Everything You Ever Wanted to Know About Typography (But Were Too Afraid to Ask)

EVERYTHING

TypographyYOU EVER WANTED

(but were too afraid to ask)

TO KNOW ABOUT

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Rules to Live By

X-Height

Hyphenation

Alignment

Justification

Combining Typefaces

Quotes, Apostrophes & Dashes

Special Characters

Bullets

Numerals & Figures

Small Caps

Paragraph Breaks

Headers, Subheads & Crossheads

Captions & Notes

TABLEof contents

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

RULESto live by

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Rarely combine two sans serif

fonts on one page

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

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

Readability and legibility are two key elements of printed text that typog-raphers strive to maximize. Readability extended amount of text—such as an article, book, or annual report—is easy to read. Legibility refers to whether a short burst of text—such as a headline catalog listing, or stop sign—is instantly recognizable.

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

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

X-HEIGHTcolor and readability

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

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

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

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

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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, origi-nality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and move-

MeliorHermann Zapf

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

UniversAdrian Frutiger

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

Helvetica Neue Max Miedinger

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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 dis-carding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-nology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for

ITC Officina SansErik Spiekermann

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

GaramondClaude Garamond

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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 dis-carding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were character-ized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-nology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called

ITC New BaskervilleJohn Baskerville

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

FuturaPaul Renner

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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 innova-tion in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several suc-

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

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

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

Goudy Old StyleFrederic William Goudy

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Volta TKonrad F. Bauer, Walter Baum

InterstateTobias Frere-Jones

FilosofiaZuzana Licko

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

MemphisRudolf Wolf

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

CaslonWilliam Caslon


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

BemboStanley Morrison

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

Gill SansEric Gill

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

RockwellMonotype Staff

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

Century GothicMark Simonson

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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 discard-ing what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in cul-ture and society. Futurism rejected traditions and glorified 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

BodoniGiambattista Bodoni


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

ITC BookmanEd Benguiat


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Hyphenation Rules

In unjustified text, the text block is set with normal letter and word spacing. Because of the even word spacing the text will have an even texture—no large spaces between words. The lines will naturally vary in length. a ragged text block can integrate with the layout and add visual interest to the page. The difficulty is making the ragged edge have a pleasing silhouette. When the first line in the text is longer than the second, it becomes separate from the layout and creates a box-like shape. This destroys one of the advantages of unjustified text. The ragged edge needs to have a life, but a narrow column can be less active. Another advantage to ragged text is less hyphenation is needed. Therefore, names, dates or words which are normally read together can stay together.

l avoid widows (one word on the last line of a paragraph)l avoid hyphenating or line brakes of names and proper nounsl leave a least 2 characters on the line and 3 followingl avoid beginning consecutive lines with the same wordl avoid ending consecutive lines with the same wordl avoid ending lines with the words: the, of, at, a, by, etc.l never hyphenate a words in a headline and avoid hyphenation in a callout

HYPHENATION

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Headline Rules:

Don’t hyphenate headlines.

Don Quixote de la Man-cha

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

Professor and The-rapist to Lecture

Don’t Lose Your SelfRespect

Don’t leave widows in headlines.

Man Walks Barefoot Across BayBridge

Fix it either way, or rewrite:

Man Walks Barefoot Across Bay Bridge

Man Walks BarefootAcross Bay Bridge

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1. Justify the headline so it stays on one line. 2. Use a line break (shift+return) to bump “a” down to the next line, where it fits very nicely. 3. Kern the line a tiny bit to bring the rest of the word up. 4. Type a dischy in front of the word to bumpt it down. 5. Never hyphenate a person’s name. I had to go up a few lines, bump “off” down, which bumped the other line endings down. In 6. you must fix the widow . 7. There is plenty of room to squeeze “bought” on this line, perhaps by kerning the line a tiny bit. 8. “Horsebarn” is a good long word that could be hyphenated; type a dischy. Better yet, when “bought” moved up, it gave enough room to move “horsebarn” up. If not, try opening the text box a wee bit. 9. to get ride of that terrible widow, exchange a short word for a long word.

Casing Adder BatHeresy borsch-boil starrya boarder borsch boil gamplate lung, lung a gore innerladle wan-hearse torn coiledMutt-fill.Mutt-fill worsen mushoffter torn, butted hatter puttygut borsch-boil tame, anoff oiler pliers honor tame,door moist cerebrated worseCasing. Casing worsted sickenedbasement, any hatterbetting orphanage off .526(fife toe sax).Casing worse gut lurkingan furry poplar—spatiallywetter gull coiled Any-bally.Any-bally worse Casing’ssweat-hard, any harpy cobblewandered toe gat merit, boughtCasing worse tow 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.

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

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Widows and OrphansNever leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program you’re working in. Sometimes widening a margin just a hair will do it. But it must be done. Widows and orphans on a page are wrong.

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

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

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

Line Breaks:Look for bad line breaks throughout every line of body copy.

Do this only on a final copy after all editing has been done. Examples of what to look for:

l Make sure headline text is justified appropriately

l Use line breaks (shift return) to bump text to next line when needed

l Use kerning to bring a hyphenated word together if necessary

l Never hyphenate people’s names

l Try substituting a short or a long word to make text fit.

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ALIGNMENT

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

If they are both wrong, then what’s right? Alignment is only a small piece of the puzzle. What works for one design might be totally inappro-priate for another layout. As with all layouts, it depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design.

“Right and wrong do not exist in graphic design. There is only effective and non-effective communication.” — Peter Bilak,on Illegibility

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

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

l Often considered more formal, less friendly than left- aligned text.l Usually allows for more characters per line, packing more into the same amount of space (than the same text set left-aligned).l May require extra attention to word and character spacing and hyphenation to avoid unsightly rivers of white space run ning through the text.l May be more familiar to readers in some types of publications, such as books and newspapers.l Some people are naturally drawn to the “neatness” of text that lines up perfectly on the left and right.

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Left-Aligned, Ragged Right

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

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

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

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

l Often considered more informal, friendlier than justified text.l The ragged right edge adds an element of white space.l May require extra attention to hyphenation to keep right margin from being too ragged.l Generally type set left-aligned is easier to work with (i.e. requires less time, attention, and tweaking from the designer to make it look good).

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JUSTIFICATION Justify text only if the line is long enough to prevent awkward and inconsistent word spacing.

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

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

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

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

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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, origi-nality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successiave 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

Minimum: 20%Desired: 200%Maximum: 500%Comments: Too many diagonal rivers

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

Serif - Baskerville Old FaceSans-Serif - Univers 55

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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 Futur-ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the stat-ic and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by empha-sizing 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 the destruction of such cultural institutions as museums and li-

Minimum: 10%Desired: 10%Maximum: 10%Comments: Not enough spacing between words

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

SerifSans-Serif

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

Minimum: 30%Desired: 110%Maximum: 115%Comments: Akward Spacing

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.

SerifSans-Serif

42 43

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 glo-rified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technol-ogy of the automobile and the beauty of its speed, power, and movement. He exalted violence and

Minimum: 10%Desired: 500%Maximum: 1000%Comments: Far too much spacing

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 dis-carding 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 au-tomobile 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

SerifSans-Serif

44 45

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 re-jected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of sev-eral successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Minimum: 80%Desired: 120%Maximum: 300%Comments: Pretty Close!

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

SerifSans-Serif

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

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

Although there is not a recipe there is a place to start: keep an eye on the characteristic shapes of the letterform. A well designed page con-tains no more than two different typefaces or four different type varia-tions 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.

COMBININGtypefaces

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WORDS IN LIBERTYA Prologue to Futurism: Futurism was first an-nounced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Mari-netti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism re-jected traditions and glorified contemporary life, mainly by emphasizing two dominant themes,

WORDS IN LIBERTYA Prologue to Futurism:Futurism was first an-nounced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Mari-netti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism re-jected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were char-acterized by the depiction of several successive

Old Style: Garamond 14ptHumanist Sans Serif: Gill Sans Bold 19 pt

Old Style: Palatino 12ptGrotesque Sans Serif: Helvetica 16pt

aa BB ee GG gg aa BB ee GG ggThe wide stance of Gill Sans Bold is a nice compliment to the likewise wide stance of Garamond.

The square text of Helvetica is a good pair with Palatino, though the size of the subheading had to be adjusted to match the x-height of the body text.

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WORDS IN LIBERTYA Prologue to Futurism: Futurism was first an-nounced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrat-ing change, originality, and innovation in culture and society.1 Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of sev-

WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he con-ceived 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 contemporary life, mainly by emphasizing

Modern: Bodoni 12 ptGeometric Sans Serif: Futura Bold 24 pt

Modern: Walbaum 12 ptGrotesque Sans Serif: Franklin Gothic Heavy 23 pt

aa BB ee GG gg aa BB ee GG ggLike Baskerville Old face with Century Gothic, Futura is far too mod-ern to compliment Bodoni. The short letters of Bodoni look squat and stubby next to the elongated Futura.

The varying thickness of line weight within Walbaum make it a font with darker color. This allows it to stand up against a thick typeface like Franklin Gothic.

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WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discard-ing what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innova-tion in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinet-

WORDS IN LIBERTYA Prologue to Futurism: Futurism was first an-nounced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Mari-netti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism re-jected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were char-

aa BB ee GG gg aa BB ee GG ggThese two fonts are too different to go well together. Century Gothic Bold is too classic and short in starture to go with the super modern geometric sans serif.

Here Myriad Pro is a headline that packs a punch against the more traditional serif .

Transitional: Baskerville Old Face 12 ptGeometric Sans Serif: Century Gothic Bold 20 pt

Transitional: Georgia 12 ptHumanist Sans Serif: Myriad Pro Bold 25 pt

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WORDS IN LIBERTYA Prologue to Futurism: Futurism was first an-nounced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrat-ing change, originality, and innovation in culture and society.1 Futurism rejected traditions and glori-

WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on 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.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.

New Transitional: Perpetua 14 ptGeometric Sans Serif: Gotham Book 19 pt

New Transitional: Mrs Eaves 12 ptGrotesque: Franklin Gothic Heavy 22 pt

aa BB ee GG gg aa BB ee GG ggThese fit well because they’re both rather wide, short fonts though Gotham might be a tad too round for the more square Perpetua.

Though I find Mrs. Eaves a sometimes difficult font to work with, this combination seems somewhat successful because they contrast sharply enough to make an impact.

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WORDS IN LIBERTYA Prologue to Futurism: Futurism was first an-nounced on February 20, 1909, when the Paris newspaper Le Figaro published a man-ifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cel-ebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant

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 Filip-

po Tommaso Marinetti. The name Futurism, coined by

Marinetti, reflected his emphasis on discarding what he

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

celebrating change, originality, and innovation in culture

and society.1 Futurism rejected traditions and glorified

contemporary life, mainly by emphasizing two dominant

themes, the machine and motion. The works were 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

aa BB ee GG gg aa BB ee GG ggThese are both dark, punchy fonts that could be overkill, but I think in this situation they strike a good balance.

Even in bold, Calibri isn’t dark enough to be a headline for Rockwell. Though normally sans serif s and serifs are paired as headline and body copy respectively, I think in this case the reverse would be better.

Slab Serif: Clarendon 12 ptGeometric Sans Serif: Futura Bold 22 pt

Slab Serif: Rockwell 10 ptHumanist Sans Serif: Calibri Bold 29 pt

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Quotation MarksUse real quotation marks—never those grotesque generic marks that actually symbolize ditto/inch or foot marks: use “and”—not "and". Most software applications will convert the typewriter quotes to the real quotes for you automatically as you type. Check the preferences for your application—you’ll find a check box to tell your application to automatically set something like “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 some-times the software doesn’t do it or does it wrong.

Ditto/Inch or Foot Marks

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

QUOTES,apostrophes & dashes

“ Option + [ opening double quote

” Option + Shift + [ closing double quote

‘ Option + ] opening single quote

’ Option + Shift +] closing single quote

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

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

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

In a phrase such as House o’ Fashion, the apostrophe takes the place of the f. There is no earthly reason for an apostrophe to be set before the o.

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

In a date when part of the year is left out, an apostrophe needs to indi-cate the missing year. In the 80s would mean the temperature; In the ’80s would mean the decade. (Notice there is no apostrophe before the s! Why would there be? It is not possessive, nor is it a contraction—it is simply plural.

Apostrophe’ option+ shift + ] apostrophe

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

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

“The big exception to this is “its.” “Its” is used as a possessive and 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.

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En dash – Option + Hyphen en dash

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

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

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

Em dash — Shift + Option + Hyphen em dash

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 mo-ment. This dash is often used in place of a colon or parentheses, or it might indicate an abrupt change in thought, or it’s used in a spot where a period is too strong and a comma is too weak.

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 em dash no space is used on either side.

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

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

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

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

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

hyphen -en dash –em dash —

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SPECIALcharacters

The following is a list of the most often-used special characters and accent marks.

Option + [ opening double quoteOption + Shift + [ closing double quoteOption + ] opening single quoteOption + Shift + ] closing single quote; apostropheOption + - en dashOption + Shift + - em dashOption + ; ellipsis Option + 8 bulletOption + Shift + 5 ligature of f and iOption + Shift + 6 ligature of f and lOption + g copyright symbolOption + 2 trade markOption + r registered trade markOption + Shift + 8 degree symbol (e.g., 102°F)Option + $ centOption + Shift + 2 Euro symbolOption + Shift + 1 fraction barOption + 1 upside-down exclamation markOption + Shift + ? upside-down question markOption + 3 poundOption + c cedillaOption + Shift + c capitol cedilla

“”‘’

–—…•

fifl©™®

°¢€⁄¡¿£çÇ

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

éàÜñî

Option + e + letter acute accentOption + ~ + letter grave accentOption + u + letter umlautOption + n +letter spanish NOption + i + letter circumflex

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

Simply put, a bullet is a large dot used to draw attention to each item in a list or series. The items can be single words, phrases, sentences or paragraphs. Even if you use the bullet that is part of your font, don’t automatically assume it’s the right size: it might need to be al-tered 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, de-pending on the nature of your copy. If all of your items begin with a cap, center the bullet on the cap, or a bit lower so it balances with the negative spaces created by the lowercase. If your items all begin with lowercase characters, center the bullets on the x-height. Insert some space after the bullet to avoid crowding.

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

l Bloviatel Widdershinsl Skullduggeryl Phalangel Fiduciaryl Borborygml Glabellal Effluvium

F Bloviate

F Widdershins

F Skullduggery

F Phalange

F Fiduciary

F Borborygm

F Glabella

F Effluvium

n Bloviate

n Widdershinsn Skullduggeryn Phalange

n Fiduciaryn Borborygmn Glabellan Effluvium

To be more creative, substitute symbols or ding-bats for the actual bullets. Try squares, triangles or simple shapes. Keep these in proportion with the rest of your text. If you use a dingbat you usu-ally have to make it smaller and raise it off of the baseline.

B Bloviate

B Widdershins

B Skullduggery

B Phalange

B Fiduciary

B Borborygm

B Glabella

B Effluvium

H BloviateH WiddershinsH SkullduggeryH PhalangeH FiduciaryH BorborygmH GlabellaH Effluvium

t Bloviatet Widdershinst Skullduggeryt Phalanget Fiduciaryt Borborygmt Glabellat Effluvium

BULLETS

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

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

Lining Figures:

Dear John,Please call me at 438–9762 at 3:00.Or write to me at Route 913, zip code 87505.

Oldstyle Figures:

Dear John,

Please call me at 438–9762 at 3:00.

Or write to me at Route 913, zip code 87505.

NUMERALS& figures

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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 mean that they can be used within a body of copy without looking noticeably wrong.

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

l Use small caps for common abbreviations. Set common abbrevia-tions such as A.D. or B.C. 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)

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

Without small caps the abbreviations standout too much from the rest of the text:

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

With small caps the typographic colorisn’t thrown off:

Harriet, an FBI agent, turned on CNN

to get the dirt on the CIA before goingto bed at 9:30 P.M.

SMALL CAPS

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

In typography there are 4 rules regarding paragraph breaks:

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

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

3. The amount of indent is = to the leading (sometimes needs a bit more)

4. Never hit two returns between paragraphs

PARAGRAPHbreaks

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

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

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

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

today—was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typog-raphy in the visual presentation of language, as set in motion by forerunners like Mal-larmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst circa 1915, “Everything of any value is theatrical.”

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. Futur-ism rejected traditions and glorified contemporary life—mainly by emphasizing two dominant themes—the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amaze-ment, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggres-sive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indif-ference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst circa 1915, “Everything of any value is theatrical.”

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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, 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 manifesto’s rhetoric was passionately bombastic; its tone was aggres-sive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

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

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 contemporary life—mainly by emphasizing two domi-nant themes—the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images…a strict bet of images or analogies, to be cast into the mys-terious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surround-ings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst circa 1915, “Everything of any value is theatrical.”

78 79

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

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

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 contemporary life—mainly by emphasizing two domi-nant themes—the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” 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 fa-vor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futur-ists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst circa 1915, “Everything of any value is theatrical.”

80 81





82 83




While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in fa-

vor of the transformed present (1909), the later manifestos of Futurist poets and artists offered

formal, “technical” approaches to the works then getting under way. The key term—still resonant

today—was parole in libertà, by which poetry was to become “an uninterrupted sequence of new

images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”

This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition,

more fully explored the use of innovative and expressive typography in the visual presentation of

language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futur-

ists’ performances mixed declamation and gesture, events and surroundings, indifference and

engagement, to break the barriers between themselves and those who came to jeer or cheer them.

Wrote Marinetti Selbst circa 1915, “Everything of any value is theatrical.”

84 85

Header: text, or other visual information, used to mark off a quantity of text, often titling or summarizing it.

Subhead: smaller than a headline and larger than body copy. Subheads are useful for breaking up long articles, identifying spe-cific content for the reader and giving the reader a break from long passages of copy.

Crossheader: a heading of a subsection printed within the body of the text.

l Never hyphenate words in a header.l It is important to pay attention to kerning in headers. Kerning is the process of adjusting the spacing between characters in a pro-portional font, to achieve a visually pleasing result. In a well kerned font, the two-dimensional blank spaces between each pair of charac-ters all have similar area.

HEADERS,subheads & crossheads

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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 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 contemporary life—mainly by emphasizing two dominant themes—the machine and motion. The manifesto’s rhetoric was passionately bom-bastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

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

A Prologue to Futurism

Radical mix of art and life

Words in LibertyFuturism 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 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 contemporary life—mainly by emphasizing two dominant themes—the machine and motion. The manifesto’s rhetoric was passionately bom-bastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

Words in Liberty:A Prologue to Futurism

Radical Mix of Art and Life

88 89




Words in Liberty A Prologue to Futurism


Words in Liberty




90 91

Words in LibertyA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris

newspaper Le Figaro published a manifesto by the Italian poet and edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Mari-netti, 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 manifesto’s rhetoric was pas-sionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the move-ments 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 and artists offered formal, “technical” approaches to the works then get-ting under way. The key term—still resonant today—was parole in lib-ertà, by which poetry was to become “an uninterrupted sequence of new images…a strict bet of images or analogies, to be cast into the mysteri-ous sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presenta-tion of language, as set in motion by forerunners like Mallarmé. Outra-geous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst circa 1915, “Everything of any value is theatrical.”

Wor

ds in

Lib

erty

Radical mix of art and life :

A Prologue to Futurism:

Radical mix of art and life:

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 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 contemporary life—mainly by emphasizing two dominant themes—the machine and motion. The manifesto’s rhetoric was passionately bombas-tic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.



92 93

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

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

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

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

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

CAPTIONS& notes

94 95

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


While Marinetti’s opening manifesto for Italian Futurism bristled with a polemi-cal stance in favor of the transformed present (1909), the later manifestos of Futurist poets and art-ists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in libertà 2, by which poetry was to become “an uninterrupted sequence of new images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engage-ment, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 circa 1915, “Everything of any value is theatrical.”



Words in Liberty

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

Reinhold, 1988

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

3. selbst = himself

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

But it is the movements which survive, oddly, here where we live and work as poets and art-ists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 circa 1915, “Everything of any value is theatrical.”

Words in Liberty:A Prologue to Futurism

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

96 97

1. Philip Meggs, History of Graphic

Design, Van Nostrand Reinhold, 1988


3. selbst = himself




3. selbst = himself

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. 1Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two domi-nant themes—the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism 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 libertà2, by which poetry was to become “an uninterrupted sequence of new images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 circa 1915, “Everything of any value is theatrical.”



Words in Liberty A Prologue to Futurism


Words in Liberty

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

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in fa-vor 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 libertà2, by which poetry was to become “an uninterrupted sequence of new images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futur-ists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 circa 1915, “Everything of any value is theatrical.”


98 99




3. selbst = himself

Words in LibertyA Prologue to Futurism:

Radical mix of art and life:

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro 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 soci-ety. 1Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two dominant themes—the machine and motion. The manifesto’s rhetoric was passionately bombas-tic; 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 fa-vor 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 libertà2, by which poetry was to become “an uninterrupted sequence of new images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futur-ists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 circa 1915, “Everything of any value is theatrical.”

3. selbst = himself

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


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. 1Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two dominant themes—the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as po-ets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the 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 Fu-turist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 circa 1915, “Ev-erything of any value is theatrical.”

Wor

ds in

Lib

erty

Radical mix of art and life :

A Prologue to Futurism:

100 101

FONTspec book

102 103

BOOK

Hairline

semi-BOld

BOld italic

Archer

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

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

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


rOman

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Akzidenz Grotesk

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

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




104 105

regular

small caps

italic

BOld

Baskerville

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

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





regular

italic

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Belizio

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

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





106 107

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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

and twenty-first centuries have continued

to create new typefaces based on historic

characteristics.




regular

italic

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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

less organic. These three main groups cor-

respond roughly to the Renaissance, Baroque,

and Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first

centuries have continued to create new type-

faces based on historic characteristics.

A basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a heri-

tage for their own craft analogous to that

of art history. Humanist letterforms are

closely connected to calligraphy and the

movement of the hand. Transitional and

modern typefaces are more abstract and

less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods

in art and literature. Designers in the

twentieth and twenty-first centuries have

continued to create new typefaces based

on historic characteristics.





108 109

regular

italic

BOld

BOld italic

Bookman

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

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





regular

italic

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Ornaments

Bodoni

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

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

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




110 111

regular

italic

swasH

Ornament

alternate

Caslon

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




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

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

c h i k l Ss T t

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Century Schoolbook

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






112 113

regular

italic

BOld

BOld italic

Cheltenham

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






unicase

regular

Cholla

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









less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art

and literature. Designers in the twentieth



characteristics.

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

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

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


114 115

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BOld

Clarendon

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

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




regular

Clicker

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


116 117

regular

italic

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Didot

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

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




DIN

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medium

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



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

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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MaxngdQHAMBURGligHt cOndensed

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BOld cOndensed

BlacK cOndensed







regular

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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

periods in art and literature. Designers in the

twentieth and twenty-first centuries have con-

tinued to create new typefaces based on historic

characteristics.

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

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

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( ) { } ? ! @ & *

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

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120 121

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Fette Fraktur

MxnaopQrRtfgA basic system for classifying typefaces was

devised in the nineteenth century, when



Humanist letterforms are closely connected to

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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.

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fractiOns

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Filosofia

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

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




122 123

BOOK

demi

Heavy

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Franklin Gothic

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

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





cOndensed

regular

BOld

ultra BlacK

Frutiger

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

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





124 125

BOOK

BOld

extra BOld

Futura

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

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

BOld

BlacK extended

Helvetica

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

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





ultra ligHt

126 127

regular

italic

BOld

Gill Sans

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

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


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


BOOK

BOld

italic

ligHt

Gotham

MayogGdQRtA basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art history.

Humanist letterforms are closely con-

nected to calligraphy and the move-

ment of the hand. Transitional and

modern typefaces are more abstract

and less organic. These three main

groups correspond roughly to the

Renaissance, Baroque, and Enlight-

enment periods in art and litera-

ture. Designers in the twentieth and

twenty-first centuries have continued

to create new typefaces based on

historic characteristics.

A basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art history.

Humanist letterforms are closely

connected to calligraphy and the

movement of the hand. Transitional

and modern typefaces are more ab-

stract and less organic. These three

main groups correspond roughly

to the Renaissance, Baroque, and

Enlightenment periods in art and

literature. Designers in the twenti-

eth and twenty-first centuries have

continued to create new typefaces

based on historic characteristics.





128 129

regular

bold

black extended

Helvetica

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

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





ultra light

regular

bold

black

bold condensed

Interstate

MaoygGdQrRtA 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 closely connected to calligraphy

and the movement of the hand. Transi-

tional and modern typefaces are more

abstract and less organic. These three

main groups correspond roughly to the

Renaissance, Baroque, and Enlighten-

ment periods in art and literature. De-

signers in the twentieth and twenty-first

centuries have continued to create new

typefaces based on historic character-

istics.

A basic system for classifying typefac-

es was devised in the nineteenth cen-

tury, when printers sought to identify

a heritage for their own craft analo-

gous to that of art history. Humanist

letterforms are closely connected to

calligraphy and the movement of the

hand. Transitional and modern typefac-

es are more abstract and less organic.

These three main groups correspond

roughly to the Renaissance, Baroque,

and Enlightenment periods in art and

literature. Designers in the twentieth

and twenty-first centuries have contin-

ued to create new typefaces based on






130 131

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

regular

italic

bold

bold

Melior

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

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





132 133

light

medium

extra bold

Memphis

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

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




regular

caps

black

italic

Meta

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






134 135

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fractions

Mrs Eaves

MaxogGdQrRstA basic system for classifying typefaces was

devised in the nineteenth century, when print-

ers sought to identify a heritage for their own

craft analogous to that of art history. Humanist

letterforms are closely connected to calligraphy

and the movement of the hand. Transitional

and modern typefaces are more abstract and less

organic. These three main groups correspond

roughly to the Renaissance, Baroque, and

Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first cen-

turies have continued to create new typefaces


A basic system for classifying typefaces was devised in the

nineteenth century, when printers sought to identify a heritage

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

letterforms are closely connected to calligraphy and the move-

ment of the hand. Transitional and modern typefaces are more

abstract and less organic. These three main groups correspond

roughly to the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the twentieth and

twenty-first centuries have continued to create new typefaces






regular

italic

bold

News Gothic

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

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




136 137

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





138

light

old style

medium

black

Palatino

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






regular

italic

bold

Perpetua

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

A basic system for classifying typefaces was devised in

the nineteenth century, when printers sought to identify

a heritage for their own craft analogous to that of art

history. Humanist letterforms are closely connected to cal-

ligraphy and the movement of the hand. Transitional and

modern typefaces are more abstract and less organic. These

three main groups correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first centuries

have continued to create new typefaces based on historic

characteristics.




141

thin

regular

heavy

Platelet

MaxbyogGQrRtA basic system for classifying typefaces



tage for their own craft analogous to

that of art history. Humanist letter-

forms are closely connected to cal-

ligraphy and the movement of the hand.

Transitional and modern typefaces are

more abstract and less organic. These

three main groups correspond roughly to

the Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and twenty-

first centuries have continued to create

new typefaces based on historic charac-

teristics.




tage for their own craft analogous to

that of art history. Humanist letter-

forms are closely connected to cal-

ligraphy and the movement of the hand.

Transitional and modern typefaces are

more abstract and less organic. These

three main groups correspond roughly to

the Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and twenty-

first centuries have continued to create

new typefaces based on historic charac-

teristics.

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

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

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

? ! @ & *



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

? ! & *



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

? ! @ & *

regular

alternate

bold

Priori Sans

MxanopdrRtSfGgA basic system for classifying typefaces was devised in

the nineteenth century, when printers sought to identify

a heritage for their own craft analogous to that of art

history. Humanist letterforms are closely connected to

calligraphy and the movement of the hand. Transitional

and modern typefaces are more abstract and less

organic. These three main groups correspond roughly to

the Renaissance, Baroque, and Enlightenment periods

in art and literature. Designers in the twentieth and

twenty-first centuries have continued to create new

typefaces based on historic characteristics.

A basic system for classifying typefaces was devised

in the nineteenth century, when printers sought to

identify a heritage for their own craft analogous to

that of art history. Humanist letterforms are closely

connected to calligraphy and the movement of the

hand. Transitional and modern typefaces are more

abstract and less organic. These three main groups

correspond roughly to the Renaissance, Baroque, and

Enlightenment periods in art and literature. Design-

ers in the twentieth and twenty-first centuries have

continued to create new typefaces based on historic

characteristics.




142 143

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alternate

bold

Priori Serif

MxanodQrRtSfgA basic system for classifying typefaces was

devised in the nineteenth century, when printers

sought to identify a heritage for their own craft

analogous to that of art history. Humanist letter-

forms are closely connected to calligraphy and the

movement of the hand. Transitional and modern

typefaces are more abstract and less organic.

These three main groups correspond roughly to

the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the

twentieth and twenty-first centuries have con-

tinued to create new typefaces based on historic

characteristics.

A basic system for classifying typefaces was de-

vised in the nineteenth century, when printers

sought to identify a heritage for their own craft

analogous to that of art history. Humanist let-

terforms are closely connected to calligraphy

and the movement of the hand. Transitional and

modern typefaces are more abstract and less

organic. These three main groups correspond

roughly to the Renaissance, Baroque, and

Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first

centuries have continued to create new type-

faces based on historic characteristics.




(55) sans

italic

serif

italic

Rotis

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

A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art 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.





144 145

regular

small caps

bold

bold italic

Sabon

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






regular

caps

italic

bold

Scala Sans

MxabyogGdQrRA basic system for classifying typefaces was





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


A basic system for classifying typefaces was





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






146 147

regular

italic

bold

black

Serifa

MxaoygGdQRA basic system for classifying typefaces

was devised in the nineteenth cen-

tury, when printers sought to identify

a heritage for their own craft analo-

gous to that of art history. Humanist

letterforms are closely connected to

calligraphy and the movement of the

hand. Transitional and modern typefac-

es are more abstract and less organic.

These three main groups correspond

roughly to the Renaissance, Baroque,

and Enlightenment periods in art and

literature. Designers in the twentieth

and twenty-first centuries have contin-

ued to create new typefaces based on


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





regular

Snell Roundhand

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

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

148 149

bold condensed

regular

italic

bold

Swift

MxaoygGdQrRA basic system for classifying typefaces








less organic. These three main groups cor-

respond roughly to the Renaissance, Ba-

roque, and Enlightenment periods in art

and literature. Designers in the twentieth



characteristics.

A basic system for classifying typefaces was




Humanist letterforms are closely connected to

calligraphy and the movement of the hand.



groups correspond roughly to the Renaissance,


and literature. Designers in the twentieth and

twenty-first centuries have continued to create

new typefaces based on historic characteristics.





regular

bold

black

black

Syntax

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






150 151

condensed

medium

bold

bold no.2

Trade Gothic

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






regular

italic

small caps

bold

Walbaum

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

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





152

regular

medium

medium italic

bold

Volta

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

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





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

Documents

Everything You Ever Wanted to Know About Typography (But Were Too Afraid to Ask)