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Typographic Essentials

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Exploring typography.

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typographic essentialsdanielle aldrich spring 2010 wertzberger

contents

CONTENTS

1 typographic rules

2 x-height

3 hyphenation

4 alignment

5 justification

6 combining typefaces

7 quotes, apostrophes, & dashes

8 special characters

9 bullets

10 numerals & figures

11 small caps

12 paragraph breaks

13 headers, subheads, & crossheads

14 captions & notes

15 classification of type

16 characteristics, classification, & designer

17 font list

18 typography terminology

typographic rules

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• Use only one space between sentences.• Use real quotation marks.• Use real apostrophes.• Make sure the apostrophes are where they belong.• Hang the punctuation off the aligned edge.• Use en or em dashes, use consistently. • Kern all headlines where necessary.• Never use the spacebar to align, always set tabs and use the tab key.• Leave no widows or orphans.• Avoid more than three hyphenations in a row.• Avoid too many hyphenations in any paragraph.• Avoid hyphenating or line brakes of names and proper nouns.• Leave a least two characters on the line and three following.• Avoid beginning consecutive lines with the same word.• Avoid ending consecutive lines with the same word.• Avoid ending lines with the words: the, of, at, a, by..• Never hyphenate words in a headline & avoid hyphens in a call out.• Never justify the text on a short line.• Keep the word spacing consistent.• Tighten the leading in lines with all caps or with few ascenders/desc.• Use a one-em first-line indent on all indented paragraphs.• Adjust the spacing between paragraphs.• Indent the first line of paragraphs or add extra space between them.• Use decimals or right-align tab for the numbers in numbered paragraphs.• Never have one line in a paragraph in the column or following.• Never combine two serif fonts on one page.• Rarely combine two sans serif fonts on one page.• Rarely combine more than three typefaces on one page.• Use special characters when necessary, including super and subscript.• Spend the time to create nice fraction or chose a font that has fractions.• If a correctly spelled word needs an accent mark, use it.

TYPOGRAPHIC RULES

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Readability and legibility are two key elements of printed text that typogra-phers strive to maximize. Readability is the extended amount of text—such as an article, book, or annual report—that is easy to read. Legibility refers to whether a short burst of text—such as a headline or stop sign—is able to be recognized instantly.

There are several factors that determine whether a text is readable. When deciding what typeface should be used for a job, consideration should be given to the typeface and its x-height. It is important to understand how a block of text can express a message through its texture/color, therefore 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.

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

READABILITY & LEGIBILITY

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

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

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

GARAMOND Regularclaude garamond

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

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EXAMPLES

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

ADOBE CASLON Regularcarol twombly

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

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

BASKERVILLE Regularjohn baskerville

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

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

BAUER BODONI Romanheinrich jost

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

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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.

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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 soci-ety. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new 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.

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

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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 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.

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

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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.

GILL SANS Regulareric gill

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

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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 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 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.

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

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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 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 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.

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

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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.

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hyphenation

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In unjustified text, the text block is set with normal letter and word spacing. Because of the even 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 a visual interest to the page. The difficulty is making the ragged edge have a pleasing silhouette. When the first line in the text is longer than the second, it becomes separate from the layout and creates a box-like shape. This destroys one of the advantages of unjustified text. The ragged edge needs to have life, but a narrow column can be less active. Another advantage to ragged text is less hyphenation is needed. Therefore, names, dates or words which are normally read together can stay together.

Hyphenation rules• Avoid widows• Avoid hyphenating or line brakes of names and proper nouns• Leave at least two characters on the line and three following• Avoid beginning consecutive lines with the same word• Avoid ending lines with the words: the, of, at, a, by, etc.• Never hyphenate words in a headline or in a call out• Avoid ending consecutive lines with the same word

Line BreaksLook for bad line breaks throughout every line of body copy. Do this only on a final copy after all editing has been done. Examples of what to look for:

• Make sure headline text is justified appropriately• Use line breaks to bump text to next line when needed• Use kerning to bring a hyphenated word together if necessary• Never hyphenate people’s names• Try substituting a short or a long word to make text fit.

HYPHENATION, LINE BREAKS

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HeadlinesDon’t hyphenate headlines.

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

Don’t leave widows in headlines.

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

Widow: When a paragraph ends and leaves fewer than seven 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 one above.

Orphan: 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. Never let this happen, or else fix it.

Rivers: In typography, rivers, or rivers of white, are usually unattractive gaps appearing to run down a paragraph of text. They can occur with any spac-ing, though they are most noticeable with wide word spaces caused by ei-ther full text justification or monospaced fonts.

Don Quixote de la Man-cha

Professor and The-rapist to Lecture

Man Walks Barefoot Across BayBridge

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

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

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

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

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

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

6. Fix widow.

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

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

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

HYPHENATION ADJUSTMENTS

Casing Adder BatHeresy borsch-boil starry a boarder borsch boil gamplate lung, lung a gore inner ladle wan-hearse torn coiled Mutt-fill. Mutt-fill worsen mush offter torn, butted hatter puttygut 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 lurkingan furry poplar—spatiallywetter gull coiled Any-bally.Any-bally worse Casing’ssweat-hard, any harpy cobblewandered toe gat merit, bought Casing worse tow pore toe becalm Any-bally’s horsebarn. (Boil pliers honor Mutt-filltame dint gat mush offer celery; infect, day gut nosing atoll.) Butt less gat earn pancake wetter starry.

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

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...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 de-pends 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 TextTraditionally many books, newsletters, and newspapers use full-justification as a means of packing as much information onto the page as possible to cut down on the number of pages needed. While the alignment was chosen out of necessity, it has become so familiar to us that those same types of publica-tions 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 expec-tations of the audience. If possible though, try to break up dense blocks of texts with ample subheadings, margins, or graphics.• Considered more formal, less friendly than left-aligned text.• Usually allows for more characters per line, packing more into the same amount of space (than the same text set left-align).• May require extra attention to word and character spacing and hyphenation to avoid unsightly rivers of white space running through the text.• May be more familiar to readers in some types of publications, such as newspapers.• Some people are naturally drawn to the “neatness” of text that lines up perfectly on the left and on the right.

Left-Aligned, Ragged Right• Often considered more informal, friendlier than justified text.• The ragged right edge adds an element of white space.• May require extra attention to hyphenation to keep right margin from being ragged.• Generally type set left-aligned is easier to work with, (it will require

a lot less time, attention, kerning,and tweaking from the designer to make it look good).

JUSTIFIED, LEFT-ALIGN, CENTERED

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

As with all layouts, alignment depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the align-ment that works for that particular design. No matter what alignment you use, remember to pay close attention to hyphenation and word/character spacing as well to insure that your text is as readable as possible. There will undoubtedly be well-meaning friends, business associates, clients, and oth-ers 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.

The alignment of your text plays a vital part in the look and readability of your work. It’s not the only factor—typeface, line length, style, size, linespac-ing, and case (caps or lowercase) also contribute. Type that is easy and pleasant to read encourages people to read what is written. Type that is not so readable can discourage a significant portion of the audience.

In short text, as in an advertisement or package design, you can often get away with using a design feature that detracts from the readability but adds to the attractiveness and impact of the piece (such as extreme letter spacing, or all caps with a justified alignment, or fringe type)—but this only works when you can justify that the look of the piece is more important than the accompanying loss of readability.

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Speaking just in terms of alignment, text aligned on the left is the most readable. Left-aligned text uses the opti-mum work spacing and letter spacing that the designer built into the font, and the spacing is very consistent so you don’t have to struggle through the words at all. As you read, your eye can quickly find the beginning of the next line. When you align text left, strive to keep the right, “ragged” side as smooth as possible, or in a slightly con-cave shape. Sometimes this necessitates forcing line breaks to fill in holes or to prevent long text strings from hanging beyond the rest of the lines. Below, the word of is hanging off the right edge, while in the line just below it there is clearly plenty of room to accommodate the word. Bump of down to the next line. If you bump words down, be sure you do it as the last touch in your final layout. Otherwise when you edit the text, change the type size or column width, or alter the layout in any way, you will end up with tab spaces, empty spaces, or line breaks in the middle of your sentences. Fortunately, in a flush left alignment you can easily make type corrections and adjust lines, often without affecting the rest of the text at all.

EXAMPLES

left align

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Text aligned on the right creates a definite look, as shown to the left, quite different from left-aligned. The

letter and word spacing still retain their ideal built-in settings, and corrections can often be made without

affecting the rest of the text. The biggest drop in readability comes from the fact that the left edge,

where your eye returns to find the next line to read, is not consistent so your eye has to find the beginning of

the line again every time it moves to the left. In small amounts of text, this isn’t a major problem,

and the sacrifice can be worth it in exchange for the distinctive layout. When you use a right alignment

for the look it creates, then emphasize the look—don’t be a wimp. Instead of keeping the ragged edge as

smooth as possible, try to exaggerate it.There is no excuse for widows or hyphenated words

when you set a right alignment. Since you are determining the line endings and since this format is

rarely used with an extended amount of text, you can help compensate for the lower readability by being

thoughtful in the grouping of phrases. And while you’re at it you can completely eliminate any hyphenation.

right align

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When you justify text, the computer forces the lines to extend to a certain length by adding or deleting space between the words, and sometimes between the letters. Some pro-grams let you specify the minimum and maximum amounts the spacing can adjust, but the computer will override your specifications if necessary. The greatest problem with justified text, both in terms of readability and aesthetics, is the uneven word spacing and letter spacing: some lines have extra spacing, some less. This irregularity is visually disturbing and interrupts reading. The shorter the line length in relation to the size of the type, the worse this problem becomes because there are fewer words between which to add or delete space. One simple rule for determining whether a line length is “long enough” to justify this: The line length in picas should be twice the point size of the type: if you’re using 12-point type, the minimum line length before you should try to justify is 24 picas (6 picas equal 1 inch). For many years, justified type reigned supreme as the way to set most text. But the trend of the past couple decades has been to allow the natural spacing of flush left text to dominate, losing the structured look of the “block” of text, but maximizing the text’s readability.

justified

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A centered alignment also gives a particular look to text: a more formal sedate, and potentially more

boring sort of look. People who are just beginning to work with text tend to center everything because it’s

safe. It’s symmetrical. It fills the space, everything balances automatically.

However, a centered alignment can create a dreadfully dull piece, and in the hands of a non-designer,

it most likely will create an amateurish page.A centered alignment has consistent letter and word spacing, but you have to keep finding the beginning

of the lines as you read so it is not the most readable arrangement. But if you’re going to do it, then do

it. Make it clear that the text is centered, not just poorly justified.

Varying line lengths make the page visually interesting. Also, a centered alignment gives you

a chance to group the lines into logical thoughts. And always remember, there’s never an excuse

for hyphenated words.

centered

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I’ve always wantedto be somebody. But I can see now

I should have been more specific.

Lily Tomlin

If you make the right alignmentstrong, it adds another dimension

to be the type and takes it beyondmerely words on the page.

On with the dance!Let joy be unconfined;

No sleep ’til morn, when youth and pleasure meetTo chase the glowing hours

with flying feet.

Lord Byron

This layout has a really intriguing shape.Take advantage of the flexibility of centered lines.

I declare! Sometimes it seems tome that every time a new piece of machinery comes in at the door some of our wits fly out at the window.

Aunt Abigail in Understood Betsyby Dorothy Canfield Fisher

We get an really good “rag” for left alignment by narrowing the entire paragraph so the lines break.

So sweet a kiss the golden sun gives not to those fresh morning drops upon the rose, as thy eye-beams, when their fresh rays have smote the night of dew that on my cheeks down flows: nor shines the silver moon one half so bright through the transparent bosom of the deep, as doth thy face through tears of mine give light; thou shinest in every tear that I do weep.William Shakespeare, Love’s Labour’s Lost

Even with a long enough line length, you will still get uneven word spacing in justified text

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When your work comes out of a printer, turnit upside downand squint at it. The rivers will be very easy to spot. Get rid of them. Try squinting atthe exampleon the next page.

Find anything?

When your work comes out of a printer, turnit upside downand squint at it. The rivers will be very easy to spot. Get rid of them. Try squinting at the exampleon the next page.

justification

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

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

Justified text was the style for many years—we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shows that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (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

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Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years—we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look

min 130des 140

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

TOO BIG

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SANS SERIF

Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years—we grew up on it. But there has been a great deal of re-search done on readability (how easy something is to read) and it shoes that those disruptive, incon-sistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work

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

min 6 des 7

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Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inch-es). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years—we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, 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, news-letters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged. Justified text was the style for many years—we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (maga-zines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

min 20 des 30

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too small

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Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inch-es). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years—we grew up on it. But there has been a great deal of research done on readabil-ity (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at

min 60des 80

max 90

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

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Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to jus-tify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years—we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open

min 70des 90

max 110

as you look at professionally printed work (maga-zines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged. 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, inconsis-tent 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.

Just Right

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

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Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 pi-cas is 4 inches-simply divide the number of pi-cas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years—we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsis-tent gaps between the words inhibit the flow of

min 130des 140

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

TOO BIG“Right and wrong do not exist in graphic design. There is only effective and non-effective communication.” – Peter Bilak

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Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply di-vide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inch-es). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years—we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at profes-

sionally printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged. Justified text was the style for many years—we grew up on it. 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 profes-sionally 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.

min 5 des 6

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Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply di-vide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inch-es). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years—we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at profes-

sionally printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged. Justified text was the style for many years—we grew up on it. 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, news-letters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

min 20 des 30

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too small

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Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years—we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as

min 60des 80

max 90

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

Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years—we grew up on it. But there has been a great deal of research done on readability (how easy some-thing is to read) and it shoes that those disrup-tive, inconsistent gaps between the words inhib-it the flow of reading. Besides, they look dumb.

min 70des 90

max 110

Keep your eyes open as you look at professional-ly printed work (magazines, newsletters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged. Justified text was the style for many years—we grew up on it. 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, news-letters, annual reports, journals) and you’ll find there’s a very strong trend to align type on the left and leave the right ragged.

Just Right

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6combining typefaces

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 no binding recipe for type combinations. It is a matter of typographic sensitivity and experience. Expert typographers, as well as careless amateurs permit themselves combinations that would horrify colleagues with more tra-ditional sympathies.”

Although there is no recipe there is a place to start: keep an eye on the char-acteristic shapes of the letterform. A well designed page contains no more than two different typefaces or four different type variations such as type size and bold or italic style. {Using 2 different serif fonts or 2 different sans serifs fonts in the same composition is never a good idea}

COMBINING SERIF & SANS SERIFcombining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces

52

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APH

IC E

SSEN

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WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and 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 soci-ety. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new 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.

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

aa BB ee GG gg aa BB ee GG ggAkzidenz Grotesk 16pt : Grotesque, Bembo 24pt: Old Style

These fonts also present a nice sense of contrast, with Akzidenz Grotesque being set in bold. Bembo’s larger x-height offsets the boldness of Akzidenz Grotesque.

Frutiger 16pt : Humanist, Garamond 24pt: Old Style

Frutiger and Garamond work well together in this setting mainly because of their contrast in stroke width and color. Frutiger had to be set in a bolder stroke so as to create more visual contrast between the two. Overall, Garamond reflects Frutiger’s friendly, light style.

53

CO

MBI

NIN

G T

YPEF

AC

ES

WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-lished a manifesto by the Italian poet and editor Filippo 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 institutions as museums and libraries.

aa BB ee GG ggITC New Baskerville 16pt : Transitional and Futura 24pt: Geometric

The size of ITC New Baskerville needed to be bumped up a few points so that it really popped against Futura’s geometric style. Its stroke weight also changed to bold to further contrast it against Futura’s lighter quality.

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

aa BB ee GG ggRotis Sans Serif 16pt : Grotesque and Mrs Eaves 24pt: Transitional

Mrs. Eaves’ small, wide, transitional characters contrast against Rotis Sans taller, narrower letterforms. Mrs. Eaves had to be low-ered in size to create higher contrast between the two fonts.

EXAMPLEScombining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combining typefaces combin-ing typefaces combining typefaces combining typefacesw

54

TYPO

GR

APH

IC E

SSEN

TIA

LS

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

aa BB ee GG ggDidot 16pt : Moder and Interstate 24pt: Geometric Sans

Didot’s Bold and Interstate Light Condensed work together be-cause they compliment each other with their slender form and strokes. Didot’s boldness, however, provides enough contrast between itself and Interstate.

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

aa BB ee GG ggNews Gothic16pt : Grotesque and Filosofia 24pt: Modern

News Gothic compliments Filosofia nicely. They’re both rather tall and condensed, but are different enough to tell apart. Con-trast is created with a bold News Gothic.

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WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced

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

tions and glorified contemporary life, mainly by emphasizing

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

characterized by the depiction of several successive actions of a

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

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

and movement. He exalted violence and conflict and called for

the sweeping repudiation of traditional cultural, social, and po-

litical values and the destruction of such cultural institutions as

museums and libraries.

aa BB ee GG ggFutura16pt : Geometric and Swift 24pt: Transitional

Swift’s angular characteristics work well with Futura’s geometric forms. Both are heavier in stroke weight, but Swift is lighter.

WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Mari-netti, reflected his emphasis on discarding what he con-ceived 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 contem-porary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technol-ogy of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural in-stitutions as museums and libraries.

aa BB ee GG ggTrade Gothic 16pt : Grotesque and Bookman 24pt: Old-Style

News Gothic compliments Filosofia nicely. They’re both rather tall and condensed, but are different enough to tell apart. Con-trast is created with a bold News Gothic.

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WORDS IN LIBERTYA Prologue to Futurism: Futurism was first an-nounced on February 20, 1909, when the Paris newspaper Le Fi-garo published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflect-ed his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two domi-nant themes, the machine and motion. The 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 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.

aa BB ee GG ggBelizio 16pt : Slab Serif and Futura 24pt: Geometric

In this composition, Belizio’s thick, curvilinear forms as well as its dark color contrast go well with Futura’s light geometric shapes.

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

aa BB ee GG ggVolta 16pt : Slab Serif and Gill Sans 24pt: Humanist

The humanist qualities of Gill Sans work with Volta’s thick color to create a well-balanced composition. Volta is in medium, Gill Sans is in light.

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“”””””””””””””””””””””””””””””””””””””””””””””

“””””””””””””””””””””””””””””””””””””””””””””””””””””””””””

“””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””

“”””””””””””””””””””””””””””

“””””””””””””””””””””””””””””””””””””””””””””””

“””””””””””””””””””””””””””””””””””””””””””””””

“””””””””””””””””””””””””””””””””””””””””””””””””””””””””””

“””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””

“”””””””””””””””””””””””””””””””””””””””””””””””””””””

“””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””

“”””””””””””””””””””””””””””””””””””””””””””””

“””””””””””””””””””””””””””””””””””””””””””””””””””””””””””

“””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””

“”””””””””””””””””””””””””””

“””””””””””””””””””””””””””””””””””””””””””””””

“””””””””””””””””””””””””””””””””””””””””””””””

“””””””””””””””””””””””””””””””””””””””””””””””””””””””””””

“””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””

“”””””””””””””””””””””””””””””””””””””””””””””””””””””

“””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””””

quotes, apostrophes, & dashes

7

Quotation MarksUse real quotation marks—never those grotesque generic marks that actu-ally symbolize ditto/inch or foot marks: use “and” for quotes—not "and". Most software applications will convert the typewriter quotes to the real quotes for you automatically as you type. Check the preferences for your application—you’ll find a check box to tell your application to automatically set something like “typographer’s quotes,” “smart quotes,” or “curly quotes.” Then as you type using the standard ditto key ("), the software will set the correct quota-tion marks for you. But it is necessary to know how to set them yourself be-cause sometimes the software doesn’t do it or does it wrong.

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

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

It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes—and neither should its. For contractions: The apostrophe replaces the missing letter. For example: you’re always means you are; the apostrophe is replacing the a from are. That’s an easy way to distinguish it

QUESTION MARKS & APOSTROPHES

“ Option [” Option Shift [‘ Option ]’ Option Shift ]

Bridge Clearance: 16' 7 " The young man stood 6' 2"

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feet and inch marks

from your as in your house and to make sure you don’t say: Your going to the store. As previously noted, it’s means “it is”; the apostrophe is indicating where the i is left out. Don’t means “do not”; now the apostrophe is indicat-ing where the o is left out.

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

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

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

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

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

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

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

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

En dashTo type an en dash:en dash – Option Hyphenhold the Option key down, then tap the hyphen key

An en dash is half of the em rule (the width of a capital N) and is used be-tween words that indicate a duration, such as time or months or years. Use it where you might otherwise use the word “to.” In a page layout application, the en dash can be used with a thin space on either side of it. If you want you can kern it so that it doesn’t have to be a full space.

Em dashTo type an em dash:em dash — Shift Option Hyphenhold the Shift and Option keys down, then tap the hyphen key.

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

Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Using two hyphens (or worse, one) where there should be an em dash makes your look very unprofessional. When using an—no space is used on either side.

DASHES & HYPHENS

hyphen -en dash –em dash —

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special characters

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“ Option [ opening double quote” Option Shift [ closing double quote‘ Option ] opening single quote’ Option Shift ] closing single quote; apostrophe– Option Hyphen en dash— Option Shift Hyphen em dash… Option ; ellipsis • Option 8 bulletfi Option Shift 5 ligature of f and ifl Option Shift 6 ligature of f and l€ Option Shift 2 Euro symbol⁄ Option Shift 1 (one) fraction bar ° Option Shift 8 degree symbol (102°F)© Option g copyright symbol™ Option 2 trademark symbol® Option r registered symbol¢ Option $ ¡ Option 1 (one)¿ Option Shift ?£ Option 3ç Option c Ç Option Shift c

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

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

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

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bullets

9

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

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

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

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

BULLETS

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Bullets, of course!

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

Pick any three adjectivesthat describe yourself:L lovelyW surlyK ghastlyM womanlyC saintlyA ungodlyZ statelyA sprightly

Pick any three adjectivesthat describe yourself:L lovelyL surlyL ghastlyL womanlyL saintlyL ungodlyL statelyL sprightly

Choose a dingbat instead of the dumb ol’ bullet.

You have lots of dingbats to choose from, but they are usually too bit. Choose one.

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

Raise the dingbat higher off the baseline.

Pick any three adjectivesthat describe yourself:L lovelyL surlyL ghastlyL womanlyL saintlyL ungodlyL statelyL sprightly

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numerals & figures

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109287356897012348764303485798748365902101238478

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

Oldstyle figures are very useful and quite beautiful when set within text. Un-like 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.

NUMERALS & FIGURES091283746590182734091237548632108768975649387SD4879128367481263510238468723654102834636751982374012736549817561023896741087365102839469817561083264017651092836548173560128934701298365876354019283740165139287401983650192837098720817238498213758293847861928344

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

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

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small caps

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Small caps are uppercase (capital) letters that are about the size of normal lowercase letters in any given typeface. Small caps are less intrusive when all uppercase appears within normal text or can be used for special emphasis. Computer programs can generate small caps for a any typeface, but those are not the same as true small caps. True small caps have line weights that are proportionally correct for the typeface, which means that they can be used within a body of copy without looking noticeably wrong.

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

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

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

SMALL CAPS

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

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

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

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

The capital letters in the middle of the sentence call too much attention to themselves. Notice how the small caps blend in with the text. The capital letters for P.M. are much too large—the ab-breviation is not that important.

The Wicked Are Very WeAry The weight of the computer-drawn small caps is thinner than the weight of the regular initial (first letter) caps.

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12paragraph breaks

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

In typography there are 4 rules regarding paragraph breaks:

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

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

3. The amount to indent is = to the leading (sometimes needs a bit more).4. Never hit two returns between paragraphs.

PARAGRAPH BREAKS

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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 Mari-

netti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and inno-vation in culture and society.1 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 amaze-ment, to arouse controversy, and to attract widespread attention.

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

of art as a 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 pa-role in liberta2 , by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mys-terious sea of phenomena.” This freedom-of-the-world, while it resembled oth-er forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme.] Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surround-ings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915): Everything of any value is theatrical.”

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Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, 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 He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as muse-ums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as a 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, “techni-cal” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta2, by which poet-ry 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 ex-plored the use of innovative and expressive typography in the vi-sual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indiffer-ence and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915): “Everything of any value is theatrical.”

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Futurism was first announcedon February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his em-phasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 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 museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But 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 a 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 pop-lar 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully ex-plored the use of innovative and expressive typography in the visual presen-tation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barri-ers 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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Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tom-maso Marinetti. The name Futurism, coined by Marinetti, reflected his em-phasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 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 museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention._________________________But 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 a 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysteri-ous sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915): “Everything of any value is theatrical.”

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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 Tom-maso Marinetti. The name Futurism, coined by Marinetti, reflected his em-phasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 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 museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But 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 a life itself. All of which, as futurism, had come sharply into focus by the startof 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysteri-ous sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915): “Everything of any value is theatrical.”

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__________Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the de-struction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflamma-tory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention._____But 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 a 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully ex-plored the use of innovative and expressive typography in the visual presen-tation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barri-ers 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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F u t u r i s m w a s f i r s t a n n o u n c e d 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.1 He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural insti-tutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely in-tended 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 , o d d l y , 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 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.

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 F u t u r i s m bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal, “technical” ap-proaches to the works then getting under way. The key term—still resonant today—was parole in liberta2, by which poetry was to become “an uninter-rupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Out-rageous 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.”

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Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innova-tion in culture and society.1 He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal, “technical” ap-proaches to the works then getting under way. The key term—still resonant today—was parole in liberta2, by which poetry was to become “an uninter-rupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Out-rageous 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.”

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Futurism was first announced on February 20, 1909, when the Paris newspa-per Le Figaro published a manifesto by the Italian poet and editor Filippo

Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his em-phasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 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 museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But 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 a 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 po-lemical 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysteri-ous sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915): “Everything of any value is theatrical.”

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FUTURISM WAS FIRST ANNOUNCED ON FEBRUARY 20, 1909, WHEN THE PARIS newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the de-struction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflamma-tory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

WHILE MARINETTI’S opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later mani-festos of Futurist poets & artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was pa-role in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of lan-guage, as set in motion by forerunners like Mallarme. Outrageous and ag-gressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers be-tween themselves and those who came to jeer or cheer them. Wrote Mari-netti Selbst3 (circa 1915): “Everything of any value is theatrical.”

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n Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his em-phasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 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 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. n 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 a 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 be-come. n 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully ex-plored the use of innovative and expressive typography in the visual presen-tation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barri-ers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915): “Everything of any value is theatrical.”

13headers, subheads, & crossheads

HeaderA line or block of text that appears at the beginning of a document.

SubheadA heading given to a subsection of a piece of writing.

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

TYPOGRAPHY unkerned

TYPOGRAPHY kerned

The key to kerning is visual perception. The more white space that surrounds an object or letter, the smaller it seems, even if it is next to an object of equal size, but with less white space around it. The pacing between letters may not all be the exact same, but it will appear that way with the proper kerning.

HEADER, SUBHEAD, KERNING

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Words in LibertyA Prologue to Futurism

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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 celebrat-ing change, originality, and innovation in culture and society.1 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 inflamma-tory and was purposely intended to inspire public anger and amazement, to arouse con-troversy, and to attract widespread attention.

But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as a 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 get-ting under way. The key term—still resonant today—was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915): “Everything of any value is theatrical.”

Words in LibertyA Prologue to Futurism

Radical mix of art and life

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WORDS IN LIBERTYA PROLOGUE TO FUTURISM Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and 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 cele-brating change, originality, and innovation in culture and society.1 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.

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 a 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or anal-ogies, 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 ex-plored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915): “Everything of any value is theatrical.”

WORDS IN LIBERTY

radical mix of art and life

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Futurism was first announced on February 20, 1909, when the Paris newspaper Le Fi-garo published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he con-ceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruc-tion of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & art-ists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it re-sembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ per-formances 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.”

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Radical mix of art and life

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on 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 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 con-troversy, and to attract widespread attention.

But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as a 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915): “Everything of any value is theatrical.”

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A prologue to FuturismFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Mari-netti. 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 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.

Radical mix of art and lifeBut 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 a 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mal-larme. 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.”

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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 Mari-netti, 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 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 passion-ately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But 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 a life itself. All of which, as futurism, had come sharply into focus by the startof 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysteri-ous sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915): “Everything of any value is theatrical.”

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14captions & notes

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

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

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

FOOTNOTES & ENDNOTES,NUMBERS, & SIZE

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

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

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

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

3. Selbst = himself

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrat-ing change, originality, and innovation in culture and society.1 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 inflamma-tory and was purposely intended to inspire public anger and amazement, to arouse con-troversy, and to attract widespread attention.

But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as a 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 get-ting under way. The key term—still resonant today—was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915): “Everything of any value is theatrical.”

Words in LibertyA Prologue to Futurism

Radical mix of art and life

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1. Philip Meggs, History of Graphic Design,

Van Nostrand Reinhold, 1988

3. Selbst = himself

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

WORDS IN LIBERTYA PROLOGUE TO FUTURISM Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cele-brating change, originality, and innovation in culture and society.1 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.

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 a 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or anal-ogies, 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 ex-plored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915): “Everything of any value is theatrical.”

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a prologue to futurismFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Mari-netti. 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 He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and li-braries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amaze-ment, to arouse controversy, and to attract widespread attention.

But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as a 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 un-der way. The key term—still resonant today—was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual pre-sentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915): “Everything of any value is theatrical.”

1. Philip Meggs, History of Graphic

Design, Van Nostrand Reinhold, 1988

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

3. Selbst = himself

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

But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as a 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915): “Everything of any value is theatrical.”

Words in LibertyA Prologue to Futurism

Radical mix of art and life

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

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

3. Selbst = himself

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LIBERTYA prologue to FuturismFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Mari-netti. 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 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.

Radical mix of art and lifeBut 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 a 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mal-larme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915): “Everything of any value is theatrical.”1. Philip Meggs, History of Graphic Design,

Van Nostrand Reinhold, 1988

3. Selbst = himself2. parole in liberta = words set free (liberty)

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TYFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Mari-netti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, origi-nality, and innovation in culture and society.1 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 passion-ately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

But 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 a life itself. All of which, as futurism, had come sharply into focus by the startof 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysteri-ous sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915): “Everything of any value is theatrical.”

a pro

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1. Philip Meggs, H

istory of Graphic D

esign, Van N

ostrand Reinhold, 1988

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

3. Selbst = himself

classification of type

15

Garamond did not think of himself as an Old Style designer any more than John Baskerville could realize that some day he would be considered a Transitional designer. What happened is this: over the centuries type became more and more refined; that is, the contrast between thick and thin strokes became greater and the serifs became finer. This refinement was possible because of the development of smoother papers, better inks, and more advanced printing methods. The ultimate refinement was attained in the late 1700’s when Bodoni reduced the thin strokes and serifs to fine hairline strokes.

After Bodoni, type design became eclectic. In search of new forms of typo-graphic expression, designers began to borrow features from one period and add them to another. We see a lot of this today. Many of the fonts designed in the 20th century are difficult to classify.

Variations in StressAs early typefaces were based on the written letterforms the scribes, it was important that the type designer tries to capture as much of the written form as possible. The letter O is a good example to study the distribution of weight which creates a vertical stress through the thinnest part of the let-terform. It was this characteristic that the early typefaces tried to imitate. This is quite clear in Garamond. As type evolved and the designer was no longer influenced by handwriting, the stress became more vertical as in Baskerville and later totally vertical with Bodoni. In Univers you will find no noticeable stress.

STRESS, THICKNESS, & SERIF VARIATIONS

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Variations in Thicks and ThinsFaces also vary in degree of contrast between thick and thin strokes of the letters. In Garamond you can see a prominent characteristic of little con-trast between thick and thin strokes of a letter. In Transitional faces there is a tendency toward refinement and greater contrast between thick and thins. Bodoni has maximum contrast in these strokes (extreme contrast of thick and thins, hairline serifs). With Serifa there is a return to very little contrast (almost mono-weight). In Univers there is an absence of any noticeable thick and thin strokes; there is a uniformity of strokes (mono-weight).

Variations in SerifsSerifs also vary from one face to the next in their weight and in the way they are bracketed; that is the way in which the serif meets the vertical stroke of the letter. Once again, you can see the evolution of type from Garamond, to Baskerville, to Bodoni. This was followed by the return of the heavy serif in Serifa and the elimination of the serif in Univers.

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After Bodoni, type design became eclectic.[

SERIF

– little contrast between thick and thin of strokes

– stroke weight has inflections similar to handwriting

– strong diagonal stress such as on letter o

– sloping bar on letter e

Jenson, Goudy’s Kennerly, Bruce Rogers’ Centaur

– extreme contrast between thick and thin strokes

– hairline (strokes) serifs

– horizontal stress

– horizontal bar on e

Bodoni, Bauer Bodoni, Walbaum

– sturdy typefaces hold up under poor printing

– little contrast between thick and thin strokes

– horizontal stress

– horizontal bar on e

– tall x-height

– shorter ascenders, descenders

Bookman, Century Schoolbook, Cheltenham

– mono weight

– square ended serifs

– horizontal stress

– horizontal bar on e

Memphis, Clarendon, Serifa, Rockwell

xoeangdp

– contrast between thick and thin strokes is more pronounced

– horizontal bar on e

– diagonal stress is less prominent

– shorter x-height

– scooped serifs, sturdy without being heavy

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

Egyptian or Slab-serif

New Transitional

Didone (modern)Humanist

xoaengdp

– contrast between thick and thin strokes is pronounced

– very slight diagonal stress

– bracketed serifs

– horizontal bar on e

– tall x-height

Baskerville, Caslon, Perpetua

xoeangdpTransitional

xoeangdpxoaengdpOld Style (Geralde)

xoaengdp

SANS SERIF

– slight contrast in the stoke weight

– slight squareness to the curves

– usually a tall x-height : short ascenders and descenders

– usually a two story lowercase a

– capital R usually has a curled leg

– capital G usually has a spur

Helvetica, Univers, Akzidenz-Grotesk, Folio

Grotesque

xAag

xAagGeometric

– very little contrast in the stoke weight (monoline)

– a little wider set

– constructed from simple shapes : circle and rectangle

– usually a one story lowercase a

– uppercase A has a pointed apex

Futura, Kabel, Metro

xAagHumanist

– based on the proportions of the Roman capitals

– some contrast in the stroke weight

– lowercase a and g are usually two story

Syntax, Frutiger, Praxis, Stone Sans

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characteristics, classification, & designer

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HAMBURGERQ hamburgerq?!& AKZIDENZ GROTESK:

DESIGNER: GUNTER GERHARD LANGE CLASSIFICATION: GROTESQUE CHARACTERISTICS: SPUR ON “G”, TALL X-HEIGHT, SHORT ASCENDERS

HAMBURGERQ hamburgerq !?& BASKERVILLE (NEW BASKERVILLE)

DESIGNER: JOHN BASKERVILLE CLASSIFICATION: TRANSITIONAL CHARACTERISTICS: DIAGONAL STRESS, BRACKETED SERIFS, TALL X-HEIGHT

HAMBURGERQ hamburgerq ?!& BELIZIO DESIGNER: DAVID BERLOW CLASSIFICATION: SLAB SERIF CHARACTERISTICS: MONO-WEIGHT, SQUARE SERIFS, BALL TERMINALS HAMBURGERQ hamburgerq ?!&BEMBO

DESIGNER: STANLEY MORISON CLASSIFICATION: OLD STYLE CHARACTERISTICS: CONTRAST BETWEEN THICK/THIN

HAMBURGERQ hamburgerq !?&BOOKMAN

DESIGNER: ALEXANDER PHEMISTER CLASSIFICATION: NEW TRANSITIONAL CHARACTERISTICS: HORIZONTAL STRESS, TALL X-HEIGHT

HAMBURGERQ hamburgerq !?&BODONI (BAUER BODONI)

DESIGNER: GIAMBATTISTA BODONI CLASSIFICATION: DIDONE CHARACTERISTICS: EXTREME CONTRAST BETWEEN THICK AND THIN

HAMBURGERQ hamburgerq !?&CASLON (ADOBE CALSON)

DESIGNER: CAROL TWOMBLY CLASSIFICATION: TRANSITIONAL CHARACTERISTICS: LONG TAIL ON Q, SLIGHT DIAGONAL STRESS

DESIGNER, CLASSIFICATION, CHARACTERISTICS

HAMBURGERQ !? & HAMBURGERQ ?!&CHOLLA

DESIGNER: SIBYLLE HAGMANN CLASSIFICATION: GEOMETRIC CHARACTERISTICS: SQUARED CURVES, SHORT ASCENDERS/DESC

HAMBURGERQ hamburgerq !?& CLARENDON DESIGNER: ROBERT BESLEY CLASSIFICATION: EGYPTIAN SLAB CHARACTERISTICS: LARGE BALL TERMINALS, MONO WEIGHT

HAMBURGERQ hamburgerq !?& CLICKER

DESIGNER: GREG THOMPSON CLASSIFICATION: GRID-BASED SANS SERIF CHARACTERISTICS: LITTLE STROKE CONTRAST, TECHNOLOGY BASED

HAMBURGERQ hamburgerq 1?& DIDOT

DESIGNER: FIRMM DIDOT CLASSIFICATION: MODERN CHARACTERISTICS: CONTRASTING STROKE WEIGHT, TALL X-HEIGHT

HAMBURGERQ hamburgerq !?&DIN

DESIGNER: ALBERT JAN-POOL CLASSIFICATION: GROTESQUE CHARACTERISTICS: NO STROKE CONTRAST, TALL X-HEIGHT

HAMBURGERQ HAMBURGERQ !?&DISTURBANCE

DESIGNER: JEREMY TANKARD CLASSIFICATION: NEW TRANSITIONAL SERIF CHARACTERISTICS: MIX OF UPPER/LOWER CASE, WIERD G, BRACKETED SERIF

HAMBURGERQ hamburgerq !?&FILOSOFIA

DESIGNER: ZUZANA LICKO CLASSIFICATION: MODERN CHARACTERISTICS: BRACKETLESS SERIF, CONTRASTING STOKE WEIGHT

HAMBURGERQ hamburgerq !?& FRUTIGER

DESIGNER: ADRIAN FRUTIGER CLASSIFICATION: HUMANIST CHARACTERISTICS: LOW CONTRAST, SHORT ASCENDERS/DESC

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HAMBURGERQ hamburgerq?!& FUTURA

DESIGNER: PAUL RENNER CLASSIFICATION: GEOMETRIC CHARACTERISTICS: CIRCULAR BOWLS/COUNTERS, MONO WEIGHT, WIDE

HAMBURGERQ hamburgerq?!&GARAMOND (ADOBE GARAMOND)

DESIGNER: CLAUDE GARAMOND CLASSIFICATION: OLD STYLE CHARACTERISTICS: BRACKETED SERIF, SHORT X-HEIGHT, WEIGHT VARIES

HAMBURGERQ hamburgerq?!&GILL SANS

DESIGNER: ERIC GILL CLASSIFICATION: HUMANIST CHARACTERISTICS: MINIMAL STROKE WIDTH, WIDE WIDTH

HAMBURGERQ hamburgerq ?!& GOUDY

DESIGNER: FREDERIC W. GOUDY CLASSIFICATION: OLD STYLE CHARACTERISTICS: SHORT X-HEIGHT, WIDE CHARACTER WIDTH

HAMBURGERQ hamburgerq ?!&HELVETICA

DESIGNER: MAX MEDINGER CLASSIFICATION: GROTESQUE CHARACTERISTICS: TALL X-HEIGHT, 2 STORY A, SQUARED LEG KICKS

HAMBURGERQ hamburgerq ?!&INTERSTATE

DESIGNER: TOBIAS FRERE-JONES CLASSIFICATION: GROTESQUE CHARACTERISTICS: SHORT ASCENDERS/DESC, STROKES CUT AT ANGLES

Hg Ay Bur Ger Eat Rope Que ?!&KUENSTLER SCRIPT

DESIGNER: HANS BOHN CLASSIFICATION: SCRIPT CHARACTERISTICS: DIFFERENT LINE WEIGHT, BALL TERMINALS, GOUDY CAPS

HAMBURGERQ hamburgerq ?!&MELIOR

DESIGNER: HERMAN ZAPF CLASSIFICATION: TRANSITIONAL SERIF CHARACTERISTICS: THICK & THIN CONTRAST, SQUARE SERIF ENDS

HAMBURGERQ hamburgerq ?!& MEMPHIS

DESIGNER: RUDOLF WEISS CLASSIFICATION: SLAB SERIF CHARACTERISTICS: MONO WEIGHT, SQUARE SERIFS, HORIZONTAL STRESS

HAMBURGERQ hamburgerq ?!&MRS EAVES

DESIGNER: ZUZANA LICKO CLASSIFICATION: TRANSITIONAL CHARACTERISTICS: VERTICAL STRESS, G HAS NO OPEN COUNTER

HAMBURGERQ hamburgerq ?!& NEWS GOTHIC

DESIGNER: MORRIS FULLER BENTON CLASSIFICATION: GROTESQUE CHARACTERISTICS: TALL X-HEIGHT, SHALLOW DESCENDERS

HAMBURGERQ hamburgerq ?!&PLATELET

DESIGNER: CONOR MANGAT CLASSIFICATION: SANS SERIF CHARACTERISTICS: NO STROKE VARIATION, HALF UPPER/HALF LOWER

HAMBURGERQ hamburgerq ?!&ROCKEWELL

DESIGNER: MONOTYPE STAFF CLASSIFICATION: SLAB-SERIF CHARACTERISTICS: MONO WEIGHT, SQUARE SERIF

HAMBURGERQ hamburgerq ?!&ROTIS SANS

DESIGNER: OTL AICHER CLASSIFICATION: HUMANIST SANS SERIF CHARACTERISTICS: TALL X-HEIGHT, TWO STORY A, Q TAIL ABOVE BASELINE

HAMBURGERQ hamburger ?!&ROTIS SERIF

DESIGNER: OTL AICHER CLASSIFICATION: HUMANIST SERIF CHARACTERISTICS: BRACKETED SERIFS, TALL X-HEIGHT

HAMBURGERQ hamburgerg ?!&SABON

DESIGNER: JAN TSCHICHOLD CLASSIFICATION: SLAB SERIF CHARACTERISTICS: MONO WEIGHT, SQUARE SERIFS

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HAMBURGERQ hamburgerq ?!& SERIFA

DESIGNER: ADRIAN FRUTIGER CLASSIFICATION: SLAB SERIF CHARACTERISTICS: MONO WEIGHT, SQUARE SERIFS, STRESS

AMBUhamburgerq HAMBURGERQ SHELLY

DESIGNER: MATTHEW CARTER CLASSIFICATION: SCRIPT CHARACTERISTICS: ALL JOINED UP, LOOP IS THE SAME

BURGERQ hamburgerq HAMGERQ SNELL ROUNDHAND

DESIGNER: MATTHEW CARTER CLASSIFICATION: SCRIPT CHARACTERISTICS: CALLIGRAPHY INFLUENCED, STRONG STROKE VARY

HAMBURGERQ hamburgerq ?!&SWIFT

DESIGNER: GERARD UNGER CLASSIFICATION: NEW TRANSITIONAL/HUMANIST CHARACTERISTICS: TALL X-HEIGHT, SHORT ASCENDERS/DESC, STURDY

HAMBURGERQ hamburgerq ?!& TRADE GOTHIC

DESIGNER: JACKSON BURKE CLASSIFICATION: HUMANIST SANS SERIF CHARACTERISTICS: MONO WEIGHT, TALL X-HEIGHT

HAMBURGERQ hamburger ?!&UNIVERS

DESIGNER: ADRIAN FRUTIGER CLASSIFICATION: GROTESQUE CHARACTERISTICS: MONO WEIGHT, HEAVY

HAMBURGERQ hamburgerq ?!& VOLTA

DESIGNER: KONRAD BAUER, WALTER BAUM CLASSIFICATION: SLAB SERIF CHARACTERISTICS: THICK/THIN STROKES, LARGE SQUARE SERIFS

HAMBURGERQ hamburgerq?!&WALBAUM

DESIGNER: JUSTUS ERICH WALBAUM CLASSIFICATION: MODERN CHARACTERISTICS: EXTREME CONTRAST, HAIRLINE SERIFS

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17font list

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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. Hu-manist 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.

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. Hu-manist 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.

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

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

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

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MxaogGdQRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art 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. Design-ers in the twentieth and twenty-first centu-ries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was 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. Design-ers in the twentieth and twenty-first centu-ries 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 ( ) { } ? ! @ & *

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

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

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BELIZIO

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

A basic system for classifying typefaces was devised in the nineteenth centu-ry, 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.

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

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *132

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MxagGdQrRLIGHT

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BELL GOTHIC

MxagGdQrRIA 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. Hu-

manist 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 char-

acteristics.

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

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

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

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. Hu-manist 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.

133

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BEMBO

MxnogGdQrRstA 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 En-

lightenment periods in art and literature. De-

signers in the twentieth and twenty-first cen-

turies 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 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.

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

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

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

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 ( ) { } ? ! @ & *

134

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MxnogGdQrRstREGULAR

ITALIC

BOLD

BOLD ITALIC

BOOKMAN

MxaogGdQrRA 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 type-faces are more abstract and less or-ganic. These three main groups cor-respond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefac-es based on historic characteristics.

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

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

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

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

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 ( ) { } ? ! @ & *

135

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ITALIC

BOLD

(BAUER) 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 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 Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely con-nected to calligraphy and the movement of the hand. Transitional and modern 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. Design-ers in the twentieth and twenty-first centu-ries 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

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

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

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ITALIC

SWASH

ORNAMENT

ALTERNATE

(ADOBE) CASLON

MxanogGdQRtA 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 corre-spond roughly to the Renaissance, Baroque, and Enlightenment periods in art and litera-ture. Designers in the twentieth and twenty-first centuries have continued to create new 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 twen-tieth and twenty-first centuries have contin-ued 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 ( ) { } ? ! @ & *

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

137

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ITALIC

BOLD

BOLD ITALIC

NEW CENTURY SCHOOLBOOK

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 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 ( ) { } ? ! @ & * 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 ( ) { } ? ! @ & *

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 ( ) { } ? ! @ & *

138

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ROMAN

LIGHT

BOLD

CLARENDON

MxaogGdQrRA basic system for classifying typefac-es was devised in the nineteenth centu-ry, 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.

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 En-lightenment periods in art and lit-erature. 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

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 ( ) { } ? ! @ & *

139

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BOOK

ITALIC

BOLD

ULTRA

CHELTENHAM

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 twen-tieth and twenty-first centuries have con-tinued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in the 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

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

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

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

140

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MxaogGdQrRtREGULAR

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 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 En-lightenment periods in art and litera-ture. Designers in the twentieth and twenty-first centuries have contin-ued 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 ( ) { } ? ! @ & *

141

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BOLD

COURIER NEW

MaxogGdQrRA basic system for classify-ing 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 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 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 ( ) { } ? ! @ & *

142

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MaxogGdQrRREGULAR

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 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. Design-ers in the twentieth and twenty-first centu-ries 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

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 ( ) { } ? ! @ & *

143

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MIDDELSCRIFT

DIN

MaxnogGdQrRtA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely con-nected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlighten-ment periods in art and literature. Design-ers in the twentieth and twenty-first centu-ries 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 ( ) { } ? ! @ & *

144

TYPO

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MaxnogGdQrRtREGULAR

ITALIC

BOLD

DISTURBANCE

MxnatQbWFGdR

A basic system for classifying typefaces was devised

in the nineteenth century, when printers sought

to identify a heritage for their own craft analo-

gous to that of art history. Humanist letterforms

are closely connected to calligraphy and the

movement of the hand. Transitional and modern

typefaces are more abstract and less organic. These

three main groups correspond roughly to the Re-

naissance, 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

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 ( ) { } ? ! @ & *

145

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REGULAR

FETTE FRAKTUR

MxnaopQrRtA 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 ( ) { } ? ! @ & *

146

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MxnaopQrRtREGULAR

FRACTIONS

UNICASE

FILOSOFIA

MxnaopQrRtfGgA 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 En-lightenment periods in art and literature. De-signers in the twentieth and twenty-first cen-turies 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 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.

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

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

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

147

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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 typefaces 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 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.

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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 ab-stract and less organic. These three main groups correspond roughly to the Re-naissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centu-ries have continued to create new type-faces based on historic characteristics.

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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.

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

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

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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 Re-naissance, 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.

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MxaoygGdQRA 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 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.

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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.

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Transitional and modern typefaces are

more abstract and less organic. These

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MaexnyogGdQrRtA 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.

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 En-lightenment periods in art and litera-ture. Designers in the twentieth and twenty-first centuries have contin-ued to create new typefaces based on historic characteristics.

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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 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 his-toric characteristics.

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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 con-tinued 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 twen-tieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

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

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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 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.

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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 En-

lightenment periods in art and literature. De-

signers in the twentieth and twenty-first centu-

ries have continued to create new typefaces based

on historic characteristics.

A basic system for classifying typefaces was devised in the nine-

teenth 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

based on historic characteristics.

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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 history. Hu-manist 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.

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. Hu-manist 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.

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sifying typefaces was

devised in the nineteenth

century, when printers

sought to identify a her-

itage for their own craft

analogous to that of art

history. Humanist letter-

forms are closely con-

nected to calligraphy and

the movement of the hand.

Transitional and modern

typefaces are more ab-

stract and less organic.

These three main groups

correspond roughly to the

Renaissance, Baroque, and

Enlightenment periods

in art and literature.

Designers in the twen-

tieth and twenty-first

centuries have continued

to create new typefaces

based on historic charac-

teristics.

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MxaodQRtfGgA 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 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 his-toric 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 ab-stract and less organic. These three main groups correspond roughly to the Re-naissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centu-ries have continued to create new type-faces based on historic characteristics.

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

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

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

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 ( ) { } ? ! @ & *

164

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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.

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

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

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

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 ( ) { } ? ! @ & *

165

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MEDIUM

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MxaopQRstGgA 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 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 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 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 ( ) { } ? ! @ & *

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 ( ) { } ? ! @ & *

166

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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, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centu-ries have continued to create new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely con-nected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlighten-ment periods in art and literature. Design-ers in the twentieth and twenty-first centu-ries 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 ( ) { } ? ! @ & *

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 ( ) { } ? ! @ & *

167

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MaxbyogGQrRtA basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a her-

itage 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 twenti-

eth and twenty-first centuries have con-

tinued to create new typefaces based on

historic characteristics.

A basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a her-

itage 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 twenti-

eth 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 ( ) { }

? ! @ & *

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 ( ) { }

? ! @ & *

168

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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 his-

tory. 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 Re-

naissance, 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 iden-

tify a heritage for their own craft analogous to that

of art history. Humanist letterforms are closely con-

nected to calligraphy and the movement of the hand.

Transitional and modern typefaces are more abstract

and less organic. These three main groups correspond

roughly to the Renaissance, Baroque, and Enlighten-

ment periods in art and literature. Designers in the

twentieth and twenty-first centuries have continued

to create new typefaces based on historic character-

istics.

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

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

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

169

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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 letterforms are closely

connected to calligraphy and the movement of the

hand. Transitional and modern typefaces are more

abstract and less organic. These three main groups

correspond roughly to the Renaissance, Baroque,

and Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first centu-

ries have continued to create new typefaces based

on historic characteristics.

A basic system for classifying typefaces was de-

vised in the nineteenth century, when printers

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 En-

lightenment periods in art and literature. De-

signers in the twentieth and twenty-first cen-

turies 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 ( ) { } ? ! @ & *

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 ( ) { } ? ! @ & *

170

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MxanopQrRtGgA 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 corre-spond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new type-faces based on historic characteristics.

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

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

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

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 ( ) { } ? ! @ & *

171

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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 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.

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

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

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

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

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 ( ) { } ? ! @ & *

172

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SCALA SANS

MxabyogGdQrRA 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. Hu-

manist 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.

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. Hu-

manist 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 twen-

tieth and twenty-first centuries have contin-

ued 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 ( ) { } ? ! & *

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 ( ) { } ? ! @ & *

173

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MxaoygGdQRREGULAR

ITALIC

BOLD

SERIFA

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 Re-

naissance, Baroque, and Enlightenment

periods in art and literature. Designers

in the twentieth and twenty-first centu-

ries have continued to create new type-

faces based on historic characteristics.

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. 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 twen-ty-first centuries have continued to create new typefaces based on his-toric characteristics.

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

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

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

174

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

175

FON

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ST

BOLD CONDENSED

REGULAR

ITALIC

BOLD

SWIFT

MxaoygGdQrRA 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 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 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 corre-

spond 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.

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

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

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

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 ( ) { } ? ! @ & *

176

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BLACK

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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 his-tory. Humanist letterforms are closely con-nected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlighten-ment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

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

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

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

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 ( ) { } ? ! @ & *

177

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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 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 ( ) { } ? ! @ & *

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

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

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

178

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ITALIC

SMALL CAPS

BOLD

WALBAUM

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

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 type-faces are more abstract and less or-ganic. 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 characteris-tics.

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

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

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

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

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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. 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 litera-ture. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on his-toric 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 En-lightenment periods in art and lit-erature. 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 ( ) { } ? ! @ & *

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *180

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18typography terminology

apexWhere strokes come together at the uppermost point of a character; ex-amples of different types: rounded, pointed, hollow, flat, and extended.

armThe short, upward sloping stroke or horizontal projection of characters like the 'X' and 'L'.

ascenderThe part of a lowercase letter that rises above the main body of the letter (as in b, d, h). The part that extends above the x-height of a font.

baselineThe imaginary line upon which text rests. Descenders extend below the baseline. Also known as the “reading line.” The line along which the bases of all capital letters (and most lowercase letters) are positioned.

bowlThe enclosed oval or round curve of letters like ‘D’, ‘g’, b’, and ‘o’. In an open bowl, the stroke does not meet with the stem completely; a closed-bowl stroke meets the stem.

bracketed serifA serif in which the transition from the stem stroke to the serif stroke is one continuous curve, Serifs may have differing degrees of bracketing.

calloutA selection of type (word or phrase) that is set in larger or bolder type from the body-copy font for emphasis

cap heightThe height of the uppercase letters within a font.

cross barThe horizontal bar connecting two strokes of a letterform, as in “H” and “A”, the ends are not free.

cross strokeThe part of the letter that cuts horizontally across the stem, like in the letters ‘t’ and ‘f.’

crotchThe pointed space where an arm or arc meets a stem: an acute crotch is less than 90 degrees, and an obtuse crotch is more than 90 degrees.

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descenderThe lowest portion of letters such as ‘g,’ ‘j,’ ‘p.’ ‘q,’ and ‘y’ that extends below the baseline, or reading line of type. The portion of a lowercase letter that extends below the base line of the letter.

drop capAn oversized capital letter used at the start of a paragraph. Drop caps oc-cupy two or more lines of body copy, usually used for design emphasis.

earThe projection on letters like the lowercase ‘g’ and ‘p.’

emA unit of measure, which is the square of a face’s point size. Traditionally, the width of a face’s widest letter, the capital ‘M.’ For instance, if the ‘M’ is 10 points wide, an em is equal to 10 points.

em dashOne em wide, the em dash indicates missing material or a break in thought. Spaces may be added to both sides of the em dash.

enA unit of measurement equal to half of one em.

en dashOne en wide, the en dash indicates duration, “to” or “through” such as, “re-fer to pages 4-9.” It may also be used in compound adjectives as in “post-World War I”. A space can be added to both sides of the en dash.

glyphA shape in a font that is used to represent a character code on screen or paper. The symbols and shapes in a font like ITC Zapf Dingbats are also glyphs.

gutterThe space between two facing pages (inside margins). The term is some-times used to refer to the space between two columns

hanging indentA paragraph with the first line extending to the left of the other lines.

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kerningThe adjustment of spacing between letters. The process of improving ap-pearance and legibility by adjusting the white space between certain paired characters, such as ‘Ty’, ‘To’, or ‘Ye’, which are known as “kerning pairs.” Manual kerning allows the desktop publisher to move letters either closer or farther apart or adjust and improve the space between them.

leadingThe amount of vertical space between lines of type. The distance from the baseline of one line of type and the baseline of another line of type immedi-ately above or below it.

legibilitythe ease with which the reader can discern the type on the page, based on the tone of the type in relation to the background and the letterforms’ shape with respect to each other.

ligatureA special double character in a font representing two letters as one. For example, ae and oe. One character that is made up of two or more letters.

orphan lineA single line of a paragraph at the top of a page or column.

picaA unit of measurement equal to one-sixth of an inch. There are 12 points to a pica. A typographic measurement that has survived the digital revolution. 12 points = 1 pica; 6 picas = 1 inch; 72 points = 1 inch.

pointA unit of measurement, often used to measure type size, equal to 0.013837 inch (approximately equal to 1/72”). The traditional point measurement was slightly more or less than 72 points to the inch (depending on the typesetting measurement system).

raggedThe uneven alignment of text lines. Ragged is the opposite of flush. A text block may be formatted to be evenly aligned (flush) on one side and un-evenly aligned (ragged) on the other.

readabilityThe overall appearance of how the type is spaced in the column.

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sans serifA typeface without serifs. For example, Helvetica or Modern. Sans serif type is more legible in headings than in a long passage of text.

serifSmall, finishing strokes on the arms, stems, and tails of characters. Serif type-faces are usually used for text since the serifs form a link between letters that leads the eye across a line of type.

spurA finishing stroke like the ones on certain uppercase ‘G’s.

stemThe upright element of a letter or character.

stressThe vertical, horizontal, or diagonal emphasis on the stroke of a letter.

tailA character’s downward projection such as on the letter ‘Q’.

terminalsNot serifs but ends of certain letter shapes such as the letters ‘f’, ‘j’, ‘y’, ‘r’, and ‘a’.

trackingThe overall letterspacing in text. Tracking can also be used to tighten or loosen a block of type.

vertexWhere the stems join at the lowest joint of a character.

widowA single line of a paragraph at the bottom of a page or column.

x-heightThe height of those lowercase letters such as “x”, which do not have as-cenders or descenders. The lowercase ‘x’ is used for measurement since it usually sits squarely on the baseline.

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apex

crossbar

serif

finial

cross stroke

flag

terminal

spur

arm

beak

ascender

bowl

barb

spine

stem

bracket

crotch

vertex

descender dot ear

link

loop

leg ligature sans serif shoulder

swash tail throat counter

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Designed by Danielle Aldrich. Third class project for Professor Wertzberger's Typography 02 at the University of Kansas, Spring 2010. Text for the book was compiled from the following sources: Elements of Typographic Style by Robert Bringhurst, Getting it Right with Type: the Do's and Don'ts of Typography by Victoria Squire, Mac is Not A Typewriter by Robin Williams. This book is not to be sold to the public and to only be used by the designer for their student design portfolio.