typographic workbook

TYPOGRAPHYWORKBOOK

A book of rules and

guidelines for type

Designed by Bailey Wells

Typography 02Michael SelbyUniversity of KansasSpring 2012

x-height

hyphenation

alignment

justification

font combinations

quotes

apostrophes

dashes

bullets

numerals

small caps

paragraph breaks

headers

captions

font specs

1 contents

7

21

32

38

48

58

62

66

68

70

80

88

102

112

122

contents

the rules

Use only one space between sentences. Use real quotation marks. Use real apostrophes.Make sure the apostrophes are where they belong. Hang the punctuation off the aligned edge. Use en or em dashes, use consis-tently. Kern all headlines where neces-sary. Never use the spacebar to align text, always set tabs and use the tab key. Leave no widows or orphans. Avoid more than 3 hyphenations in a row. Avoid too many hyphenations in any paragraph. Avoid hyphenating or line brakes of names and proper nouns. Leave a least 2 characters on the line and 3 following. Avoid beginning consecutive lines with the same word. Avoid ending consecutive lines with the same word. Avoid ending lines with the words: the, of, at, a, by. Never hyphenate a words in a

headline and avoid hyphenation in a callout. Never justify the text on a short line. Keep the word spacing consis-tent. Tighten up the leading in lines with all caps or with few ascend-ers and descenders. Use a one-em first-line indent on all indented paragraphs. Adjust the spacing between para-graphs. Either indent the first line of paragraphs or add extra space between them – not both. Use a decimal or right-aligned tab for the numbers in numbered paragraphs. Never have one line in a para-graph in the column or following. Never combine two serif fonts on one page. Rarely combine two sans serif fonts on one page. Rarely combine more than three typefaces on one page.Use the special characters when-ever necessary, including super- and subscript. Spend the time to create nice fraction or chose a font that has fractions. If a correctly spelled word needs an accent mark, use it.

the rules

2

ag ag ag ag

ag ag ag ag

ag ag ag ag

Rockwell

Akzidenz Grotesk

Helvetica

Frutiger

Mrs Eaves

Gill Sans

Gotham

Meta

Memphis

Bembo

Interstate

Optima

x-height 4

Readability and legibility are two

key elements of printed text that

typographers strive to maximize.

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

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

In typography, color can also describe the balance between black and white on the page of text. A type-face’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 ...

There are several factors that determine

whether a text is readable.

7 x-height

x-height

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

Quickly. In passing. Focused. Near. Far.

who is to read it?

how will it be read?

8x-height

Futurism was first announced on February 20, 1909, when

the Paris newspaper Le Figaro published a manifesto by

the Italian poet and editor Filippo Tommaso Marinetti. The

name Futurism, coined by Marinetti, reflected his empha-

sis 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 em-

phasizing 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 ex-

alted violence and conflict and called for the sweeping re-

pudiation of traditional cultural, social, and political values

and the destruction of such cultural institutions as museums

and libraries.

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. Mari-

netti’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 destruc-

tion of such cultural institutions as museums and libraries.

Xxhg

Xxhg

ROCKWELL

Morris Fuller Benton

x-height: average

character width: narrow

color: medium

ARCHERHoefler and Frere-Jones

x-height: average


color: light

9 x-height

Futurism was first announced on February 20, 1909,

when the Paris newspaper Le Figaro published a mani-

festo by the Italian poet and editor Filippo Tommaso

Marinetti. The name Futurism, coined by Marinetti, re-

flected his emphasis on discarding what he conceived to

be the static and irrelevant art of the past and celebrating

change, originality, and innovation in culture and society.

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.

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 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.

Xxhg

Xxhg

WALBAUMJustus Erich Walbaum

x-height: tall


color: medium

BEMBO

Stanley Morison

x-height: average

character width: wide

color: light

10x-height




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

cultural, social, and political values and the destruction of such cultural

institutions as museums and libraries.







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





and libraries.

Xxhg

Xxhg

GRANJON

Robert Granjon

x-height: average


color: light

BASKERVILLE

John Quaranda

x-height: average


color: light

11 x-height



poet and editor Filippo Tommaso Marinetti. The name Futur-

ism, coined by Marinetti, reflected his emphasis on discarding

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

and celebrating change, originality, and innovation in culture

and society. 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 libraries.







traditions and glorified contemporary life, mainly by emphasizing








and libraries.

Xxhg

Xxhg

SABONJan Tschichold

x-height: average

character width: large

color: light

BEMBO

Stanley Morison

x-height: average


color: light

12x-height


the Paris newspaper Le Figaro published a manifesto by the

Italian poet and editor Filippo Tommaso Marinetti. The name

Futurism, coined by Marinetti, reflected his emphasis on

discarding what he conceived to be the static and irrelevant

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

novation in culture and society. 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













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



Xxhg

Xxhg

SWIFT

Gerard Unger

x-height: average


color: medium

LINOTYPE DIDOTFirmin Didot

x-height: average

character width: average

color: light

13 x-height




Marinetti, reflected his emphasis on discarding what he conceived to

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


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.






celebrating change, originality, and innovation in culture and so-

ciety. Futurism rejected traditions and glorified contemporary life,

mainly by emphasizing two dominant themes, the machine and

motion. The works were characterized by the depiction of several


manifesto glorified the new technology of the automobile and the

beauty of its speed, power, and movement. He exalted violence


cultural, social, and political values and the destruction of such

cultural institutions as museums and libraries.

Xxhg

Xxhg

ROTIS SANS SERIF

Oti Aicher

x-height: tall


color: medium

BERTHOLD AKZIDENZ GROTESK

Gunter Gerhand Lange

x-height: tall


color: light

14x-height






celebrating change, originality, and innovation in culture and so-

ciety. Futurism rejected traditions and glorified contemporary life,

mainly by emphasizing two dominant themes, the machine and



manifesto glorified the new technology of the automobile and 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 em-

phasizing two dominant themes, the machine and motion.

The works were characterized by the depiction of several


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.

Xxhg

Xxhg

META

Erik Spiekermann

x-height: tall


color: average

FRUTIGER

Adrian Frutiger

x-height: tall


color: average

15 x-height

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



poet and editor Filippo Tommaso Marinetti. The name Futur-

ism, coined by Marinetti, reflected his emphasis on discarding

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

and celebrating change, originality, and innovation in culture

and society. Futurism rejected traditions and glorified contem-

porary life, mainly by emphasizing two dominant themes, the

machine and motion. The works were characterized by the de-

piction 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 libraries.

Xxhg

Xxhg

SYNTAX

Hans Eduard Meier

x-height: tall


color: dark

BEMBO

Stanley Morison

x-height: tall


color: average

16x-height

x-height




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 contemporary life, mainly

by emphasizing two dominant themes, the machine and

motion. The works were characterized by the depiction of

several successive actions of a subject at the same time.

Marinetti’s manifesto glorified the new technology of the

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

ment. He exalted violence and conflict and called for the

sweeping repudiation of traditional cultural, social, and

political values and the destruction of such cultural institu-

tions as museums and libraries.





to be the static and irrelevant art of the past and celebrating

change, originality, and innovation in culture and society. Futur-

ism 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 ac-

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

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

power, and movement. He exalted violence and conflict and called

for the sweeping repudiation of traditional cultural, social, and

political values and the destruction of such cultural institutions as


Xxhg

Xxhg

INTERSTATE

Tobias Frere-Jones

x-height: tall


color: average

ITC OFFICINA SANS

Erik Spiekermann

x-height: average


color: average

17

x-height

Futurism was first announced on February 20, 1909,

when the Paris newspaper Le Figaro published a

manifesto by the Italian poet and editor Filippo Tom-

maso Marinetti. The name Futurism, coined by Mari-

netti, reflected his emphasis on discarding what he

conceived to be the static and irrelevant art of the past

and celebrating change, originality, and innovation in

culture and society. Futurism rejected traditions and

glorified contemporary life, mainly by emphasizing two

dominant themes, the machine and motion. The works

were 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-

ment. He exalted violence and conflict and called for

the sweeping repudiation of traditional cultural, social,

and political values and the destruction of such cultural












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



Xxhg

Xxhg

GOTHAM

Tobias Frere-Jones

x-height: average


color: light

HELVETICA NEUE

Max Miedinger

x-height: tall


color: average

18

hyphenation

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 be-comes 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 life, but a narrow column can be less active. Another advantage to having ragged text is that less hyphen-ation is needed. Therefore, names, dates or words which are normally read together can stay together.

In unjustified text, the text block is set with

normal letter and word spacing.

hyphenation21

Look at how the text is read: avoid widows (one word on the last line of a paragraph)

Avoid hyphenating or line breaks of names and proper nouns

Leave at least 2 characters on the line and 3 following Avoid beginning consecutive lines with the same word

Avoid ending consecutive lines with the same word

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

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

hyphenation rules

hyphenation 22

hyphenation

headlines

Professor and The-rapist to Lecture

Don Quixote de la Man-

cha

Man Walks Barefoot Across BayBridge

Man Walks Barefoot Across Bay Bridge

Man walks barefoot across Bay Bridge

Watch where the first line of a two-line head-

line ends. Does it create a silly or misleading

phrase? Fix it.

Don’t hyphenate headlines. That’s a law.

Don’t leave widows in headlines.

Fix it either way, or re-write!

23

hyphenation

Never leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program you’re working in. Sometimes widening a margin just a hair will do it. But it must be done. Widows and orphans on a page are wrong.

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

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

In typography, rivers, or rivers of white, are visu-ally 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.

Widows and Orphans

Widows

Orphans

Rivers

24

hyphenation

what are bad line breaks anyway?

Look for bad line breaks throughout every

line of body copy. Of course, do this only on

final copy, after all editing has been done!

Here are several examples of the sorts of

things to look for:

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 up.

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

5 Never hyphenate a person’s name. This had to go up a few lines, and “off” had to be bumped down, which bumped the other line endings down. This also took care of the inappropriate widow in 6.

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

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

9 To get rid of that terrible widow, exchange a short word for a long word.

26

hyphenation

Casing AdderBatHeresy borsch-boil starr aboarder borsch boil gamplate lung, lung a gore in-ner ladle wan-hearse torncoiled Mutt-fill.

Mutt-fill worsen mush of-fer torn, butted hatter puttygut borsch-boil tame, an offoiler pliers honor tame, doormoist cerebrated worse Cas-ing. Casing worsted sickenedbasement, any hatter bettingorphanage off.526 (fife toesex).

Casing worse gut lurkingan furry poplar–spatiallywetter full coiled Any-bally.Any-bally worse Casing’ssweat-hard, any harpy cobblewandered toe gat merit,bought Casing worse toe poretoe becalm Any-bally’shorsebarn. (Boil pliers honorMutt-fill tame dint gat mushoffer celery; infect, day gutnosing atoll.)

Butt less gat earn wetter star-ry.

Casing Adder BatHeresy borsch-boil starrya boarder borsch boil gamplate lung, lung a gore innerladle wan-hearse torn coiledMutt-fill.

Mutt-fill worsen mushoffer torn, butted hatter puttygut borsch-boil tame, anoff oiler pliers honor tame,door moist cerebrated worseCasing. Casing worsted sick-ened basement, any hatterbetting orphanage off .526(fife toe sex).

Casing worse gut lurking an furry poplar–spatiallywetter gull coiled Any-bally.Any-bally worse Casing’ssweat-hard, any harpy cobblewandered toe gat merit, boughtCasing worse toe pore toebecalm Any-bally’s horsebarn.(Boil pliers honor Mutt-filltame dint gat mush offer celery;infect, day gut nosing atoll.)

Butt less gat earn wetterstarry.

2

3

4

5

6

7

8

9

1

27

Right and wrong do not exist in

graphic design.

There is only effective and non-effective communication. PETER BILAK

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

Alignment is only a small piece of the puzzle. What works for one design might be totally inappropriate for another layout. As with all layouts, it depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other ele-ments on the page. The most appropriate choice is the alignment that works for that particular design.

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

If someone insists that fully

justified text is better than left-

aligned text, tell them they are

wrong.

alignment32

alignment

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

justified text

alignment 33

alignment

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

Usually allows for more characters per line, pack-ing 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.

Often considered more informal, friendlier than justi-fied 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 (requires less time and tweaking from the designer).

There is nothing inherently wrong with centered

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.

Left-Aligned, Ragged Right

34

alignment

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

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

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

There will undoubtedly be well-meaning friends, business associates, clients, and others who will question your choices. Be prepared to explain

why you chose the alignment you did and be

prepared to change it (and make necessary ad-justments to keep it looking good) if the person with final approval still insists on something different.

Centered

35

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

Justify text only if the line is long enough to

prevent awkward and inconsistent word spacing.

justification38

justification

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

The line length in picas should be about twice the point size of the type; that is, if the type you are us-ing is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) 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.

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

Justified text was the style for many years.

We grew up on it.

Here is a general guideline for determining if

your line length is long enough to satisfactorily

justify the text.

39justification

justification

Futurism was first announced on Febru-

ary 20, 1909, when the Paris newspaper

Le Figaro published a manifesto by the

Italian poet and editor Filippo Tommaso

Marinetti. The name Futurism, coined

by Marinetti, reflected his emphasis on

discarding what he conceived to be the

static and irrelevant art of the past and

celebrating change, originality, and in-

novation in culture and society. Futurism

rejected traditions and glorified con-

temporary life, mainly by emphasizing

two dominant themes, the machine and

motion. The works were characterized by

the depiction of several successive actions

of a subject at the same time. Marinetti’s

manifesto glorified the new technology

of the automobile and the beauty of its

speed, power, and 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



ary 20, 1909, when the Paris newspaper Le

Figaro published a manifesto by the Italian

poet and editor Filippo Tommaso Marinetti.

The name Futurism, coined by Marinetti,

reflected his emphasis on discarding what he

conceived to be the static and irrelevant art

of the past and celebrating change, original-

ity, and innovation in culture and society.

Futurism rejected traditions and glorified

contemporary life, mainly by emphasizing


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.

100125250

This is way too spaced out. The

gaps between each word create

long rivers that break up the

paragraph. It looks worse with

the sans serif font than the

serif font.

40

justification

Futurism was first announced on February

20, 1909, when the Paris newspaper Le




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




ary 20, 1909, when the Paris newspaper Le




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. Futur-

ism rejected traditions and glorified contem-

porary life, mainly by emphasizing two domi-

nant themes, the machine and motion. The

works were characterized by the depiction of

several successive actions of a subject at the

same time. Marinetti’s manifesto glorified the








80100200

This one is mostly acceptable.

There are small rivers in both

fonts that should be adjusted.

41

justification





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


motion. The works were characterized

by the depiction of several successive

actions of a subject at the same time.

Marinetti’s manifesto glorified the new

technology of the automobile and the

beauty of its speed, power, and move-

ment. He exalted violence and conflict

and called for the sweeping repudiation

of traditional cultural, social, and politi-

cal values and the destruction of such

cultural institutions as museums and

libraries.





Marinetti. The name Futurism, coined by

Marinetti, reflected his emphasis on dis-

carding what he conceived to be the static

and irrelevant art of the past and celebrat-

ing change, originality, and innovation

in culture and society. Futurism rejected

traditions and glorified contemporary life,

mainly by emphasizing two dominant

themes, the machine and motion. The

works were characterized by the depiction

of several successive actions of a subject at

the same time. Marinetti’s manifesto glori-

fied the new technology of the automobile

and the beauty of its speed, power, and

movement. He exalted violence and conflict

and called for the sweeping repudiation

of traditional cultural, social, and political

values and the destruction of such cultural


125175300

Everything here is too far apart

from each other. Gaps and riv-

ers in each paragraph take over

its legibility.

42

justification

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 innova-

tion in culture and society. Futurism rejected



themes, the machine and motion. The works

were characterized by the depiction of several


time. Marinetti’s manifesto glorified the new

technology of the automobile and the beauty

of its speed, power, and movement. He ex-

alted violence and conflict and called for the

sweeping repudiation of traditional cultural,

social, and political values and the destruc-

tion of such cultural institutions as museums

and libraries.


20, 1909, when the Paris newspaper Le Figaro









mainly by emphasizing two dominant themes,

the machine and motion. The works were char-

acterized by the depiction of several successive

actions of a subject at the same time. Marinetti’s

manifesto glorified the new technology of the

automobile and the beauty of its speed, power,

and movement. He exalted violence and con-

flict and called for the sweeping repudiation of

traditional cultural, social, and political values

and the destruction of such cultural institutions

as museums and libraries.

205075

We are getting closer here. The

letters are actually too close to-

gether, but they are more leg-

ible. The sans serif font looks

better than the serif.

43

justification


20, 1909, when the Paris newspaper Le




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











20, 1909, when the Paris newspaper Le Figaro










themes, the machine and motion. The works

were characterized by the depiction of several




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.

929295

This is pretty good! There are

only some slight river prob-

lems, but other than that, it’s

pretty legible.

44

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

When combining serif and sans serif text fonts,

one shroud try and match the characteristics of

form and type color: proportion, x-heights.

font combination48

font combination

It is a matter of typographic sensitivity and

experience. Expert typographers, as well as care-

less amateurs permit themselves combinations

that would horrify colleagues with more tradi-

tional sympathies.

There is not a binding recipe for

type combinations.

49font combination

font combination

font combination

Frutiger Bold: 9 pt, humanist sans-serif

Garamond: 11 pt, Old Style

In this instance, Garamond had to be increased

in size just a tad to match the x-height of

Frutiger. The width of the letters are about the

same so they match up nicely.

Akzidenz Grotesk: 9 pt, grotesque sans serif

Bembo: 9 pt, Old Style

The roundness of both these fonts create a nice

look. The x-height in Akzidenz Grotesk is slight-

ly taller but it still matches up well.

WORDS IN LIBERTY

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

A Prologue to Futurism: Futurism was first announced on

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

manifesto by the Italian poet and editor Filippo Tommaso Marinetti.

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

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

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

and society. Futurism rejected traditions and glorified contemporary

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


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


50

font combination

Futura light: 9 pt, geometric

Baskerville: 9 pt, transitional

Here, the fonts look nice together, but there still

needs to be a higher contrast between them

both to make it more effective.

Optima: 10 pt, humanist sans serif

Bookman light: 7 pt, Transitional

Here, Optima had to be bumped up in size so

that the x-height could be matched. Bookman is

light instead of regular as well, since it is a thick-

er font and would have competed with Optima.

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on February

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

by the Italian poet and editor Filippo Tommaso Marinetti. The

name Futurism, coined by Marinetti, reflected his emphasis on dis-

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

past and celebrating change, originality, and innovation in culture

and society. Futurism rejected traditions and glorified contemporary

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


successive actions of a subject at the same time. Marinetti’s mani-

festo glorified the new technology of the automobile and the beauty

of its speed, power, and movement. He exalted violence and conflict

and called for the sweeping repudiation of traditional cultural,

social, and political values and the destruction of such cultural insti-

tutions as museums and libraries.

aa BB ee GG gg



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 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.

51

font combination

Gotham black italic: 9 pt, geometric

Bauer Bodoni: 9 pt, modern

The black italics in Gotham really help to lead

into the Bodoni typeface. It also contrasts the

thicks and thins seen in the serif font.

Franklin Gothic Medium Regular: 8 pt, grotesque

Didot: 7 pt, modern

The x-heights are harder to match up here, but

they still compliment each other nicely because

Franklin Gothic is thick, and Didot is rather thin.

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced

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

published a manifesto by the Italian poet and editor Filippo

Tommaso Marinetti. The name Futurism, coined by Marinetti,

reflected his emphasis on discarding what he conceived to be

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


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



aa BB ee GG gg


A Prologue to Futurism: Futurism was first announced on February 20, 1909,

when the Paris newspaper Le Figaro published a manifesto by the Italian

poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by

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

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

novation in culture and society. Futurism rejected traditions and glorified con-

temporary life, mainly by emphasizing two dominant themes, the machine and

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

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

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

ment. He exalted violence and conflict and called for the sweeping repudiation

of traditional cultural, social, and political values and the destruction of such


52

font combination

Century Gothic bold: 9 pt, geometric

Trade Gothic medium: 11 pt, new transitional

These fonts work very well together. They

are both fairly small typefaces, and by making

Mrs. Eaves a tad bit bigger they create a

nice compliment.

Trade Gothic bold: 10 pt, grotesque

Clarendon: 8 pt, new transitional

These two fonts look nice, but because Trade

Gothic is so narrow, it conflicts a little with the

wideness of stroke in Clarendon.

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and 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 mani-festo glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

aa BB ee GG gg



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

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

maso Marinetti. The name Futurism, coined by Marinetti, re-

flected his emphasis on discarding what he conceived to be the

static and irrelevant art of the past and celebrating change,


rejected traditions and glorified contemporary life, mainly by

emphasizing two dominant themes, the machine and motion.

The works were characterized by the depiction of several suc-

cessive actions of a subject at the same time. Marinetti’s mani-

festo glorified the new technology of the automobile and the


and conflict and called for the sweeping repudiation of tradi-

tional cultural, social, and political values and the destruction

of such cultural institutions as museums and libraries.

53

font combination

Futura: 10 pt, geometric sans serifRockwell: 9 pt, slab serif

Futura and Rockwell are both very square, so

they come together and make a nice pairing.

Meta: 9 pt, humanist sans serif

Serifa: 8 pt, slab serif

Both of these fonts have more rounded, shapely

forms. Serifa is smaller, helping the color to

reduce in the paragraph and not allowing it to

compete with Meta.

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 Marinet-

ti, 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 technolo-

gy 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


A Prologue to Futurism: Futurism was first announced on Febru-

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

a manifesto by the Italian poet and editor Filippo Tommaso

Marinetti. The name Futurism, coined by Marinetti, reflected

his emphasis on discarding what he conceived to be the static

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

and innovation in culture and society. Futurism rejected tradi-

tions and glorified contemporary life, mainly by emphasizing





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


54

font combination

Faces of type are like men's faces.

They have their own expression; their complex-

ion and peculiar twists and turns of line identify

them immediately to friends, to whom each is

full of identity.

J.L. Frazier

Most software applications will convert the type-writer quotes to the real quotes for you automati-cally as you type. Check the preferences for your application – you’ll find a check box to tell your application to automatically set something like “typographer’s quotes,” “smart quotes,” or “curly quotes.” Then as you type using the standard ditto key (“), the software will set the correct quotation marks for you. But it is necessary to know how to set them yourself because sometimes the software doesn’t do it or does it wrong.

Use real quotation marks –

never those grotesque generic

marks that actually symbolize

ditto/inch or foot marks.

use “and” not "and".

quotes58

quotes

Opening double quote:

Closing double quote:

Opening single quote:

Closing single quote:

" Type: Option [

" Type: Option Shift [

' Type: Option [

' Type: Option Shift [

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

quotes 59

For possessives: Turn the phrase around. The apos-trophe 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 your-self, “The camp belongs to the boys.” The phrase the boy’s camp says “The camp belongs to the boy.”

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

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

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 apos-trophe is indicating where the i is left out. Don’t means “do not”; the apostrophe is indicating where the o is left out.

As as aside, people often are

confused about where the

apostrophe belongs. There are

a couple of rules that work

very well.

apostrophes62

apostrophes

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 apostro-phe 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 apos-trophe 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 be-fore the s! Why would there be? It is not possessive, nor is it a contraction — it is simply plural.)

Opening double quote: " Type: Option [

apostrophes 63

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

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

Never use two hyphens instead

of a dash. Use hyphens, en dash-

es, and em dashes appropriately.

dashes66

dashes

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.

To type an en dashEn dash: – Option Hyphen

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

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

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

To type an em dashEm dash — Shift Option Hyphen

Hold the Shift and Option keys down, then tap the hyphen key.

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

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

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

Hyphen -

En dash –

Em dash —

dashes 67

dashes

special characters

Option [ opening double quoteOption Shift [ closing double quoteOption ]opening single quoteOption Shift ] closing single quote; apostropheOption Hyphen en dash Option Shift Hyphen em dashOption ; ellipsis Option 8 bulletOption Shift 5 ligature of f and iOption Shift 6 ligature of f and lOption gOption 2Option r Option Shift 8 degree symbol (e.g., 102°F)Option $Option Shift 2 Euro symbolOption Shift 1 (one) fraction barOption 1 (one)Option Shift ?Option 3Option c Option Shift c

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

68

dashes

´ Option e` Option ~¨ Option u˜ Option nˆ Option i

Remember, to set an accent mark over a letter,

press the Option key and the letter, then press

the letter you want under it.

69

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 para-graphs. Even if you use the bullet that is part of your font, don’t automatically assume it’s the right size: it might need to be altered in scale or position to make it look balanced next to the text.Bullets should be centered on either the cap height or x-height, depending on the nature of your copy. If all of your items begin with a cap, center the bullet on the cap, or a bit lower so it balances with the negative spaces created by the lowercase. If your items all begin with lowercase characters, center the bullets on the x-height. Insert some space after the bullet to avoid crowding.

Bullet, of course! This very use-

ful typographic element can

add emphasis, clarity and visual

interest to all kinds of copy.

bullets70

bullets

The preferred way to align bullets is with the

left margin. You can also have the bullets over-hang 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 ding-bats 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.

bullets 71

dingbatsas bullets

Another occasion to take advantage of the baseline shift feature is when using dingbats or ornaments. Suppose you have a list of items and you really want to use a fancy dingbat from the Zapf Dingbats font, instead of using the boring ol' round bullet (or—heaven forbid—a hyphen.) But the Zapf Dingbat character is too big. If you reduce its size, the ding-bat is too low because the character is still sitting on the baseline. So select the character and shift it up above the baseline.

bullets72

Pick any three adjectives that

describe yourself:

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


describe yourself:

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


describe yourself:

lovely surly ghastly womanly saintly ungodly stately sprightly


describe yourself:

▼ lovely✽ surly❥ ghastly☞ womanly★ saintly✔ ungodly➔ stately♦ sprightly

Choose a dingbat instead of the

dumb ol' bullet!

You can decrease the point size of

the bullet, but then it sits too low.

Raise the dingbat higher off

the baseline.

You have lots of dingbats to

choose from, but they are usually

too big. (Choose one dingbat).

bullets 73

Oldstyle figures are a style of numeral which ap-proximate lowercase 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 vertically on charts.

They are only available for certain typefaces, some-times as the regular numerals in a font, but more often within a supplementary or expert font. The figures are proportionately spaced, eliminating the white spaces that result from monospaced lining figures, especially around the numeral one.

Oldstyle figures have more

of a traditional, classic look.

numerals76

numerals

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 ef-fort to track down and obtain typefaces with oldstyle numerals; the fonts that contain them might well become some of your favorites.

Notice how large and clunky

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

Notice how beautifully these

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

numerals 77

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 correct for the typeface, which me and that they can be used within a body of copy without looking noticeably wrong.

small caps80

small caps

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

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

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

small caps 81

small caps

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

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

them properly.

where to use small caps

82

small caps

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

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

The capital letters in the middle of the sentence

call too much attention to themselves. Notice

how the small caps blend in with the text. The

capital letters for P.M. are much too large — the

abbreviation is not that important.

83

small caps

There are quite a few font families that include "true-drawn" small caps—letterforms that have been redesigned to match the proportions and thicknesses of the uppercase. These families are oftne called "expert" sets or perhaps "small cap" sets (see Chapter 8). The result is a smooth, uni-form, undisturbing tone throughout the text.

There Is No Rest For The Wicked.

True-drawn small caps are specially drawn to

match the weight of the capital letters in the same

face.

true-drawn small caps

84

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 in-troduced as an indentation, as a space or both. The over all page feel will be influenced by your choice.

paragraph breaks88

paragraph breaks

paragraph breaks

In typography there are 4 rules regarding para-

graph breaks:

1. The first line at the beginning of an article should be flush left (do not indent the first paragraph)

2. Block paragraphs are flush left and are separated by extra leading and not a full return

3. The amount of indent is equal to the leading

4. Never hit two returns between paragraphs

89

paragraph breaks

paragraph breaks

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

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

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later mani-festos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta, 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.”

90

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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 manifesto's rhetoric was passion-ately bombastic; its tone was aggressive and inflam-matory and was purposely intended to inspire pub-lic anger and amazement, to arouse controversy, and to attract widespread attention.

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


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

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


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

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

❥❥While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later mani-festos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta, 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.”

97

paragraph breaks

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

editor Filippo Tommaso Marinetti. The name Futur-ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contem-porary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread atten-tion.

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

of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" move-ment led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the

later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta, by which poetry was to become “an uninterrupted sequence of new imag-es… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”

98

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Header: the supplemental text at the beginning of a text block. It introduces the general idea of what the entire text is about.

Subhead: a subordinate line of text that could be at the beginning of a paragraph. It introduces the main idea of a certain section within the text.

headers102

headers

Pay attention to:

the kerning of the header

clear hierarchy

no hyphenation in the header

subheads should be symmetrical or asymmetrical

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headers

❥❥Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, original-ity, and innovation in culture and society. Futurism rejected traditions and glorified con-temporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and 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 manifes-to's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

❥❥While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it re-sembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists' performances mixed decla-mation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Mari-netti selbst (circa 1915): “Everything of any value is theatrical.”

WORDS IN LIBERTYA PROLOGUE TO FUTURISM

Radical mix of art and life

104

headers

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, original-ity, and innovation in culture and society. Futurism rejected traditions and glorified con-temporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and 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 manifes-to's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it re-sembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists' performances mixed decla-mation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Mari-netti selbst (circa 1915): “Everything of any value is theatrical.”

words in libertya p r o l o g u e t o f u t u r i s m

r a d i c a l m i x o f a r t a n d l i f e

105

headers




Words in LibertyA PROLOGUE TO FUTURISM


106

headers




words in liberty a prologue to futurism

radical mix of art and life

107

headers

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 in-novation 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. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as fu-

turism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists

offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta, 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 inno-vative and expressive typography in the visual presentation of language, as set in mo-tion 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 declama-tion and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst (circa 1915): “Everything of any value is theatrical.”

WORDS IN LIBERTYA P r o l o g u e t o F u t u r i s m

R a d i c a l m i x o f a r t a n d l i f e

108

headers




words in libertyA PROLOGUE TO FUTURISM


109

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 novelists. Whether their intent is academic or artistic, foot-notes present special typographic challenges.

The footnote might provide deeper background, of-fer 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 foot-notes and endnotes that are readable, legible and economical in space. (Note that academic presses and journals can be sticklers for format: before proceeding, check with your client or publisher to see if they have a specific stylesheet that must be followed.)

Footnotes and endnotes

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.

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

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

Numbers or Symbols

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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, original-ity, and innovation in culture and society.¹ Futurism rejected traditions and glorified con-temporary life, mainly by emphasizing two dominant themes, the machine and motion. The 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 manifes-to's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

❥❥While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberte², by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it re-sembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists' performances mixed decla-mation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Mari-netti selbst³ (circa 1915): “Everything of any value is theatrical.”

WORDS IN LIBERTYA PROLOGUE TO FUTURISM


1: Philip Meggs, History

of Graphic Design, Van

Nostrand Reinhold,

1988

2: parole in liberta =

words set free (liberty)

3: selbst = himself

114

captions

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, originali-ty, and innovation in culture and society¹. Futurism rejected traditions and glorified con-temporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and 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 manifes-to's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.


While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberte², by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it re-sembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists' performances mixed decla-mation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Mari-netti selbst³ (circa 1915): “Everything of any value is theatrical.”

words in libertya p r o l o g u e t o f u t u r i s m

r a d i c a l m i x o f a r t a n d l i f e

1 PHILIP MEGGS,

HISTORY OF

GRAPHIC DESIGN,

VAN NOSTRAND

REINHOLD, 1988

2 PAROLE IN LIBERTA

= WORDS SET FREE

(LIBERTY)

3 SELBST = HIMSELF

115

captions

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, original-ity, and innovation in culture and society.¹ Futurism rejected traditions and glorified con-temporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and 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 manifes-to's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.



Words in LibertyA PROLOGUE TO FUTURISM


1 PHILIP MEGGS,

HISTORY OF GRAPHIC

DESIGN, VAN NOSTRAND

REINHOLD, 1988

2 PAROLE IN LIBERTA

= WORDS SET FREE

(LIBERTY)

3 SELBST = HIMSELF

116

captions




words in liberty a prologue to futurism

radical mix of art and life

1 PHILIP MEGGS,

HISTORY OF GRAPHIC

DESIGN, VAN NOSTRAND

REINHOLD, 1988

2 PAROLE IN LIBERTA =

WORDS SET FREE (LIB-

ERTY)

3 SELBST = HIMSELF

117

captions

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 in-novation 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 passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as fu-

turism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists

offered formal “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberte², 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 inno-vative and expressive typography in the visual presentation of language, as set in mo-tion 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 declama-tion and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst³ (circa 1915): “Everything of any value is theatrical.”

WORDS IN LIBERTYA P r o l o g u e t o F u t u r i s m

R a d i c a l m i x o f a r t a n d l i f e

1 PHILIP MEGGS, HISTORY OF GRAPHIC DESIGN, VAN NOSTRAND REINHOLD, 1988

2 PAROLE IN LIB-ERTA = WORDS SET FREE (LIBERTY)

3 SELBST = HIMSELF

118

captions




words in libertyA PROLOGUE TO FUTURISM


1 philip meggs, history of graphic

design, van nostrand reinhold, 1988

2 parole in liberta = words set free (liberty)

3 selbst = himself

119

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MaxogGdQRstA basic system for classifying typefaces was

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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 ( ) { } ? ! @ & *


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CLASSIFICATION: TRANSITIONAL

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ITALIC

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MxaogGdQRtA basic system for classifying typefaces


when printers sought to identify a heritage

for their own craft analogous to that of

art history. Humanist letterforms are




less organic. These three main groups cor-

respond roughly to the Renaissance, Ba-

roque, and Enlightenment periods in art




characteristics.















characteristics.





CLASSIFICATION: SLAB SERIF

REGULAR

ITALIC

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MxagGdQrRA basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art histo-

ry. Humanist letterforms are closely

connected to calligraphy and the

movement of the hand. Transitional

and modern typefaces are more ab-

stract and less organic. These three

main groups correspond roughly

to the Renaissance, Baroque, and

Enlightenment periods in art and

literature. Designers in the twenti-

eth and twenty-first centuries have

continued to create new typefaces

based on historic characteristics.

A basic system for classifying typefac-

es was devised in the nineteenth cen-

tury, when printers sought to identify a

heritage for their own craft analogous

to that of art history. Humanist letter-

forms are closely connected to callig-

raphy and the movement of the hand.

Transitional and modern typefaces

are more abstract and less organic.

These three main groups correspond

roughly to the Renaissance, Baroque,

and Enlightenment periods in art and

literature. Designers in the twentieth

and twenty-first centuries have con-

tinued to create new typefaces based

on historic characteristics.





font specs124

MxagGdQrRCLASSIFICATION: GROTESQUE

LIGHT

BOLD

BLACK

Bell Gothic

MxagGdQrRIA basic system for classifying typefaces

was devised in the nineteenth century, when

printers sought to identify a heritage for their

own craft analogous to that of art history.

Humanist letterforms are closely connected

to calligraphy and the movement of the hand.

Transitional and modern typefaces are more

abstract and less organic. These three main

groups correspond roughly to the Renais-

sance, Baroque, and Enlightenment periods in

art and literature. Designers in the twentieth



characteristics.




CLASSIFICATION: MODERN

REGULAR

ITALIC

BOLD

EXTRA BOLD

Bembo

MxnogGdQrRstA basic system for classifying typefaces was

devised in the nineteenth century, when print-

ers sought to identify a heritage for their own

craft analogous to that of art history. Humanist

letterforms are closely connected to calligraphy

and the movement of the hand. Transitional

and modern typefaces are more abstract and


respond roughly to the Renaissance, Baroque,

and Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first

centuries have continued to create new type-

faces based on historic characteristics.











Baroque, and Enlightenment periods

in art and literature. Designers in the

twentieth and twenty-first centuries have

continued to create new typefaces based






font specs126

MxnogGdQrRstCLASSIFICATION: NEW TRANSITIONAL

REGULAR

ITALIC

BOLD

BOLD ITALIC

Bookman

MxaogGdQrRA basic system for classifying type-



identify a heritage for their own craft

analogous to that of art history. Hu-

manist letterforms are closely con-

nected to calligraphy and the move-

ment of the hand. Transitional and

modern typefaces are more abstract

and less organic. These three main

groups correspond roughly to the

Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and

twenty-first centuries have continued

to create new typefaces based on


A basic system for classifying type-




craft analogous to that of art his-

tory. Humanist letterforms are

closely connected to calligraphy

and the movement of the hand.



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.






REGULAR

ITALIC

BOLD

BLACK

Bodoni

MxaogGdQrRstA basic system for classifying typefaces was



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.


centuries have continued to create new

typefaces based on historic characteristics.

A basic system for classifying typefaces was














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




font specs128

MxaogGdQrRstCLASSIFICATION: TRANSITIONAL

REGULAR

ITALIC

SWASH

ORNAMENT

ALTERNATE

Caslon

MxanogGdQRtA basic system for classifying typefaces was








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.






to calligraphy and the movement of the

hand. Transitional and modern typefaces










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

CLASSIFICATION: GROTESQUE

REGULAR

ITALIC

BOLD

BOLD ITALIC

Century Schoolbook

MxaogGdQrRtA basic system for classifying typefaces


when printers sought to identify a

heritage for their own craft analogous to

that of art history. Humanist letter-



Transitional and modern typefaces are

more abstract and less organic. These

three main groups correspond roughly to

the Renaissance, Baroque, and Enlight-


Designers in the twentieth and twenty-

first centuries have continued to create

new typefaces based on historic charac-

teristics.




















font specs130

MxaogGdQrRtCLASSIFICATION: TRANSITIONAL

REGULAR

ITALIC

BOLD

BOLD ITALIC

Cheltenham

MaxogGdQrRsA basic system for classifying typefaces





























characteristics.






UNICASE

REGULAR

Cholla

MaxnogGdQrRstA basic system for classifying typefaces

was devised in the nineteenth century, when









periods in art and literature. Designers in the


















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 ( ) { } ? ! @ & *


font specs132

MaxnogGdQrRstCLASSIFICATION: SLAB SERIF

LIGHT

REGULAR

BOLD

Clarendon

MxagGdQrRtA basic system for classifying type-




craft analogous to that of art history.

Humanist letterforms are closely con-








Designers in the twentieth and twen-

ty-first centuries have continued to

create new typefaces based on historic

characteristics.





















CLASSIFICATION: SANS SERIF

REGULAR

Clicker

MaxnogGdQRsA basic system for classifying type-


















font specs134

MaxnogGdQRsCLASSIFICATION: MODERN

REGULAR

ITALIC

BOLD

Didot

MxaogGdQrRtA basic system for classifying typefaces



















Humanist letterforms are closely connected to

calligraphy and the movement of the hand.




sance, Baroque, and Enlightenment periods

in art and literature. Designers in the twenti-

eth and twenty-first centuries have continued


characteristics.




CLASSIFICATION: SERIF

REGULAR

ITALIC

BOLD

Disturbance

MxnatQbWFGdRA basic system for classifying typefaces was devised

in the nineteenth century, when printers sought

to identify a heritage for their own craft analo-

gous to that of art history. Humanist letterforms

are closely connected to calligraphy and the

movement of the hand. Transitional and modern

typefaces are more abstract and less organic.

These three main groups correspond roughly to

the Renaissance, Baroque, and Enlightenment


twentieth and twenty-first centuries have con-

tinued to create new typefaces based on historic

characteristics.

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

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

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

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

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

( ) { } ? ! @ & *

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

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

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

font specs136

MxnatQbWFGdR

CLASSIFICATION: BLACK LETTER

REGULAR

Fette Fraktur

MxnaopQrRtfgA basic system for classifying typefaces was











literature. Designers in the twentieth and

twenty-first centuries have continued to


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


REGULAR

FRACTIONS

UNICASE

Filosofia

MxnaopQrRtfGgA basic system for classifying typefaces was













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



Enlightenment periods in art

and literature. Designers in the

twentieth and twenty-first cen-

turies have continued to create


characteristics.




font specs138

CLASSIFICATION: GROTESK

BOOK

ITALIC

MEDIUM

Franklin Gothic

MaxodQRtfGgA basic system for classifying typefaces



for their own craft analogous to that of art




























CLASSIFICATION: HUMANIST SANS

CONDENSED

REGULAR

BOLD

ULTRA BLACK

Frutiger

MaxodQRtfGgA basic system for classifying typefaces













and twenty-first centuries have contin-

ued to create new typefaces based on





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.












font specs140

CLASSIFICATION: GEOMETRIC SANS

BOOK

BOLD

EXTRA BOLD

Futura

MxaopQRstGgA basic system for classifying typefaces



for their own craft analogous to that











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.



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


characteristics.





REGULAR

BOLD

BLACK EXTENDED

Helvetica

MaoygGdQrRtA basic system for classifying typefaces


































ULTRA LIGHT

font specs142

MaoygGdQrRtCLASSIFICATION: HUMANIST SANS

REGULAR

ITALIC

BOLD

Gill Sans

MaxnbyogGQRtA basic system for classifying typefaces was













characteristics.



















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


CLASSIFICATION: GEOMETRIC SANS-SERIF

BOOK

BOLD

ITALIC

LIGHT

Gotham

MayogGdQRtA basic system for classifying type-





Humanist letterforms are closely con-







enment periods in art and litera-

ture. Designers in the twentieth and

twenty-first centuries have continued

to create new typefaces based on







Humanist letterforms are closely
















font specs144

MayogGdQRtCLASSIFICATION:

REGULAR

BOLD

BLACK EXTENDED

Helvetica






















and modern typefaces are more abstract and


respond roughly to the Renaissance, Baroque,

and Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first cen-

turies have continued to create new typefaces






ULTRA LIGHT


REGULAR

BOLD

BLACK

BOLD CONDENSED

Interstate





that of art history. Humanist letterforms


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


typefaces based on historic character-

istics.



tury, when printers sought to identify

a heritage for their own craft analo-

















font specs144

CLASSIFICATION SCRIPT:

REGULAR

Kunstler Script

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

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

CLASSIFICATION: TRADITIONAL

REGULAR

ITALIC

BOLD

BOLD

Melior

MayogGdQrRtA basic system for classifying typefaces










Baroque, and Enlightenment periods in

art and literature. Designers in the twen-

tieth and twenty-first centuries have







that of art history. Humanist letterforms


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


typefaces based on historic character-

istics.





font specs146

MayogGdQrRtCLASSIFICATION: SLAB SERIF

LIGHT

MEDIUM

EXTRA BOLD

Memphis

MxagGdQrRtA basic system for classifying typefaces

















tury, when printers sought to identify a







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


characteristics.




CLASSIFICATION: HUMANIST SANS SERIF

REGULAR

CAPS

BLACK

ITALIC

Meta

MaxogGdQrRstA basic system for classifying typefaces was






the hand. Transitional and modern typefac-

es are more abstract and less organic. These


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
















characteristics.





font specs148

MaxogGdQrRstCLASSIFICATION: TRANSITIONAL

REGULAR

ITALIC

BOLD

FRACTIONS

Mrs Eaves







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

News Gothic



ers sought to identify a heritage for their














ers sought to identify a heritage for their















font specs150

MaxogGdQrRstCLASSIFICATION: MODERN

REGULAR

OCR A

MaopQRfGgA 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.



BOOK

ITALIC

BOLD

Optima

MxaopQRstGgA basic system for classifying typefaces














characteristics.















characteristics.




font specs152

CLASSIFICATION: OLD STYLE

ITALIC

OLD STYLE

BOLD

BOLD ITALIC

Palatino

MxaopQRstGgA basic system for classifying typefaces was









sance, Baroque, and Enlightenment periods

in art and literature. Designers in the twenti-

eth and twenty-first centuries have continued


characteristics.




















CLASSIFICATION: TRANSITIONAL

REGULAR

ITALIC

BOLD

Perpetua

MxaopQRstGgqA basic system for classifying typefaces was devised

in the nineteenth century, when printers sought

to identify a heritage for their own craft analogous

to that of art history. Humanist letterforms are

closely connected to calligraphy and the movement

of the hand. Transitional and modern typefaces are

more abstract and less organic. These three main

groups correspond roughly to the Renaissance, Ba-

roque, and Enlightenment periods in art and litera-

ture. Designers in the twentieth and twenty-first

centuries have continued to create new typefaces


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.




font specs154

CLASSIFICATION: GEOMETRIC SANS SERIF

THIN

REGULAR

HEAVY

Platelet

MaxbyogGQrRtA basic system for classifying typefaces



tage for their own craft analogous to


forms are closely connected to cal-

ligraphy and the movement of the hand.









teristics.




tage for their own craft analogous to


forms are closely connected to cal-

ligraphy and the movement of the hand.









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 ( ) { }

? ! @ & *


(55) SANS

ITALIC

SERIF

ITALIC

Rotis

MxanopQrRtGgA basic system for classifying typefaces was













characteristics.



















font specs156

CLASSIFICATION: OLD STYLE

REGULAR

SMALL CAPS

BOLD

BOLD ITALIC

Sabon

MxayogGQfRA basic system for classifying typefaces was

































REGULAR

CAPS

ITALIC

BOLD

Scala Sans

MxabyogGdQrRA basic system for classifying typefaces was
































font specs158

CLASSIFICATION: SLAB SERIF

REGULAR

ITALIC

BOLD

BLACK

Serifa

MxaoygGdQRA basic system for classifying typefaces

was devised in the nineteenth cen-

tury, when printers sought to identify

a heritage for their own craft analo-


































CLASSIFICATION: SCRIPT

REGULAR

Snell Roundhand

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

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

font specs160

CLASSIFICATION: TRANSITIONAL SERIF

BOLD CONDENSED

REGULAR

ITALIC

BOLD

Swift

MxaoygGdQrRA basic system for classifying typefaces









respond roughly to the Renaissance, Ba-

roque, and Enlightenment periods in art




characteristics.





Humanist letterforms are closely connected to

calligraphy and the movement of the hand.













REGULAR

BOLD

BLACK

BLACK

Syntax

MxaoygGdQrRA basic system for classifying typefaces was

















for their own craft analogous to that of art















font specs162

MxaoygGdQrRCLASSIFICATION: SANS SERIF

CONDENSED

MEDIUM

BOLD

BOLD NO.2

Trade Gothic

MxanyogGdQrRA basic system for classifying typefaces














characteristics.















characteristics.





CLASSIFICATION: MODERN SERIF

REGULAR

ITALIC

SMALL CAPS

BOLD

Walbaum

MxyagGdQrRA basic system for classifying typefaces





































font specs164

CLASSIFICATION: TRANSITIONAL SLAB SERIF

REGULAR

MEDIUM

MEDIUM ITALIC

BOLD

Volta

MyogGdQrRA basic system for classifying type-






















ry. Humanist letterforms are close-

ly connected to calligraphy and the















Designed by Bailey Wells

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 is

to be used by the designer for their reference

and student design portfolio.