Design Can Hurt

DESIGNCANHURT

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ContentsRules.............................................................................................X —Height...................................................................................Hyphenation.............................................................................Line Breaks............................................................................... Alignment...................................................................................Justification..............................................................................Combining Typefaces..........................................................Quotes, Apostrophes, and Dashes.............................Special Characters...............................................................Bullets..........................................................................................Numerals....................................................................................Small Caps................................................................................Paragraph Breaks.................................................................Headers and Subheads.....................................................Notes and Captions.............................................................

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

The following is a compendium of the rules

established in this book. You might want to check through

them each time you complete a publication.

Rules

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A typeface’s color is determined by stroke width,

x-height, character width and serif styles

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 important to understand how a block of text can express a message through its texture/color, therefore suiting a particular design solution. Fonts set in the same size, same leading and column width will produce varying degrees of “color”.

In typography, color can also describe the balance between black and white on the page of text. A typeface’s color is determined by stroke width, x-height, character width and serif styles.

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

Who is to read it?

Someone that wants to read it? Someone that has to read it?

How will it be read?

Quickly. In passing. Focused. Near. Far.

x-height

6

A typeface’s color is determined by stroke width,


7

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

Mr.s Eaves

Zuzana Licko

x-height: small

character width: narrow

color: light

Xxhg 72 point

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

HelveticaAdrian Frutiger

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

Xxhg

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

MeliorHermann Zapf

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

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 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 move-ment. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the

Gill SansEric Gill

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

XxhgXxhg

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

ArcherHoefler & Frere-Jones

x-height: small, large or average character width: wide, narrow, average color: light or dark or..

Xxhg 72 point

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

UniversAdrian Frutiger

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

Xxhg

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and 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 wseveral 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 vio-lence and conflict and called for the sweeping repudiation

DidotFirmin Didot

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

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on dis-carding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were character-ized by the depiction of several successive actions of a 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

Helvetica Neue 55Max Miedinger

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

Xxhg

9

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

Bembo

Francesco Griffo

x-height: small

character width: average

color: light

Xxhg 72 point

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the stat-ic 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

FrutigerAdrian Frutiger

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

Xxhg

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

BelizioDavid Berlow

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

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

FuturaPaul Renner

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

Xxhg

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cel-ebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several 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

BaskervilleJohn Baskerville

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

Xxhg 72 point

Futurism 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 dis-carding what he conceived to be the static and irrel-evant art of the past and celebrating change, original-ity, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a

Franklin GothicMorris Benton

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

Xxhg

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on dis-carding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were 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 politi-

BodoniGiambattista Bodoni

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

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

DIND Stempel AG Foundry

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

Xxhg Xxhg

11

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

Fette FrakturJohann Christian Bauer

x-height: small, large or average character width: wide, narrow, average color: light or dark or..

Xxhg72 point

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

Interstate

Tobias Frere-Jones

x-height: large

character width: average

color: dark

Xxhg

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

Filosofia

Zuzanna Licko

x-height: average


color: light

X x h gFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a mani-festo by the Italian poet and edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discard-ing what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glo-rified contemporary life, mainly by

OCR A

American Type Founders

x-height: large


color: dark

Xxhg

12

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In unjustified text, the text block is set with normal letter and word spacing. Because of the even word spacing the text will have an even texture – no large spaces between words. The lines will naturally vary in length. a ragged text block can integrate with the layout and add visual interest to the page. The difficulty is making the ragged edge have a pleasing silhouette. When the first line in the text is longer than the second, it becomes separate from the layout and creates a box-like shape. This destroys one of the advantages of 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.

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

Widows and OrphansNever 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.

Hyphenation RulesA typeface’s color is determined by stroke width,


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

OrphanWhen the last line of a paragraph, be it ever so long, won’t fit at the bottom of a column and must end itself at the top of the next column, that is an orphan. ALWAYS correct this.

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

Headlines:Don’t hyphenate headlines.Don Quixote de la Man-cha

Watch where the first line of a two-line headline ends — does it creat a silly or misleading phrase? If it does, fix it.

Don’t leave widows in headlines

wrong:Man Walks Barefoot Across BayBridge

right:Man Walks BarefootAcross Bay Bridge

Hyphenation Rules

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H HHH

HH

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Casing Adder

BatHeresy borsch-boil starry aboarder borsch boil gamplate lung, lung a gore in-nerladle wan-hearse torncoiled Mutt-fill.Mutt-fill worsen mush of-fter torn, butted hatter puttygut borsch-boil tame, an offoiler pliers honor tame, doormoist cerebrated worse Cas-ing. Casing worsted sickenedbasement, any hatter bettingorphanage off .526 (fife toesex).Casing worse gut lurkingan furry poplar—spatiallywetter gull coiled Any-bally.Any-bally worse Casing’ssweat-hard, any harpy cobblewandered toe gat merit,bought Casing worse tow poretoe becalm Any-bally’shorsebarn. (Boil pliers honorMutt-fill tame dint gat mushoffer celery; infect, day gutnosing atoll.)Butt less gat earn wetter star-ry.

1. Justify the headline so it stays on one line.

Line BreakCorrectionsH H 2. Use a line break (shift+return) to bumpt “a” down to the next line, where it fits very nicely.

3. Kern the line a tiny bit to bring the rest of the word up.

4. Type a dischy in front of the word to bumpt it down.

5. Never hyphenate a person’s name. I had to go up a few lines, bump “off” down,which bumped the other line endings down.

6. Fix widow.

7. There is plenty of room to squeeze “bought” on this line, perhaps by kerning the line a tiny bit.

8. “Horsebarn” is a good long word that could be hy-phenated; type a dischy. Better yet, when “bought”moved up, it gave enough room to move “horsebarn” up. If not, try opening the text box a wee bit.

9. Edit: to get ride of that terrible widow, exchange a

short word for a long word.

17

Casing Adder BatHeresy borsch-boil starry a boarder borsch boil gamplate lung, lung a gore innerladle wan-hearse torn coiled Mutt-fill. Mutt-fill worsen mush offter torn, butted hatter puttygut borsch-boil tame, an offoiler pliers honor tame, doormoist cerebrated worse Casing. Casing worsted sick-ened basement, any hatter betting orphanage off .526 (fife toe sex). Casing worse gut lurkingan furry poplar—spatiallywetter gull coiled Any-bally.Any-bally worse Casing’ssweat-hard, any harpy cobblewandered toe gat merit, bought Casing worse tow pore toe becalm Any-bally’s horsebarn. (Boil pliers honor Mutt-fill tame dint gat mush offer celery; infect, day gut nosing atoll.) Butt less gat earn wetter starry.

The Result

DCHDCH

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DCHDCH

DCHDCHDCH

DCH

19

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 pur-pose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design.

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

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

• Oftenconsideredmoreformal,lessfriendlythanleft-alignedtext.• Usuallyallowsformorecharactersperline,packingmoreinto the same amount of space (than the same text set left-aligned).• Mayrequireextraattentiontowordandcharacterspacingand hyphenation to avoid unsightly rivers of white space running through the text.• Maybemorefamiliartoreadersinsometypesofpublications,suchasbooksandnewspapers.• Somepeoplearenaturallydrawntothe"neatness"oftextthatlinesupperfectlyontheleftandright.

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

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Left-Aligned, Ragged Right• Oftenconsideredmoreinformal,friendlierthanjustifiedtext.• Theraggedrightedgeaddsanelementofwhitespace.• Mayrequireextraattentiontohyphenationtokeeprightmarginfrombeingtooragged.• Generallytypesetleft-alignediseasiertoworkwith(i.e.requireslesstime,attention, and tweaking from the designer to make it look good).

CenteredThere is nothing inherently wrong with centered text. As with ragged right or fully-justified text alignment, what works for one design might be totally inappropriate for another layout. There are simply fewer situations where centered text is appropriate. When in doubt, don't center it.

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

No matter what alignment you use, remember to pay close attention to hyphenation and word/character spacing as well to insure that your text is as readable as possible.

There will undoubtedly be well-meaning friends, business associates, clients, and others who will question your choices. Be prepared to explain why you chose the alignment you did and be prepared to change it (and make necessary adjustments to keep it looking good) if the person with final approval still insists on something different.

21

C C

CCC

C CC

C

Justification

In the justification inspector window, the desired window indicates the percentage of spacing between words that is desired by the user. The maximum window indicates the limit of how far about the justification will seperate words. The minimum window indicates how the limit of how close words will be together when justified. The letter spacing works the same way as the word spacing.

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

When your work comes out of the printer, turn it upside down and squint at it. The rivers willbeveryeasytospot.Getridofthem.Trysquintingattheexampleonthebottomoftheprevious page.

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

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

right ragged.

When justifying, ideal space between words will create no awkward or inconsistent gaps as well as not create any rivers or gaps in the body of text.C C

CC

23

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Mari-netti, reflected his emphasis on dis-carding 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 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 politi-cal values and the destruction of such cultural institutions as museums and libraries.

Futurism was first announced on Feb-ruary 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-ism, coined by Marinetti, reflected his emphasis on discarding what he con-ceived 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 depic-tion of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalt-ed violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institu-tions as museums and libraries.

Min: 80% Des: 100% Max: 133%

Din Schrift1451 Mittelschrift 10 pt12 pt leading

Mrs. EavesRoman

10 pt12 pt Leading

A few odd gaps still remain in both bodies of text. Overall, there is much room for im-provement.

24

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

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Mari-netti, reflected his emphasis on dis-carding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and so-ciety. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two domi-nant themes, the machine and mo-tion. The works were characterized by the depiction of several succes-sive actions of a subject at the same time. Marinetti’s manifesto glori-fied the new technology of the auto-mobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of tradi-tional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Min: 100% Des: 100% Max: 133%


Mrs. EavesRoman

10 pt12 pt Leading

This is not a very successful solution There are many prominent rivers and gaps.

25

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 Marinet-ti. 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 cul-ture and society. Futurism rejected traditions and glorified contempo-rary life, mainly by emphasizing two dominant themes, the machine and motion. The works were char-acterized by the depiction of sev-eral 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 repu-diation of traditional cultural, so-cial, and political values and the destruction of such cultural insti-tutions as museums and libraries.

Futurism was first announced on Feb-ruary 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-ism, coined by Marinetti, reflected his emphasis on discarding what he con-ceived 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 depic-tion of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalt-ed violence and conflict and called for the sweeping repudiation of tradition-al cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Min: 85% Des: 90% Max: 100%

DINRegular 10 pt12 pt leading

MinionRegular

10 pt12 pt Leading

These are more or less more successful than the others in a sense that they don’t have any blatantly obvious gaps and rivers, although they could still be adjusted.

26

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 Marinet-ti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innova-tion in culture and society. Futur-ism rejected traditions and glo-rified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several succes-sive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repu-diation of traditional cultural, so-cial, and political values and the destruction of such cultural insti-tutions as museums and libraries.

Futurism was first announced on Feb-ruary 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 em-phasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, original-ity, and innovation in culture and so-ciety. 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 sever-al successive actions of a subject at the same time. Marinetti’s manifesto glori-fied 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 re-pudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Min: 80% Des: 100% Max: 133%


FilosofiaRegular

10 pt12 pt Leading

This solution has quite a lot of odd gaps and rivers.

27

DD DD

DD

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 Marinet-ti. 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 cul-ture and society. Futurism rejected traditions and glorified contempo-rary life, mainly by emphasizing two dominant themes, the machine and motion. The works were char-acterized by the depiction of sev-eral 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 move-ment. He exalted violence and conflict and called for the sweep-ing repudiation of traditional cul-tural, social, and political values and the destruction of such cultural institutions as museums and librar-ies.

Futurism 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 ir-relevant art of the past and cel-ebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, main-ly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several suc-cessive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repu-diation of traditional cultural, so-cial, and political values and the destruction of such cultural insti-tutions as museums and libraries.

Min: 80% Des: 90% Max: 100%

FuturaMedium 10 pt12 pt leading

MeliorRoman

10 pt12 pt Leading

The melior font works better than the Futura. The Futura still has a lot of noticeable rivers.

28

DD D

D

D DD

Combining Typefaces

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

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

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

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OLD STYLE/ GERALDHUMANIST SANS SERIF

WORDSINLIBERTY

A Prologue to Futurism: Futurism was firstannounced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italianpoet and editor Filippo Tommaso Marinetti. The nameFuturism, coined by Marinetti, reflected his emphasis ondiscarding what he conceived to be the static and irr-elevantart of the past and celebrating change, originality,and innovation in culture and society. Futurism rejectedtraditions and glorified contemporary life, mainly byemphasizing two dominant themes, the machine andmotion. The works were characterized by the depictionof several successive actions of a subject at the same time.Marinetti’s manifesto glorified the new technology of theautomobile 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.

Old Style / GeraldGrotesque Sans Serif

Words In Liberty

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on 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 traditions and glorified contemporary life, mainly by emphasizing two dominantthemes, 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 thesweep-ing repudiation of traditional cultural, social, and political values andthe destruction of such cultural institutions as museums and libraries.

aa BB ee GG ggTradeGothicBold16pt:TradeGothicGaramondPro24pt

TradeGohicworkswellasaheadlineandsub-headanditsnarrownessmatcheswellwithGaramond’straditionalfeel.

aa BB ee GG gggill sans 16pt and 24pt

These2fontsworkbestwhenGillSansisinbold,versesaregular weight. Sabon has a slightly taller x – height thanGill,whichisanicecontrast,butstillworksbestifGillisalarger size and weight to achieve hierarchy.

31

TRANSITIONALGEOMETRIC SANS SERIF

WORD IN LIBERTYA Prologue to Futurism: Futurism was firstannounced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italianpoet and editor Filippo Tommaso Marinetti. The nameFuturism, coined by Marinetti, reflected his emphasis ondiscarding 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 rejectedtraditions and glorified contemporary life, mainly byemphasizing two dominant themes, the machine andmotion. The works were characterized by the depictionof several successive actions of a subject at the same time.Marinetti’s manifesto glorified the new technology of theautomobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for thesweeping repudiation of traditional cultural, social, andpolitical values and the destruction of such cultural institutions as museums and libraries.

aa BB ee GG ggFutura 16pt and Adobe Calson 24pt

Futura and Adobe Caslon don’t compliment each other as nicely as some of the other cominations. Futura in regular width doesn’t have enough contrast with Caslon’s stoutness.

TRANSITIONALHUMANIST SANS SERIF

WORDS IN LIBERTYA PROLOGUE TO FUTURISM: Futurism was firstannounced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italianpoet and editor Filippo Tommaso Marinetti. The nameFuturism, coined by Marinetti, reflected his emphasis ondiscarding 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 rejectedtraditions and glorified contemporary life, mainly byemphasizing two dominant themes, the machine andmotion. The works were characterized by the depictionof several successive actions of a subject at the same time.Marinetti’s manifesto glorified the new technology of theautomobile and the beauty of its speed, power, and mov-ement. He exalted violence and conflict and called for thesweeping repudiation of traditional cultural, social, andpolitical values and the destruction of such cultural institutions as museums and libraries.

aa BB ee GG ggFrutiger 55 16pt 14/16 : Frutiger 55 9/12 : Belizio 7/11

Belizio is such a strange font in body copy, that is requests something like Frutiger that has a versatility and stability in its variations.

32

MODERNGEOMETRIC SAN SERIF

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris news paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and ir-relevant art of the past and celebrating change, origi-nality, and innovation in culture and society. Futurism re-jected 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 tech-nology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

aa BB ee GG ggInterstate16pt:GeometricSansandDidot24pt:Modern

Interstate and Didot work together because of the contrast between interstate’s boldness and Didot’s slender form. The contrast might be too much in some uses.

MODERNGROTESQUE SANS SERIF

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was firstannounced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italianpoet and editor Filippo Tommaso Marinetti. The nameFuturism, 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 rejectedtraditions and glorified contemporary life, mainly byemphasizing two dominant themes, the machine andmotion. The works were characterized by the depictionof several successive actions of a subject at the same time.Marinetti’s manifesto glorified the new technology of theautomobile 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 ggNewsGothicBold16pt:GrotesqueSansandBodoni24pt:Modern

NewsGothicinboldhelpscreatcontrastbetweenitselfandBodoni.The extreme hairline thick and thins and hairline serifs in Bodoni emphasizethecontrastandboldnessbetweenNewsGothicandthemodern font Bodoni.

33

New Transitional

Geometric Sans Serif

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on

February 20, 1909, when the Paris newspaper Le Figaro published

a manifesto by the Italian poet and editor Filippo Tommaso Marinetti.

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

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

the past and celebrating change, originality, and innovation in culture

and society. Futurism rejected traditions and glorified contemporary

life, mainly by emphasizing two dominantthemes, 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 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 thesweeping repudiation of traditional cultural, social,

and political values andthe destruction of such cultural institutions

as museums and libraries.

aa BB ee GG ggFutura Condensed ExtraBold 16pt and Rockwell 24pt

Rockwell is a fairly wide typeface but matches well with Futura Con-densed ExtraBold.

New Transitional

Grotesque Sans Serif

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominantthemes, 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 au-tomobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for thesweeping repudiation of traditional cultural, social, and political values andthe destruction of such cultural institutions as museums and libraries.

aa BB ee GG ggTradeGothicBold16ptandITCBookmanLight24pt

As an overall heavy body, the two fonts compliment each other suf-ficienty to create a smooth typographic color.

34

Slab Serif

Geometric Sans Serif

WORDS IN LIBERTY

A Prologue to Futurism: Futurism 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 irrel-

evant art of the past and celebrating change, originality, and innova-

tion in culture and society. Futurism rejected traditions and glorified

contemporary life, mainly by emphasizing two dominantthemes, the

machine and motion.The works were characterized by the depiction

of several successive actions of a sub-ject at the same time. Marinet-

ti’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 thesweeping repudiation of traditional cultural,

social, and political values andthe destruction of such cultural institu-

tions as museums and libraries.

aa BB ee GG ggGothamItalic16ptandRockwellLight24pt

ThecontrastbetweentheboldnessofGothamandthelightnessofRockwell creates an interesting and effective heirarchy. Rockwell has a stoutness to it, but the fact that it is light balances it out to make for a successful body font.

Slab Serif

Humanist Sans Serif

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced

on February 20, 1909, when the Paris newspaper Le Figaro published a

manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The

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

what he conceived to be the static and irrelevant ar t 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 dominantthemes, the machine and motion.The works were character-

ized 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 thesweeping repudiation of traditional cultural,

social, and political values andthe destruction of such cultural institutions

as museums and libraries.

aa BB ee GG ggVolta16ptandGillsSans24pt

Both of these fonts are very light. The simple differences in size and serif allow for these fonts to work together quite well.

35

37

Quotes, Dashes, Apostrophes

Quotation MarksUse real quotation marks – never those grotesque generiactually symbolize ditto/inch or foot marks:use"and"–not“and”.Mostsoftwareapplicationswillconvertthetypewriterquotesto the real quotes for you automatically as you type. Check the preferences for your application – you’ll find a check box to tell your application to automatically set something like “typographer’s quotes,” “smart quotes,” or “curly quotes.” Then as you type using the standard ditto key (“), the software will set the correct quotation marks for you.

But it is necessary to know how to set them yourself because sometimes the software doesn't do it or does it wrong.

Opening double quote: “ Type: Option [Closing double quote: ” Type: Option Shift [Opening single quote: ‘ Type: Option ]Closing single quote: ’ Type: Option Shift ]

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

ApostropheApostrophe: ’ option shift ]

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

For possessives: Turn the phrase around. The apostrophe will be placed after whatever word you end up with. For example, in the phrase the boys’ camp, to know where to place the apostrophe say to yourself, “The camp belongs to the boys.” The phrase the boy’s camp says “The camp belongs to the boy.”

“The big exception to this is “its.” “Its” used as a possessive never has an apostrophe! The word it only has an apostrophe as a contraction — “it’s” always means “it is” or “it has.” Always.It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes — and neither should its.

When, where, and how to use them professionally

38

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

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

For omission of letters: In a phrase such as Rock ’n’ Roll, there should be an 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 op-posite single quote. An apostrophe is still the appropriate mark (not ‘n’).

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

InaphrasesuchasGoneFishin’thesamepatternisfollowed—thegismissing.

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.

DashesNever use two hyphens instead of a dash.Use hyphens, en dashes, and em dashes appropriately.

Everyone knows what a hyphens is —that tiny little dash that belongs in some words, like mother-in-law, or in phone numbers. It’s also used to break a word at the end of a line, of course.

You might have been taught to use a double hyphen to indicate a dash, like so : -- . This is a typewriter convention because typewriters didn’t have the real dash used in professional type-setting.OnaMac,nooneneedstousethedoublehyphen—wehaveaprofessionalemdash,thelong 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 —

39

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

En dash –To type an en dashendash–OptionHyphenholdtheOptionkeydown,thentapthehyphenkey

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.

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

Em dash —To type an em dashemdash—ShiftOptionHyphenholdtheShiftandOptionkeysdown,thentapthehyphenkey.

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

Ourequivalentonthetypewriterwasthedoublehyphen,butnowwehavearealemdash.Usingtwohyphens(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.

40

41

Special Characters

Thefollowingisalistofthemostoften-usedspecialcharactersandaccentmarks.Onthefollowingpages are the key combinations for just about every accent you might need. (*you will need to recreate thisanxisinplaceofthe"real"character,ALSOusetabstotabtextovertoalign)

“ Option[openingdoublequote” OptionShift[closingdoublequote‘ Option]openingsinglequote’ OptionShift]closingsinglequote;apostrophe– OptionHyphenendash— OptionShiftHyphenemdash… Option;ellipsis(thischaractercan'tbeseparatedattheendofalineasthreeperiodscan)• Option8bullet(easywaytorememberasit'stheasteriskkey)fi OptionShift5ligatureoffandifl OptionShift6ligatureoffandl© Optiong™ Option2® Optionr° OptionShift8degreesymbol(e.g.,102°F)€ OptionShift2Eurosymbol⁄ OptionShift1(one)fractionbar(thisdoesn'tdescendbelowthelineliketheslashdoes)¡ Option1(one)¿ OptionShift?£ Option3ç OptioncÇ OptionShiftc

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

Óptione=éÒption~=òÖptionu=üÕptionn=ñÔptioni=î

They’re special

H H H H H H H H H

42

H H H H H H H H HH H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H







H H H H H H H H HH H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H43

Bullets

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

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

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

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

Make sure to take full advantage of the baseline shift feature when using dingbats or ornaments as bullets. There can be differences in dingbat or webding size, so adjustment might be necessary. Sometimes the character is not aligned, you can use the baseline shift to move it where it should be.

Example:

•One • Two• Three• Four•Get• Your• Woman•On• The• Floor

•Gotta •Gotta•Get• Up• to•Get• Down

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

44

Numerals/Figures

They are considerably different from the more common “lining” (or “aligning”) figures which are all-cap height and typically monospaced in text faces so that they line up vertically on charts. Oldstylefigureshavemoreofatraditional,classiclook.Theyareonlyavailableforcertaintype-faces, sometimes as the regular numerals in a font, but more often within a supplementary or expert font. The figures are proportionately spaced, eliminating the white spaces that result from monospaced lining figures, especially around the numeral one.

Oldstylefiguresareveryusefulandquitebeautifulwhensetwithintext.Unlikeliningfigures,they blend in without disturbing the color of the body copy. They also work well in headlines since they’re not as intrusive as lining figures. In fact, many people prefer them overall for most uses except charts and tables. It’s well worth the extra effort to track down and obtain typefaces with oldstyle numerals; the fonts that contain them might well become some of your favorites.

Example:

Notice how large and chunky these numbers appear: Dear John, please call me at 438-9762 at 3:00 to discuss marriage. OrwritetomeatRoute916,zipcode87505

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

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

46

D D D DD

D

DD

Small Caps

Small caps are less intrusive when all uppercase appears within normal text or can be used for special emphasis. Computer programs can generate small caps for a any typeface, but those are not the same as true small caps. True small caps have line weights that are proportionally cor-rect for the typeface, which me and that they can be used within a body of copy without looking noticeably wrong.

• 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 resizing capital letters or using the small caps feature in some programs. Instead use typefaces that have been specifically created as small caps.

Where to use small caps

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

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

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

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

D

48

The Wicked Are WeAry

The weight of the computer–drawn small capsis thinner than the weight of the regular initial (first letter) caps. Typefaces is Didot.

True-drawn small caps

There are quite a few font families that include “true-drawn” small caps—letterfomrs that hav ebeen redesigned to match the proportions and thickness of the uppercase. The families are often called “expert” sets or perhaps “small cap” sets. The result is a smooth, uniform, undisturbing tone through-out the text.

There Is No Rest For The Wicked.

The Wicked Are Very Weary.

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

Typefaces is Didot.

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HH H

Paragraph Breaks

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

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 separated by extra leading not a full return 3.theamountindentis=totheleading(sometimesneedsabitmore)

4. never hit two returns between paragraphs

Paragraph breaks set a rhythm for the reader. The breaks have a relationship with the column of text as well as the page margins. A break may be introduced as an indentation, as a space or both.

51

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bom-bastic; 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 futur-ism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, thefirstgreat"art"movementledbypoets;andifitsmeansnow 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 manifestosofFuturistpoetsandartistsofferedformal/"technical"approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "anuninterruptedsequenceofnewimages…(a)strictbetofimagesoranalogies,tobecastintothemysteriousseaofphenomena."Thisfreedom-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 inmotionbyforerunnerslikeMallarme.Outrageousandaggressive,the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3(circa1915),"Everythingofanyvalueistheatrical."

52

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 ir-

relevant art of the past and celebrating change, originality, and innova-tion in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bom-bastic; 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 move-ments, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in

the poplar mind of an avant-garde. It was, on both its Russian & Italian sides,thefirstgreat"art"movementledbypoets;andifitsmeansnowsometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the trans-formed present (1909), the later manifestos of Futurist poets and artists offered formal/"technical" approachesto the works then getting under way. The key term--still

resonant today--was parole in liberta2, by which poetry was to become "anuninterruptedsequenceofnew images…(a)strictbetof imagesoranalogies, tobecast into themysteriousseaofphenomena."Thisfreedom-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 motionby forerunners likeMallarme.Outrageousandaggressive, theFuturists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers be-tween themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3(circa1915),"Everythingofanyvalueistheatrical."

53

F u t u r i s m w a s f i r s t a n n o u n c e d o n F e b r u a r y 2 0 , 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrat-ing change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasiz-ing 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.B u t i s i s t h e m o v e m e n t s w h i c h s u r v i v e , o d d l y , here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, onbothitsRussian&Italiansides,thefirstgreat"art"movementledbypoets; 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.W h i l e M a r i n e t t i ' s o p e n i n g m a n i f e s t o f o r Italian Futurism bristled with a polemical stance in favor of the trans-formed present (1909), the later manifestos of Futurist poets and artistsofferedformal/"technical"approachestotheworksthengettingunder way. The key term--still resonant today--was parole in liberta2, by whichpoetrywastobecome"anuninterruptedsequenceofnewim-ages… (a) strict bet of images or analogies, to be cast into the mysteri-ousseaofphenomena."Thisfreedom-of-the-world,whileitresembledother forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presenta-tionoflanguage,assetinmotionbyforerunnerslikeMallarme.Outra-geous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3(circa1915),"Everythingofanyvalueistheatrical."

54

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

newspaper Le Figaro published a manifesto by the Italian poet and edi-

tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti,

reflected his emphasis on discarding what he conceived to be the static

and irrelevant art of the past and celebrating change, originality, and in-

novation in culture and society.1 Futurism rejected traditions and glorified

contemporary life, mainly by emphasizing two dominant themes, the ma-

chine 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 fu-

turism, had come sharply into focus by the start of the world war: a first

radical mix of art and life, the epitome in the poplar mind of an avant-

garde. Itwas, onboth itsRussian& Italian sides, the first great "art"

movement led by poets; and if its means now sometimes seem exagger-

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

we were later to become. £ 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/"technical"approachestotheworksthengettingunderway.The

key term--still resonant today--was parole in liberta2, by which poetry

wastobecome"anuninterruptedsequenceofnewimages…(a)strict

bet of images or analogies, to be cast into the mysterious sea of phe-

nomena."Thisfreedom-of-the-world,while it resembledotherformsof

collage and of image juxtaposition, more fully explored the use of inno-

vative and expressive typography in the visual presentation of language,

assetinmotionbyforerunnerslikeMallarme.Outrageousandaggres-

sive, the Futurists' performances mixed declamation and gesture, events

and surroundings, indifference and engagement, to break the barriers

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

Marinetti selbst3(circa1915),"Everythingofanyvalueistheatrical."

55

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

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian&Italiansides,thefirstgreat"art"movementledbypoets;andif 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 offeredformal/"technical"approachestotheworks then getting under way. The key term--still resonant today--was parole in liberta2, by whichpoetrywastobecome"anuninterruptedsequence of new images… (a) strict bet of im-ages or analogies, to be cast into the mysterious seaofphenomena."Thisfreedom-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 byforerunnerslikeMallarme.Outrageousandaggressive, the Futurists' performances mixed declamation and gesture, events and surround-ings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3(circa1915),"Everythingofanyvalueistheatrical."

56

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glori-fied 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 pur-posely 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 futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the firstgreat"art"movementledbypoets;andifitsmeansnowsome-times 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 poetsandartistsofferedformal/"technical"approachestotheworksthen getting under way. The key term--still resonant today--was parole in liberta2,bywhichpoetrywastobecome"anuninterruptedsequenceof new images… (a) strict bet of images or analogies, to be cast into themysteriousseaofphenomena."Thisfreedom-of-the-world,whileit resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme.Outrageousandaggressive,theFuturists'performancesmixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everythingofanyvalueistheatrical."

57

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bom-bastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & 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"approachestotheworksthengettingunderway.The key term--still resonant today--was parole in liberta2, by which poetrywastobecome"anuninterruptedsequenceofnewimages…(a) strict bet of images or analogies, to be cast into the mysterious sea ofphenomena."Thisfreedom-of-the-world,whileitresembledotherforms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation oflanguage,assetinmotionbyforerunnerslikeMallarme.Outrageousand aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3(circa1915),"Everythingofanyvalueistheatrical."

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Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bom-bastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.//////////////////////////////////////////////////////////////But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian&Italiansides,thefirstgreat"art"movementledbypoets;andif 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 manifestosofFuturistpoetsandartistsofferedformal/"technical"approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "anuninterruptedsequenceofnewimages…(a)strictbetofimagesoranalogies,tobecastintothemysteriousseaofphenomena."Thisfreedom-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 inmotionbyforerunnerslikeMallarme.Outrageousandaggressive,the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3(circa1915),"Everythingofanyvalueistheatrical."

59

uturism 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 Futur-ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrat-ing change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasiz-ing 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.

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

hile Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the latermanifestosofFuturistpoetsandartistsofferedformal/"technical"approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "anuninterruptedsequenceofnewimages…(a)strictbetofimagesoranalogies,tobecastintothemysteriousseaofphenomena."Thisfreedom-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 inmotionbyforerunnerslikeMallarme.Outrageousandaggressive,the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3(circa1915),"Everythingofanyvalueistheatrical."

F

B

W

60

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

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, onbothitsRussian&Italiansides,thefirstgreat"art"movementled 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 pres-ent (1909), the later manifestos of Futurist poets and artists offered formal/"technical"approachestotheworksthengettingunderway.The key term--still resonant today--was parole in liberta2, by which poetrywastobecome"anuninterruptedsequenceofnewimages…(a) strict bet of images or analogies, to be cast into the mysterious sea ofphenomena."Thisfreedom-of-the-world,whileitresembledotherforms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation oflanguage,assetinmotionbyforerunnerslikeMallarme.Outrageousand aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3(circa1915),"Everythingofanyvalueistheatrical."

61

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet

and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he con-

ceived to be the static and irrelevant art of the past and celebrat-ing change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly

by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone

was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde.

It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem ex-aggerated 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 libertaw,

by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast

into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtapo-sition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion byforerunnerslikeMallarme.Outrageousandaggressive,theFu-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 selbst3 (circa 1915), “Everything of any

value is theatrical.”

62

C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C

63

Headers & Subheads

Regarding headers and sub-heads:

• Oneshouldchooseapredominantlysymmetricalorasymmetricalformforsubheads.Mixing the two leads to stylistic and logical confusion.

• If symmetrical heads are added to a basically asymmetricl series, or vice versa, it is normally better to put the abnormal line on the top or bottom of the heirarchy pile.

Kerning

Spacing in a header is key to creating appropriate visual hierarchy in a document or page of text. Proper spacing is achieved by kerning. Kerning is the process of removing small amounts of space between letters to create visually consistent letterspacing. The larger the text is, the more attention should be paid to kerning.

HAMBURGER unkerned

HAMBURGER kerned

The key to kerning is visual perception, the more white space that surrounds an object, the smaller it seems. The spacing between letters may not all be the exact same, but it will appear that way with the proper kerning.

Header: A line of text serving to indicate what the passage below it is about. Sub-head: A heading of a sub-division, as in a chapter, essay, or newspaper article.

64

65

Words in LibertyA Prologue to Futurism

Radical mix of art and life

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on dis-carding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto'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 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 futur-ism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retro-spect, 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 art-ists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an uninter-rupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the bar-riers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."

66

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

ar t of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary

life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggres-sive 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 ar tists: or, if not the movements, then their sense of ar t as an life itself. All of which, as futurism, had come sharply into focus by the star t of the world war : a first radical mix of ar t and life, the epitome in

the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "ar t" 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 mani-festos of Futurist poets and ar tists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liber ta2, 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 Mallarme. Outra-geous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."

WORDS IN LIBERTY


A Prologue to Futurism

67

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futur-ism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the ma-chine and motion. The manifesto's rhetoric was passion-ately bombastic; its tone was aggressive and inflamma-tory 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 move-ments, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

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

Words in Liberty

Radical

mix

of

art

and

life

A

Prologue

to

Futurism

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 inno-vation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.But 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 poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typogra-phy in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."



Words in Liberty

69

Futurism 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 dis-

carding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the

poplar mind of an avant-garde. It was, on both its Russian & 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 Futur-ist poets and artists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was parole in

liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indiffer-ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."

Words in Liberty

Radical mix

of art

and life

A

Prologue

to

Futurism

Radical mix

of art

and life

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 Mari-

netti, reflected his emphasis on discarding what he conceived to be the

static and irrelevant art of the past and celebrating change, originality, and

innovation in culture and society.1 Futurism rejected traditions and glori-

fied 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 poplar mind of an avant-garde. It was, on both its Rus-

sian & Italian sides, the first great "art" movement led by poets; and if its

means now sometimes seem exaggerated or unripe in retrospect, they carry

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 reso-

nant today--was parole in liberta2, by which poetry was to become "an un-

interrupted 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 juxtaposi-

tion, more fully explored the use of innovative and expressive typography

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

Mallarme. Outrageous and aggressive, the Futurists' performances mixed

declamation and gesture, events and surroundings, indifference and engage-

ment, to break the barriers between themselves and those who came to

jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of

any value is theatrical."

Words in Liberty



71

Notes &Captions

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

Specifically, a footnote is a text element at the bottom of a page of a book or manuscript that provides additional information about a point made in the main text. The footnote might provide deeper background, offer an alternate interpretation or provide a citation for the source of a quote, idea or statistic. Endnotes serve the same purpose but are grouped together at the end of a chapter, article or book, rather than at the bottom of each page.

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

Numbers or Symbols: Footnotes are most often indicated by placing a superscript nu-meral 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 sym-bol instead. Endnotes should always use numerals to facilitate easy referencing.

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

Footnotes and endnotes are key components of professionaland technical writnig.

73

1. Philip Meggs, History of Graphic De-

sign, Van Nostrand Reinhold, 1988

2. parole in liberta = words set free (lib-

erty)

3. selbst = himself

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 Futur-ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contem-porary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti's opening manifesto for Italian Futurism bris-tled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This free-dom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of in-novative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggres-sive, the Futurists' performances mixed declamation and ges-ture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Every-thing of any value is theatrical."

74

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

ar t of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary

life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggres-sive 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 ar tists: or, if not the movements, then their sense of ar t as an life itself. All of which, as futurism, had come sharply into focus by the star t of the world war : a first radical mix of ar t and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the

first great "ar t" movement led by poets; and if its means now sometimes seem exag-gerated or unripe in retrospect, they carry

within them the seed of all that we were later to become.While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later mani-festos of Futurist poets and ar tists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was

parole in liber ta2, 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 in-novative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."

1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 19882. parole in liber ta = words set free (liber ty)

3. selbst = himself

WORDS IN LIBERTY



75

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 ir-relevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by 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 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 futur-ism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

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

Words in Liberty

Radical

mix

of

art

and

life

A

Prologue

to

Futurism

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

3. selbst = himself

76

A

Prologue

to

Futurism

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifes-to by the Italian poet and editor Filippo Tommaso Marinet-ti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futur-ism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the ma-chine 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 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 move-ments, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the trans-formed 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 res-onant today--was parole in liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surround-ings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."



Words in Liberty

1. Philip Meggs, History of

Graphic Design, Van Nostrand

Reinhold, 1988

2. parole in liberta = words set

free (liberty)

3. selbst = himself

77

Futurism 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.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war:

a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & 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 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/"technical" approaches to the works then

getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indiffer-ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical."

Words in Liberty

Radical mix

of art

and life

A

Prologue

to

Futurism

Radical mix

of art

and life

1. Philip Meggs, History of

Graphic Design, Van Nostrand

Reinhold, 1988

2. parole in liberta = words

set free (liberty)

3. selbst = himself

78

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian&Italiansides,thefirstgreat"art"movementledbypoets;andif 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 manifestosofFuturistpoetsandartistsofferedformal/"technical"approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "anuninterruptedsequenceofnewimages…(a)strictbetofimagesoranalogies,tobecastintothemysteriousseaofphenomena."Thisfreedom-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 inmotionbyforerunnerslikeMallarme.Outrageousandaggressive,the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3(circa1915),"Everythingofanyvalueistheatrical."

Words in Liberty



1. Philip Meggs, History of Graphic

Design, Van Nostrand Reinhold, 1988

2. parole in liberta =

words set free (liberty)

3. selbst = himself

Humanist

xoaengdp• little contrast between thick and thin of strokes• stroke weight has inflections similar to handwriting• strong diagonal stress such as on letter o• sloping bar on letter e

Jenson, Goudy’s Kennerly, Bruce Rogers’ Centaur

Gerald (Old Style)

xoaengdp• contrast between thick and thin strokes is more pronounced• horizontal bar on e• diagonal stress is less prominent

• shorter x-height• scooped serifs, sturdy without being heavy

Sabon, Garamond, Bembo, Times, Plantin, Caslon Old Style

SerifDidone (Modern)

xoaengdp• extreme contrast between thick and thin strokes• hairline (strokes) serifs• horizontal stress• horizontal bar on e

Jenson, Goudy’s Kennerly, Bruce Rogers’ Centaur

New Transitional

xoaengdp• sturdy typefaces hold up under poor printing• little contrast between thick and think strokes• horizontal stress• horizontal bar on e• tall x-height• shorter ascenders, descenders

Bookman, Century Schoolbook, Cheltenham

Egyptian or Slab Serif

xoeangdp• mono weight• square ended serifs• horizontal stress• horizontal bar on e

Baskerville, Caslon, Perpetua, (newer garamonds)

Transitional

xoeangdp• contrast between thick and thin strokes is

pronounced• very slight diagonal stress• bracketed serifs• horizontal bar on e• tall x-height

Baskerville, Caslon, Perpetua, (newer garamonds)

Grotesque

xAag• slight contrast in the stroke weight• slight squareness to the curves• usually a tall x-height : short ascenders and descenders• usually a two story lowercase a• capital R usually has a curled leg• capital G usually has a spur

Helvetica, Univers, Akzidenz Grotesk, Folio

Sans

Geometric

xAag• vary little contrast in the stroke weight (monoline)• a little wider set• constructed from simple shapes : circle and rectangle• usually a one story lowercase a• upper case A has a pointed apex

Futura, Kabel, Metro

Humanist

xAag• based on the proportions of the Roman capitals• some contrast in the stroke weight• lowercase a and g are usually two story

Syntax, Frutiger, Praxis, Stone Sans

HAMBURGERQ hamburgerq?!&Font List

akzidenz grotesk

designer: gunter gerhard lange classification: grotesque characteristics: spur on g, tall x-height, short ascenders and descenders, short tail on q

HAMBURGERQ hamburgerq?!&baskervilledesigner: john baskerville classification: transitional characteristics: diagonal stress, bracketed

serifs , tall x-height

HAMBURGERQ hamburgerq?!&belizio

designer: david berlow classification: slab serif characteristics: monoweight, square serifs, ball terminals

HAMBURGERQ hamburgerq?!&bembo

designer: stanley morison classification: old style characteristics: high contrast between thick and thin strokes

HAMBURGERQ hamburgerq?!&bookman

designer: alexander phemister classification: new transitional characteristics: horizontal stress, tall x-height

HAMBURGERQ hamburgerq?!&bodoni (bauer bodoni)

designer: giambattista bodoni classification: didone (modern) characteristics: extreme contrast between thick and thin strokes

HAMBURGERQ hamburgerq?!&caslon (adobe caslon)

designer: carol twombly classification: transitional characteristics: long tail on q, slight diagonal stress

HAMBURGERQ hamburgerq?!&clarendon

designer: robert besley classification: slab serif characteristics: monoweight, large ball termi-nals

HAMBURGERQ hamburgerq?!&clicker

designer: greg thompson classification: grid based san-serif characteristics: little stroke contrast, technology based, tall x-height

HAMBURGERQ hamburgerq?!&didot

designer: firmin didot classification: modern characteristics: high contrast stroke weight, tall x-height

HAMBURGERQ hamburgerq?!&DIN

designer: albert jan-pool classification: grotesque characteristics: no stroke contrast, tall x-height, short ascenders and descenders

HAMBURGERQ hamburgerq?!&disturbance

designer: jeremy tankard classification: new transitional characteristics: mix of upper and lowercase,unique g and q, bracketed serif

HAMBURGERQ hamburgerq?!&filosofia

designer: zuzana licko classification: modern characteristics: bracketless serif, contrasting stroke

HAMBURGERQ hamburgerq?!&frutiger

designer: adrian frutiger classification: humanist characteristics: low contrast, short ascenders and descenders

HAMBURGERQ hamburgerq?!&cholla

designer: sibylle hagmann classification: n/a characteristics: squared curves, short ascenders and descenders

HAMBURGERQ hamburgerq?!&garamond (adobe garamond)

designer: claude garamond classification: old style characteristics: bracketed serifs, short x-height, variable weight

HAMBURGERQ hamburgerq?!&gill sans

designer: eric gill classification: humanist characteristics: minimal stroke width, wide character width

HAMBURGERQ hamburgerq?!&goudy

designer: frederic w. goudy classification: old style characteristics: short x-height, diagonal stress, stroke variation

HAMBURGERQ hamburgerq?!&helvetica

designer: max medinger classification: grotesque characteristics: tall x-heights, two-story a, squared leg kicks

HAMBURGERQ hamburgerq?!&interstate

designer: tobias frere-jones classification: grotesque characteristics: short ascenders/descenders, angled finials

HAMBURGERQ hamburgerq?!&künstler script

designer: hans bohn classification: script characteristics: different line weights, ball terminals, goudy caps

HAMBURGERQ hamburgerq?!&melior

designer: herman zapf classification: transitional serif characteristics: high stroke contrast, square serif ending

HAMBURGERQ hamburgerq?!&futura

designer: paul renner classification: geometric characteristics: circular bowls/counters, monoweight, wide

HAMBURGERQ hamburgerq?!&mrs eaves

designer: zuzana licko classification: transitional characteristics: vertical stress, g has no open counter, thick and thin strokes

HAMBURGERQ hamburgerq?!&news gothic

designer: morris fuller benton classification: grotesque characteristics: tall x-height, shallow descenders

HAMBURGERQ hamburgerq?!&platelet

designer: conor mangat classification: geometric characteristics: no stroke variation, half upper/half lower

HAMBURGERQ hamburgerq?!&rockwell

designer: monotype corporation classification: slab serif characteristics: mono weight, square serifs

HAMBURGERQ hamburgerq?!&rotis sans serif

designer: otl aicher classification: humanist sans serif characteristics: tall x-height, two story a, Q tail is above baseline

HAMBURGERQ hamburgerq?!&rotis serif

designer: otl aicher classification: humanist serif characteristics: bracketed serifs, tall x-height, subtle stroke contrast

HAMBURGERQ hamburgerq?!&sabon

designer: jan tschichold classification: old style characteristics: thicks and thins, short x-height, scooped serifs

HAMBURGERQ hamburgerq?!&memphis

designer: emil rudolf weiss classification: slab serif characteristics: mono weight, square serifs, horizontal stress

HAMBURGERQ hamburgerq?!&shelley

designer: matthew carter classification: script characteristics: all characters connect, consistent loop

HAMBURGERQ hamburgerq?!&snell roundhand

designer: matthew carter (charles snell) classification: script characteristics: calligraphy influenced, strong stroke variation

HAMBURGERQ hamburgerq?!&swift

designer: gerard unger classification: new transitional/humanist characteristics: sturdy, tall x-height, short ascenders/descenders

HAMBURGERQ hamburgerq?!&trade gothic

designer: jackson burke classification: humanist san serif characteristics: tall x-height, short ascenders/descenders

HAMBURGERQ hamburgerq?!&univers

designer: adrian frutiger classification: grotesque characteristics: monoweight, heavy, short ascenders/descenders

HAMBURGERQ hamburgerq?!&volta

designer: konrad bauer, walter baum classification: slab serif characteristics: thick/thin strokes, large square serifs

HAMBURGERQ hamburgerq?!&walbaum

designer: justus erich walbaum classification: modern characteristics: extreme contrast, hairline serifs, horizontal stress

HAMBURGERQ hamburgerq?!&memphis

designer: emil rudolf weiss classification: slab serif characteristics: mono weight, square serifs, horizontal stress

DCH

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 history.

Humanist letterforms are closely connected

to calligraphy and the movement of the hand.

Transitional and modern typefaces are more

abstract and less organic. These three main

groups correspond roughly to the Renais-

sance, Baroque, and Enlightenment periods in

art and literature. Designers in the twentieth

and twenty-first centuries have continued

to create new typefaces based on historic

characteristics.

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 ( ) { } ? ! @ & *


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 { } ? ! @ & *


ROMAN

BOLD

BLACK

Akzidenz

MaxogGdQRstA basic system for classifying typefaces

was devised in the nineteenth century, when








sance, Baroque, and Enlightenment periods

in art and literature. Designers in the twentieth



characteristics.



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 Re-

naissance, Baroque, and Enlightenment

periods in art and literature. Designers

in the twentieth and twenty-first centu-

ries have continued to create new type-

faces based on historic characteristics.




REGULAR

SMALL CAPS

ITALIC

BOLD

Baskerville

MxaogGdQRtA basic system for classifying typefaces was


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.

A basic system for classifying typefaces was








three main groups correspond roughly to the

Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in

the twentieth and twenty-first centuries have

continued to create new typefaces based on

historic characteristics.





REGULAR

ITALIC

BOLD

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 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-



when printers sought to identify a

heritage for their own craft analogous

to that of art history. Humanist letter-

forms are closely connected to callig-

raphy and the movement of the hand.

Transitional and modern typefaces are

more abstract and less organic. These

three main groups correspond roughly

to the Renaissance, Baroque, and En-

lightenment periods in art and litera-

ture. Designers in the twentieth and

twenty-first centuries have continued to

create new typefaces based on historic

characteristics.

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4



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 ( ) { }

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



Designers in the twentieth and twenty-first cen-

turies have continued to create new typefaces













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 characteris-

tics.

MxagGdQrR

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





roughly to the Renaissance, Baroque, and En-

lightenment periods in art and literature. Design-

ers in the twentieth and twenty-first centuries

have continued to create new typefaces based on





their own craft analogous to that of art















REGULAR

ITALIC

BOLD

BOLD ITALIC

Bookman

MxaogGdQrRA basic system for classifying type-


century, when printers sought to iden-

tify 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 cor-

respond roughly to the Renaissance,

Baroque, and Enlightenment periods

in art and literature. Designers in the

twentieth and twenty-first centuries

have continued to create new typefac-

A basic system for classifying type-




craft analogous to that of art histo-

ry. Humanist letterforms are closely








literature. Designers in the twenti-

eth and twenty-first centuries have

continued to create new typefaces






MxnogGdQrRst

REGULAR

ITALIC

BOLD

ORNAMENTS

Bodoni

MxaogGdQrRstA basic system for classifying typefaces was





to calligraphy and the movement of the

hand. Transitional and modern typefaces












Humanist letterforms are closely connected to

calligraphy and the movement of the hand.





in art and literature. Designers in the twenti-

eth and twenty-first centuries have continued


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 ( ) { } ? ! @ & *

REGULAR

ITALIC

SWASH

ORNAMENT

ALTERNATE

Caslon

MxanogGdQRtA basic system for classifying typefaces was













tics.













new typefaces based on historic characteristics.



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

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

c h i k l Ss T t

MxaogGdQrRst

REGULAR

ITALIC

BOLD

BOLD ITALIC

Century Schoolbook

MxaogGdQrRtA basic system for classifying typefaces was













tics.




for their own craft analogous to that of

art history. Humanist letterforms are

closely connected to calligraphy and the

movement of the hand. Transitional and

modern typefaces are more abstract and

less organic. These three main groups cor-

respond roughly to the Renaissance, Ba-

roque, and Enlightenment periods in art

and literature. Designers in the twentieth



characteristics.





REGULAR

ITALIC

BOLD

BOLD ITALIC

Cheltenham

MaxogGdQrRsA basic system for classifying typefaces was













tics.













centuries have continued to create new type-






MxaogGdQrRt

UNICASE

REGULAR

Cholla

MaxnogGdQrRstA basic system for classifying typefaces was













tics.














tics.



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


LIGHT

REGULAR

BOLD

Clarendon

MxagGdQrRtA basic system for classifying type-



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













Humanist letterforms are closely con-

nected to calligraphy and the move-

ment of the hand. Transitional and

modern typefaces are more abstract


groups correspond roughly to the

Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and

twenty-first centuries have contin-

ued to create new typefaces based on





MaxnogGdQrRst

REGULAR

Clicker

MaxnogGdQRsA basic system for classifying typefaces was













tics.


REGULAR

ITALIC

BOLD

Didot

MxaogGdQrRtA basic system for classifying typefaces



tage for their own craft analogous to that

of art history. Humanist letterforms are




less organic. These three main groups

correspond roughly to the Renaissance,





characteristics.



ers sought to identify a heritage for their











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 ( ) { } ? ! @

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 (

MaxnogGdQRs

DIN

MaxnogGdQrRtLIGHT

REGULAR

MEDIUM

BLACK














tics.














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 { ? ! @ & *

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 { ? ! @ & *

DIN (CON-

MaxngdQHAM-LIGHT CONDENSED

REGULAR CONDENSED

BOLD CONDENSED

BLACK CONDENSED














tics.

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.





MaxnogGdQrRt

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



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 ( ) { } ? ! @ & *


the nineteenth century, when printers sought to iden-

tify a heritage for their own craft analogous to that

of art history. 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.

REGULAR

Fette Fraktur

MxnaopQRtfgA 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 ( ) { } ? ! @ & *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

MxnatQbWFGdR

REGULAR

FRACTIONS

UNICASE

Filosofia

MxnaopQrRtfGgA basic system for classifying typefaces was



analogous to that of art history. Humanist letter-

forms are closely connected to calligraphy and the


typefaces are more abstract and less organic.

These three main groups correspond roughly to

the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the

twentieth and twenty-first centuries have con-

tinued to create new typefaces based on historic

characteristics.

A basic system for classifying

typefaces was 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




enment periods in art and litera-

ture. Designers in the twentieth

and twenty-first centuries have




BOOK

DEMI

HEAVY

CONDENSED

Franklin Gothic

MaxodQRtfGgA basic system for classifying typefaces was










in art and literature. Designers in the twenti-

eth and twenty-first centuries have continued






analogous to that of art history. Human-

ist letterforms are closely connected


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


and twenty-first centuries have contin-







CONDENSED

REGULAR

BOLD

ULTRA BLACK

Frutiger

MaxodQRtfGgA basic system for classifying typefaces








and less organic. These three main groups




twentieth and twenty-first centuries have




heritage for their own craft analogous to





stract and less organic. These three main











BOOK

BOLD

EXTRA BOLD

Futura

MxaopQRstGgA basic system for classifying typefaces


















Humanist letterforms are closely con-

nected to calligraphy and the move-

ment of the hand. Transitional and

modern typefaces are more abstract




enment periods in art and litera-

ture. Designers in the twentieth and

twenty-first centuries have continued

to create new typefaces based on




REGULAR

ITALIC

BOLD

Gill Sans

MaxnbyogGQRtA basic system for classifying typefaces was





and the movement of the hand. Transitional

and modern typefaces are more abstract and


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


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. Human-

ist letterforms are closely connected









have continued to create new type-



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 ( ) { } ? ! & *


BOOK

BOLD

ITALIC

LIGHT

Gotham

MayogGdQRtA basic system for classifying typefac-





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


and twenty-first centuries have contin-

















es based on historic characteristics.





REGULAR

BOLD

BLACK EXTENDED

ULTRA LIGHT

Helvetica

MaoygGdQrRtA basic system for classifying typefaces























Enlightenment periods in art and literature. De-

signers in 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

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


REGULAR

BOLD

BLACK

BOLD CONDENSED

Interstate

MaoygGdQrRtA basic system for classifying typefaces














characteristics.




heritage for their own craft analogous to












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 ( )




MaoygGdQrRt

REGULAR

Kunstler Script

MxyogGdQrRtAa 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 ( ) { } ? ! @ & *

A basic system for classifying typefaces was devised

in the nineteenth century, when printers sought to iden-

tify a heritage for their own craft analogous to that

of art history. 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 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.

BOLD


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










Enlightenment periods in art and literature. De-

signers in the twentieth and twenty-first centuries

have continued to create new typefaces based on


REGULAR

ITALIC

BOLD

Melior

MayogGdQrRtA basic system for classifying typefaces














characteristics.











sance, Baroque, and Enlightenment pe-

riods in art and literature. Designers in







LIGHT

MEDIUM

EXTRA BOLD

Memphis

MxagGdQrRtA basic system for classifying typefaces









respond roughly to the Renaissance, Ba-

roque, and Enlightenment periods in art




characteristics.














continued to create new typefaces based





REGULAR

CAPS

BLACK

ITALIC

Meta

MaxogGdQrRstA basic system for classifying typefaces








and less organic. These three main groups




















tics.





REGULAR

ITALIC

BOLD

FRACTIONS

Mrs Eaves

MaxogGdQrRstA 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


typefaces are more abstract and less organic.






characteristics.





















REGULAR

ITALIC

BOLD

News Gothic

MaxogGdQrRstA basic system for classifying typefaces













characteristics.














characteristics.




MaxogGdQrRst

REGULAR

OCR A

MaopQRfGgA basic system for classi-

fying 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 historic characteris-

tics.


BOOK

ITALIC

BOLD

Optima

MxaopQRstGgA basic system for classifying typefaces was





















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






MaopQRfGg

LIGHT

OLD STYLE

MEDIUM

BLACK

Palatino

MxaopQRstGgA basic system for classifying typefaces was
















for their own craft analogous to that of

art history. Humanist letterforms are










characteristics.





REGULAR

ITALIC

BOLD

Perpetua

MxaopQRstGgqA basic system for classifying typefaces was













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





THIN

REGULAR

HEAVY

Platelet

MaxbyogGQrRtA basic system for classifying typefaces














characteristics.















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 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 ( ) { }

? ! @ & *

REGULAR

ALTERNATE

BOLD

Priori Sans

MxanopdrRtS-A basic system for classifying typefaces was














the nineteenth century, when printers sought to iden-

tify a heritage for their own craft analogous to that of

art history. Humanist letterforms are closely connected

to calligraphy and the movement of the hand. Transi-

tional and modern typefaces are more abstract and less

organic. These three main groups correspond roughly

to the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the twentieth

and twenty-first centuries have continued to create new





REGULAR

ALTERNATE

BOLD

Priori Serif

MxanodQrRtSfgA basic system for classifying typefaces was
















analogous to that of art history. Humanist let-

terforms are closely connected to calligraphy and

the movement of the hand. Transitional and mod-

ern typefaces are more abstract and less organic.






characteristics.




(55) SANS

ITALIC

SERIF

ITALIC

Rotis

MxanopQrRtGgA basic system for classifying typefaces was



analogous to that of art history. Humanist let-

terforms are closely connected to calligraphy and

the movement of the hand. Transitional and mod-

ern typefaces are more abstract and less organic.






characteristics.














characteristics.





REGULAR

SMALL CAPS

BOLD

BOLD ITALIC

Sabon

MxayogGQfRA basic system for classifying typefaces was
































REGULAR

CAPS

ITALIC

BOLD

Scala Sans

MxabyogGdQrRA basic system for classifying typefaces was













tics.









respond roughly to the Renaissance, Baroque,

and Enlightenment periods in art and litera-

ture. Designers in the twentieth and twenty-

first centuries have continued to create new






MxayogGQfR

REGULAR

ITALIC

BOLD

BLACK

Serifa

MxaoygGdQRA basic system for classifying typefaces










Baroque, and Enlightenment periods in

art and literature. Designers in the twen-

tieth and twenty-first centuries have








letterforms are closely connected to

calligraphy and the movement of














REGULAR

Snell Roundhand

MaxogbGdQrRtAa 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 ( ) { } ? ! @ & *



BOLD

BLACK














tics.













centuries have continued to create new type-


BOLD CONDENSED

REGULAR

ITALIC

BOLD

Swift

MxaoygGdQrRA basic system for classifying typefaces














characteristics.








less organic. These three main groups corre-

spond roughly to the Renaissance, Baroque, and


Designers in the twentieth and twenty-first centu-

ries have continued to create new typefaces based






REGULAR

BOLD

BLACK

BLACK

Syntax

MxaoygGdQrRA basic system for classifying typefaces was






hand. Transitional and modern typefaces


























MxaoygGdQrR

CONDENSED

MEDIUM

BOLD

BOLD NO.2

Trade Gothic

MxanyogGdQrRA basic system for classifying typefaces was
































REGULAR

ITALIC

SMALL CAPS

BOLD

Walbaum

MxyagGdQrRA basic system for classifying typefaces was













tics.





















MxanyogGdQrR

REGULAR

MEDIUM

MEDIUM ITALIC

BOLD

Volta

MyogGdQrRA basic system for classifying type-




analogous to that of art history. Hu-

manist letterforms are closely connect-

ed to calligraphy and the movement

of the hand. Transitional and modern













Humanist letterforms are closely









and twenty-first centuries have con-

tinued 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

Designed by Jonathan Perez. Class project for Professor Herstowski's Typography 02 at the University of Kansas, Spring 2011. Text for the book was compiled from the following sources: Elements of Typograph-ic Style by Robert Bringhurst, Getting it Right with Type: the Do's and Don'ts of Typography by Victoria Square, Mac is Not A Typewriter by Robin Williams. This book is not to be sold to the public and to only be used by the designer for their reference and student design portfolio.

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