type

t Y P eEric Norton

Chapter 01 — RulesChapter 02 — X-heightChapter 03 — HyphenationChapter 04 — AlignmentChapter 05 — JustificationChapter 06 — Combining TypefacesChapter 07 — Quotes, Apostrophes, DashesChapter 08 — Special CharactersChapter 09 — BulletsChapter 10 — Numerals/FiguresChapter 11 — Small CapsChapter 12 — Paragraph BreaksChapter 13 — Headers, Subheads, CrossheadsChapter 14 — Captions and NotesChapter 15 — Font SpecsChapter 16 — Credits

CONTENTS.

01 Use only one space between sentences.

02 Use real quotation marks.

03 Use real apostrophes.

04 Make sure the apostrophes are where they belong.

05 Hang the punctuation off the aligned edge.

06 Use en or em dashes, use consistently.

07 Kern all headlines where necessary.

08 Never use the spacebar to align text, always set tabs and use the tab key.

09 Leave no widows or orphans.

10 Avoid more than 3 hyphenations in a row.

11 Avoid too many hyphenations in any paragraph.

12 Avoid hyphenating or line brakes of names and proper nouns.

13 Leave a least 2 characters on the line and 3 following.

14 Avoid beginning consecutive lines with the same word.

15 Avoid ending consecutive lines with the same word.

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

17 Never hyphenate a words in a headline and avoid hyphenation in a callout.

18 Never justify the text on a short line.

19 Keep the word spacing consistent.

20 Tighten up the leading in lines with all caps or with few ascenders and descenders.

21 Use a one-em first-line indent on all indented paragraphs.

22 Adjust the spacing between paragraphs.

23 Either indent the first line of paragraphs or add extra space between them – not both.

24 Use a decimal or right-aligned tab for the numbers in numbered paragraphs.

25 Never have one line in a paragraph in the column or following.

26 Never combine two serif fonts on one page.

27 Rarely combine two sans serif fonts on one page.

28 Rarely combine more than three typefaces on one page.

29 Use the special characters whenever necessary, including super- and subscript.

30 Spend the time to create nice fraction or chose a font that has fractions.

31 If a correctly spelled word needs an accent mark, use it.

01 Rules.

01020304 4

28293031

01 Use only one space between sentences.

02 Use real quotation marks.

03 Use real apostrophes.

04 Make sure the apostrophes are where they belong.

05 Hang the punctuation off the aligned edge.

06 Use en or em dashes, use consistently.

07 Kern all headlines where necessary.

08 Never use the spacebar to align text, always set tabs and use the tab key.

09 Leave no widows or orphans.

10 Avoid more than 3 hyphenations in a row.

11 Avoid too many hyphenations in any paragraph.

12 Avoid hyphenating or line brakes of names and proper nouns.

13 Leave a least 2 characters on the line and 3 following.

14 Avoid beginning consecutive lines with the same word.

15 Avoid ending consecutive lines with the same word.

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

17 Never hyphenate a words in a headline and avoid hyphenation in a callout.

18 Never justify the text on a short line.

19 Keep the word spacing consistent.

20 Tighten up the leading in lines with all caps or with few ascenders and descenders.

21 Use a one-em first-line indent on all indented paragraphs.

22 Adjust the spacing between paragraphs.

23 Either indent the first line of paragraphs or add extra space between them – not both.

24 Use a decimal or right-aligned tab for the numbers in numbered paragraphs.

25 Never have one line in a paragraph in the column or following.

26 Never combine two serif fonts on one page.

27 Rarely combine two sans serif fonts on one page.

28 Rarely combine more than three typefaces on one page.

29 Use the special characters whenever necessary, including super- and subscript.

30 Spend the time to create nice fraction or chose a font that has fractions.

31 If a correctly spelled word needs an accent mark, use it.

Readability and legibility are two key elements of printed text that typographer strive to maximize.

Readability: an extended amount of text – such as an article, book, or annual report – is easy to read.

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

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

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

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

How will it be read? Quickly. In passing. Focused. Near. Far.

02 X-height.

6

X-height

Baseline

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

AKZIDENZ GROTESQUE 9/11

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

BAUER BODONI 9/11

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

ADOBE CASLON 9/11

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

CLICKER 9/11

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72 POINT

72 POINT

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

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

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

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BELIZO 9/11 ITC NEW BASKERVILLE 9/11

DIN 9/11 FILOSOFIA 9/11

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

ADOBE GARAMOND 9/11

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 irrel-evant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural,

HELVETICA NEUE 55 9/11

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

MEMPHIS 9/11

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 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.

MRS. EAVES 9/11

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72 POINT

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

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 tradi-tions and glorified contemporary life, mainly by emphasiz-ing two dominant themes, the machine and motion. The works were characterized by the depiction of several succes-sive actions of a subject at the same time. Marinetti’s mani-festo glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted vio-lence and conflict and called for the sweeping repudiation

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

XxhgFuturism 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, original-ity, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cul-tural, social, and political values and the destruction of such cultural institutions as museums and libraries.

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72 POINT

INTERSTATE 9/11 MELIOR 9/11

GOTHAM 9/11 ROTIS SANS SERIF 55 9/11

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

ROTIS SERIF 55 9/11

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 cel-ebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several succes-sive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions

SCALA SANS 9/11

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

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 irrele-vant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected tradi-tions and glorified contemporary life, mainly by emphasiz-ing 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

72 POINT

TRADE GOTHIC 9/11 UNIVERS 9/11

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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.

03 Hyphenation.

Hyphenation rules: — how the text is read avoid widows. — avoid hyphenating or line brakes of names. — avoid hypjenating or line brakes of 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 words in a headline — avoid hyphenation in a callout.

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Headlines:Don’t hyphenate headlines.

Don Quixote de la Man- chaWatch where the first line of two-line headline ends. does it create a silly or misleading phrase? If it does, fix it.

Professor and The- rapist to Lecture

Don’t leave widows in headlines.

Man Walks Barefoot Across Bay Bridge

Fix either way:Man Walks Barefoot Across Bay BridgeOR

Man Walks Barefoot Across Bay Bridge

Line Breaks:Look for bad line breaks throughout every line of body copy. Do this only on a final copy after all editing has been done. Examples of what to look for: Make sure headline text is jus-tified appropriately – Use line breaks (shift return) to bump text to next line when needed – Use kerning to bring a hyphenated word together if necessary – Never hyphenate people’s names – Try substituting a short or a long word to make text fit.

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 and must be fixed.

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.

Don’t laugh — I have actually seen

this as a printed headline.

Someone did it...

Don’t lose your self respect.

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1

2

3

4

5

6

7

8

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

2. Use a line break (Shift Return) to bump “a” down to the next line, where it fits very nicely.

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

4. Type a dischy in front of the word “often” to bump it down.

5. Never hyphenate a person’s name.

6. If you indent all your other paragraphs you must keep this consitent by indenting all of them.

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

8. “Horsebarn” is a good long word that could be hyphenated; type a dischy.

9. In order to get rid of that terrible widow, exghange a short word for a long word.

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— Peter Bilak, Illegibility

Right and wrong don’t exist in the world of graphicdesign. There is only effective & noneffective communication.

If someone insists that fully justified text is better than left-aligned text, tell them they are wrong. If someone else tells you that left-aligned text is better than justified text, tell them they are wrong. If they are both wrong, then what’s right? Alignment is only a small piece of the puzzle. What works for one design might be totally inappropri-ate for another layout. As with all layouts, it depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the align-ment that works for that particular design.

Justified TextTraditionally many books, newsletters, and newspapers use full-justification as a means of packing as much infor-mation 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.

— Often considered more formal, less friendly than left-aligned text.

— Usually allows for more characters per line, packing more into the same amount of space (than the same text set left-aligned).

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

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

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

Left-Aligned, Ragged Right— Often considered more informal, friendlier than justified text.

— The ragged right edge adds an element of white space.

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

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

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.

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

No matter what alignment you use, remember to pay close attention to hyphenation and word/character 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.

04 Alignment.

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05 Justification.

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

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

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

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

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desiredminimummaximum

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 newslet-

ter, or if you don’t have many words on the

line, than as the type aligns to the margins

the words space themselves to accommo-

date it. It usually looks awkward. You’ve

seen newspaper columns where all text is

justified, often with a word stretching all

the way across the column, or a little word

on either side of the column with a big gap

in the middle. Gross. But that’s what can

happen with justified type. When you do

it, the effect might not be as radical as the

newspaper column, but if your lines are rela-

tively short, you will inevitably end up with

uncomfortable gaps in some lines, while

other lines will be all squished together.

When your work comes out of the print-

er, turn it upside down and squint at it.

The rivers will be very easy to spot. Get

rid of them. Try squinting at the exam-

ple on the bottom of the previous page.

1 Melior8/12

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maximum133desired100

This is the standard justification setting that Indesign applies. Most of it looks clean. Word spacing may be a little narrow.

Here is a general guideline for determining if

your line length is long enough to satisfacto-

rily justify the text: the line length in picas

should be about twice the point size of the

type; that is, if the type you are using is 12

point, the line length should be at least 24

picas (24 picas is 4 inches-simply divide

the number of picas by 6, as there are 6 pi-

cas per inch). Thus 9-point type should be

on an 18-pica line (3 inches) before you try

to justify it, and 18-point type should be on

a 36-pica line (6 inches). The rulers in most

programs can be changed to picas, if you like.

Justified text was the style for many years-we

grew up on it. But there has been a great deal of

research done on readability (how easy some-

thing is to read) and it shoes that those dis-

ruptive, inconsistent gaps between the words

inhibit the flow of reading. Besides, they

look dumb. Keep your eyes open as you look

at 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.

23

The only time you can safely get away with jus-

tifying text is if your type is small enough and

your line is long enough, as in books where the

text goes all the way across the page. If your line

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

many words on the line, than as the type aligns

to the margins the words space themselves to

accommodate it. It usually looks awkward.

You’ve seen newspaper columns where all text

is justified, often with a word stretching all the

way across the column, or a little word on either

side of the column with a big gap in the middle.

Gross. But that’s what can happen with justified

type. When you do it, the effect might not be as

radical as the newspaper column, but if your

lines are relatively short, you will inevitably

end up with uncomfortable gaps in some lines,

while other lines will be all squished together.

When your work comes out of the printer, turn it

upside down and squint at it. The rivers will be

very easy to spot. Get rid of them. Try squinting at

the example on the bottom of the previous page.

2 Melior8/12

minnimum30

maximum103desired70

Word spacing has become even more narrow which leaves no room for them to breathe or relax.


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



grew up on it. But there has been a great deal

of research done on readability (how easy

something is to read) and it shoes that those

disruptive, inconsistent gaps between the

words inhibit the flow of reading. Besides,

they look dumb. Keep your eyes open as you

look at professionally printed work (maga-

zines, newsletters, annual reports, journals)

and you’ll find there’s a very strong trend to

align type on the left and leave the right ragged.

24





page. If your line is shorter, as in newsletter,

or if you don’t have many words on the line,

than as the type aligns to the margins the

words space themselves to accommodate it. It

usually looks awkward. You’ve seen newspa-

per columns where all text is justified, often

with a word stretching all the way across the

column, or a little word on either side of the

column with a big gap in the middle. Gross.

But that’s what can happen with justified type.

When you do it, the effect might not be as radi-

cal as the newspaper column, but if your lines

are relatively short, you will inevitably end

up with uncomfortable gaps in some lines,







3 Melior8/12

minnimum60

maximum83

desired70

Word spacing still a little to tight, but a little better than before. Some lines still get pretty crowded.

Here is a general guideline for determin-

ing if your line length is long enough to sat-

isfactorily justify the text: the line length in

picas should be about twice the point size

of the type; that is, if the type you are using

is 12 point, the line length should be at least

24 picas (24 picas is 4 inches-simply divide










thing is to read) and it shoes that those disrup-

tive, inconsistent gaps between the words







25

















newspaper column, but if your lines are rela-









4 Melior8/12

minnimum85

maximum120desired90

This looks pretty good. The word spacing is almost perfect, but there seems to be alot more hyphenation.


ing if your line length is long enough to sat-

isfactorily justify the text: the line length in

picas should be about twice the point size of

the type; that is, if the type you are using is

12 point, the line length should be at least








Justified text was the style for many years-

we grew up on it. But there has been a

great deal of research done on readabil-

ity (how easy something is to read) and it

shoes that those disruptive, inconsistent

gaps between the words inhibit the flow

of reading. Besides, they look dumb. Keep

your eyes open as you look at profession-

ally printed work (magazines, newslet-

ters, annual reports, journals) and you’ll

find there’s a very strong trend to align


26

















newspaper column, but if your lines are

relatively short, you will inevitably end up

with uncomfortable gaps in some lines, while







5 Melior8/12

minnimum85


Here is a proper example of a good justification setting.

Here is a general guideline for determining

if your line length is long enough to satis-

factorily justify the text: the line length in

picas should be about twice the point size

of the type; that is, if the type you are using

is 12 point, the line length should be at least


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





thing is to read) and it shoes that those dis-

ruptive, inconsistent gaps between the words







27


justifying text is if your type is small enough and





to the margins the words space themselves

to accommodate it. It usually looks awkward.





Gross. But that’s what can happen with justi-

fied type. When you do it, the effect might not

be as radical as the newspaper column, but if

your lines are relatively short, you will inevitably







6 HelveticaNeue 55

8/12

minnimum55


Moving on to a Sans Serif font, the spacings have changed. This one seems just a little bit narrow, but not bad.














we grew up on it. But there has been a great

deal of research done on readability (how

easy something is to read) and it shoes that

those disruptive, inconsistent gaps between

the words inhibit the flow of reading. Besides,






28











justified, often with a word stretching all the

way across the column, or a little word on

either side of the column with a big gap in

the middle. Gross. But that’s what can hap-

pen with justified type. When you do it, the

effect might not be as radical as the news-

paper column, but if your lines are rela-









7minnimum120


The word spacing has become to wide and it brings the composition down a lot.


your line length is long enough to satisfac-

torily justify the text: the line length in picas




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 jus-

tify it, and 18-point type should be on a 36-

pica line (6 inches). The rulers in most pro-

grams can be changed to picas, if you like.








look at professionally printed work (magazines,




HelveticaNeue 55

8/12

29





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 news-

paper columns where all text is justified, often

with a word stretching all the way across the

column, or a little word on either side of the

column with a big gap in the middle. Gross.

But that’s what can happen with justified type.

When you do it, the effect might not be as

radical as the newspaper column, but if your

lines are relatively short, you will inevitably end

up with uncomfortable gaps in some lines,







8 HelveticaNeue 55

8/12

minnimum90


Word spacing has gotten even wider here. All the gaps are very evident in paragraphs 2 and 3.


your line length is long enough to satisfac-

torily justify the text: the line length in picas




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 pro-

grams can be changed to picas, if you like.



deal of research done on readability (how easy

something is to read) and it shoes that those

disruptive, inconsistent gaps between the

words inhibit the flow of reading. Besides, they






30

The only time you can safely get away

with justifying text is if your type is small

enough and your line is long enough, as

in books where the text goes all the way

across the page. If your line is shorter, as

in newsletter, or if you don’t have many

words on the line, than as the type aligns

to the margins the words space them-

selves to accommodate it. It usually looks

awkward. You’ve seen newspaper columns

where all text is justified, often with a

word stretching all the way across the

column, or a little word on either side of

the column with a big gap in the middle.

Gross. But that’s what can happen with

justified type. When you do it, the effect

might not be as radical as the newspa-

per column, but if your lines are relative-

ly short, you will inevitably end up with








9minnimum200maximum260desired230

Okay... this is just crazy!


ing if your line length is long enough to

satisfactorily justify the text: the line length

in picas should be about twice the point

size of the type; that is, if the type you

are using is 12 point, the line length

should be at least 24 picas (24 picas is 4

inches-simply divide the number of picas

by 6, as there are 6 picas per inch). Thus

9-point type should be on an 18-pica line

(3 inches) before you try to justify it, and

18-point type should be on a 36-pica line

(6 inches). The rulers in most programs

can be changed to picas, if you like.


we grew up on it. But there has been a

great deal of research done on readabil-

ity (how easy something is to read) and

it shoes that those disruptive, inconsistent

gaps between the words inhibit the flow

of reading. Besides, they look dumb. Keep

your eyes open as you look at profession-

ally printed work (magazines, newsletters,

annual reports, journals) and you’ll find

there’s a very strong trend to align type

on the left and leave the right ragged.

HelveticaNeue 55

8/12

31

The only time you can safely get away with jus-

tifying text is if your type is small enough and





to the margins the words space themselves to

accommodate it. It usually looks awkward.





Gross. But that’s what can happen with justi-

fied type. When you do it, the effect might not

be as radical as the newspaper column, but if

your lines are relatively short, you will inevitably







10 HelveticaNeue 55

8/12

minnimum55


Much better! Now this is a proper justification setting.
























32

06 Combining Typefaces.

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

“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)

Sserif

sans serif

Mrs. Eaves Akzidens Grotesque

35

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

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

aa BB ee GG gg

aa BB ee GG gg

FRUTIGERhumanist24/12 point

ADOBE GARAMONDold style9 point

These two fonts work nicely together because of the different stroke widths they each posess. Frutiger’s is a little more chunky than Garamond which empha-sizes that contrast, but both fonts still feel light and easy to read.

AKZIDENZ GROTESQUEgrotesque24/12 point

BEMBOold style9 point

These fonts also offer and very nice contrast but in a different fashion. Bembo has a slightly larger x-height than Akzidens, which offsets the flow of the type and makes for a faint sense of asymetry.

36

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

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

aa BB ee GG gg

aa BB ee GG gg

NEW BASKERVILLEtransitional24/12 point

FUTURAgeometric9 point

Futura is a very beautiful sans-serif font, and it is nicely complemented by the thick and promonent serif-ing that ITC New Basker-ville displays.

ROTIS SANStransitional24/12 point

MRS. EAVESgrotesque9 point

Different letter forms play a big role in making this com-bination work. Mrs. Eaves had very short and wide let-ter formations where as Ro-tis Sans has very tall narrow letter forms. This difference is easily noticed and makes for perfect contrast.

37

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

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

February 20, 1909, when the Paris newspaper Le Figaro pub-

lished a manifesto by the Italian poet and editor Filippo Tomma-

so Marinetti. The name Futurism, coined by Marinetti, reflected

his emphasis on discarding what he conceived to be the static

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

and innovation in culture and society. Futurism rejected tradi-

tions and glorified contemporary life, mainly by emphasizing

two dominant themes, the machine and motion.The works were

characterized by the depiction of several successive actions of

a subject at the same time. Marinetti’s manifesto glorified the

new technology of the automobile and the beauty of its speed,

power, and movement. He exalted violence and conflict and

called for the sweeping repudiation of traditional cultural, social,

and political values and the destruction of such cultural institu-

tions as museums and libraries.

aa BB ee GG gg

aa BB ee GG gg

INTERSTATEgeometric24/12 point

DIDOTmodern9 point

Here the contrast is mainly displayed with the stroke width of the two fonts. Didot has a very thin and it directly mirrors the size of Interstate’s stroking which, by nature, is much more thick.

FILOSOFIAmodern24/12 point

GOTHAMgrotesque8 point

Both these fonts have very similar stroke widths but the serifs make all the dif-ference. Filosofia has very noticable block serifs that really show up against the lack of serifs that Gotham (light) provides.

38

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

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

aa BB ee GG gg

aa BB ee GG gg

UNIVERSgrotesque24/12 point

SWIFTtransitional9 point

Both these fonts have a rather heavy stroke width, which makes them blend with a nice uniformity. Swift is a little bit lighter still,and is a serif font which gives it just enough of a difference to be noticeable.

TRADE GOTHICgrotesque24/12 point

ADOBE CASLONnew transitional9 point

Trade Gothic’s bold, condensed nature contrast Caslon’s transitional bracketed serifs and curved strokes. Caslon has a wide stroke at times and the darkness expressed there goes well with Trade Gothic’s black letterforms.

39

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 edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by 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 au-tomo- bile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

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

aa BB ee GG gg

aa BB ee GG gg

BELIZIOslab serif18/12 point

HELVETICA NEUEgrotesque9 point

Both type faces had a wide character width but the differences in stroke width and serifing are extremely different. It’s easy to see how nice of a contrast this turned out to be.

VOLTAslab serif16/10 point

GILL SANShumanist9 point

The humanist qualities of Gill Sans work with Volta’s thick color to create a well-balanced composition. Volta’s wide character width dramatcally differs from that of Gill Sans too, making for a nice look.

40

07 Quotes, Apostrophes, Dashes.

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

It is necessary to know how to set them yourself because sometimes the software doesn’t do it or does it wrong:

“ Opening double quote: Option + [

” Closing double quote: Option + Shift + [

‘ Opening single quote: Option + ]

’ Closing single quote: Option + Shift + ]

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

Apostrophe: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 contrac-tion — “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.

42

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

As previously noted, it’s means “it is”; the apostrophe is indicat-ing 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 opposite single quote. An apostrophe is still the appropriate mark (not ‘n’).

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

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

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

Dashes:Never use two hyphens instead of a dash. Instead, use hyphens, en dashes, and em dashes appropriately.

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

You might have been taught to use a double hyphen to indicate a dash, like so : -- . This is a typewriter convention because typewrit-ers didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hyphen—we have a profes-sional em dash, the long one, such as you see in this sentence. We also have an en dash, which is a little shorter than the em dash.

43

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:– Typing an en dash: Option + hyphen( - )

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

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

Em dash:— Typing an em dash: Option +Shaft + hyphen( - )

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

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

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

44

08 Special Characters.

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

“”‘’–—…•fifl©™® °¢€⁄¡¿‹çÇ

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

´` ¨˜ˆ

Option + [Option + Shift + [Option + ]Option + Shift + ]Option + Hyphen ( - )Option + Shift + Hyphen ( - )Option + ; Option + 8Option + Shift + 5Option + Shift + 6Option + gOption + 2Option + r Option + Shift + 8Option + $Option + Shift + 2Option + Shift + 1Option + 1Option + Shift + ?Option + 3Option + c Option + Shift + c

Option + e Option + ~ Option + uOption + nOption + i

46

09 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 balancednext 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.

49

Pick any three adjectives that describe yourself:• lovely• surly• ghastly• womanly• saintly• ungodly• stately• sprightly

Now choose a Dingbat instead of a bullet…

Pick any three adjectives that describe yourself:q lovelye surlyt ghastlyu womanlyi saintlyl ungodly; statelyv sprightly

There are lots to choose from,

but they are usually too big.

(Choose ONE Dingbat)

Pick any three adjectives that describe yourself:v lovelyv surlyv ghastlyv womanlyv saintlyv ungodlyv statelyv sprightly

You can decrease the size of the bullet,

but then it sits too low.

Pick any three adjectives that describe yourself: lovely surly ghastly womanly saintly ungodly stately sprightly

Raise the Dingbat higher off of the baseline.

v

v

v

v

v

v

v

v

50

10 Numerals/Figures.

Oldstyle figures are a style of numeral which approximate lower-case letterforms by having an x-height and varying ascenders and descenders. They are considerably different from the more common “lining” (or “aligning”) figures which are all-cap height and typically monospaced in text faces so that they line up verti-cally on charts. Oldstyle figures have more of a traditional, classic look. They are only available for certain typefaces, sometimes as the regular numerals in a font, but more often within a supplemen-tary or expert font. The figures are proportionately spaced, elimi-nating the white spaces that result from monospaced lining figures, especially around the numeral one.

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

Dear John, please call me at 438-

9762 at 3:00 to discuss marriage.

Or write to me at Route 916, zip

code 87505.

Memphis

Dear John, please call me at 438-9762

at 3:00 to discuss marriage. Or write to

me at Route 916, zip code 87505.

Mrs. Eaves

Notice how large and chunky these numbers appear…

Notice how beautifully these numbers blend into the text…

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11 Small Caps.

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

Small Caps rules:— 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 cre-ated as small caps.

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Where to use small caps:If you set acronyms in regular all caps, their visual presence is unnecessarily overwhelming. One standard and practical place to use caps is in acronyms such as fbi, nrc, cbs, or simm.

Traditionally, “a.m.”and “p.m.” are set with small caps. If you were taught to type on a typewriter (or if you were taught on a keyboard by someone who was taught on a typewriter), you probably learned to set these abbreviations in all caps because there were no small caps on typewriters. But now that you have the capability, you can and should set them properly.

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

Mrs. Eaves

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

Mrs. Eaves

These large capital letters call way too much attention…

Making them small caps lets them blend in with the text much easier…

55

True-drawn small caps:There are quite a few font families that include “true-drawn” small caps—letterforms that have been redesigned to match the propor-tions and thickness of the uppercase. These families are often called “expert” sets or perhaps “small cap” sets. The result is a smooth, uniform, undisturb- ing tone throughout the text.

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

There Is No resT For The WIcked.

Meta

The Wicked Are Very Weary.

Meta

56

12 Paragraph Breaks.

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

Paragraph Break rules: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. the amount indent is = to the leading. (sometimes needs a bit more)

4. never hit two returns between paragraphs.

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Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passion-ately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. p But 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. p While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestoes of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Wil-liams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Mari-netti selbst 3 (circa 1915): “Everything of any value is theatrical.”

1 AdobeGaramond

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Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contem-porary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and move-ment. He exalted violence and conflict and called for the sweeping repudia-tion of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.But 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 manifestoes of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engage-ment, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): “Everything of any value is theatrical.”

2 AdobeGaramond

8.5/12

60

Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passion-ately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.But 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 manifestoes of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engage-ment, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): “Everything of any value is theatrical.”

3 AdobeGaramond

8.5/12

61

Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passion-ately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But 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 Futur-ism bristled with a polemical stance in favor of the transformed present (1909), the later manifestoes of Futurist poets & artists offered formal “tech-nical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta 2 , by which poetry was to become “an uninterrupted 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 vi-sual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engage-ment, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): “Everything of any value is theatrical.”

4 AdobeGaramond

8.5/12

62

Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passion-ately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But 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 manifestoes of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engage-ment, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): “Everything of any value is theatrical.”

5 AdobeGaramond

8.5/12

63

Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passion-ately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.But 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 mani-festoes of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was pa-role in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mys-terious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new perfor-mance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): “Everything of any value is theatrical.”

6 AdobeGaramond

8.5/12

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7 AdobeGaramond

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65

Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passion-ately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.But 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 mani-festoes of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was pa-role in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mys-terious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new perfor-mance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): “Everything of any value is theatrical.”

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13 Headers, Subheads, Crossheads.

The main header or “headline” is essential to be bold and leap out as the main title of the page or chapter start. If it does not, the reader may be confused as to where the document actually starts. So I always think its a good rule to ensure the reader knows where a section starts and make it quite plain. The main header should also look like it belongs to the first sentence. This can be achieved by ensuring that its paragraph spacing (the space after a hard return) is smaller than the paragraph spacing of the first sentence. Para-graph spacing is not commonly used - even amongst designers, but it is an extremely useful tool. Many people add spacing by hitting return but this does not give much control and cannotbe styled from style sheets. Introduction paragraphs are a useful way to entice the reader to continue on reading. They also help not to waste a readers time if they are not interested in reading further. Typographically speaking these into paragraphs need to be easy to read but moredistant than the body text below. They are not the main article and need to be distinguished from it. The purpose of a subheader is to split up body text so that a reader can find their way around the document with ease. it also makes the document more readable because the viewer is not faced with a page of block text. Each subheader needs to be linked with the corresponding body text underneath it. This should be achieved by using correct spac-ing after and before the subheader (You find these settings in most “Paragraph” tool pallets and the example below demonstrates how it looks when executed.)

Header:Material which is separated from the main body of text and appears at the top of a printed page.

Subheader:A phrase, sentence, or several sentences near the title of the article or story.

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Words in LibertyA Prologue to FuturismFuturism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passion-ately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

Radicial Mix of Art and LifeBut 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.


1 AdobeGaramond

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TradeGothic 24 & 12

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Radicial Mix of Art and LifeBut 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 manifestoes of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engage-ment, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): “Everything of any value is theatrical.”

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Walbaum 24 & 12

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Univers 24 & 12

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Clarendon 24 & 12

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Mrs.Eaves 24 & 12

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14 Captions and Notes.

Footnotes and endnotes are necessary components of scholarly and technical writing. They’re also frequently used by writers of fiction, from Herman Melville (Moby-Dick) to contemporary novel-ists. 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 end-notes 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 numer-al immediately after the text to be referenced. The same superscript numeral then precedes the footnoted text at the bottom of the page. Numbering footnotes is essential when there are many of them, but if footnotes are few they can be marked with a dagger, asterisk, or other symbol instead. Endnotes should always use numerals to facilitate easy referencing.

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

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Radicial Mix of Art and LifeBut 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.


1 AdobeGaramond

8.5/12

TradeGothic 24 & 12

1. Philip Meggs, History

of Graphic Design, Van

Nostrand Reinhold, 1988

2. parole in liberta =

words set free (liberty)

3. selbst = himself

79

Words in LibertyA Prologue to FuturismFuturism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement (Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988). He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

Radicial Mix of Art and LifeBut 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 mani-festoes of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta (parole in liberta = words set free [liberty]) , 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 fore-runners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Fu-turists’ performances mixed declamation and gesture, events and surround-ings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst (selbst = himself) (circa 1915): “Everything of any value is theatrical.”

2 AdobeGaramond

8.5/12

Walbaum 24 & 12

80



3 AdobeGaramond

8.5/12






3. selbst = himself

Univers 24 & 12

81



4 AdobeGaramond

8.5/12






3. selbst = himself

Clarendon 24 & 12

82



5 AdobeGaramond

8.5/12

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

Interstate 24 & 12

83

Words in LibertyA Prologue to FuturismFuturism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. [1] Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new 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. 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.

Radicial Mix of Art and LifeBut 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 mani-festoes of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta [2] , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engage-ment, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst [3] (circa 1915): “Everything of any value is theatrical.”

6 AdobeGaramond

8.5/12

[1] Philip Meggs, History of Graphic Design,

Van Nostrand Reinhold, 1988

[2] parole in liberta = words set free (liberty)

[3] selbst = himself

Mrs.Eaves 24 & 12

84

15 Font Specs.

Classification of TypeGaramond did not think of himself as an Old Style designer any more than John Baskerville could realize that some day he would be considered a Transitional designer. What happened is this. Over the centuries type became more and more refined; that is, the contrast between thick and thin strokes became greater and the serifs became finer. This refinement was possible because of the development of smoother papers, better inks, and more advanced printing methods. The ultimate refinement was attained in the late 1700’s when Bodoni reduced the thin strokes and serifs to fine hairline strokes.After Bodoni, type design became eclectic. In search of new forms of typographic expression, designers began to borrow features from one period and add them to another. We see a lot of this today. Many of the fonts designed in the 20th Century are difficult to classify.

Variations in Stress:As early typefaces were based on the written letterforms the scribes, it was

important that the type designer tries to capture as much as the written form

as possible. The letter O is a good example to study the distribution of weight

which creates a vertical stress through the thinnest part of the letterform. It was

this characteristic that the early typefaces tried to imitate. This is quite clear

in Garamond. As type evolved and the designer was no longer influenced by

handwriting, the stress became more vertical as in Baskerville and later totally

vertical with Bodoni. In Univers you will find no noticeable stress.

Variations in Thicks and Thins:Faces also vary in degree of contrast between thick and thin strokes of the

letters. In Garamond you can see a prominent characteristic of little contrast be-

tween thick and thin strokes of a letter. In Transitional faces there is a tendency

toward refinement and greater contrast between thick and thins. Bodoni has

maximum contrast in these strokes (extreme contrast of thick and thins, hairline

serifs). With Serifa there is a return to very little contrast (almost mono-weight.

In Univers the is an absence of any noticeable thick and thin strokes; there is a

uniformity of strokes (mono-weight).

Variations in Serifs:Serifs also vary from one face to the next in their weight and in the way they are

bracketed; that is the way in which the serif meets the vertical stroke of the letter.

Once again, you can see the evolution of type from Garamond to Baskerville,

to Bodoni this was followed by the return of the heavy serif in Serifa and the

elimination of the serif in Univers.

86

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

Serifs.

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

Bodoni, Bauer Bodoni, Walbaum

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

New Transitionalxoaengdp— sturdy typefaces hold up under poor printing — little contrast between thick and thin strokes — horizontal stress — horizontal bar on e— tall x-height — shorter ascenders, descenders

Bookman, Century Schoolbook, Cheltenham

Transitional

xoaengdp— 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)

Egyptian or Slab-Serifxoaengdp— mono weight — square ended serifs — horizontal stress — horizontal bar on e

Memphis, Clarendon, Serifa, Rockwell

87

Grotesque

xoaengdp— slight contrast in the stoke 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 Serifs.

Geometricxoaengdp— vary little contrast in the stoke 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

xoaengdp— 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

88

Font Specifications...

89

CLASSIFICATION: SLAB SERIF

BOOK

HAIRLINE

SEMI-BOLD

BOLD ITALIC

Archer

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

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

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


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


90

CLASSIFICATION: SANS SERIF

ROMAN

BOLD

BLACK

Akzidenz Grotesk

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

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





REGULAR

BOLD

BLACK

Akzidenz Grotesk


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




MaxogGdQRst

91

CLASSIFICATION: TRANSITIONAL

REGULAR

SMALL CAPS

ITALIC

BOLD

Baskerville




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 ( ) { } ? ! @ & *



92


REGULAR

ITALIC

BOLD

BLACK ITALIC

Belizio

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

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






REGULAR

ITALIC

SMALL CAPS

BOLD ITALIC

Belizio


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





MxagGdQrR

93

CLASSIFICATION: GROTESQUE

LIGHT

BOLD

BLACK

Bell Gothic

A basic system for classifying typefaces

was devised in the nineteenth century, when

printers sought to identify a heritage for their

own craft analogous to that of art history.

Humanist letterforms are closely connected

to calligraphy and the movement of the hand.

Transitional and modern typefaces are more

abstract and less organic. These three main

groups correspond roughly to the Renais-

sance, Baroque, and Enlightenment periods in

art and literature. Designers in the twentieth

and twenty-first centuries have continued

to create new typefaces based on historic

characteristics.




94

CLASSIFICATION: MODERN

REGULAR

ITALIC

BOLD

EXTRA BOLD

Bembo

A basic system for classifying typefaces was

devised in the nineteenth century, when

printers sought to identify a heritage for

their own craft analogous to that of art his-

tory. Humanist letterforms are closely con-

nected to calligraphy and the movement of

the hand. Transitional and modern typefaces

are more abstract and less organic. These

three main groups correspond roughly to

the Renaissance, Baroque, and Enlighten-

ment periods in art and literature. Designers

in the twentieth and twenty-first centuries

have continued to create new typefaces

based on historic characteristics.


was devised in the nineteenth century,

when printers sought to identify a heri-

tage for their own craft analogous to that

of art history. Humanist letterforms are

closely connected to calligraphy and the

movement of the hand. Transitional and

modern typefaces are more abstract and

less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods

in art and literature. Designers in the

twentieth and twenty-first centuries have

continued to create new typefaces based

on historic characteristics.






REGULAR

ITALIC

BOLD

EXTRA BOLD

Bembo




their own craft analogous to that of art his-

tory. Humanist letterforms are closely con-





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


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

to calligraphy and the movement of

the hand. Transitional and modern

typefaces are more abstract and less

organic. These three main groups cor-

respond roughly to the Renaissance,

Baroque, and Enlightenment periods

in art and literature. Designers in the

twentieth and twenty-first centuries

have continued to create new typefac-

es based on historic characteristics.





MxnogGdQrRst

95

CLASSIFICATION: NEW TRANSITIONAL

REGULAR

ITALIC

BOLD

BOLD ITALIC

Bookman

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 to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups cor-respond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefac-es based on historic characteristics.

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





96


REGULAR

ITALIC

BOLD

ORNAMENTS

Bodoni

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


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





REGULAR

ITALIC

BOLD

ORNAMENTS

Bodoni







MxaogGdQrRst

97


REGULAR

ITALIC

SWASH

ORNAMENT

ALTERNATE

Caslon





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

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

c h i k l Ss T t

98


REGULAR

ITALIC

BOLD

BOLD ITALIC

Century Schoolbook

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







REGULAR

ITALIC

BOLD

BOLD ITALIC

Century Schoolbook

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






MxaogGdQrRt

99


REGULAR

ITALIC

BOLD

BOLD ITALIC

Cheltenham







100


UNICASE

REGULAR

Cholla












Baroque, and Enlightenment periods in art

and literature. Designers in the twentieth



characteristics.

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

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

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



REGULAR

UNICASE

Cholla
















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 ( ) { } ? ! @ & *

MaxnogGdQrRst

101


LIGHT

REGULAR

BOLD

Clarendon

102


REGULAR

Clicker




REGULAR

Clicker



MaxnogGdQRs

103


REGULAR

ITALIC

BOLD

Didot


A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the 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.




104

CLASSIFICATION: GROTESQUE DIN

LIGHT

REGULAR

MEDIUM

BLACK





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

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


LIGHT

REGULAR

MEDIUM

BLACK

DIN







MaxnogGdQrRt

105

CLASSIFICATION: GROTESQUE DIN Condensed

LIGHT CONDENSED

REGULAR CONDENSED

BOLD CONDENSED

BLACK CONDENSED







106

CLASSIFICATION: SERIF

REGULAR

ITALIC

BOLD

Disturbance

A basic system for classifying typefaces was devised

in the nineteenth century, when printers sought

to identify a heritage for their own craft analo-

gous to that of art history. Humanist letterforms

are closely connected to calligraphy and the

movement of the hand. Transitional and modern

typefaces are more abstract and less organic.

These three main groups correspond roughly to

the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the

twentieth and twenty-first centuries have con-

tinued to create new typefaces based on historic

characteristics.

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

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

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

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

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

( ) { } ? ! @ & *


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

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

CLASSIFICATION: SERIF

REGULAR

ITALIC

SMALL CAPS

Disturbance


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








characteristics.


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

( ) { } ? ! @ & *


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

7 8 9 0 ( ) { } ? ! @ & *

Mxnatqbwfgdr

107

CLASSIFICATION: BLACK LETTER

REGULAR

Fette Fraktur





Humanist letterforms are closely connected to

calligraphy and the movement of the hand.



groups correspond roughly to the Renaissance,


and literature. Designers in the twentieth and

twenty-first centuries have continued to create

new typefaces based on historic characteristics.

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

108


REGULAR

FRACTIONS

UNICASE

Filosofia


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





REGULAR

FRACTIONS

UNICASE

Filosofia

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

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




MxnaopQrRtfGg

109

CLASSIFICATION: GROTESK

BOOK

DEMI

HEAVY

CONDENSED

Franklin Gothic


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





110

CLASSIFICATION: HUMANIST SANS

CONDENSED

REGULAR

BOLD

ULTRA BLACK

Frutiger




their own craft analogous to that of art

history. Humanist letterforms are closely

connected to calligraphy and the move-

ment of the hand. Transitional and modern

typefaces are more abstract and less or-

ganic. These three main groups correspond

roughly to the Renaissance, Baroque, and

Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first

centuries have continued to create new

typefaces based on historic characteristics.

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






CONDENSED

REGULAR

BOLD

ULTRA BLACK

Frutiger




their own craft analogous to that of art

history. Humanist letterforms are closely con-




three main groups correspond roughly to the

Renaissance, Baroque, and Enlightenment


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 analo-gous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefac-es are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have contin-ued to create new typefaces based on historic characteristics.





MaxodQRtfGg

111

CLASSIFICATION: GEOMETRIC SANS

BOOK

BOLD

EXTRA BOLD

Futura

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

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




112


REGULAR

ITALIC

BOLD

Gill Sans

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



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



REGULAR

ITALIC

BOLD

Gill Sans






MaxnbyogGQRt

113


BOOK

BOLD

ITALIC

LIGHT

Gotham

A basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art history.

Humanist letterforms are closely con-

nected to calligraphy and the move-

ment of the hand. Transitional and

modern typefaces are more abstract

and less organic. These three main

groups correspond roughly to the

Renaissance, Baroque, and Enlight-

enment periods in art and litera-

ture. Designers in the twentieth and

twenty-first centuries have continued

to create new typefaces based on


A basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art history.

Humanist letterforms are closely

connected to calligraphy and the

movement of the hand. Transitional

and modern typefaces are more ab-

stract and less organic. These three

main groups correspond roughly

to the Renaissance, Baroque, and

Enlightenment periods in art and

literature. Designers in the twenti-

eth and twenty-first centuries have

continued to create new typefaces






114


REGULAR

BOLD

BLACK EXTENDED

Helvetica


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





ULTRA LIGHT


REGULAR

ITALIC

BOLD

ULTRA LIGHT

Helvetica


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





MaoygGdQrRt

115


REGULAR

BOLD

BLACK

BOLD CONDENSED

Interstate



when printers sought to identify a

heritage for their own craft analogous to

that of art history. Humanist letterforms

are closely connected to calligraphy

and the movement of the hand. Transi-

tional and modern typefaces are more

abstract and less organic. These three

main groups correspond roughly to the

Renaissance, Baroque, and Enlighten-

ment periods in art and literature. De-

signers in the twentieth and twenty-first

centuries have continued to create new

typefaces based on historic character-

istics.

A basic system for classifying typefac-

es was devised in the nineteenth cen-

tury, when printers sought to identify

a heritage for their own craft analo-

gous to that of art history. Humanist

letterforms are closely connected to

calligraphy and the movement of the

hand. Transitional and modern typefac-

es are more abstract and less organic.

These three main groups correspond

roughly to the Renaissance, Baroque,

and Enlightenment periods in art and

literature. Designers in the twentieth

and twenty-first centuries have contin-

ued to create new typefaces based on






116

CLASSIFICATION: SCRIPT

REGULAR

Kunstler Script


Pat. San ea consectet ad duis dolorem eu facil dit am, summy nisim ipit, quat, velit pratis-

modo diat.

Et lorperi liquat lor sequam zzrilit, velese facin ut verosti nciduis modit, qui erosto odit ut verit

nos nos amet iure doluptatisl digna facin hendre ming ea feum incilla ad dunt dunt ipit vulput

lorper sumsand ionsenit num ip erit la feu feumsan henis exerci esto etumsan hent am, velit,

quisit nummy nosto dolutat irit veniam zzrilit, qui tincilit wis eum zzriustis ex eraestrud delit

lamcon vero exercidunt aliscidui bla facip et veniam eum illan veros dignit alit vullandiat nis

nisl dunt aliquam consent alit etuero odionsecte dunt nulla faci et in vulla feugait lore eum zzril

ullamco nsequi bla autpatet nummodipisi.

Ed etummodit vullamcon utat ulluptat delendit nonsenim inciliqui tio odoloreet ver sum velis

aliquis del irit aut nosto consequam zzrit aut ipsum diamcon sequam num et wisi tio dolorem

elesto dolobor iuscilisci et, quis endre te dolobor sum volenibh exerit utpat. Uptat, vel dolese

molorem eraessis nit niamcorperos autat, venit in etum erilissit irit eui bla feum iurem nonsequi e


REGULAR

Kunstler Script


xyogGdQrRst

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

117


REGULAR

ITALIC

BOLD

BOLD

Melior

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

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





118


LIGHT

MEDIUM

EXTRA BOLD

Memphis


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





LIGHT

MEDIUM

EXTRA BOLD

Memphis


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




MxagGdQrRt

119


REGULAR

CAPS

BLACK

ITALIC

Meta

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






120

CLASSIFICATION: OLD STYLE

REGULAR

ITALIC

BOLD

FRACTIONS

Mrs Eaves


devised in the nineteenth century, when print-

ers sought to identify a heritage for their own

craft analogous to that of art history. Humanist

letterforms are closely connected to calligraphy

and the movement of the hand. Transitional

and modern typefaces are more abstract and less

organic. These three main groups correspond



Designers in the twentieth and twenty-first cen-

turies have continued to create new typefaces


A basic system for classifying typefaces was devised in the

nineteenth century, when printers sought to identify a heritage

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

letterforms are closely connected to calligraphy and the move-

ment of the hand. Transitional and modern typefaces are more

abstract and less organic. These three main groups correspond

roughly to the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the twentieth and

twenty-first centuries have continued to create new typefaces







REGULAR

ITALIC

BOLD

FRANCTIONS

Mrs. Eaves


devised in the nineteenth century, when print-

ers sought to identify a heritage for their own

craft analogous to that of art history. Humanist

letterforms are closely connected to calligraphy

and the movement of the hand. Transitional





Designers in the twentieth and twenty-first cen-

turies have continued to create new typefaces


A basic system for classifying typefaces was devised in the

nineteenth century, when printers sought to identify a heritage

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

letterforms are closely connected to calligraphy and the move-

ment of the hand. Transitional and modern typefaces are more

abstract and less organic. These three main groups correspond

roughly to the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the twentieth and

twenty-first centuries have continued to create new typefaces






MaxogGdQrRst

121


REGULAR

ITALIC

BOLD

News Gothic

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

A basic system for classifying typefaces was devised in the nineteenth century, when 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. Transi-tional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlighten-ment periods in art and literature. De-signers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic character-istics.




122


REGULAR

OCR A

A basic system for clas-

sifying typefaces was

devised in the nineteenth

century, when printers

sought to identify a heri-

tage for their own craft

analogous to that of art

history. Humanist let-

terforms are closely con-

nected to calligraphy and

the movement of the hand.

Transitional and modern

typefaces are more histor-

ic characteristics.



REGULAR

OCR A

A basic system for clas-

sifying typefaces was

devised in the nineteenth

century, when printers

sought to identify a heri-

tage for their own craft

analogous to that of art

history. Humanist let-

terforms are closely con-

nected to calligraphy and

the movement of the hand.

Transitional and modern

typefaces are more ab-

stract and less organic.

These three main groups

correspond roughly to the

Renaissance, Baroque, and

Enlightenment periods in

art and literature. De-

signers in the twentieth

and twenty-first centuries

have continued to cre-

ate new typefaces based on



MaopQRfGg

123


BOOK

ITALIC

BOLD

Optima






MxaopQRstGg

124


LIGHT

OLD STYLE

MEDIUM

BLACK

Palatino








LIGHT

OLD STYLE

MEDIUM

BLACK

Palatino

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






MxaopQRstGMxaopQRstGg

125


REGULAR

ITALIC

BOLD

Perpetua

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

A basic system for classifying typefaces was devised in

the nineteenth century, when printers sought to identify

a heritage for their own craft analogous to that of art

history. Humanist letterforms are closely connected to cal-

ligraphy and the movement of the hand. Transitional and

modern typefaces are more abstract and less organic. These

three main groups correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first centuries

have continued to create new typefaces based on historic

characteristics.




MxanopQrRtGg

126


THIN

REGULAR

HEAVY

Platelet




tage for their own craft analogous to

that of art history. Humanist letter-

forms are closely connected to cal-

ligraphy and the movement of the hand.

Transitional and modern typefaces are

more abstract and less organic. These


the Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and twenty-

first centuries have continued to create

new typefaces based on historic charac-

teristics.
















teristics.

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

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

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

? ! @ & *



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

? ! & *



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

? ! @ & *


THIN

REGULAR

HEAVY

Platelet
















teristics.
















teristics.



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

? ! @ & *



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

? ! @ & *



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

? ! @ & *

MaxbyogGQrRtMxanopQrRtGg

127


REGULAR

ALTERNATE

BOLD

Priori Sans

A basic system for classifying typefaces was devised in

the nineteenth century, when printers sought to identify

a heritage for their own craft analogous to that of art

history. Humanist letterforms are closely connected to

calligraphy and the movement of the hand. Transitional


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.


in the nineteenth century, when printers sought to

identify a heritage for their own craft analogous to

that of art history. Humanist letterforms are closely

connected to calligraphy and the movement of the

hand. Transitional and modern typefaces are more

abstract and less organic. These three main groups

correspond roughly to the Renaissance, Baroque, and

Enlightenment periods in art and literature. Design-

ers in the twentieth and twenty-first centuries have

continued to create new typefaces based on historic

characteristics.




128


REGULAR

ALTERNATE

BOLD

Priori Serif


devised in the nineteenth century, when printers

sought to identify a heritage for their own craft

analogous to that of art history. Humanist letter-

forms are closely connected to calligraphy and the








characteristics.

A basic system for classifying typefaces was de-

vised in the nineteenth century, when printers


analogous to that of art history. Humanist let-

terforms are closely connected to calligraphy

and the movement of the hand. Transitional and

modern typefaces are more abstract and less





centuries have continued to create new type-

faces based on historic characteristics.





REGULAR

ALTERNATE

BOLD

Priori Serif


in the nineteenth century, when printers sought to

identify a heritage for their own craft analogous to

that of art history. Humanist letterforms are closely

connected to calligraphy and the movement of the

hand. Transitional and modern typefaces are more

abstract and less organic. These three main groups

correspond roughly to the Renaissance, Baroque,

and Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first centu-

ries have continued to create new typefaces based

on historic characteristics.

A basic system for classifying typefaces was de-

vised in the nineteenth century, when printers


analogous to that of art history. Humanist let-

terforms are closely connected to calligraphy

and the movement of the hand. Transitional and

modern typefaces are more abstract and less





centuries have continued to create new type-

faces based on historic characteristics.




MxanodQrRtSfg

129


(55) SANS

ITALIC

SERIF

ITALIC

Rotis







130


REGULAR

SMALL CAPS

BOLD

BOLD ITALIC

Sabon




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

SMALL CAPS

BOLD

BOLD ITALIC

Sabon







MxayogGQfR

131


REGULAR

CAPS

ITALIC

BOLD

Scala Sans






to calligraphy and the movement of the

hand. Transitional and modern typefaces




periods in art and literature. Designers in

the twentieth and twenty-first centuries have








to calligraphy and the movement of the

hand. Transitional and modern typefaces




periods in art and literature. Designers in

the twentieth and twenty-first centuries have




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 ( ) { } ? ! & *



132


REGULAR

ITALIC

BOLD

BLACK

Serifa








REGULAR

ITALIC

BOLD

BLACK

Serifa


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





MxaoygGdQR

133


REGULAR

Snell Roundhand


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

134


BOLD CONDENSED

REGULAR

ITALIC

BOLD

Swift









less organic. These three main groups cor-

respond roughly to the Renaissance, Ba-

roque, and Enlightenment periods in art




characteristics.



















BOLD CONDENSED

REGULAR

ITALIC

BOLD

Swift









less organic. These three main groups cor-

respond roughly to the Renaissance, Ba-

roque, and Enlightenment periods in art




characteristics.


















MxaoygGdQrR

135


REGULAR

BOLD

BLACK

BLACK

Syntax







136


CONDENSED

MEDIUM

BOLD

BOLD NO.2

Trade Gothic








CONDENSED

MEDIUM

BOLD

BOLD NO. 2

Trade Gothic


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





MxanyogGdQrR

137


REGULAR

ITALIC

SMALL CAPS

BOLD

Walbaum

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






138


REGULAR

MEDIUM

MEDIUM ITALIC

BOLD

Volta


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






REGULAR

MEDIUM

MEDIUM ITALIC

BOLD

Volta


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





MyogGdQrR

139

16 Credits.

Designed by Eric Norton. Class project for Professor

Herstowski’s Typography 02 at the University of Kan-

sas, Spring 2011. Text for the book was compiled from

the following sources: Elements of Typographic Style by

Robert Bringhurst, Getting it Right with Type: the Do’s

and Don’ts of Typography by Victoria Square, 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 de-

signer for their reference and student design portfolio.

type

Documents

use en

x01 use

use real apostrophes

line of paragraphs

use real quotation marks

line indent

short line

consecutive lines