

WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on

February 20, 1909, when the Paris newspaper Le Figaro

published a manifesto by the Italian poet and editor Filippo

Tommaso Marinetti. The name Futurism, coined by Marinetti,

reflected his emphasis on discarding what he conceived to

be the static and irrelevant art of the past and celebrating

change, originality, and innovation in culture and society.

Futurism rejected traditions and glorified contemporary life,

mainly by emphasizing two dominant themes, the machine

and motion. The works were characterized by the depiction

of several successive actions of a subject at the same time.

Marinetti’s manifesto glorified the new technology of the

automobile and the beauty of its speed, power, and move-

ment. He exalted violence and conflict and called for the

sweeping repudiation of traditional cultural, social, and politi-

cal values and the destruction of such cultural institutions as

museums and libraries.

aa BB ee GG gg

These typefaces work well together for their similar

x-height, contrast in stroke weight, and complemen-

tary simple style with a playful serif.

FONT COMBINATION 9

SERIFA 12PT : SLAB SERIFGOTHAM 8PT : GEOMETRIC


WORDS IN LIBERTYA Prologue to Futurism: 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 celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified con-temporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depic-tion of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automo-bile and the beauty of its speed, power, and movement. He exalt-ed violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruc-tion of such cultural institutions as museums and libraries.

aa BB ee GG gg

These typefaces do not go together because of the

uneven x-heights, uneven width and stroke width.

FONT COMBINATION 10

OPTIMA 11PT : HUMANISTMEMPHIS 8PT : SLAB SERIF

114

115

paragraphbreaks

Paragraph breaks set a rhythm for the reader.

The breaks have a relationship with the col-

umn 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.

1. first line at the beginning of an article should

be flush left (do not indent first paragraph)

2. block paragraphs are flush left and are sepa

rated by extra leading not a full return

3. the amount indent is = to the leading (some

times needs a bit more)

4. never hit two returns between paragraphs

IN TYPOGRAPHY THERE ARE 4 RULES REGARDING PARAGRAPH BREAKS:

116

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 manifesto’s rhetoric was passion-

ately bombastic; its tone was aggressive and inflammatory and was purposely

intended to inspire public anger and amazement, to arouse controversy, and to

attract widespread attention.

But is is the movements which survive, oddly, here where we live and work as po-

ets 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 popular 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 libertà,

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 typogra-

phy in the visual presentation of language, as set in motion by forerunners like

Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed decla-

mation 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 (circa 1915), “Everything of any value is theatrical.”

examples of paragraph breaks :: 1

117PARAGRAPHBREAKS

2

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 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 is is the movements which survive, oddly, here

where we live and work as poets and artists: or, if not the movements, then their

sense of art as an life itself. All of which, as futurism, had come sharply into focus

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

popular 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 Futur-

ism bristled with a polemical stance in favor of the transformed present (1909),

the later manifestos of Futurist poets and artists offered formal, “technical” ap-

proaches to the works then getting under way. The key term--still resonant today-

-was parole in libertà, 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 Mallarmé. Outrageous and aggressive, the Futurists’ perfor-

mances 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 (circa 1915), “Everything of any

value is theatrical.”

118

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

per Le Figaro published a manifesto by the Italian poet and editor Filippo Tom-

maso Marinetti. The name Futurism, coined by Marinetti, reflected his empha-

sis on discarding what he conceived to be the static and irrelevant art of the

past and celebrating change, originality, and innovation in culture and society.

Futurism rejected traditions and glorified contemporary life, mainly by empha-

sizing 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 con-

troversy, and to attract widespread attention.

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

live and work as poets and artists: or, if not the movements,

then their sense of art as an life itself. All of which, as futur-

ism, had come sharply into focus by the start of the world

war: a first radical mix of art and life, the epitome in the

popular 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


While Marinetti’s opening manifesto for Italian Futurism bristled with a po-

lemical stance in favor of the transformed present (1909), the later manifes-

tos 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 libertà, 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 mo-

tion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’

performances mixed declamation and gesture, events and surroundings, indif-

ference and engagement, to break the barriers between themselves and those

who came to jeer or cheer them. Wrote Marinetti Selbst (circa 1915), “Every-

thing of any value is theatrical.”

3

119PARAGRAPHBREAKS


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 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 wide-

spread attention.

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

poets and artists: or, if not the movements, then their sense of art as an

life itself. All of which, as futurism, had come sharply into focus by the

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

the popular 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.


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 libertà, 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 Mallarmé.

Outrageous and aggressive, the Futurists’ performances mixed declama-

tion 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 (circa 1915), “Everything of any

value is theatrical.”

4

120































5

121PARAGRAPHBREAKS

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

manifesto’s rhetoric was passionately bombastic; its tone was aggressive and

inflammatory and was purposely intended to inspire public anger and amaze-

ment, to arouse controversy, and to attract widespread attention.

But is is the movements which survive, oddly, here where we live 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 popular 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.

6

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 libertà, 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







122































7

123PARAGRAPHBREAKS































8

124

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

Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Mari-

netti. The name Futurism, coined by Marinetti, reflected his emphasis on discard-

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

change, originality, and innovation in culture and society. Futurism rejected tradi-

tions and glorified contemporary life, mainly by 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 is is the movements which survive, oddly, here where we live and work as poets and art-ists: 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 popular 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 libertà, 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 pre-

sentation of language, as set in motion by forerunners like Mallarmé. 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 (circa

1915), “Everything of any value is theatrical.”

9

125PARAGRAPHBREAKS

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

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

Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his

emphasis on discarding what he conceived to be the static and irrelevant art

of the past and celebrating change, 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 manifes-

to’s rhetoric was passionately bombastic; its tone was aggressive and inflam-

matory and was purposely intended to inspire public anger and amazement,

to arouse controversy, and to attract widespread attention.i But is is the

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

artists: or, if not the movements, then their sense of art as an life itself. All of

which, as futurism, had come sharply into focus by the start of the world war:

a first radical mix of art and life, the epitome in the popular 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 un-

ripe in retrospect, they carry within them the seed of all that we were later to

become.i While Marinetti’s opening manifesto for Italian Futurism bristled

with a polemical stance in favor of the transformed present (1909), the later



parole in libertà, by which poetry was to become “an uninterrupted sequence

of new images… (a) strict bet of images or analogies, to be cast into the myste-

rious 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 Mallarmé. 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

(circa 1915), “Everything of any value is theatrical.”

10

126

127

headers& subheads

Headers are an important element in good

type design. They establish hierarchy, which

can be achieved in a number of ways. Headers

do not need to be at the “head” of the layout,

nor do they need to be the highest point size.

Overall, placement is still key to the effec-

tiveness of a header, but it can be anywhere

within the spread, and still establish a sense of

hierarchy.

Subheaders are similar, but their purpose is to

supplement the visual design with the header.

HEADER: one or more lines of text that establishes hier-

archy within a spread

SUBHEAD: may be either a display line continuing the pur-

pose of the header, usually in a smaller point

size, and often seen to break up long periods of

gray or monotony.

128































WORDS IN LIBERTY a prologue to futurismRADICAL MIX OF ART AND LIFE

129HEADERS

Futurism was first announced on February

20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Ital-

ian 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



manifesto’s rhetoric was passionately bombastic; its tone was aggressive and in-

flammatory and was purposely intended to inspire public anger and amazement,

to arouse controversy, and to attract widespread attention.

But is is the movements which survive, oddly,

here where we live and work as poets and artists: or, if not the movements, then

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

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

in the popular 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



While Marinetti’s opening manifesto for Ital-

ian 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 libertà, 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 Mallarmé. Outrageous and aggressive, the Fu-

turists’ 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 (circa 1915), “Everything

of any value is theatrical.”

WORDS IN LIBERTY

a prologue to futurism

radical mix of art and life

130











But is 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 popular mind of an avant-garde. It was, on both its Rus-

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

poets; and if its means now sometimes seem exaggerated or

unripe in retrospect, they carry within them the seed of all

that we were later to become.















words in

libertya prologue of futurismradical mix of life and art

131HEADERS































WORDS IN LIBERTYa prologue of futurism

radical mix of life and art

132
































word

s in

lib

erty

a pr

olog

ue to

futu

rism

radi

cal m

ix o

f art

and

life

i

133HEADERS































words inlibertya prologue to futurismradical mix of art and life

134


135

136

endnotes

Footnotes and endnotes are necessary com-

ponents of scholarly and technical writing.

They’re also frequently used by writers of

fiction, from Herman Melville (Moby-Dick) to

contemporary novelists. Whether their intent

is academic or artistic, footnotes present spe-

cial typographic challenges.

Specifically, a footnote is a text element at the

bottom of a page of a book or manuscript that

provides additional information about a point

made in the main text. The footnote might pro-

vide deeper background, offer an alternate in-

terpretation or provide a citation for the source

of a quote, idea or statistic. Endnotes serve the

same purpose but are grouped together at the

end of a chapter, article or book, rather than at

the bottom of each page.

These general guidelines will help you design

footnotes and endnotes that are readable,

legible and economical in space. (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.)

FOOTNOTES & ENDNOTES

137

& captions

Footnotes are most often indicated by placing a

superscript numeral immediately after the text

to be referenced. The same superscript numeral

then precedes the footnoted text at the bottom of

the page. Numbering footnotes is essential when

there are many of them, but if footnotes are few

they can be marked with a dagger, asterisk, or

other symbol instead. Endnotes should always

use numerals to facilitate easy referencing.

Footnotes and endnotes are set smaller than

body text. The difference in size is usually about

two points, but this can vary depending on the

size, style and legibility of the main text. Even

though they’re smaller, footnotes and endnotes

should still remain at a readable size.

NUMBERS OR SYMBOLS SIZE

138































WORDS IN LIBERTYRADICAL MIX OF ART AND LIFEa prologue to futurism

1

2

3

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

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

139ENDNOTES

Futurism was first announced on February

20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Ital-

ian 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



manifesto’s rhetoric was passionately bombastic; its tone was aggressive and in-

flammatory and was purposely intended to inspire public anger and amazement,

to arouse controversy, and to attract widespread attention.

But is is the movements which survive, oddly,

here where we live and work as poets and artists: or, if not the movements, then

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

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

in the popular 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



While Marinetti’s opening manifesto for Ital-

ian 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 libertà, 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 Mallarmé. Outrageous and aggressive, the Fu-

turists’ 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 (circa 1915), “Everything

of any value is theatrical.”

WORDS IN LIBERTY

a prologue to futurism

radical mix of art and life

1

2

3


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

140











But is 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 popular mind of an avant-garde. It was, on both its Rus-

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

poets; and if its means now sometimes seem exaggerated or

unripe in retrospect, they carry within them the seed of all

that we were later to become.















words in

libertya prologue of futurismradical mix of life and art


2 parole in liberta = words set free (liberty)

3 selbst = himself

2

1

3

141ENDNOTES































WORDS IN LIBERTYa prologue of futurism

radical mix of life and art1 Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988

2 parole in liberta = words set free (liberty)

3 selbst = himself

1

2

3

142
































word

s in

lib

erty

a p

rolo

gu

e to

fu

turi

smra

dica

l mix

of a

rt a

nd li

fe

i1

Ph

ilip

Meg

gs,

His

tory

of

Gra

ph

ic D

esig

n,

Va

n N

ostr

an

d R

ein

hol

d,

198

82

pa

role

in

lib

erta

= w

ord

s se

t fr

ee (

lib

erty

)3

sel

bst

= h

imse

lf

3

1

2

143ENDNOTES































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

words inlibertya prologue to futurism

1

2

3

144


145

146

CLASSIFICATION: SLAB SERIF

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 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 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.

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


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


font studies

147

CLASSIFICATION: GROTESQUE

ROMAN

BOLD

BLACK

Akzidenz Grotesk

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 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.



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

148

CLASSIFICATION: TRANSITIONAL

REGULAR

SMALL CAPS

ITALIC

BOLD

Baskerville

MxaogGdQRtA 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 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. Designers in the twentieth and twenty-first centu-ries have continued to create new typefaces based on historic characteristics.





149FONT STUDY


REGULAR

ITALIC

BOLD

BLACK ITALIC

Belizio

MxagGdQrRA 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.





150


LIGHT

BOLD

BLACK

Bell Gothic

MxagGdQrRIA 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 cen-

turies have continued to create new typefaces

based on historic characteristics.




151FONT STUDY

CLASSIFICATION: OLD STYLE

REGULAR

ITALIC

BOLD

EXTRA BOLD

Bembo

MxnogGdQrRstA basic system for classifying typefaces was

devised in the nineteenth century, when print-

ers sought to identify a heritage for their own

craft analogous to that of art history. Humanist


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.

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.





152

CLASSIFICATION: NEW TRANSITIONAL

REGULAR

ITALIC

BOLD

BOLD ITALIC

Bookman

MxaogGdQrRA 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.





153FONT STUDY

CLASSIFICATION: MODERN (DIDONE)

REGULAR

ITALIC

BOLD

ORNAMENTS

Bodoni

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

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

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




154


REGULAR

ITALIC

SWASH

ORNAMENT

ALTERNATE

Caslon

MxanogGdQRtA 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. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.



A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

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

c h i k l Ss T t

155FONT STUDY


REGULAR

ITALIC

BOLD

BOLD ITALIC

Century Schoolbook

MxaogGdQrRtA 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 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.





156


REGULAR

ITALIC

BOLD

BOLD ITALIC

Cheltenham

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

A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art histo-ry. Humanist letterforms are closely connect-ed 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.





157FONT STUDY

CLASSIFICATION: MODERN

UNICASE

REGULAR

Cholla

MaxnogGdQrRstA 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 pe-

riods in art and literature. Designers in the


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 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.

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 ( ) { } ? ! @ & *


158

CLASSIFICATION: NEW TRANSITIONAL

LIGHT

REGULAR

BOLD

Clarendon

MxagGdQrRtA basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Hu-manist letterforms are closely connect-ed 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 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 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.




159FONT STUDY

CLASSIFICATION: GRID BASED SANS SERIF

REGULAR

Clicker

MaxnogGdQRsA 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.


160


REGULAR

ITALIC

BOLD

Didot

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

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




161FONT STUDY

CLASSIFICATION: GROTESQUE DIN

MaxnogGdQrRtLIGHT

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 { ? ! @ & *

162

CLASSIFICATION: GROTESQUE DIN condensed

MaxngdQHAMBURGLIGHT CONDENSED

REGULAR CONDENSED

BOLD CONDENSED

BLACK CONDENSED







163FONT STUDY

REGULAR

ITALIC

BOLD

Disturbance

MxnatQbWFGdRA 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 Re-

naissance, Baroque, and Enlightenment periods in

art and literature. Designers in the twentieth and

twenty-first centuries have continued to create

new typefaces based on historic characteristics.

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

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

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

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 ( ) { } ? ! @ & *

164

CLASSIFICATION: BLACKLETTER

REGULAR

Fette Fraktur

MxnaopQrRtfgA 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 ( ) { } ? ! @ & *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

165FONT STUDY


REGULAR

FRACTIONS

UNICASE

Filosofia

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




166


BOOK

DEMI

HEAVY

Franklin Gothic

MaxodQRtfGgA 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.





167FONT STUDY

CLASSIFICATION: HUMANIST

CONDENSED

REGULAR

BOLD

ULTRA BLACK

Frutiger

MaxodQRtfGgA 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.





168

CLASSIFICATION: GEOMETRIC

BOOK

BOLD

EXTRA BOLD

Futura

MxaopQRstGgA 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.





169FONT STUDY


REGULAR

ITALIC

BOLD

Gill Sans

MaxnbyogGQRtA 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.



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 ( )

170


BOOK

BOLD

ITALIC

LIGHT

Gotham

MayogGdQRtA 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


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






171FONT STUDY


REGULAR

BOLD

CONDENSED BLACK

ULTRA LIGHT

Helvetica

MaoygGdQrRtA 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 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.





172


REGULAR

BOLD

BLACK

BOLD CONDENSED

Interstate

MaoygGdQrRtA 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


continued to create new typefaces based


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






173FONT STUDY

CLASSIFICATION: SCRIPT

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

174


REGULAR

ITALIC

BOLD

Melior

MayogGdQrRtA 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.





175FONT STUDY


LIGHT

MEDIUM

EXTRA BOLD

Memphis

MxagGdQrRtA 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.





176


REGULAR

CAPS

BLACK

ITALIC

Meta

MaxogGdQrRstA 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.






177FONT STUDY


REGULAR

ITALIC

BOLD

FRACTIONS

Mrs Eaves

MaxogGdQrRstA 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


and the movement of the hand. Transitional

and modern typefaces are more abstract and less




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






178


REGULAR

ITALIC

BOLD

News Gothic

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

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




179FONT STUDY


REGULAR

OCR A

MaopQRfGgA basic system for clas-

sifying 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



180


BOOK

ITALIC

BOLD

Optima

MxaopQRstGgA 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.





181FONT STUDY


LIGHT

OLD STYLE

MEDIUM

BLACK

Palatino

MxaopQRstGgA 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.






182


REGULAR

ITALIC

BOLD

Perpetua

MxaopQRstGgqA 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, Ba-roque, 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.

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.




183FONT STUDY


THIN

REGULAR

HEAVY

Platelet

MaxbyogGQrRtA basic system for classifying typefaces



their own craft analogous to that of art

history. Humanist letterforms are closely

connected to calligraphy and the movement of




Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in

the twentieth and twenty-first centuries

have continued to create new typefaces based


A basic system for classifying typefaces





connected to calligraphy and the movement of






the twentieth and twenty-first centuries

have continued to create new typefaces based


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 ( ) { }

? ! @ & *

184


REGULAR

ALTERNATE

Priori Sans

MxanopdrRtSfGgA 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.



185FONT STUDY


REGULAR

ALTERNATE

BOLD

Priori Serif

MxanodQrRtSfgA 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 centu-

ries have continued to create new typefaces based


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





centuries have continued to create new type-

faces based on historic characteristics.




186

CLASSIFICATION: SANS HUMANIST / SERIF OLD STYLE

(55) SANS

ITALIC

SERIF

ITALIC

Rotis

MxanopQrRtGgA 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.






187FONT STUDY


REGULAR

SMALL CAPS

BOLD

BOLD ITALIC

Sabon

MxayogGQfRA 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.






188


REGULAR

CAPS

ITALIC

BOLD

Scala Sans

MxabyogGdQrRA 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





the twentieth and twenty-first centuries have



A basic system for classifying typefaces was




Humanist letterforms are closely connected

to calligraphy and the movement of the

hand. Transitional and modern typefaces





the twentieth and twenty-first centuries have







189FONT STUDY


REGULAR

ITALIC

BOLD

BLACK

Serifa

MxaoygGdQRA basic system for classifying typefaces

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







190

CLASSIFICATION: SCRIPT

REGULAR

Snell Roundhand

axogbGdQrRstAa 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 ( ) { } ? ! @ & *

Dolessecte ver sim er aut wismod mincilit loboreet praessed tat. Iquis eu feuis dolore faci ercil eriurer sisi tet, quamconse do odolor amcom-modit 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, volo-bor incip et essi.orper sum quamconsed magniam, quisit accum voloborem alit iuscipit la consequam dit nulput acing eu feum quat. Ut lup-tat at.

191FONT STUDY


BOLD CONDENSED

REGULAR

ITALIC

BOLD

Swift

MxaoygGdQrRA basic system for classifying typefaces was





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




centuries have continued to create new

typefaces based on historic characteristics.

A basic system for classifying typefaces was




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.





192


REGULAR

BOLD

BLACK

BLACK

Syntax

MxaoygGdQrRA 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.






193FONT STUDY


CONDENSED

MEDIUM

BOLD

BOLD NO.2

Trade Gothic

MxanyogGdQrRA 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.






194


REGULAR

ITALIC

SMALL CAPS

BOLD

Walbaum

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

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





195FONT STUDY


REGULAR

MEDIUM

MEDIUM ITALIC

BOLD

Volta

MxygGdQrRA 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.





Documents

Typograffiti