The Type Book

the type book.

Aa

tAble of contents

002

Rules

X-Height

Hyphenation

Alignments

Justification

Combining Fonts

Quotes

Special Characters

Bullets

Numerals + Figures

Small Caps

Paragraph Breaks

Headers

Captions + Notes

Type Specimens

004

006

020

026

030

038

046

052

056

060

062

066

078

088

096

JustificAtion 003

the Rules

004

+ Use only one space between sentences.

+ Use real quotation marks.

+ Use real apostrophes.

+ Make sure the apostrophes are where they belong.

+ Hang the punctuation off the aligned edge.

+ Use en or em dashes, use consistently.

+ Kern all headlines where necessary.

+ Always set tabs and use the tab key.

+ Leave no widows or orphans.

+ Avoid more than 3 hyphenations in a row.

+ Avoid too many hyphenations in any paragraph.

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

+ Leave at least 2 characters on the line and 3 following.

+ Avoid beginning consecutive lines with the same word.

+ Avoid ending consecutive lines with the same word.

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

+ Never hyphenate a words in a headline

+ Avoid hyphenation in a callout.

+ Never justify the text on a short line.

+ Keep the word spacing consistent.

+ If a line is all caps, tighten up the leading.

+ If a line has few ascenders and descenders, tighten up the leading.

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

+ Adjust the spacing between paragraphs.

+ Indent the first line of paragraphs or add space between them – not both.

+ Use a decimal for the numbers in numbered paragraphs.

+ Never have one line in a paragraph in the colomn or following.

+ Never combine two serif fonts on one page.

+ Rarely combine two sans serif fonts on one page.

+ Rarely combine more than three typefaces on one page.

+ Use the special characters whenever necessary.

+ Spend time creating nice fractions or choose a font that has fractions.

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

The following is a compendium of the rules

established in this book

Rules 005

You might want to check through them each time you complete a publication.

X-height

006

And why it’s important

ReAdAbility And legibility ARe two key elements of

printed text that typographer strive to maximize.

Readability extended amount of text – such as an

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

Legibility refers to whether a short burst of text

– like a headline catalog listing, or stop sign – is

instantly recognizable.

theRe ARe seveRAl fActoRs thAt deteRmine whetheR text is readable. When deciding what typeface

should be used for a job, consideration should be

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

tant to understand how a block of text can express

a message through its texture/color, therefore suit-

ing a particular design solution. Fonts set in the

same size, same leading and column width will

produce varying degrees of “color”.

in typogRAphy, coloR cAn Also descRibe the bAlAnce between black and white on the page of text. A

typeface’s color is determined by stroke width,

x-height, character width and serif styles.

The x-height refers to the distance between the baseline and the mean line in a typeface. It is a proportion based on the lowercase x.

As A designeR, if you are only asked to

make the text readable on the page the

following questions should be asked:

how will it be ReAd? Quickly. In passing. Focused. Near. Far.

who is to ReAd it?Someone that wants to read it?

Someone that has to read it?

X-height 007

008

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

mRs eAvesZuzana Licko

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

univeRsAdrian Frutiger

XxhgXxhg

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

melioRHermann Zapf

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

helveticA neue 55Max Miedinger

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010

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

bAskeRvilleJohn Baskerville

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

din mittelshRift Albert Jan-Pool

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

filosophiAZuzana Licko

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

Akzidenz-gRoteskGünter Gerhard Lange

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012

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

gARAmondClaude Garamond

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

news gothic Morris Fuller Benton

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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 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.

bemboFrancesco Griffo

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 innova-tion 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 character-ized by the depiction of several successive actions of a sub-ject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

futuRAPaul Renner

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XxhgXxhg

014

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

voltAKonrad Bauer & Walter Baum

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

tRAde gothicJackson Burke

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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 emphasiz-ing 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.

clARendonRobert Besley

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 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.

gothAmTobias Frere-Jones

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Xxhg Xxhg

016

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

memphisRudolf Wolf

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

inteRstAteTobias Frere-Jones

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color: light

Xxhg Xxhg

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

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

didotFirmin Didot

Xxhggill sAnsEric Gill

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X-height 019

The hyphen is a punctuation mark used to join words and to separate syllables of a single word.

Dashes are longer and have a different use.

hyphenAtion

020

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.

hyphenAtion 021

hyphenAtion Rules:

+ Avoid leaving widows.

+ Avoid hyphenation or line breaks with names and proper nouns.

+ Leave at least two characters on the line and three following.

+ Avoid starting consecutive lines with the same word.

+ Avoid ending consecutive lines with the same word.

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

+ Never hyphenate words in a headline. Avoid hyphenation in a callout.

AnotheR AdvAntAge to RAgged teXt is less

hyphenation is needed. Therefore, names,

dates or words which are normally read

together can stay together.

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.

widows & oRphAns

widow:

oRphAn:

RiveRs:

When the last line of a paragraph, be it ever so long, won’t fit at

the bottom of a column and must end itself at the top of the next

column, that is an orphan. Always correct this.

In typography, rivers, or rivers of white, are visually unattractive

gaps appearing to run down a paragraph of text. They can occur

with any spacing, though they are most noticeable with wide word

spaces caused by either full text justification or monospaced fonts.

022

Never leave widows and orphans bereft on the page. Avoid both of these situations.

If you have editing privileges, rewrite the copy, or at least add or delete a word or two.

Sometimes you can remove spacing from the letters, words, or lines, depending on

which program you’re working in. Sometimes widening a margin just a hair will do it.

But it must be done.

When a paragraph ends and leaves fewer than seven characters

(not words, characters) on the last line, that line is called a widow.

Worse than leaving one word at the end of a line is leaving part of

a word, the other part being paraphrased on the line above.

widows And oRphAns on A pAge ARe wRong.

heAdlines

Do not hyphenate headlines. That’s a law.

Watch where the first line of a two-line

headline ends. Does it create a silly or

misleading phrase? Fix it.

Do not leave widows (very short last lines)

in headlines.

hyphenAtion 023

“Don Quixote de la Man-Cha”

“Professor and The-rapist to Lecture”

“Don’t Lose Your SelfRespect”

WRONG:“Man Walks Barefoot Across BayBridge”

Fix it, or rewrite the headline.

RIGHT: “Man Walks BarefootAcross Bay Bridge”

whAt ARe bAd line bReAks AnywAy?

Look for bad line breaks throughout every line of body copy.

Of course, do this only on the final copy after all editing has been done.

cAsing AddeRbAt

Heresy borsch-boil starry a

boarder borsch boil gam

plate lung, lung a gore in-

ner ladle wan-hearse torn

coiled Mutt-fill.

Mutt-fill worsen mush of-

fter torn, butted hatter putty

gut borsch-boil tame, an off

oiler pliers honor tame, door

moist cerebrated worse Cas-

ing. Casing worsted sickened

basement, any hatter betting

orphanage off. 526 (fife toe

sex).

Casing worse gut lurking

an furry poplar—spatially

wetter gull coiled Any-bally.

Any-bally worse Casing’s

sweat-hard, any harpy cobble

wandered toe gat merit,

bought Casing worse tow pore

toe becalm Any-bally’s

horsebarn. (Boil pliers honor

Mutt- fill tame dint gat mush

offer celery; infect, day gut

nosing atoll.)

Butt less gat earn wetter star-

ry.

cAsing AddeR bAt

Heresy borsh-boil starry

a boarder borsch boil gam

plate lung, lung a gore inner ladle

wanhearse torn coiled Mutt-fill.

Mutt-fill worsen mush

offer torn, butted hatter putty

gut borsch-boil tame, an

off oiler pliers honor tame,

door moist cerebrated worse Casing.

Casing worsted sick-

ened basement, any hatter

betting orphanage off .526

(fife toe sex).

Casing worse gut lurking

an furry poplar—spatially

wetter gull coiled Any-bally.

Any-bally worse Casing’s

sweat-hard, any harpy cobble

wandered toe gat merit, bought

Casing worse toe pore toe

becalm Any-bally’s horsebarn.

(Boil pliers honor Mutt-fill tame dint

gat mush offer celery; infect, day gut

nosing atoll.)

Butt less gat earn wetter starry.

024

1

2

3

4

5

6

7

8

9

Justify the headline so it stays on one line.

Use a line break (shift+return)to bump “a” down to the next line, where it fits very nicely.

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

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

Never hyphenate a person’s name. Go up a few lines, bump “off” down, which bumps the other line endings down.

Fix widows.

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

“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.

Edit: to get rid of that terrible widow, exchange a short word for a long word.

hyphenAtion 025

1

2

3

4

5

6

7

8

9

Alignment

“Right and wrong do not exist in graphic design.There is only effective and non-effective communication.”

—PeterBil’ak

026

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

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

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

Alignment 027

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

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

if they ARe both wRong, then whAt’s Right? Alignment is only a small piece of the puzzle. What works for one

design might be totally inappropriate for another layout. As with

all layouts, it depends on the purpose of the piece, the audience

and its expectations, the fonts, the margins and white space, and

other elements on the page. The most appropriate choice is the

alignment that works for that particular design.

Justified teXt Traditionally many books, newsletters, and newspapers use full- justification

as a means of packing as much information onto the page as possible to cut

down on the number of pages needed. While the alignment was chosen out of

necessity, it has become so familiar to us that those same types of publications

set in left- aligned text would look odd, even unpleasant. You may find that

fully-justified text is a necessity either due to space constraints or expectations

of the audience. If possible though, try to break up dense blocks of texts with

ample sub- headings, margins, or graphics.

chARActeRistics + Often considered more formal and

less friendly than left-aligned text.

+ Usually allows for more characters

per line, packing more into the

same amount of space (than the

same text set left-aligned).

+ May require extra attention to word

and character spacing and hyphen-

ation to avoid unsightly rivers of

white space running through the text.

+ May be more familiar to readers in

some types of publications, such

as books and newspapers.

+ Some people are naturally drawn to

the “neatness” of text that lines up

perfectly on the left and right.

028

centeRed teXt There is nothing inherently wrong with centered text. As with ragged right or fully-

justified text alignment, what works for one design might be totally inappropriate for

another layout. There are simply fewer situations where centered text is appropriate.

When in doubt, don’t center it.

when in doubt, don’t centeR it.

Alignment 029

RAgged Right In English and most European languages where words are read left-to-right,

text is often aligned flush left, meaning that the text of a paragraph is aligned

on the left-hand side with the right- hand side ragged. Ragged right text is con-

sidered more informal than fully justified text. Although flush left alignment is

less likely to have typographic rivers or problems common to fully justified text,

care must be taken to prevent drastic changes in the length of the line. Abrupt

changes from line to line makes the text difficult to read.

chARActeRistics + Often considered more informal

and friendlier than justified text.

+ The ragged right edge adds an

element of white space.

+ May require extra attention to

hyphenation to keep right margin

from being too ragged.

+ Generally type set left-aligned is

easier to work with (i.e. requires less

time, attention, and tweaking from

the designer to make it look good).

JustificAtion

What is the ideal space between words?

030

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, then the words liberally space themselves as the type aligns

to the margins. It usually looks awkward.

You’ve seen newspaper columns where all text is justified, often

with a word stretching all the way across the column, or a little

word on either side of the column with a big gap in the middle.

Gross. But that’s what can happen with justified type. When you

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

but if your lines are relatively short, you will inevitably end up with

uncomfortable gaps in some lines, while other lines will be all

squished together.

Justified text was the style for many years-we grew up on it. But

there has been a great deal of research done on readability (how

easy something is to read) and it shoes that those disruptive,

inconsistent gaps between the words inhibit the flow of reading.

Besides, they look dumb. Keep your eyes open as you look at

professionally printed work (magazines, newsletters, annual

reports, journals) and you’ll find there’s a very strong trend to

align type on the left and leave the right ragged.

JustificAtion 031

quick tips

foRmulA

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.

(point size x 2) / 6

eXAmples:9 point type = 18 picas long = 3 inches

12 point type = 24 picas long = 4 inches

16 point type = 36 picas long = 6 inches

There are 6 picas per inch. To determine how long a line is in inches, simply divide the number of picas by 6.

identifying pRoblems& chAnging settings

032

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.

Justification settings can be changed under the the paragraph drop dorwn menu. You can change the word spacing and letter spacing in order to minimize the appearance of rivers and make text more readable. See the next five pages for examples.

+

+

quick tipsFuTuRA 9/12GARAMoND 9/12

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasiz-ing two dominant themes, the machine and motion. The works were character-ized 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 move-ment. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and politi-cal values and the destruction of such cul-tural institutions as museums and librar-ies.

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-cessive 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 vio-lence 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.

90 100 133

MINIMuM desiRed MAXIMuM

Both typefaces have significant rivers and

Futura has some hyphenation problems.

JustificAtion 033

FuTuRA 9/12GARAMoND 9/12

Futurism was f i rs t 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 sever-al successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and con-flict and called for the sweeping repu-diation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.


034

90 95 120 This solution slightly minimizes rives in

both typefaces, many of the hyphenation

issues with Futura are now gone.


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


JustificAtion 035

85 100 100 These solutions are the more successful

than the previous exercises. The rivers

have been minimized and the words feel

sufficiently spaced.


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

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

036

80 87 110 This solution also works well. There are

minimal rivers and the text is easy to read.

Futura seems a bit scrunched.


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 celebrat-ing change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two domi-nant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s 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.

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-cessive 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 vio-lence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cul-tural institutions as museums and libraries.

JustificAtion 037

70 75 80 These solutions are not as successful.

Both typefaces seem very crowded and

difficult to read.

combining typefAces

038

aa

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 contains no more than two different typefaces or four different type variations such as type size and bold or italic style. A particularly good combination is a sans serif typeface for the heading and a serif typefaces for the body copy. When combining serif and sans serif text fonts, one should try and match the characteristics of form and type color: proportion, x-heights.

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

Restrict yourself to two typefaces within a document. Multiple serif or sans serif typefaces will cause unwanted tension.

Don’t be a wimp. The key is contrast: size, strength, typographic color.

A sans serif typeface is easier to read at a glance, and, thus, more effective for headlines.

Serifs in a typeface facilitate the forward movement of reading, making serif typefaces an ideal choice for body copy.

quick tips foR effective type combinAtions

+

+

+

+

aa

combining typefAces 039

old style / geRAld + humAnist sAns seRif

old style / geRAld + gRotesque sAns seRif

WORDS IN LIBERTY

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

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contempo-rary life, mainly by emphasizing two domi-nant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new 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 tra-ditional cultural, social, and political values and the destruction of such cultural institu-tions as museums and libraries.

aa BB ee GG ggGaramond Old Style [9/12] FrutiGer Humanist sans serif [9/12

BemBo Old Style [9/12] akzienz Grotesk Grotesk sans serif [9/12]

aa BB ee GG gg

There is a visible contrast between these two typefaces,

which is further punctuated by the bold style of the sans

serif font. Both of these typefaces have an organic aspect

that compliment each other well.

Here there is a more prominent contrast between the two

typefaces. The large x-height and boldness of the sans serif

typeface is easier to read than the body copy, which outlines a

clear delineation in hierarchy.

040

Baskerville Transitional [12/16] Futura Geometric sans serif [9/12]

Bookman Transitional [9/12] syntax Humanist sans serif [9/12]

tRAnsitionAl + geometRic sAns seRif

tRAnsitionAl+ geometRic sAns seRif

WORDS IN LIBERTY

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

WORDS IN LIBERTY

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

aa BB ee GG gg

aa BB ee GG gg

Although there is a clear difference between the heading

and the body copy, the stroke of Futura seems a bit heavy,

which creates a similar typographic color as the bold,

enlarged title and creates tension.

Both of these typefaces – while distinct – maintain organic

attributes that compliment each other well. The humanist

sans serif functions well as the body copy, and both

typefaces exude an approachable style.


Bodoni Modern [9/12] eurostile Geometric sans serif [11/12]

didot Modern [9/12] news Gothic Grotesk sans serif [12/16]

modeRn + geometRic sAn seRif

modeRn + gRotesque sAn seRif

WORDS IN LIBERTY

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

Words in Liberty

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

aa BB ee GG gg

aa BB ee GG gg

Although serif fonts are particularly good choices for body copy,

Modern typefaces such as Bodoni were designed as display

fonts. The variations in stroke width with Bodoni creates a dis-

tinct contrast between the uniform stroke width of Futura.

This combination is eye-catching and demonstrates a clear

hierarchy. The title is easy to read due to the bold sans serif

typeface; while the Modern serif typeface is more subdued but

still legible.

042

melior New Transitional [9/12] Gotham Geometric sans serif [9/12]

PerPetua New Transitional [12/16] akzidenz Grotesk Grotesque sans serif [10/12]

new tRAnsitionAl + geometRic sAns seRif

new tRAnsitionAl+ gRotesque sAns seRif

WORDS IN LIBERTY

A Prologue to Futurism: Futurism was

first announced on February 20, 1909,

when the Paris newspaper Le Figaro 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 contempo-

rary life, mainly by emphasizing two domi-

nant themes, the machine and motion. The

works were characterized by the depiction

of several successive actions of a subject

at the same time. Marinetti’s manifesto glori-

fied the new technology of the automobile

and the beauty of its speed, power, and

movement. He exalted violence and conflict

and called for the sweeping repudiation

of traditional cultural, social, and political

values and the destruction of such cultural

institutions as museums and libraries.

WORDS IN LIBERTY

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

aa BB ee GG gg

aa BB ee GG gg

The large x-height of Gotham creates a contrast with the

small x-height of Melior.

The strength of Akzidenz Grotesk as the body copy competes

with the header, which creates tension between the two blocks

of text and blurs the hierarchy.


rockwell Slab Serif [12/16] Futura Geometric sans serif [9/12]

memPhis Slab Serif [12/16] akzidenz Grotesk Grotesque sans serif [9/12]

slAb seRif + geometRic sAn seRif

slAb seRif + gRotesque sAn seRif

WORDS IN LIBERTY

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

Words in Liberty

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in cul-ture and society. Futurism rejected tradi-tions and glorified contemporary life, main-ly 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 tra-ditional cultural, social, and political values and the destruction of such cultural institu-tions as museums and libraries.

aa BB ee GG gg

aa BB ee GG gg

Memphis functions well as a display font. Although serif

fonts are considered to be a strong choice for body copy,

the large slab serif typeface may be too bulky and compro-

mise legibility. The monoweight appearance of Akzidenz

Grotesk and Memphis compliment each other well.

This solution employs the slab serif typeface for the

body copy. The typeface style is light to improve legibil-

ity. The title immediately draws the viewer’s attention,

and Rockwell comprises a strong foundation for the

body copy.

044


quotes,ApostRophes,

& dAshes

“ ”

046

quotAtion mARksUse real quotation marks – never those grotesque generic marks that actually symbolize ditto/inch or foot marks. Most software applications will convert the typewriter quotes to the real quotes automatically as you type. Check the preferences for your application – you’ll find a check box to automatically set something as “typographer’s quotes,” “smart quotes,” or “curly quotes.” Then as you type using the standard ditto key, the software will set the correct quotation marks for you.

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

foot mARks And inch mARks

closing single quote ’Type: Option Shift ]

opening double quote “Type: Option [

closing double quote ”Type: Option Shift [

opening single quote ‘Type: Option ]

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

quotes, ApostRophes, & dAshes 047

the ApostRophethe ApostRophe is A punctuAtion mARk is A punctuAtion mARk thAt seRves seveRAl functions in English: to mark possessive case; to mark the plural of written items

that are not words established in English orthography, and to omit letters. The

apostrophe is different than the closing single quotation mark, even though they

are identical in appearance.

ApostRophe ’Type: Option + Shift +]

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 your-

self, “The camp belongs to the boys.” The phrase the boy’s camp says “The camp

belongs to the boy.”

omission of letteRsIn a phrase such as House o’ Fashion, the apostrophe takes the place of

the f. There is not earthly reason for an apostrophe to be set before the o.

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

is missing.

048

Rules The big exception to this is “its.” “Its” used as a pos-

sessive never has an apostrophe! The word "it" only

has an apostrophe as a contraction.

For contractions: The apostrophe replaces the miss-

ing letter. For example: your’re always means you

are; the apostrophe is replacing the a from are.

That’s an easy way to distinguish it from your as in

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

going to the store.

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 be-

cause it appears in front of the letter does not mean

you need to use the opposite single quote. An apos-

trophe is still the appropriate mark (not ‘n’).

In a date when part of the year is left out, an apos-

trophe needs to indicate the missing year. In the

80s would mean the temperature; In the ’80s would

mean the decade. (Notice there is no apostrophe be-

fore the s! Why would there be? It is not possessive,

nor is it a contraction — it is simply plural.

use with cARe.

+

+

+

+


Everyone knows what a hyphens is —that tiny little dash that belongs in some words, like mother-in-law, or

in phone numbers. It’s also used to break a word at the end of a line, of course. You might have been taught

to use a double hyphen to indicate a dash, like so : -- . This is a typewriter convention because typewriters

didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hy-

phen—we have a professional em dash, the long one, such as you see in this sentence. We also have an en

dash, which is a little shorter than the em dash.

neveR use two hyphens insteAd of A dAsh. use hyphens, en dAshes, And em

dAshes AppRopRiAtely.

em dAsh —Option + Shift + -

The equivalent of an em dash on a

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

looks very unprofessional.

dAshes

hyphen -Press the hyphen key

en dAsh –Option + -

050

About hyphens+ 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.

About en dAshes+ An en dash is half of the em rule (the width of a capital N).

+ It is used between words that indicate a duration, such as time

or months or years.

+ Use it where you might otherwise use the word “to.”

+ In a page layout application, the en dash can be used with a thin

space on either side of it. If you want you can kern it so it is not a

full space.

About em dAshes+ The em dash is twice as long as the en dash.

+ It is approximately the size of a capital letter M in whatever size

and typeface you’re using at the moment.

+ This dash is often used in place of a colon or parentheses.

+ It might indicate an abrupt change in thought.

+ It is also used in a spot where a period is too strong and a com-

ma is too weak.

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


speciAl chARActeRs

Ç ¢ £

And how to type them

052

below is A list of ubiquitous speciAl chARActeRs And Accent mARks.These can also be found within the glyphs dialogue box in most applications.

“”‘’–—...•fifl©TM® °¢€⁄¡¿£çÇ

Opening double quotesClosing double quotesOpening single quotesClosing single quotesEn dashEmdashEllipsisBulletLigatureLigatureCopyrightTrademarkRegistered trademarkDegreeCentEuroFraction barUpside-down exclamation pointUpside-down question markPoundCedillaCapital cedilla

Option [Option Shift [Option ]Option Shift ]Option HyphenOption Shift HyphenOption ;Option 8Option Shift 5Option Shift 6Option gOption 2Option rOption Shift 8Option $Option Shift 2Option Shift 1Option 1Option Shift ?Option 3Option cOption Shift c

speciAl chARActeRs 053

Accent mARks

The meanings of words can

drastically change without the

inclusion of accent marks.

Generally, accent marks are

deemed trivial with English,

where accent marks tend to be

reserved for appropriated

foreign words. Your work needs

to accessible to an internation-

al audience, so just follow this

rule: if a letter in a word has an

accent mark, include it! (Most

importantly, use the correct

accent mark.)

Remember, to set an accent mark over a

letter, press the Option key and the letter,

then press the letter you want under it.

ciRcumfleX ˆOption + i

Acute ́Option + e

gRAve `Option + ~

tRemA ̈Option + u

tildA ̃Option + n

054


bullets

To be more creative, substitute symbols or dingbats for the actual bullets. Try squares, triangles or check marks (just not all at once!)

058

simply put, A bullet is A lARge dot used to dRAw Attention to eAch item in a list or series. The items can be single words, phrases,

sentences or paragraphs. Even if you use the bullet that is part of

your font, don’t automatically assume it’s the right size: it might

need to be altered in scale or position to make it look balanced

next to the text.

bullets should be centeRed on eitheR the cAp height oR X-height, depending on the nature of your copy. If all of your items begin

with a cap, center the bullet on the cap, or a bit lower so it bal-

ances 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.

bullets 057

dingbAts As bullets

Another occasion to take advantage of the baseline shift feature is when using the dingbats or

ornaments. Suppose you have a list of items and you really want to use a fancy dingbat from the

Zapf Dingbats fonts., instead of using the boring round bullet, But the Zapf Dingbat character is

too big. If you reduce its size, the dinbat is too low because the character is still sitting on the

baseline. So select the character and shift it up above the baseline.

• Lovely

• Surly

• Ghastly

• Womanly

• Saintly

• Ungodly

• Stately

• Sprightly

u Lovelyi Surlyt Ghastlye Womanlyn Saintlyb Ungodlyl Statelya Sprightly

Choose a dingbat instead of the bullet (Option + 8).

PICK ANy THREE ADJECTIvES

THAT DESCRIBE youRSELF:

``z Lovely

z Surly

z Ghastly

z Womanly

z Saintly

z Ungodly

z Stately

z Sprightly

You can decrease the point size of the bullet, but then it sits too low.

You have lots of dingbats to choose from, but they are usually too big. (Choose one dingbat.)

Raise the dingbat higher off the baseline.

PICK ANy THREE ADJECTIvES THAT DESCRIBE youRSELF:

PICK ANy THREE ADJECTIvES THAT DESCRIBE youRSELF:

PICK ANy THREE ADJECTIvES

THAT DESCRIBE youRSELF:

``z Lovely

z Surly

z Ghastly

z Womanly

z Saintly

z Ungodly

z Stately

z Sprightly

058


figuRes & numeRAls

Learn the difference between oldstyle figures and regular numerals in a given typeface.

001

060

oldstyle figuRes ARe A style of numeRAl which AppRoXimAte low- eRcAse 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. The figures are proportionately spaced, eliminating the white spaces

that result from monospaced lining figures, especially around the numeral one.

oldstyle figuRes ARe veRy useful And quite beAutiful when set within teXt. unlike lining figures, they blend in without disturbing the color of the body copy. They also

work well in headlines since they’re not as intrusive as lining figures. In fact,

many people prefer them overall for most uses except charts and tables. It’s well

worth the extra effort to track down and obtain typefaces with oldstyle numerals;

the fonts that contain them might well become some of your favorites.

diffeRence in Alignment

Notice how large and clunky these numbers appear:

Notice how beautifully these numbers blend into the text:

Oldstyle figures have more of a traditional,

classic look. They are only available for

certain typefaces. Sometimes they are

included as regular numerals in a font,

but more often they are found within a

supplementary or expert font.

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

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

figuRes & numeRAls 061

smAll cAps

Small caps are uppercase (capital) letters that are about the size of normal lowercase

letters in any given typeface.

abc

062

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 type-

face, but those are not the same as true small caps. True small caps have line weights

that are proportionally correct for the typeface, which means that they can be used within

a body of copy without looking noticeably wrong.

how to use smAll cAps + Use small caps for acronyms. Set acronyms

such as nasa or nasdaq in small caps when

they appear in body text or headlines.

+ Use small caps for common abbreviations.

Set abbreviations such as am or pm in small

caps so they don’t overpower the accompa-

nying text. Space once after the number, and

use periods. For common abbreviations, if

the font does not have small caps reduce the

font size slightly. Remember: this is not our

default solution, only in desperation.

+ Use true small caps fonts. Avoid simply

re-sizing capital letters or using the small

caps feature in some programs. Instead use

typefaces that have been specifically created

as small caps.

+ Traditionally abbreviations are set with small

caps. Because typewriters did not have a

small caps option, many people incorrectly

learned to uppercase abbreviations.

smAll cAps 063

smAll cAps: ReAl veRsus fAke

There are quite a few font families that include “true-drawn” small

caps—letterforms that have been redesigned to match the propor-

tions and thicknesses of the uppercase. These families are often called

“expert” sets or perhaps “small cap” sets. The result is a smooth,

uniform, undisturbing tone throughout the text.

computeR geneRAted smAll cAps

The Wicked Are Very WeAry.Notice that the stroke weight on the small caps is lighter than on the capitals.

The stroke weight should be uniform.

Font: Helvetica (regular)

“tRue dRAwn” smAll cAps

The Wicked Are Very WeAry.

Notice that the stroke weight appears uniform throughout the text.

Font: Adobe Caslon (small caps)

064

smAll cAps 065

pARAgRAph bReAks

Paragraph breaks set a rhythm for the reader.

066

If you space or indent your paragraphs poorly, your work

belies you as an amateur. There are a multitude of ways to

denote paragraph breaks.

The paragraph 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 influ-

enced by your choice.

pARAgRAph bReAk Rules

+ The first line at the beginning of an article should

be flush left. (Do not indent first paragraph)

+ Block paragraphs are flush left and are separated

by extra leading not a full return

+ The amount indent is equal to the leading (some-

times a bit more) Never hit enter twice between

paragraphs to form breaks.

+ Use your software to set the indent automatically.

+ Either indent your paragraphs or put extra space

between them. Don't do both.

+ The standard typographic indent is one em

space—a blank space as wide as the point size of

the type.

So why shouldn't I indent the first paragraph?

The purpose of an indent is to warn the reader that a

new paragraph is about to begin. Such an indication

would be redundant on the first paragraph.

pARAgRAph bReAks 067

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism—coined by Marinetti—reflected his

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

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

and society. Futurism rejected traditions and glorified contemporary life—

mainly by emphasizing two dominant themes: the machine and motion.

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

and inflammatory and was purposely intended to inspire public anger and

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

But it is the movements which survive here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which,

as with Futurism, had come sharply into focus by the start of the world

war: a radical mix of art and life—the epitome in the poplar mind of an

avant-garde. It was—on both its Russian and Italian sides—the first great

“art” movement led by poets; and if its means 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

068

Futurism was First announced on February 20, 1909, when the Paris newsPaPer Le Figaro PubLished a maniFesto by the itaLian Poet and editor FiLiPPo tommaso marinetti. The name

Futurism—coined by Marinetti—reflected his emphasis on discarding what he conceived to be the

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

society. Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two

dominant themes: the machine and motion. The manifesto’s rhetoric was passionately bombastic;

its tone was aggressive and inflammatory and was purposely intended to inspire public anger and


but it is the movements which survive here where we Live and work as Poets and artists; or, iF not the movements, then their sense oF art as a LiFe itseLF. All of which, as

with Futurism, had come sharply into focus by the start of the world war: a radical mix of art and

life—the epitome in the poplar mind of an avant-garde. It was—on both its Russian and Italian

sides—the first great “art” movement led by poets; and if its means 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, “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. 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 here where we live and work as poets and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism,

had come sharply into focus by the start of the world war: a radical mix of art and life—the

epitome in the poplar mind of an avant-garde. It was—on both its Russian and Italian sides—

the first great “art” movement led by poets; and if its means seem exaggerated or unripe in


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, “Everything of any value is

070

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






amazement, to arouse controversy, and to attract widespread attention. But it is the movements

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

their sense of art as a life itself. All of which, as with Futurism, had come sharply into focus by

the start of the world war: a radical mix of art and life—the epitome in the poplar mind of an

avant-garde. It was—on both its Russian and Italian sides—the first great “art” movement led by

poets; and if its means 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, “Everything of any value is theatrical.”


F u t u r i s m wa s F i r s t a n n o u n c e d o n F e b r u a r y 2 0 , 1 9 0 9 , when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo

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

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

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

glorified contemporary life—mainly by emphasizing two dominant themes: the machine

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

inflammatory and was purposely intended to inspire public anger and amazement, to arouse

controversy, and to attract widespread attention.

b u t i t i s t h e m o v e m e n t s w h i c h s u r v i v e h e r e w h e r e we live and work as poets and artists; or, if not the movements, then their sense of art as a life

itself. All of which, as with Futurism, had come sharply into focus by the start of the world

war: a radical mix of art and life—the epitome in the poplar mind of an avant-garde. It was—

on both its Russian and Italian sides—the first great “art” movement led by poets; and if its

means seem exaggerated or unripe in retrospect, they carry within them the seed of all that

we were later to become.

w h i l e m a r i n e t t i ’ s o p e n i n g m a n i F e s t o F o r i t a l i a n 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, “Everything of any value is theatrical.”

072

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







But it is the movements which survive here where we live and work as poets and artists; or, if not

the movements, then their sense of art as a life itself. All of which, as with Futurism, had come

sharply into focus by the start of the world war: a radical mix of art and life—the epitome in the

poplar mind of an avant-garde. It was—on both its Russian and Italian sides—the first great “art”

movement led by poets; and if its means 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,

“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





But it is the movements which survive here where we live and work as poets and artists; or, if not

the movements, then their sense of art as a life itself. All of which, as with Futurism, had come

sharply into focus by the start of the world war: a radical mix of art and life—the epitome in the

poplar mind of an avant-garde. It was—on both its Russian and Italian sides—the first great “art”

movement led by poets; and if its means seem exaggerated or unripe in retrospect, they carry within

them the seed of all that we were later to become.












z

z

z

074

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

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

Marinetti. The name Futurism—coined by Marinetti—reflected his emphasis on discarding what

he conceived to be the static and irrelevant art of the past and celebrating change, originality, and

innovation in culture and society. Futurism rejected traditions and glorified contemporary life—

mainly by emphasizing two dominant themes: the machine and motion. The manifesto’s rhetoric

was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended

to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But it is the movements which survive here where we live and work as poets

and artists; or, if not the movements, then their sense of art as a life itself. All of which, as with

Futurism, had come sharply into focus by the start of the world war: a radical mix of art and

life—the epitome in the poplar mind of an avant-garde. It was—on both its Russian and Italian

sides—the first great “art” movement led by poets; and if its means seem exaggerated or unripe in


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, “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. 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 here where we live and work as poets and

artists; or, if not the movements, then their sense of art as a life itself. All of which, as with Futurism,

had come sharply into focus by the start of the world war: a radical mix of art and life—the epitome

in the poplar mind of an avant-garde. It was—on both its Russian and Italian sides—the first

great “art” movement led by poets; and if its means 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,










076

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







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

poets and artists; or, if not the movements, then their sense of art as a

life itself. All of which, as with Futurism, had come sharply into focus

by the start of the world war: a radical mix of art and life—the epitome

in the poplar mind of an avant-garde. It was—on both its Russian and

Italian sides—the first great “art” movement led by poets; and if its

means seem exaggerated or unripe in retrospect, they carry within them

the seed of all that we were later to become.













heAdeRs & subheAdeRs

Each character presents a different visual impression on the page.

078

A header is the main title of a layout and is typically the most visually prominent element of the

hierarchy; while a subhead is a subordinate subdivision of the heading.

One way in which headers and subheads adopt the highest visual hierarchy is through

enlarged text. Increasing the size of the text improves its legibility, which making it easier

to view at a glance, and delineates a clear distinction from the body copy. Enlarged text,

however, requires a sensitive handling to maintain visually consistent letter spacing

within the title and subhead through a process called kerning. The larger the letters, the

more critical it is to adjust their spacing.

Kerning is the process of removing small units of space between letters in order to create

visually consistent letter spacing. Awkward letter spacing not only looks naïve and unpro-

fessional, but it can disrupt the communication of the words.

Rules foR keRning + Kerning is totally dependent on your

eye, not on the machine. Type needs a

human eye for the fine tuning.

+ Circular letters appears smaller next to

a rectangular letters.

+ The key to kerning is to keep it visually

consistent. The spacing between let-

ters may not be exactly the same, but

it will appear that way with the proper

kerning. Adjust the letters according

to your sensitive visual perception.

+ You can usually focus better on that

white space if you look at the text with

your eyes squinted.

heAdeRs & subheAdeRs 079

how to keRn teXt

Each character

presents a different

visual impression

on the page and

reacts with other

letters according

to their particular

combinations of

dark and light space.

hl

ho

oc

ot

At

Characters with verticals next to each other need the most amount of space; this can often be used as a guideline with which to keep the spacing consistent.

A vertical next to a curve needs less space.

A curve next to a curve needs very little space.

A curve can actually overlap into the white space under or above the bar or stem of a character, and vice versa.

The closest kerning is done where both letters have a great deal of white space around them.

Washington

WashingtonkeRned

unkeRned

080

A Prologue to Futurism: Futurism was first announced on Febru-ary 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The mani-festo’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.

A rAdicAl mix oF Art And liFe: 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 & artists of-fered 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 typogra-phy in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indiffer-ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915): Everything of any value is theatrical.”

Words in Liberty


WORDS IN LIBERTY

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.1 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 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 institutions as museums and libraries. The mani-festo’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.

A RAdicAl Mix of ARt And life

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 & 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 Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and 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.”

A PRologue to futuRisM

082

WORDSIN LIBERTY

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The 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 of such cultural institutions as museums and libraries. 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.

A RADIcAL MIxOf ART AND LIfE


While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists of-fered 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 Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ per-formances mixed declamation and gesture, events and surroundings, indifference and engage-ment, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915): Everything of any value is theatrical.”

A PROLOguETO fuTuRISM


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

A RAdicAl Mix of ARt

And life

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 polemi-cal stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in 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 innova-tive and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surround-ings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915): Everything of any value is theatrical.”


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084

WORDS IN LIBERTYF u T u R I S M 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.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and librar-ies. 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.

A R

AD

IcA

L M

IX O

F A

RT A

ND

LIF

E B u T 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 & 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 inno-vative and expressive typography in the visual presentation of language, as set in mo-tion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declama-tion and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915): Everything of any value is theatrical.”

A P

ROLO

Gu

E TO

Fu

TuRI

SM


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, 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.1 Futur-ism rejected traditions and glorified contem-porary life, mainly by emphasizing two domi-nant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and move-ment. He exalted violence and conflict and called for the sweeping repudiation of tradi-tional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. 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 favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà2 , by which poetry was to be-come “an uninterrupted sequence of new images… [a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and 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- A radical Mix of Art and Life

086

- A radical Mix of Art and Life


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088

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cAptions & notes 089

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1

Philip Meggs, History of Graphic

Design, Van Nostrand Reinhold, 1988. 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 of such cultural institu-tions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

A rAdicAl mix oF Art And liFe: 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 & artists offered formal “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà2 = words set free (liberty), by which poetry was to become “an uninterrupted sequence of new images… [a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and sur-roundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst = himself

3 (circa 1915): Everything of

any value is theatrical.”

Words in Liberty

090

1 Philip Meggs, History

of Graphic Design, Van

Nostrand Reinhold, 1988

WORDS IN LIBERTY

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.1 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 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 institutions as museums and libraries. The mani-festo’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.

A RAdicAl Mix of ARt And life


While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in 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 Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and 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.”


2 parole in libertà =

words set free (liberty)

3 selbst = himself


WORDSIN LIBERTY

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The 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 of such cultural institutions as museums and libraries. 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 polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists of-fered 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 Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ per-formances mixed declamation and gesture, events and surroundings, indifference and engage-ment, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915): Everything of any value is theatrical.”

A PROLOguETO fuTuRISM

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

2 parole in libertà = words set free (liberty)

3 selbst = himself

092


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

2 parole in libertà = words set free (liberty)

3 selbst = himself

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

A RAdicAl Mix of ARt

And life

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 polemi-cal stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in 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 innova-tive and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surround-ings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915): Everything of any value is theatrical.”


>>

<<1 PhiliP Meggs, histoRy of gRAPhic design, VAn nostRAnd Reinhold, 1988

2 PARole in libeRtà = woRds set fRee (libeRty)

3 selbst = hiMself


WORDS IN LIBERTYF u T u R I S M was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

A R

AD

IcA

L M

IX O

F A

RT A

ND

LIF

E B u T 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 Futurist po-ets & 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 pre-sentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Wil-liams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between them-selves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915): Everything of any value is theatrical.”

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094

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, 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 society1. Futur-ism rejected traditions and glorified contem-porary life, mainly by emphasizing two domi-nant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and move-ment. He exalted violence and conflict and called for the sweeping repudiation of tradi-tional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. 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 favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in libertà2 , by which poetry was to be-come “an uninterrupted sequence of new images… [a] strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and 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- A radical Mix of Art and Life

1 Philip Meggs, History of

Graphic Design, Van Nos-

trand Reinhold, 1988

2 parole in libertà =

words set free (liberty)

3 selbst = himself


type specimens

096

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 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.

type specimens 097

book

hAiRline

semi-bold

bold itAlic

Archer

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

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

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


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


MaxogGdQRst

098

RomAn

bold

blAck

Akzidenz Grotesk

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

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




type specimens 099

RegulAR

smAll cAps

itAlic

bold

Baskerville

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 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.





MxaogGdQRt

100

RegulAR

itAlic

bold

blAck itAlic

Belizio

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

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





MxagGdQrR

type specimens 101

light

bold

blAck

Bell Gothic

A basic system for classifying typefaces

was devised in the nineteenth century, when

printers sought to identify a heritage for their

own craft analogous to that of art history.

Humanist letterforms are closely connected

to calligraphy and the movement of the hand.

Transitional and modern typefaces are more

abstract and less organic. These three main

groups correspond roughly to the Renais-

sance, Baroque, and Enlightenment periods in

art and literature. Designers in the twentieth

and twenty-first centuries have continued

to create new typefaces based on historic

characteristics.




MxagGdQrRI

102

RegulAR

itAlic

bold

eXtRA bold

Bembo

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

centuries have continued to create new type-

faces based on historic characteristics.


was devised in the nineteenth century,

when printers sought to identify a heri-

tage for their own craft analogous to that

of art history. Humanist letterforms are

closely connected to calligraphy and the

movement of the hand. Transitional and

modern typefaces are more abstract and

less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods

in art and literature. Designers in the

twentieth and twenty-first centuries have

continued to create new typefaces based

on historic characteristics.





MxagGdQrRI MxnogGdQrRst

type specimens 103

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.





104

MxaogGdQrRRegulAR

itAlic

bold

oRnAments

Bodoni

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

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

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




type specimens 105

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

106

MxanogGdQRtRegulAR

itAlic

bold

bold itAlic

Century Schoolbook

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






type specimens 107

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.






108

MaxogGdQrRsunicAse

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 ( ) { } ? ! @ & *


type specimens 109

light

RegulAR

bold

Clarendon

MxagGdQrRtA basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art history.

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.





110

MxagGdQrRtRegulAR

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.


type specimens 111

RegulAR

itAlic

bold

Didot

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

A basic system for classifying typefaces was devised in the nineteenth century, when 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.




112

MxaogGdQrRtDIN

MaxnogGdQrRtlight

RegulAR

medium

blAck



Aa bb cc dd ee ff gg hh ii Jj Kk ll Mm nn oo Pp Qq Rr ss tt uu Vv ww xx yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9


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

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

type specimens 113

DIN Condensed

MaxngdQHAMBURGlight condensed

RegulAR condensed

bold condensed

blAck condensed







114

MaxngdQHAMBURGRegulAR

itAlic

bold

Disturbance

MxnatQbWFGdRA basic system for classifying typefaces was devised

in the nineteenth century, when printers sought

to identify a heritage for their own craft analo-

gous to that of art history. Humanist letterforms

are closely connected to calligraphy and the

movement of the hand. Transitional and modern

typefaces are more abstract and less organic.

These three main groups correspond roughly to

the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the

twentieth and twenty-first centuries have con-

tinued to create new typefaces based on historic

characteristics.

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

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

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

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

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

( ) { } ? ! @ & *

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 ( ) { } ? ! @ & *

type specimens 115

RegulAR

Fette Fraktur

MxnaopQrRtfgA basic system for classifying typefaces was

devised in the nineteenth century, when



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


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

116

MxnaopQrRtfgRegulAR

fRActions

unicAse

Filosofia

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

A basic system for classifying 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.




type specimens 117

book

demi

heAvy

condensed

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.




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 ( ) { } ? ! @ & *

118

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.





type specimens 119

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.

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 ( ) { } ? ! @ & *



120

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 ( ) { } ? ! & *


type specimens 121

book

bold

itAlic

light

Gotham

MayogGdQRtA basic system for classifying type-





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-





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.





122

MayogGdQRtRegulAR

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

type specimens 123

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






124

RegulAR

Kunstler Script

MxyogGdQrRstAa 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

type specimens 125

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.





126

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.




MayogGdQrRt

type specimens 127

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.






128

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itAlic

bold

fRActions

Mrs Eaves

MaxogGdQrRstA basic system for classifying typefaces was

devised in the nineteenth century, when print-

ers sought to identify a heritage for their own

craft analogous to that of art history. Humanist

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






MaxogGdQrRst

type specimens 129

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.




130

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.


MaxogGdQrRst

type specimens 133

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.





132

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.






type specimens 133

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.




134

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-


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-


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 ( ) { }

? ! @ & *

type specimens 135

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.




136

RegulAR

AlteRnAte

bold

Priori Serif

MxanodQrRtSfgA basic system for classifying typefaces was

devised in the nineteenth century, when printers

sought to identify a heritage for their own craft

analogous to that of art history. Humanist 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.




type specimens 137

(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.






138

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.






type specimens 139

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







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




AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz1234567890(){}?!@&*


140

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







type specimens 141

RegulAR

Snell Roundhand

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

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

142

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.





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






type specimens 143

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.






144

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.


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 ( ) { } ? ! @ & *


MxaoygGdQrR

type specimens 145

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.





146

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.





type specimens 147

thAnks foR ReAding.

Text for the book was compiled from the following sources: ElementsofTypographicStyle by Robert Bringhurst, GettingitRightwithType:theDo’sandDon’tsofTypography byVictoria Square, MacisNotATypewriter by Robin Williams.

DESIGNED By SALLy CARMICHAEL.Class project for Professor Herstowski’s Typography 02 at the University of Kansas, Spring 2012.

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

The Type Book