166
A Collection of Typographic Classifications and Style What They Are and How They Should Be Used

Typographic Workbook

Embed Size (px)

DESCRIPTION

an exploration in what type is and how it should be used

Citation preview

Page 1: Typographic Workbook

A  Collection  of  TypographicClassificationsand  StyleWhat They Are and How They Should Be Used

Page 2: Typographic Workbook

Designed  by  Colleen  Ireland  

Class  project  for  Professor  Selby’s  Typography  02  at  the  University  of  Kansas,  Spring  2012  Text  for  the  book  was  compiled  from  the  following  sources:  Elements  of  Typographic  Style  by  Robert  Bringhurst,  Getting  it  Right  with  Type:  the  Do’s  and  Don’ts  of  Typography  by  Victoria  Square,  and  Mac  is  Not  A  Typewriter  by  Robin  Williams.

Page 3: Typographic Workbook

CONTENTS:

RULES   1

X-HEIGHT   6

HYPHENATION   28

ALIGNMENT   33

JUSTIFICATION   39

FONT  COMBINATIONS   52

QUOTATIONS,  APOSTROPHES,  and  DASHES   65

SPECIAL  CHARACTERS   71

BULLETS   73

NUMERALS  and  FIGURES   77

SMALL  CAPS   80

PARAGRAPH  BREAKS   83

HEADERS  and  SUBHEADS   95

FOOTNOTES  and  ENDNOTES   103

FONT  SPECIFICATIONS   112

Page 4: Typographic Workbook
Page 5: Typographic Workbook

1

RULESThe DOs and DON’Ts of TYPE

Page 6: Typographic Workbook

2

FOLLOW  THESE  RULES

Page 7: Typographic Workbook

3

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 text, always set tabs and use the tab key.

Leave no widows or orphans.

Avoid more than 3 hyphenations in a row.

Avoid too many hyphenations in any paragraph.

Avoid hyphenating or line brakes of names and proper nouns.

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

Avoid beginning consecutive lines with the same word.

Avoid ending consecutive lines with the same word.

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

Page 8: Typographic Workbook

4

LIVE  THEM.  LOVE  THEM.

Page 9: Typographic Workbook

5

Keep the word spacing consistent.

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

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

Adjust the spacing between paragraphs.

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

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

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

Never combine two serif fonts on one page.

Rarely combine two sans serif fonts on one page.

Rarely combine more than three typefaces on one page.

Use the special characters whenever necessary, 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.

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

Never justify the text on a short line.

Page 10: Typographic Workbook

6

X-HEIGHT

Page 11: Typographic Workbook

7

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

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

Readability  and  legibility  are  two  key  

elements  of  printed  text  that  typographers  

strive  to  maximize.  

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

Legibility refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable.

There  are  several  factors  that  determine  whether  a  

text  is  readable.

As  a  designer,  if  you  are  only  asked  to  make  the  

text  readable  on  the  page  the  following  questions  

should  be  asked...

WHO IS TO READ IT?Someone that wants to read it? Someone that has to read it?

HOW WILL IT BE READ? Quickly. In passing. Focused. Near. Far.

Page 12: Typographic Workbook

8

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

newspaper Le Figaro published a manifesto by the Italian poet and

editor Filippo Tommaso Marinetti. The name Futurism, coined by

Marinetti, reflected his emphasis on discarding what he conceived

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

originality, and innovation in culture and society. Futurism rejected

traditions and glorified contemporary life, mainly by emphasizing two

dominant themes, the machine and motion. The works were character-­

ized by the depiction of several successive actions of a subject at the

same time. Marinetti’s manifesto glorified the new technology of the

automobile and the beauty of its speed, power, and movement. He

exalted violence and conflict and called for the sweeping repudiation

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

such cultural institutions as museums and libraries.

BASKERVILLE

XxhgJohn Baskerville

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

ARCHER XxhgHoefler & Frere- Jones

SERIF

x-height:  average

character  width:  wide

color:  light  

x-height:  average

character  width:  average

color:  light

Page 13: Typographic Workbook

9

x-height:  average

character  width:  wide

color:  light  

x-height:  average

character  width:  average

color:  lightXxhg

XxhgBASKERVILLE

ARCHER

Page 14: Typographic Workbook

10

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 char-acterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and 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.

GOUDY XxhgFrederic Goudy

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

CLARENDON XxhgRobert Besley

SERIF

x-height:  very  tall

character  width:  narrow

color:  dark

x-height:  tall

character  width:  wide

color:  dark

Page 15: Typographic Workbook

11

x-height:  very  tall

character  width:  narrow

color:  dark

x-height:  tall

character  width:  wide

color:  darkXxhg

XxhgGOUDY

CLARENDON

Page 16: Typographic Workbook

12

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

MRS. EAVES XxhgZuzana Lucko

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

MEMPHIS XxhgRudolf Wolf

SERIF

x-height:  small

character  width:  narrow

color:  light  

x-height:  small  

character  width:  narrow

color:  dark  

Page 17: Typographic Workbook

13

x-height:  small

character  width:  narrow

color:  light  

x-height:  small  

character  width:  narrow

color:  dark   Xxhg

XxhgMRS  EAVES

MEMPHIS

Page 18: Typographic Workbook

14

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

ROCKWELL XxhgMonotype Staff

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.

PALATINO

XxhgHermann Zapf

SERIF

x-height:  small

character  width:  narrow

color:  medium

x-height:  large

character  width:  average

color:  light  

Page 19: Typographic Workbook

15

x-height:  small

character  width:  narrow

color:  medium

x-height:  large

character  width:  average

color:  light  Xxhg

XxhgROCKWELL

PALATINO

Page 20: Typographic Workbook

16

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.

WALBAUM XxhgGunter Gerhard Lange

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

SERIFA XxhgAdrian Frutiger

SERIF

x-height:  large

character  width:  wide  and  narrow

color:  light  

x-height:  average  

character  width:  wide

color:  medium

Page 21: Typographic Workbook

17

x-height:  large

character  width:  wide  and  narrow

color:  light  

x-height:  average  

character  width:  wide

color:  mediumXxhg

XxhgWALBAUM

SERIFA

Page 22: Typographic Workbook

18

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

FUTURA XxhgPaul Renner

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

FRUTIGER XxhgAdrian Frutiger

SANS SERIF

x-height:  very  tall

character  width:  narrow

color:  dark

x-height:  tall

character  width:  narrow

color:  medium

Page 23: Typographic Workbook

19

x-height:  very  tall

character  width:  narrow

color:  dark

x-height:  tall

character  width:  narrow

color:  mediumXxhg

XxhgFUTURA

FRUTIGER

Page 24: Typographic Workbook

20

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

HELVETICA XxhgMax Miedinger and Eduard Hoffmann

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

GOTHAM XxhgTobias Frere-Jones

SANS SERIF

x-height:average

character  width:  narrow

color:  dark

x-height:  tall

character  width:  wide

color:  light  

Page 25: Typographic Workbook

21

x-height:average

character  width:  narrow

color:  dark

x-height:  tall

character  width:  wide

color:  light   Xxhg

XxhgHELVETICA

GOTHAM

Page 26: Typographic Workbook

22

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.

NEWS GOTHICXxhgMorris Fuller Benton

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 glori-fied the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institu-tions as museums and libraries.

META XxhgErik Spiekermann

SANS SERIF

x-height:  large

character  width:  narrow

color:  light  

x-height:  large

character  width:  narrow

color:  dark

Page 27: Typographic Workbook

23

x-height:  large

character  width:  narrow

color:  light  

x-height:  large

character  width:  narrow

color:  darkXxhg

XxhgNEWS  GOTHIC

META

Page 28: Typographic Workbook

24

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

SCALA SANS XxhgMartin Majoor

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

SYNTAX XxhgHans Eduard Meier

SANS SERIF

x-height:  average

character  width:  average

color:  medium

x-height:  large

character  width:  average

color:  medium

Page 29: Typographic Workbook

25

x-height:  average

character  width:  average

color:  medium

x-height:  large

character  width:  average

color:  mediumXxhg

XxhgSCALA  SANS

SYNTAX

Page 30: Typographic Workbook

26

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

UNIVERS XxhgAdrian Frutiger

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

TRADE GOTHIC

x-height:large

character  width:  narrow

color:  light  

XxhgJason Burke

SANS SERIF

x-height:  large

character  width:  wide

color:  dark

Page 31: Typographic Workbook

27

x-height:large

character  width:  narrow

color:  light  

x-height:  large

character  width:  wide

color:  dark

Xxhg

XxhgUNIVERS

TRADE  GOTHIC

Page 32: Typographic Workbook

28

HYPHENATION

----

Page 33: Typographic Workbook

29

HYPHENATIONS

In  unjustified  text,  the  text  block  is  set  with  normal  letter  and  

word  spacing.  Because  of  the  even  word  spacing  the  text  

will  have  an  even  texture  –  no  large  spaces  between  words.  

The  lines  will  naturally  vary  in  length.  a  ragged  text  block  can  

integrate  with  the  layout  and  add  visual  interest  to  the  page.  

The  difficulty  is  making  the  ragged  edge  have  a  pleasing  

silhouette.  When  the  first  line  in  the  text  is  longer  than  the  

second,  it  becomes  separate  from  the  layout  and  creates  

a  box-like  shape.  This  destroys  one  of  the  advantages  of  

unjustified  text.  

The  ragged  edge  needs  to  have  a  life,  but  a  narrow  column  

can  be  less  active.  Another  advantage  to  ragged  text  is  less  

hyphenation  is  needed.  Therefore,  names,  dates  or  words  

which  are  normally  read  together  can  stay  together.

Hyphenations change how the text is read. Avoid widows (one word on the last line of a paragraph). Avoid hyphenating or line brakes of names and proper nouns. Leave a least 2 characters on the line and 3 following. Avoid beginning consecutive lines with the same word. Avoid ending consecutive lines with the same word. Avoid ending lines with the words: the, of, at, a, by. Never hyphenate words in a headline.

Page 34: Typographic Workbook

30

When a paragraph ends and leaves fewer than seven characters (not words, characters) on the

last line, that last line is called a widow. Worse than leaving one word there is leaving

part of a word, the other part being hyphenated on the line above.

WIDOWS

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.

ORPHANS

In typography, rivers, or rivers of white, are visually unattractive gaps appearing to run down

a paragraph of text. They can occur with any spacing, though they are most noticeable with

wide word spaces caused by either full text justifi cation or monospaced fonts.

RIVERS

Never leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depend- ing 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

Page 35: Typographic Workbook

31

HEADLINES

Don’t Hyphenate Headlines.

That’s A Law.

Watch where the first line of a two-line headline ends – does

it create a silly or misleading phrase? Fix it.

Don’t leave widows in headlines.

Fix it either way, or rewrite!

Don Quixote de le Man-cha

Professor and The-rapist to Lecture

Man Walks Barefoot Across BayBridge

Man walks barefoot across Bay Bridge

Man walks barefoot across Bay Bridge

Page 36: Typographic Workbook

32

CASING ADDER BAT Heresy borsch-boil starry a boarder borsch boil gam plate lung, lung a gore in- ner ladle wan-hearse torn coiled Mutt-fill. Mutt-fill worsen mush of- fter torn, butted hatter putty gut borsch-boil tame, an off oiler pliers honor tame, door moist cerebrated worse Cas- ing. Casing worsted sickened basement, any hatter betting or- phanage off .526 (fife toe sex). Casing worse gut lurking an furry poplar—spatially wetter gull coiled Any-bally. Any-bally worse Casing’s sweat-hard, any harpy cobble wandered toe gat merit, bought Casing worse tow pore toe becalm Any-bally’shorsebarn. (Boil pliers honor Mutt- fill tame dint gat mush offer celery; infect, day gut nosing atoll.) Butt less gat earn wetter star- ry.

CASING ADDER BATHeresy borsch-boil starry a boarder borsch boil gam plate lung, lung a gore inner ladle wan-hearse torn coiled Mutt-fill. Mutt-fill worsen mush offter torn, butted hatter putty gut borsch-boil tame, an off oiler pliers honor tame, door moist cerebrated worse Casing. Cas- ing worsted sick- ened basement, any hatter betting orphanage off .526 (fife toe sex). Casing worse gut lurking an furry poplar—spatially wetter gull coiled Any-bally. Any-bally worse Casing’s sweat-hard, any harpy cobble wandered toe gat merit, bought Cas- ing worse tow pore toebecalm Any-bally’s horsebarn. (Boil pliers honor Mutt-fill tame dint gat mush offer celery; infect, day gut nosing atoll.) Butt less gat earn wetter starry.

WHAT ARE BAD LINE BREAKS

ANYWAY?

Look  for  bad  line  breaks  throughout  every  line  of  body  copy.  Of  course,  do  this  only  on  final  copy,  after  all  editing  has  been  done.

1

2

3

4

5

6

7

8

9

1.  Justify  The  Headline  So  It  Stays  On  One  Line      2.  Use  A  Line  Break  (Shift+Return)  To  Bumpt  “A”  Down  To  The  Next  Line,  Where  It  Fits  Very  Nicely      

3.  Kern  The  Line  A  Tiny  Bit  To  Bring  The  Rest  Of  The  Word  Up      

4.  Type  A  Dischy  In  Front  Of  The  Word  To  Bumpt  It  Down.  Never  Hyphenate  A  Per-  Son’s  Name.  I  Had  To  Go  Up  A  Few  Lines,  Bump  “Off”  Down,  Which  Bumped  The  Other  Line  Endings  Down      

5.  Fix  Widow      

6.  There  Is  Plenty  Of  Room  To  Squeeze  “Bought”  On  This  Line,  Perhaps  By  Kerning  The  Line  A  Tiny  Bit      

7.  “Horsebarn”  Is  A  Good  Long  Word  That  Could  Be  Hyphenated;  Type  A  Dischy.  Better  Yet,  When  “Bought”  Moved  Up,  It  Gave  Enough      

8.  Room  To  Move  “Horsebarn”  Up.  If  Not,  Try  Opening  The  Text  Box  A  Wee  Bit      

9.  Edit:  To  Get  Ride  Of  That  Terrible  Widow,  Exchange  A  Short  Word  For  A  Long  Word.

Page 37: Typographic Workbook

33

ALIGNMENTx x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x

x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x

x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x

x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x

Page 38: Typographic Workbook

34

Alignment is only a small piece of the puzzle.

What works for one design might be totally

inappropriate for another layout. As with all

layouts, it depends on the purpose of the piece,

the audience and its expectations, the fonts, the

margins and white space, and other elements

on the page. The most appropriate choice is the

alignment that works for that particular design.

ALIGNMENT

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

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

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

Page 39: Typographic Workbook

35

“Right and wrong do not exist in

graphic design. There is only effective

and non-effective communication.”

—  Peter  Bilak  on  Illegibility

Page 40: Typographic Workbook

36

JUSTIFIED TEXT

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

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

You may find that fully-justified text is a necessity either due to space constraints or expectations

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

margins, or graphics.

Page 41: Typographic Workbook

37

Left-Aligned/ Ragged Right

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

Page 42: Typographic Workbook

38

CENTERED

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

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

No  matter  what  alignment  you  use,  remember  to  pay  

attention  to  hyphenation  and  word/character  spacing  as  well  

to  insure  that  your  text  is  as  readable  as  possible.

There  will  be  well-meaning  friends,  business  associates,  clients,  and  others  who  will  question  your  choices.  

Be  prepared  to  explain  why  you  chose  the  alignment  you  

did  and  be  prepared  to  change  it  (and  make  necessary  

adjustments  to  keep  it  looking  good)  if  the  person  with  final  

approval  still  insists  on  something  different.

Page 43: Typographic Workbook

39

JUSTIFICATIONX X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X XX X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X XX X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X X

Page 44: Typographic Workbook

40

The only time you can safely get away with justifying text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page.

If your line is shorter, as in newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward.

You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. Gross. But that’s what can happen with justified type.

When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squished together.

When your work comes out of the printer, turn it upside down and squint

at it. The rivers will be very easy to spot. Get

rid of them. Try squinting at the bottom of the

previous page.

JUSTIFICATION

Justify  text  only  if  the  line  is  long  enough  to  prevent  awkward  and  inconsistent

Page 45: Typographic Workbook

41

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 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.

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

JUSTIFICATION

Page 46: Typographic Workbook

42

JUSTIFICATION

The only time you can safely get away with justifying text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newslet-ter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where all text is justified, often with a word stretch-ing 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 in-evitably end up with uncomfortable gaps in some lines, while other lines will be all squished together.

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

Here is a general guideline for determining if your line length is long enough to satisfactorily jus-tify the text: the line length in pi-cas 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.

SERIF Exploration 1

MIN:  80%  DES:  100%MAX:  133%

Good  word  spacing.  No  widows  or  rivers.  

Page 47: Typographic Workbook

43

JUSTIFICATION SANS SERIF Exploration 1

The only time you can safely

get away with justifying text is if

your type is small enough and

your line is long enough, as in

books where the text goes all the

way across the page. If your line

is shorter, as in newsletter, or if

you don’t have many words on

the line, than as the type aligns

to the margins the words space

themselves to accommodate it.

It usually looks awkward. You’ve

seen newspaper columns where

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

the effect might not be as radical

as the newspaper column, but

if your lines are relatively short,

you will inevitably end up with

uncomfortable gaps in some

lines, while other lines will be all

squished together.

the printer, turn it upside down

and squint at it. The rivers will

be very easy to spot. Get rid of

them. Try squinting at the exam-

ple on the bottom of the previous

page.

Here is a general guideline

for determining if your line length

is long enough to satisfactorily

justify the text: the line length

in picas should be about twice

the point size of the type; that

is, if the type you are using is 12

point, the line length should be

at least 24 picas (24 picas is 4

inches-simply divide the number

of picas by 6, as there are 6 pi-

cas per inch). Thus 9-point type

should be on an 18-pica line (3

inches) before you try to justify

it, and 18-point type should be

on a 36-pica line (6 inches). The

rulers in most programs can be

changed to picas, if you like.

MIN:  80%  DES:  100%MAX:  133%

Unattractive  spacing.Orphaned  line.

Page 48: Typographic Workbook

44

JUSTIFICATION

The only time you can safely get away with justifying text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accom-modate 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 justi-fied type. When you do it, the ef-fect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevi-tably end up with uncomfortable gaps in some lines, while other lines will be all squished together.

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

Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas

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

SERIF Exploration 2

MIN:  100%  DES:  130%MAX:  200%

Too  much  spacing.No  widows,  rivers,  or  orphans.  

Page 49: Typographic Workbook

45

JUSTIFICATION SANS SERIF Exploration 2

The only time you can safely

get away with justifying text is if

your type is small enough and

your line is long enough, as in

books where the text goes all

the way across the page. If your

line is shorter, as in newsletter,

or if you don’t have many words

on the line, than as the type

aligns to the margins the words

space themselves to accom-

modate it. It usually looks awk-

ward. You’ve seen newspaper

columns where all text is justi-

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

not be as radical as the news-

paper column, but if your lines

are relatively short, you will in-

evitably end up with uncomfort-

able gaps in some lines, while

other lines will be all squished

together.

of the printer, turn it upside

down and squint at it. The rivers

will be very easy to spot. Get

rid of them. Try squinting at the

example on the bottom of the

previous page.

Here is a general guideline

for determining if your line length

is long enough to satisfactorily

justify the text: the line length in

picas should be about twice the

point size of the type; that is,

if the type you are using is 12

point, the line length should be

at least 24 picas (24 picas is 4

inches-simply divide the number

of picas by 6, as there are 6 pi-

cas per inch). Thus 9-point type

should be on an 18-pica line (3

inches) before you try to justify

it, and 18-point type should be

on a 36-pica line (6 inches). The

rulers in most programs can be

changed to picas, if you like.

MIN:  100%  DES:  130%MAX:  200%

Good  word  spacing.  No  widows,  rivers,  or  orphans.  

Page 50: Typographic Workbook

46

JUSTIFICATION

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

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

Here is a general guideline for de-termining 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 rul-ers in most programs can be changed to picas, if you like.

SERIF Exploration 3

MIN:  70%  DES:  85%MAX:  100%

Good  word  spacing.  Too  many  hyphens.

Page 51: Typographic Workbook

47

JUSTIFICATION SANS SERIF Exploration 3

The only time you can safely

get away with justifying text is if

your type is small enough and

your line is long enough, as in

books where the text goes all the

way across the page. If your line

is shorter, as in newsletter, or if

you don’t have many words on

the line, than as the type aligns

to the margins the words space

themselves to accommodate it.

It usually looks awkward. You’ve

seen newspaper columns where

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

the effect might not be as radi-

cal as the newspaper column,

but if your lines are relatively

short, you will inevitably end up

with uncomfortable gaps in some

lines, while other lines will be all

squished together.

the printer, turn it upside down

and squint at it. The rivers will be

very easy to spot. Get rid of them.

Try squinting at the example on

the bottom of the previous page.

Here is a general guideline

for determining if your line length

is long enough to satisfactorily

justify the text: the line length in

picas should be about twice the

point size of the type; that is, if the

type you are using is 12 point, the

line length should be at least 24

picas (24 picas is 4 inches-sim-

ply divide the number of picas by

6, as there are 6 picas per inch).

Thus 9-point type should be on

an 18-pica line (3 inches) before

you try to justify it, and 18-point

type should be on a 36-pica line

(6 inches). The rulers in most pro-

grams can be changed to picas,

if you like.

MIN:  70%  DES:  85%MAX:  100%

Good  word  spacing.  No  widows,  rivers,  or  orphans.  

Page 52: Typographic Workbook

48

JUSTIFICATION

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

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

Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas

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

SERIF Exploration 4

MIN:  90%  DES:  120%MAX:  150%

Good  word  spacing.  Not  too  tight  or  too  spread  out.

Page 53: Typographic Workbook

49

JUSTIFICATION SANS SERIF Exploration 4

The only time you can safely

get away with justifying text is if

your type is small enough and

your line is long enough, as in

books where the text goes all the

way across the page. If your line

is shorter, as in newsletter, or if

you don’t have many words on

the line, than as the type aligns

to the margins the words space

themselves to accommodate it.

It usually looks awkward. You’ve

seen newspaper columns where

a word stretching all the way

across the column, or a little

word on either side of the col-

umn with a big gap in the mid-

dle. Gross. But that’s what can

you do it, the effect might not be

as radical as the newspaper col-

umn, but if your lines are rela-

tively short, you will inevitably

end up with uncomfortable gaps

in some lines, while other lines

will be all squished together.

the printer, turn it upside down

and squint at it. The rivers will

be very easy to spot. Get rid of

them. Try squinting at the exam-

ple on the bottom of the previous

page.

Here is a general guideline

for determining if your line length

is long enough to satisfactorily

justify the text: the line length

in picas should be about twice

the point size of the type; that is,

if the type you are using is 12

point, the line length should be

at least 24 picas (24 picas is 4

inches-simply divide the number

of picas by 6, as there are 6 pi-

cas per inch). Thus 9-point type

should be on an 18-pica line (3

inches) before you try to justify

it, and 18-point type should be

on a 36-pica line (6 inches). The

rulers in most programs can be

changed to picas, if you like.

MIN:  90%  DES:  120%MAX:  150%

Good  word  spacing.  Unattractive  orphan.

Page 54: Typographic Workbook

50

JUSTIFICATION

The only time you can safely get away with justifying text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accom-modate 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 justi-fied type. When you do it, the ef-fect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevi-tably end up with uncomfortable gaps in some lines, while other lines will be all squished together.

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

Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas

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

SERIF Exploration 5

MIN:  100%  DES:  150%MAX:  180%

Good  word  spacing.  No  widows  or  rivers.  

Page 55: Typographic Workbook

51

JUSTIFICATION SANS SERIF Exploration 5

The only time you can safely

get away with justifying text is if

your type is small enough and

your line is long enough, as in

books where the text goes all

the way across the page. If your

line is shorter, as in newsletter,

or if you don’t have many words

on the line, than as the type

aligns to the margins the words

space themselves to accom-

modate it. It usually looks awk-

ward. You’ve seen newspaper

columns where all text is justi-

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

not be as radical as the news-

paper column, but if your lines

are relatively short, you will in-

evitably end up with uncomfort-

able gaps in some lines, while

other lines will be all squished

together.

of the printer, turn it upside

down and squint at it. The rivers

will be very easy to spot. Get

rid of them. Try squinting at the

example on the bottom of the

previous page.

Here is a general guideline

for determining if your line length

is long enough to satisfactorily

justify the text: the line length in

picas should be about twice the

point size of the type; that is,

if the type you are using is 12

point, the line length should be

at least 24 picas (24 picas is 4

inches-simply divide the number

of picas by 6, as there are 6 pi-

cas per inch). Thus 9-point type

should be on an 18-pica line (3

inches) before you try to justify

it, and 18-point type should be

on a 36-pica line (6 inches). The

rulers in most programs can be

changed to picas, if you like.

MIN:  100%  DES:  150%MAX:  180%

Word  spacing  is  too  tight.  No  widows  or  rivers.  

Page 56: Typographic Workbook

52

FONT COMBINATIONS

a A a  A

Page 57: Typographic Workbook

53

“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 traditional sympathies.”

FONT COMBINATIONS

Page 58: Typographic Workbook

54

When combining serif and sans serif text fonts, try to match the characteristics

of form and type color: proportion, x-heights.

Although there is not recipe there is a place to start: keep an eye on the characteristic shapes of the letterform. A well designed page contains no more than two different typefaces or four different type variations such as type size and bold or italic style.

{Using  2  different  serif  fonts  or  2  different  sans  serifs  fonts  in  the  same  composition  is  never  a  good  thing  to  do}

FONT COMBINATIONS

Page 59: Typographic Workbook

55

WORDS  IN  LIBERTY

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

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

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

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

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

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

aa BB ee GG gg

These  two  fonts  work  well  togethr  

because  of  the  contrast  between  their  

stroke  widths  and  style  classifications.  

Goudy  is  classic  and  elegant  while  

Franklin  Gothic  is  smooth  and  technical.    

OLD STYLE/ GROTESQUE

Goudy 16pt : OLD STYLE Franklin Gothic 24pt: GROTESQUE

EXPLORATION  1

Page 60: Typographic Workbook

56

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. Futurism rejected tra-

ditions and glorified contemporary life, mainly by emphasizing two dominant themes,

the machine and motion. The works were characterized by the depiction of several

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

technology of the automobile and the beauty of its speed, power, and movement. He

exalted violence and conflict and called for the sweeping repudiation of traditional

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

museums and libraries.

aa BB ee GG gg

These  two  fonts  work  well  together  

because  of  their  varying  stroke  weights  

and  x-height.

OLD STYLE/ HUMANIST SANS SERIF

Bembo 16pt : OLD STYLE Frutiger 24pt: HUMANIST

EXPLORATION  2

Page 61: Typographic Workbook

57

WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris

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

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

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

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

life, mainly by emphasizing two dominant themes, the machine and motion. The works were

characterized by the depiction of several successive actions of a subject at the same time.

Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping

repudiation of traditional cultural, social, and political values and the destruction of such cul-

tural institutions as museums and libraries.

aa BB ee GG gg

These  two  fonts  work  together  based  

on  the  contrasting  stroke  weight  

between  typefaces.  Futura  hardly  has  

any  contrast  in  weight,  but  Distrubance  

has  stroke  weight  contrast.  character  

width  is  relatively  similar.  Letter  shapes  

are  very  different.  Distrubance’s  two-

story  ‘a’  contrasts  with  Futura’s  geomet-

ric  one-story  ‘a’.

TRANSITIONAL/ GEOMETRIC

Disturbance 16pt : TRANSITIONALFutura 24pt: GEOMETRIC SANS

EXPLORATION  3

Page 62: Typographic Workbook

58

WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris news-

paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The

name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be

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

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

dominant themes, the machine and motion. The works were characterized by the depiction of several

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

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

called for the sweeping repudiation of traditional cultural, social, and political values and the destruction

of such cultural institutions as museums and libraries.

aa BB ee GG gg

These  2  fonts  work  together  based  the  

similar  letter  forms  and  shapes.  Both  

Melior  and  Rotis  Sans  have  two-story  

‘a’s  and  ‘g’s.  Melior  is  slightly  wider  than  

Rotis.  Overall,  both  typefaces  are  quite  

similar,  despite  the  difference  in  serifs  

vs  sans.

TRANSITIONAL/ HUMANIST SANS

Melior 16pt : TRANSITIONALRotis Sans 24pt: HUMANIST SANS

EXPLORATION  4

Page 63: Typographic Workbook

59

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 celebrat-

ing 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 succes-

sive 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.

aa BB ee GG gg

These  typefaces  work  well  together  for  

their  extreme  differences.  Walbaum  has  

contrast-  ing  stroke  weights,  while  inter-

state  is  more  simplified  and  modern.

MODERN/ GEOMETRIC

Walbaum 16pt : MODERNInterstate 24pt: GEOMETRIC SANS

EXPLORATION  5

Page 64: Typographic Workbook

60

WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the

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

Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis

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

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

traditions and glorified contemporary life, mainly by emphasizing two dominant

themes, the machine and motion. The works were characterized by the depiction of

several successive actions of a subject at the same time. Marinetti’s manifesto glori-

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

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

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

institutions as museums and libraries.

aa BB ee GG gg

These  fons  work  well  together  because  

of  their  differences.  Filosofia  has  con-

trasting  stroke  weight  and  a  more  femi-

nine  feel,  while  news  Gothic  is  the  more  

legible  and  classic  typeface.

MODERN/ GROTESQUE SANS SERIF

Filosofia 16pt : MODERNNews Gothic 24pt: GROTESQUE SANS SERIF

EXPLORATION  6

Page 65: Typographic Workbook

61

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. Futurism rejected tra-

ditions and glorified contemporary life, mainly by emphasizing two dominant themes,

the machine and motion. The works were characterized by the depiction of several

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

technology of the automobile and the beauty of its speed, power, and movement. He

exalted violence and conflict and called for the sweeping repudiation of traditional

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

museums and libraries.

aa BB ee GG gg

These  two  fonts  work  well  together  

based  on  their  strik-  ingly  contrasting  

letter  forms.  Frutiger  has  a  tall  x-height  

and  appears  narrow,  whereas  Baskerville  

is  a  friendlier  typeface  with  the  con-

trasting  stroke  weight.  Baskerville  works  

well  as  a  warm  and  friendly  body  text,  

and  Frutiger  draws  attention  with  its  

legible  header.

NEW TRANSITIONAL/ GEOMETRIC SANS SERIF

Baskerville 16pt : NEW TRANSITIONALFrutiger 24pt: GEOMETRIC SANS SERIF

EXPLORATION  7

Page 66: Typographic Workbook

62

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 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.

aa BB ee GG gg

These  two  fonts  work  together  not  only  

because  of  the  contrast  of  the  slab  serif  

and  sans  serif  but  because  of  the  dif-

ference  in  stroke  weight  and  character  

width.

NEW TRANSITIONAL/ GROTESQUE SANS

Clarendon 16pt : NEW TRANSITIONALTrade Gothic 24pt: GROTESQUE SANS SERIF

EXPLORATION  8

Page 67: Typographic Workbook

63

WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris

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

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

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

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

life, mainly by emphasizing two dominant themes, the machine and motion. The works were

characterized by the depiction of several successive actions of a subject at the same time.

Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping

repudiation of traditional cultural, social, and political values and the destruction of such cul-

tural institutions as museums and libraries.

aa BB ee GG gg

These  two  fonts  work  together  because  

of  the  similar  x-heights  and  con-  trast  

between  the  sans  serif  and  the  geomet-

ric  sans  serif.

SLAB SERIF/ GEOMETRIC SANS SERIF

Memphis 16pt : SLAB SERIFFutura 24pt: GEOMETRIC SANS SERIF

EXPLORATION  9

Page 68: Typographic Workbook

64

WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris news-

paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The

name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be

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

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

dominant themes, the machine and motion. The works were characterized by the depiction of several

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

of the automobile and the beauty of its speed, power, and movement. He exalted violence and con-

flict and called for the sweeping repudiation of traditional cultural, social, and political values and the

destruction of such cultural institutions as museums and libraries.

aa BB ee GG gg

These  two  fonts  work  together  based  

on  the  similar  stroke  weight  between  

typefaces.  They  also  have  similar  

x-heights.

SLAB SERIF/ HUMANIST SANS SERIF

Rockwell 16pt : SLAB SERIFGill Sans 24pt: HUMANIST SANS SERIF

EXPLORATION  10

Page 69: Typographic Workbook

65

QUOTATIONSAPOSTROPHES

DASHES“ ’ - – —

Page 70: Typographic Workbook

66

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

QUOTATION MARKS

EXAMPLES Bridge  Clearance:  16’  7”  

The  young  man  stood  6’  2”  

The  length  of  the  wall  is  153’9”.

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

Page 71: Typographic Workbook

67

APOSTROPHES

Apostrophe:  

’  option  shift  

As as aside, people often are confused about where the

apostrophe belongs. There are a couple of rules that work

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

“The big exception to this is “its.” “Its” used as a possessive never has an apostrophe! The word it only has an apostrophe as a 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.

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

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

For  possessives:

For  contractions:  

Page 72: Typographic Workbook

68

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

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

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

In a date when part of the year is left out, an apostrophe needs to 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.)

For  omission  of  letters:  

APOSTROPHES

Page 73: Typographic Workbook

69

Never  use  two  hyphens  instead  of  a  dash.  Use  hyphens,  en  dashes,  and  em  dashes  appropriately.

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.

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.

hyphen  -  

en  dash  –  

em  dash  —

DASHES

Page 74: Typographic Workbook

70

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  DASH

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

October  –  December  

6:30  –  8:45  A.M.  

4  –  6  years  of  age

EM  DASH

The em dash is twice as long as the en dash—it’s about the size of a capital letter M in whatever size and typeface you’re using at the 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.

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

To  type  an  en  dash  –  

Option  Hyphen  

hold  the  Option  key  down,  then  tap  the  hyphen  key

To type an em dash em dash — Shift Option Hyphen hold the Shift and Option keys down, then tap the hyphen key.

DASHES

Page 75: Typographic Workbook

71

SPECIAL CHARACTERS

®fl£

Page 76: Typographic Workbook

72

“   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  (this  character  can’t  be  separated  at  the  end  of  a  line  as  three  periods  can)  

    Option  8   bullet  (easy  way  to  remember  as  it’s  the  asterisk  key)

fi   Option  Shift  5   ligature  of  f  and  i

fl   Option  Shift  6   ligature  of  f  and  l

©     Option  g

™     Option  2

®     Option  r  

°     Option  Shift  8   degree  symbol  (e.g.,  102°F)

¢     Option  $

€   Option  Shift  2   Euro  symbol

⁄   Option  Shift  1  (one)   fraction  bar  (this  doesn’t  descend  below  the  line  like  the  slash  does)

¡   Option  1  (one)

¿     Option  Shift  ?

£     Option  3

ç     Option  c  

Ç     Option  Shift  c

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

SPECIAL CHARACTERS

ACCENTS

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

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

Page 77: Typographic Workbook

73

BULLETS

Page 78: Typographic Workbook

74

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

This  very  useful  

typographic  

element  can  add  

emphasis,  clarity  

and  visual  interest  

to  all  kinds  of  copy.

Page 79: Typographic Workbook

75

Bullets should be centered on either the cap height or x-height, depending on the nature of your copy.

If all of your items begin with a cap, center the bullet on the cap, or a bit lower so it balances with the negative spaces created by the lowercase.

If your items all begin with lowercase characters, center the bullets on the x-height. Insert some space after the bullet to avoid crowding.

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

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

BULLETS

Page 80: Typographic Workbook

76

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

LovelySurlyGhastlyWomanlySaintlyUngodlyStatelySprightly

Lovely Surly Ghastly Womanly

SaintlyUngodly

Stately Sprightly

Lovely Surly Ghastly Womanly

SaintlyUngodly

Stately Sprightly

Lovely Surly Ghastly Womanly

SaintlyUngodly

Stately Sprightly

PICK  ANY  THREE  ADJECTIVES  THAT  DESCRIBE  YOURSELF:

Dumb  ol’  BulletChoose  a  dingbat  instead

You  have  lots  of  dingbats  to  choose  from,  but  they  are  usually  too  big.

You  can  decrease  the  size  of  the  bul-let,  but  then  it  sits  too  low.

Raise  the  dingbat  higher  off  the  baseline.

BULLETS

Page 81: Typographic Workbook

77

NUMERALS &FIGURES

1 2 3 4 5 6 1 2 3 4 5 6

Page 82: Typographic Workbook

78

Oldstyle  figures  have  more  of  a  traditional,  classic  look.  

They  are  only  available  for  certain  typefaces,  sometimes  as  the  regular  numerals  in  a  

font,  but  more  often  within  a  supplementary  or  expert  font.  

The  figures  are  proportionately  spaced.  This  eliminates  the  

white  spaces  that  come  from  monospaced  lining  figures,  

especially  around  the  numeral  one.

Unlike lining figures, oldstyle figures blend in without disturbing the color of the body copy. They are very useful and quite beautiful when set within text. 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.

Oldstyle figures are a style of numeral which approximate lowercase letterforms by having an x-height and varying ascenders and descenders. They are considerably different from the more common “lining” (or “aligning”) figures which are all-cap height and typically monospaced in text faces so that they line up vertically on charts.

NUMERALS/FIGURES

Page 83: Typographic Workbook

79

NUMERALS/FIGURES

Notice  how  large  and  clunky  these  numerals  appear:

Notice  how  beautifully  these  numerals  blend  into  the  text:

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

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

Page 84: Typographic Workbook

80

SMALLCAPS

Page 85: Typographic Workbook

81

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 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 aren’t not the same as true small caps. True small

caps have line weights that are proportionally correct for the typeface, which mean that

they can be used within a body of copy without looking visibly wrong.

This is an example of real small caps

THIS IS AN EXAMPLE OF FAKE SMALL CAPS

SMALL CAPS

Page 86: Typographic Workbook

82

Use  True  Small  Caps  Fonts

Use  small  caps  for  acronyms.

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)

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

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

SMALL CAPS

I work at NASA.I work at nasa.

We will have dinner at 6 P.M.We will have dinner at 6 p.m.

Page 87: Typographic Workbook

83

PARAGRAPH BREAKS

Cae enis vide nullacc usdamus voluptatem aut mi, solorescium sam, illa con poruptur solorruntion nisPa suscid molo occatuscidi alita corerum et omnist, conet, tem volupitat offictio. Uptur, tet eaquae sin nonsequiam fugiti nes et lis essum velest quundunt, omnimin con comnist ut fugiam illuptate voluptatas et dent aut di tempell amendi bea consequas sintiam laborehenis veruptate prae. Num laborro blaboriam sum enit pora doluptatur sum enit pelit, quaectur sed quas aspeli-quo omnitatem veribus cipiditem dolupietur?

Os seque nullicab ide velloris dolupiderem quos volupta epudae nem solori conecti a ate sum cor molore sinusdaest que pa debis ention con repro mo duste preheni enimaio reptatis eaquo tem seque conet et estem eatempore nam et ad que nobitemporum dolo esse quis vollorrum harcien iminvel lestion coresequam la nonsequist et quiduntius, cum que nonem inctur, omniend enduntibusam dit et hiliqui aborum int aut lacestibea cus aut unt, is arum esti beri volupicia des sunt accaboribus conem sum, sincitibus.

Offici audam evererum eario. Ut offic te vendis as elestrum fuga. Et abo. Obitatat reptas corporempori doluptius voluptatem es minum asitiurem fuga. Na-mus volore nobitaectur aEt quis eumErnamet alibus es accaborem quiatqui con ped et qui desti nobis cullore riamus sentemp erorata quatur, comnisi minvel es et utatur rerist, odipsap icilicipsant pro volore etur si ut eosaectio. Occus acium qui dolupi-ende moloreribus.Officiuntio magnatum ventur sita sum quodis re.

Di autas mo mo eum aliqui to eaquibus eos perorer ovitiae volorrum ha-runtium et aut ut quatiore dus volupta quodi in porro eossit pa quia dolorero etus sum ium vellam esti unt aut optaecti ipietur reprae simus prae. Itat.

Aquidio. At ommoluptam, etureptibus quibus, simoluptati re rerferum acea doluptataes dolore vollab ilignam elit faciis nossus idebitiatiis nonseceaqui doluptio dolo te sae pro doluptas doluptatquis ea vernatur sum quibus, simaxim ol-labore esequatem il magnis audis accusamus molenis tiaessequam nonse et vendem rem quam que explaces denim volla sus re, ut quunt preptae vit pellit rem nectiae

Page 88: Typographic Workbook

84

Paragraph  breaks  set  a  rhythm  for  the  

reader.  The  breaks  have  a  relationship  

with  the  column  of  text  as  well  as  

the  page  margins.  A  break  may  be  

introduced  as  an  indentation,  as  a  space  or  both.  The  over  all  page  feel  will  be  

influenced  by  your  choice.

In  typography  there  are  4  

rules  regarding  paragraph  

breaks:

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

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

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

4. never hit two returns between paragraphs

PARAGRAPH BREAKS

Page 89: Typographic Workbook

85

FUTURISM WAS FIRST ANNOUNCED ON FEBRUARY 20, 1909, WHEN THE PARIS newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.BUT IS IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE WE LIVE AND work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant- garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM BRISTLED with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

PARAGRAPH BREAKS EXPLORATION 1

First  line  ALL  CAPS

Page 90: Typographic Workbook

86

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

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant- garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

PARAGRAPH BREAKS EXPLORATION 2

Different  font  sizes  for  different  paragraphs

Page 91: Typographic Workbook

87

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

PARAGRAPH BREAKS EXPLORATION 3

First  line  is  larger  text  size

Page 92: Typographic Workbook

88

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

PARAGRAPH BREAKS EXPLORATION 4

First  line  indented

Page 93: Typographic Workbook

89

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

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

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

PARAGRAPH BREAKS EXPLORATION 5

Hanging  indent

Page 94: Typographic Workbook

90

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

PARAGRAPH BREAKS EXPLORATION 6

First  line  italicisized

Page 95: Typographic Workbook

91

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

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

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

PARAGRAPH BREAKS EXPLORATION 7

Space  between  paragraphs

Page 96: Typographic Workbook

92

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

PARAGRAPH BREAKS EXPLORATION 8

First  line  of  text  Bold

Page 97: Typographic Workbook

93

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

PARAGRAPH BREAKS EXPLORATION 9

Different  paragraph  colors

Page 98: Typographic Workbook

94

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

PARAGRAPH BREAKS EXPLORATION 10

Underline  first  line  of  text

Page 99: Typographic Workbook

95

HEADERS &SUBHEADS

Page 100: Typographic Workbook

96

HEADER: A line or block of text that appears at the beginning of a page or document.

SUBHEAD: A heading given to a subsection of a piece of writing.

KERNING: Spacing in a header is key to creating appro-priate visual hierarchy in a document or page of text. Proper spacing is achieved by kern-ing. Kerning is the process of removing small amounts of space between letters to create visually consistent letterspacing. The larger the text is, the more attention should be paid to kerning.

Page 101: Typographic Workbook

97

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

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant- garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

Words In LibertyA Prologue to Futurism

Radical Mix of Art and Life

HEADERS and SUBHEADS EXPLORATION 1

Page 102: Typographic Workbook

98

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

BUT IS IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE WE LIVE AND work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant- garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM BRISTLED with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

WORDS IN LIBERTYA PROLOGUE TO FUTURISM

RADICAL MIX OF ART AND LIFE

HEADERS and SUBHEADS EXPLORATION 2

Page 103: Typographic Workbook

99

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

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

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

WORDS  IN  LIBERTYA  PROLOGUE  TO  FUTURISM

RADICAL  MIX  OF  ART  AND  LIFE

HEADERS and SUBHEADS EXPLORATION 3

Page 104: Typographic Workbook

100

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

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant- garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

WORDS  IN  LIBERTYA  PROLOGUE  TO  FUTURISM

RADICAL  MIX  OF  ART  AND  LIFE

HEADERS and SUBHEADS EXPLORATION 4

Page 105: Typographic Workbook

101

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

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant- garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

WORDS IN LIBERTYA Prologue To Futurism

Radical Mix Of Art And Life

HEADERS and SUBHEADS EXPLORATION 5

Page 106: Typographic Workbook

102

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

WORDS  IN  LIBERTYA  PROLOGUE  

TO  FUTURISM

RADICAL  MIX  

OF  ART  AND  

LIFE

HEADERS and SUBHEADS EXPLORATION 6

Page 107: Typographic Workbook

103

FOOTNOTES &ENDNOTES

1. 1

2. 2

3. 3

Page 108: Typographic Workbook

104

FOOTNOTES  &  ENDNOTES:

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

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.)

Page 109: Typographic Workbook

105

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

NUMBERS  or  SYMBOLS:

Footnotes and endnotes are set smaller than body

text. The difference in size is usually about two

points, but this can vary depending on the size,

style and legibility of the main text. Even though

they’re smaller, footnotes and endnotes should

still remain at a readable size.

SIZE:

Page 110: Typographic Workbook

106

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

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant- garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

WORDS  IN  LIBERTYA  PROLOGUE  TO  FUTURISM

RADICAL  MIX  OF  ART  AND  LIFE

FOOTNOTES and ENDNOTES EXPLORATION 1

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

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

3.  selbst  =  himself

Page 111: Typographic Workbook

107

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

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant- garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

WORDS IN LIBERTYA Prologue To Futurism

Radical Mix Of Art And Life

FOOTNOTES and ENDNOTES EXPLORATION 2

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

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

3.  selbst  =  himself

Page 112: Typographic Workbook

108

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

BUT IS IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE WE LIVE AND work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant- garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM BRISTLED with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

WORDS IN LIBERTYA PROLOGUE TO FUTURISM

RADICAL MIX OF ART AND LIFE

FOOTNOTES and ENDNOTES EXPLORATION 3

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

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

3.  selbst  =  himself

Page 113: Typographic Workbook

109

FOOTNOTES and ENDNOTES EXPLORATION 4

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 celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

WORDS  IN  LIBERTYA  PROLOGUE  TO  FUTURISM

RADICAL  MIX  OF  ART  AND  LIFE

Page 114: Typographic Workbook

110

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

WORDS  IN  LIBERTYA  PROLOGUE  

TO  FUTURISM

RADICAL  MIX  

OF  ART  AND  

LIFE

FOOTNOTES and ENDNOTES EXPLORATION 5

1.  Philip  Meggs,  History  of  Graphic  Design,  Van  Nostrand  Reinhold,  1988      2.  parole  in  liberta  =  words  set  free  (liberty)      3.  selbst  =  himself

Page 115: Typographic Workbook

111

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

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as 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 in them the seed of all that we were to later be.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical.”

Words In LibertyA Prologue to Futurism

Radical Mix of Art and Life

FOOTNOTES and ENDNOTES EXPLORATION 6

1.  Philip  Meggs,  History  of  Graphic  Design,  

Van  Nostrand  Reinhold,  1988  

2.  parole  in  liberta  =  words  set  free  

(liberty)  

3.  selbst  =  himself

Page 116: Typographic Workbook

FONT SPECIFICATIONS

Page 117: Typographic Workbook

113

CLASSIFICATION: SLAB SERIF

BOOK  

HAIRLINE

SEMI-BOLD

BOLD  ITALIC

Archer

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

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

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 { } ? ! @ & *

Page 118: Typographic Workbook

114

CLASSIFICATION: GROTESQUE

ROMAN  

BOLD

BLACK

Akzidenz Grotesk

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

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

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 ( ) { } ? ! @ & *

Page 119: Typographic Workbook

115

CLASSIFICATION: TRANSITIONAL

REGULAR

SMALL  CAPS

ITALIC

BOLD

Baskerville

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

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

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 ( ) { } ? ! @ & *

Page 120: Typographic Workbook

116

CLASSIFICATION: SLAB SERIF

REGULAR

ITALIC

BOLD

BLACK  ITALIC

Belizio

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

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

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 ( ) { } ? ! @ & *

Page 121: Typographic Workbook

117

MxagGdQrRCLASSIFICATION: GROTESQUE

LIGHT

BOLD

BLACK

Bell Gothic

MxagGdQrRIA basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renais-sance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth 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 ( ) { } ? ! @ & *

Page 122: Typographic Workbook

118

CLASSIFICATION: OLD STYLE

REGULAR

ITALIC

BOLD

EXTRA  BOLD

Bembo

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

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

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 ( ) { } ? ! @ & *

Page 123: Typographic Workbook

119

MxnogGdQrRstCLASSIFICATION: NEW TRANSITIONAL

REGULAR

ITALIC

BOLD

BOLD  ITALIC

Bookman

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

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

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 ( ) { } ? ! @ & *

Page 124: Typographic Workbook

120

CLASSIFICATION: MODERN (DIDONE)

REGULAR

ITALIC

BOLD

ORNAMENTS

Bodoni

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

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

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

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 ( ) { } ? ! @ & *

Page 125: Typographic Workbook

121

MxaogGdQrRstCLASSIFICATION: TRANSITIONAL

REGULAR

ITALIC

SWASH

ORNAMENT

ALTERNATE

Caslon

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

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

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

! " #$ % & ' ( )* + , - . / 0 12 34 56 78 9: ;< = >? @A B C D E FG HI JK L M N O P Q R S T

! " # k $ %& ' (

Page 126: Typographic Workbook

122

CLASSIFICATION: TRANSITIONAL

REGULAR

ITALIC

BOLD

BOLD  ITALIC

Century Schoolbook

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

new typefaces based on historic charac-­teristics.

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

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 ( ) { } ? ! @ & *

Page 127: Typographic Workbook

123

MxaogGdQrRtCLASSIFICATION: OLD STYLE

REGULAR

ITALIC

BOLD

BOLD  ITALIC

Cheltenham

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

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

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 ( ) { } ? ! @ & *

Page 128: Typographic Workbook

124

CLASSIFICATION: MODERN

UNICASE

REGULAR

Cholla

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

A basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a heri-

tage for their own craft analogous to that

of art history. Humanist letterforms are

closely connected to calligraphy and the

movement of the hand. Transitional and

modern typefaces are more abstract and

less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art

and literature. Designers in the twentieth

and twenty-first centuries have continued

to create new typefaces based on historic

characteristics.

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

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

Page 129: Typographic Workbook

125

MaxnogGdQrRstCLASSIFICATION: SLAB SERIF

LIGHT

REGULAR

BOLD

Clarendon

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

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 ( ) { } ? ! @ & *

Page 130: Typographic Workbook

126

CLASSIFICATION: GRID BASED SANS SERIF

REGULAR

Clicker

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

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 ( ) { } ? ! @ & *

Page 131: Typographic Workbook

127

MaxnogGdQRsCLASSIFICATION: MODERN

REGULAR

ITALIC

BOLD

Didot

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

continued to create new typefaces based on historic characteristics.

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

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 ( ) { } ? ! @ & *

Page 132: Typographic Workbook

128

CLASSIFICATION: GROTESQUE DIN

MaxnogGdQrRtLIGHT

REGULAR

MEDIUM

BLACK

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

A basic system for classifying 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 ( ) { } ? ! @ & * 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 { ? ! @ & *

Page 133: Typographic Workbook

129

MaxnogGdQrRtCLASSIFICATION: GROTESQUE DIN

MaxngdQHAMBURGLIGHT  CONDENSED

REGULAR  CONDENSED

BOLD  CONDENSED

BLACK  CONDENSED

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

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

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

Page 134: Typographic Workbook

130

REGULAR

ITALIC

BOLD

Disturbance

MxnatQbWFGdRA basic system for classifying typefaces was devised

in the nineteenth century, when printers sought

to identify a heritage for their own craft analo-

gous to that of art history. Humanist letterforms

are closely connected to calligraphy and the

movement of the hand. Transitional and modern

typefaces are more abstract and less organic.

These three main groups correspond roughly to

the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the

twentieth and twenty-first centuries have con-

tinued to create new typefaces based on historic

characteristics.

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

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

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

Page 135: Typographic Workbook

131

MxnatQbWFGdR

CLASSIFICATION: BLACKLETTER

REGULAR

Fette Fraktur

MxnaopQrRtfgA basic system for classifying typefaces was

devised in the nineteenth century, when

printers sought to identify a heritage for their

own craft analogous to that of art history.

Humanist letterforms are closely connected to

calligraphy and the movement of the hand.

Transitional and modern typefaces are more

abstract and less organic. These three main

groups correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art

and literature. Designers in the twentieth and

twenty-first centuries have continued to create

new typefaces based on historic characteristics.

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

Page 136: Typographic Workbook

132

CLASSIFICATION: MODERN

REGULAR

FRACTIONS

UNICASE

Filosofia

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

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

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 ( ) { } ? ! @ & *

Page 137: Typographic Workbook

133

CLASSIFICATION: GROTESQUE

BOOK

DEMI

HEAVY

CONDENSED

Franklin Gothic

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

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

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

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 ( ) { } ? ! @ & *

Page 138: Typographic Workbook

134

CLASSIFICATION: HUMANIST

CONDENSED

REGULAR

BOLD

ULTRA  BLACK

Frutiger

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

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

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 ( ) { } ? ! @ & *

Page 139: Typographic Workbook

135

CLASSIFICATION: GEOMETRIC

BOOK

BOLD

EXTRA  BOLD

Futura

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

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

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

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 ( ) { } ? ! @ & *

Page 140: Typographic Workbook

136

CLASSIFICATION: GROTESQUE

REGULAR

BOLD

BLACK  EXTENDED

Helvetica

MaoygGdQrRtA basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a heritage

for their own craft analogous to that

of art history. Humanist letterforms are

closely connected to calligraphy and the

movement of the hand. Transitional and

modern typefaces are more abstract and

less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods

in art and literature. Designers in the

continued to create new typefaces based

on historic characteristics.

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

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 ( ) { } ? ! @ & *

ULTRA  LIGHT

Page 141: Typographic Workbook

137

MaoygGdQrRt

CLASSIFICATION: HUMANIST

REGULAR

ITALIC

BOLD

Gill Sans

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

to create new typefaces based on historic characteristics.

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

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 ( ) { } ? ! @ & *

Page 142: Typographic Workbook

138

CLASSIFICATION: GEOMETRIC

BOOK

BOLD

ITALIC

LIGHT

Gotham

MayogGdQRtA  basic  system  for  classifying  type-

faces  was  devised  in  the  nineteenth  

century,  when  printers  sought  to  

identify  a  heritage  for  their  own  

craft  analogous  to  that  of  art  history.  

Humanist  letterforms  are  closely  con-

nected  to  calligraphy  and  the  move-

ment  of  the  hand.  Transitional  and  

modern  typefaces  are  more  abstract  

and  less  organic.  These  three  main  

groups  correspond  roughly  to  the  

Renaissance,  Baroque,  and  Enlight-

enment  periods  in  art  and  litera-

ture.  Designers  in  the  twentieth  and  

twenty-first  centuries  have  continued  

to  create  new  typefaces  based  on  

historic  characteristics.

A  basic  system  for  classifying  type-

faces  was  devised  in  the  nineteenth  

century,  when  printers  sought  to  

identify  a  heritage  for  their  own  

craft  analogous  to  that  of  art  history.  

Humanist  letterforms  are  closely  

connected  to  calligraphy  and  the  

movement  of  the  hand.  Transitional  

and  modern  typefaces  are  more  ab-

stract  and  less  organic.  These  three  

main  groups  correspond  roughly  

to  the  Renaissance,  Baroque,  and  

Enlightenment  periods  in  art  and  

literature.  Designers  in  the  twenti-

eth  and  twenty-first  centuries  have  

continued  to  create  new  typefaces  

based  on  historic  characteristics.

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  (  )  {  }  ?  !  @  &  *

Page 143: Typographic Workbook

139

MayogGdQRtCLASSIFICATION: NEO-GROTESQUE

REGULAR

BOLD

BLACK

BOLD  CONDENSED

Interstate

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

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

Page 144: Typographic Workbook

140

CLASSIFICATION: SCRIPT

REGULAR

Kunstler Script

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

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

Page 145: Typographic Workbook

141

CLASSIFICATION: TRANSITIONAL SERIF

REGULAR

ITALIC

BOLD

BOLD

Melior

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

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

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 ( ) { } ? ! @ & *

Page 146: Typographic Workbook

142

CLASSIFICATION: SLAB SERIF

LIGHT

MEDIUM

EXTRA  BOLD

Memphis

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

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

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 ( ) { } ? ! @ & *

Page 147: Typographic Workbook

143

CLASSIFICATION: HUMANIST

REGULAR

CAPS

BLACK

ITALIC

Meta

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

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

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

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

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 ( ) { } ? ! @ & *

Page 148: Typographic Workbook

144

CLASSIFICATION: TRANSITIONAL

REGULAR

ITALIC

BOLD

FRACTIONS

Mrs Eaves

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

Page 149: Typographic Workbook

145

MaxogGdQrRstCLASSIFICATION: GROTESQUE

REGULAR

ITALIC

BOLD

News Gothic

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

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

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 ( ) { } ? ! @ & *

Page 150: Typographic Workbook

146

CLASSIFICATION: SANSERIF MONOSPACED

REGULAR

OCR A

MaopQRfGgA basic system for clas-

sifying typefaces was

devised in the nineteenth

century, when printers

sought to identify a heri-

tage for their own craft

analogous to that of art

history. Humanist let-

terforms are closely con-

nected to calligraphy and

the movement of the hand.

Transitional and modern

typefaces are more histor-

ic characteristics.

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 ( ) { } ? ! @ & *

Page 151: Typographic Workbook

147

MaopQRfGgCLASSIFICATION: SANSERIF

BOOK

ITALIC

BOLD

Optima

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

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

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 ( ) { } ? ! @ & *

Page 152: Typographic Workbook

148

CLASSIFICATION: OLD STYLE

LIGHT

OLD  STYLE

MEDIUM

BLACK

Palatino

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

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

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

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

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 ( ) { } ? ! @ & *

Page 153: Typographic Workbook

149

CLASSIFICATION: TRANSITIONAL

REGULAR

ITALIC

BOLD

Perpetua

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

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

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 ( ) { } ? ! @ & *

Page 154: Typographic Workbook

150

CLASSIFICATION: GEOMETRIC

THIN

REGULAR

HEAVY

Platelet

MaxbyogGQrRtA 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 cal-

ligraphy and the movement of the hand.

Transitional and modern typefaces are

more abstract and less organic. These

three main groups correspond roughly to

the Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and twenty-

first centuries have continued to create

new typefaces based on historic charac-

teristics.

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 letter-

forms are closely connected to cal-

ligraphy and the movement of the hand.

Transitional and modern typefaces are

more abstract and less organic. These

three main groups correspond roughly to

the Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and twenty-

first centuries have continued to create

new typefaces based on historic charac-

teristics.

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

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 ( ) { } ? ! @ & *

Page 155: Typographic Workbook

151

CLASSIFICATION: GEOMETRIC

REGULAR

ALTERNATE

BOLD

Priori Sans

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

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

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 ( ) { } ? ! @ & *

Page 156: Typographic Workbook

152

CLASSIFICATION: NEW TRANSITIONAL

REGULAR

ALTERNATE

BOLD

Priori Serif

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

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

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 ( ) { } ? ! @ & *

Page 157: Typographic Workbook

153

CLASSIFICATION: HUMANIST

(55)  SANS

ITALIC

SERIF

ITALIC

Rotis

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

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

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 ( ) { } ? ! @ & *

Page 158: Typographic Workbook

154

CLASSIFICATION: OLD STYLE

REGULAR

SMALL  CAPS

BOLD

BOLD  ITALIC

Sabon

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

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 ( ) { } ? ! @ & *

Page 159: Typographic Workbook

155

MxayogGQfRCLASSIFICATION: HUMANIST

REGULAR

CAPS

ITALIC

BOLD

Scala Sans

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

A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. 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 ( ) { } ? ! @ & *

Page 160: Typographic Workbook

156

CLASSIFICATION: SLAB SERIF

REGULAR

ITALIC

BOLD

BLACK

Serifa

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

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 ( ) { } ? ! @ & *

Page 161: Typographic Workbook

157

CLASSIFICATION: SCRIPT

REGULAR

Snell Roundhand

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

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

Page 162: Typographic Workbook

158

CLASSIFICATION: NEW TRANSITIONAL/ HUMANIST SERIF

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

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

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

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 ( ) { } ? ! @ & *

Page 163: Typographic Workbook

159

MxaoygGdQrRCLASSIFICATION: HUMANIST

REGULAR

BOLD

BLACK

BLACK

Syntax

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

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 ( ) { } ? ! @ & *

Page 164: Typographic Workbook

160

CLASSIFICATION: HUMANIST

CONDENSED

MEDIUM

BOLD

BOLD  NO.2

Trade Gothic

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

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

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 ( ) { } ? ! @ & *

Page 165: Typographic Workbook

161

MxanyogGdQrRCLASSIFICATION: MODERN

REGULAR

ITALIC

SMALL  CAPS

BOLD

Walbaum

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

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

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 ( ) { } ? ! @ & *

Page 166: Typographic Workbook

162

CLASSIFICATION: SLAB SERIF

REGULAR

MEDIUM

MEDIUM  ITALIC

BOLD

Volta

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

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

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 ( ) { } ? ! @ & *