Subtle: a manual of typography by Jen Beck

SUBTLE A manual of typography

Jennifer Beck University of Kansas 2014

Designed by Jennifer Beck. Class project for Typographic Systems at the University of Kansas, Spring 2014. The text was compiled from the following sources: Elements of Typographic Style by Robert Bringhurst, Getting it Right with Type: the Do's and Don'ts of Typography by Victoria Square, Mac is Not A Typewriter by Robin Williams. This book is not to be sold to the public and to only be used by the designer for their reference and student design portfolio.

“FORGET ALL THE RULES YOU EVER LEARNED ABOUT GRAPHIC DESIGN, INCLUDING THE ONES IN THIS BOOK.” —BOB GILL Founding partner, Pentagram, from the title of his now renowned book, ‘Forget All the Rules You Ever Learned About Graphic Design’

This book is dedicated to my Dad, who has taught me that hard work, compassion, and integrity are the values in which I should lead my lifeâ&#x20AC;&#x201D;to my Mom, who has shown me what it means to be unwaveringly benevolentâ&#x20AC;&#x201D;and my brothers, Chris and Alex, who will forever remind me that family is our best quality.

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TABLE OF CONTENTS

Baskerville Italic

Rules Check Sheet

B Grids C

Typographic Rules

Special Characters

Column Width

F Hyphenation G Dashes H

Small Caps

Numerals/Figures in Typography

J Ligatures K

Typographic Color (X-Height)

L Leading M Kerning N Alignment O

Justification

Combining Typefaces

Q Quotes R Apostrophes S

Paragraph Rules

Heads and Subheads

Captions and Notes

Font Specs

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A Big Caslon Medium

RULES CHECKLIST

The rules The following is a compendium of the rules established in this book. You might want to check through them each time you complete a publication. __ 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... __ Never hyphenate a words in a headline and avoid hyphenation in a callout. __ Never justify the text on a short line. __ Keep the word spacing 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 â&#x20AC;&#x201C; not both. __ Use a decimal or right-aligned tab for the numbers in numbered paragraphs. __ Never have one line in a paragraph in the column or following. __ Never combine two serif fonts on one page. __ Rarely combine two sans serif fonts on one page. __ Rarely combine more than three typefaces on one page. __ Use 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.

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B Clarendon Roman

GRIDS

THE GRID When Designing a layout and working with text and/or images the use of a grid is essential, as it is the basis on which information is organized and clarified, ensuring legibility. The grid provides a framework were text, image and space can be combined into a cohesive manner. A grid subdivides a page vertically and horizontally into margins, columns, inter-column spaces, lines of type, and spaces between blocks of type and images. These subdivisions form the basis of a modular and systematic approach to the layout, particularly for multipage documents, making the design process quicker, and ensuring visual consistency between related pages. At its most basic, the sizes of a grid’s component parts are determined by ease of reading and handling. From the sizes of type to the overall page or sheet size, decision-making is derived from physiology and the psychology of perception as much as by aesthetics. Type sizes are generally determined by hierarchy—captions smaller than body text and so on—column widths by optimum word counts of eight to ten words to the line, and overall layout by the need to group related items. This all sounds rather formulaic, and easy. But designers whose grids produce dynamic or very subtle results take these rules as a starting point only, developing flexible structures in which their sensibility can flourish. Grids often need to be designed to give more flexibility than the single column of text per page (Jan Tschichold’s grid). This is due to a change in our reading patterns. Grid structures have to accommodate a greater variety of material such as photographs, illustrations, headings, captions, references, charts; they need to be more complicated than a grid using only text and may utilize more modules. The design of the grid had to be relevant to the purpose.

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“THE GRID SYSTEM IS AN AID, NOT A GUARANTEE. IT PERMITS A NUMBER OF POSSIBLE USES AND EACH DESIGNER CAN LOOK FOR A SOLUTION APPROPRIATE TO HIS PERSONAL STYLE. BUT ONE MUST LEARN HOW TO USE THE GRID; IT IS AN ART THAT REQUIRES PRACTICE.” —Josef Müller-Brockmann

Tschicholdâ&#x20AC;&#x2122;s grid / symmetrical grid This example shows a grid where the proportions of the text areas are established from the shape of the page, i.e. the height of the next text area is the same as the width of the full page. Note that the text area will always remain the same.

Grids often need to be designed to give more flexibility than the single column of text per page. This is due to a change in our reading patterns. Although we still read consecutively, our attention is drawn to both magazines and coffee table books which are often larger in format and highly illustrated. The grid structures for these formats have to accommodate and greater variety of material such as photographs, illustrations, headings, captions, references, charts; they need to be more complicated than for a grid using only text and may utilize more modules. Therefore, the design of the grid has to be relevant to its purpose.

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The golden section The golden section has been used for centuries. The Greeks used the golden section to establish balance in the design of architecture, for example the Parthenon, and it was re-discovered by artists and architects during the Renaissance period. The golden section is constructed through mathematical calculation: the ratio being 1:1.61803. The example below (steps 1 to 4) demonstrates its construction from a simple square. Step four indicates the proportions of the golden section.

Fibonacciâ&#x20AC;&#x2122;s sequence The Fibonacci sequence is a mathematical sequence discovered in the 12th century by Leonardo Fibonacci and is used to establish proportion. The sequence of the numbers below demonstrate that the sum of two numbers establishes the next number, for example (2+3) 5. (0+1) 1 (1+1) 2 (1+2) 3 (2+3) 5 (3+5) 8 (4+8) 13â&#x20AC;Ś

The ratio of each successive pair of number approximates 1.618, the same as the golden section.

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“IT’S NOT A PROBLEM OF BEING A WOMAN IN A MAN’S WORLD. IT’S BEING A TYPE DESIGNER IN A WORLD THAT GIVES LITTLE RECOGNITION TO THIS ART FORM.”

—ZUZANA LICKO Type designer for Émigré, in Eye magazine, 2002 SUBTLE

TYPES OF GRIDS A few examples of basic grid types are described here, but you should research and develop these in relation to your own work to find practical applications to given design problems.

Simple typographic grids These may consist simply of a number of vertical columns used to position text and image matter, and may include a space between the columns â&#x20AC;&#x201C; the gutters â&#x20AC;&#x201C;and the margins of the page, which must be given consideration. It may be necessary to produce grids with narrower sub-columns to enable a greater degree of flexibility in the design and layout of pages. Text widths can be set to multiples of the narrower columns, allowing the design to accommodate different matter thus allowing for a change of pace, rhythm and style from one page to the next, while still relating the content.

Modular grids Modular grids are associated with Swiss typography or the â&#x20AC;&#x2DC;International Styleâ&#x20AC;&#x2122; of the 1950s and 60s. As well as a vertical division of space, modular grids divide space horizontally too, creating units or cells. The depth of the cells may depend upon the size of the text type and leading being used. Multiples of the line depth (leading size) form a good basis on which to construct the cells. For example, ten lines of 10pt type on 12pt leading could allow for a cell height of 120pt within the grid. Again, each cell division is spaced by the equivalent of the gutter both vertically and horizontally. Vertical columns still appear, but further rationalization as to the position of text and image in relation to the depth of the page can be made via the grid.

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Symmetric grids Symmetric grids sit centrally on a single page (folio) so that the left and right margins are equal. The term can also be applied to a grid system used across facing pages where the position of the margins and text areas are symmetrically reflected or mirrored. Margins are not necessarily equal but both run left and right of the text area on single pages and are mirrored across the spread.

Asymmetric grids These grids may have an off-center appearance either as single pages or combined in spreads. If used in spreads, the grid is not mirrored from one page to the next as in symmetrical grids, but is more likely to appear repeated in a single position from page to page. Again, with all grids systems, attention to the relationship of the margins is important. It can be this element alone that determines the success of the eventual layout.

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“FAIL FAST.” —JOHN CRESON Addis

b bb Clarendon Light

Clarendon Roman

Clarendon Bold

COLUMNS AND LAYOUT

When layouts for books or magazines are designed, text is positioned on the grid within columns, which are formed by modules, allowing for more than one module or column per page. Using columns enables the designer to maintain consistent line length.

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BEFORE A LAYOUT NUMBER OF COLUMNS CAN BE ESTABLISHED FOR A PRINTED WORK IT IS ESSENTIAL TO CONSIDER THE FOLLOWING: How many pages will there be? What is the page size? Is the publication text heavy or image heavy?? What is the optimum line length for the text? (This will establish the column width.) What leading will be used? (This will establish the column depth.) What will the binding be like?

The following examples look at a range of vertical and horizontal layouts with columns.

3-column grid

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5-column grid This format enables the designer to accommodate text over all five modules. Here the designer uses two modules to create a column (resulting in two columns over four modules), leaving a narrower column (module area) for secondary information, such as captions.

b 6-column grid

This format is similar to the 5-column grid; however, it allows for a wider module area for the secondary information.

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b 9-column grid

The following examples demonstrate the terminology used when designing spreads

Text area This example indicates the text area, the area that accommodates the text.

Margins The area that is not accommodated by the text

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Horizontal and vertical gutters These are the inner margins of the page that separate modules from one another.

Module (or field) An area calculated in depth by the text leading and width by the text line length

Passive and active corners The active corner (the strongest) is the top left module, whilst the passive corner (the weakest) is the bottom right module.

Running head and foot, folio or page numbers Runnings head and foot list chapter titles and section headings to indicate readers where they are within a book or magazine. A running head is situated about the text, a running foot below. Only one or the other is used.

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The baseline grid Modular grids are created by positioning horizontal guidelines in relation to a baseline grid that governs the whole document. Baseline grids serve to anchor all (or nearly all) layout elements to a common rhythm. Create a baseline grid by choosing the type size and leading of your text, such as 10-pt Scala Pro with 12 pts leading (10/12). Avoid auto leading so that you can work with whole numbers that multiply and divide cleanly. Use this line space increment to set the baseline grid in your document preferences.

Adjust the top or bottom page margin to absorb any space left over by the baseline grid. Determine the number of horizontal page units in relation to the number of lines in your baseline grid. Count how many lines fit in a full column of text and then choose a number that divides evenly into the line count to create horizontal page divisions. A column with forty-two lines of text divides neatly into seven horizontal modules with six lines each. If your line count is not neatly divisible, adjust the top and/or bottom page margins to absorb the leftover lines.

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TYPOGRAPHIC RULES Bembo Italic

1. Insert only a single space after all punctuation Inserting two spaces after a period was common when using a typewriter. Monospace typefaces were designed to occupy the same amount of space no matter the width of the character. Therefore, two spaces were needed to identify the end of a sentence and the beginning of another sentence. With the introduction of the Mac and digital type, characters are designed proportionately, which allows for the correct practice of using one space after all punctuation.

2. Use proper ‘em’ dashes, ‘en’ dashes, and hyphens An em is a unit of measure equal to the point size that you are using. An em dash is a type of punctuation used to offset clauses in a sentence or to indicate an abrupt change in thought. An en dash is equal to half the length of an em dash. En dashes are used to denote duration (time.)

“

3. Use proper quote and apostrophe marks Use true quotation marks and apostrophes instead of using inch marks and feet marks. Place all punctuations inside the quotation marks.

4. Use true small caps

When setting text that contains acronyms, select a typeface with small caps as a family. Selecting small caps from the style menus is a poor choice because the compute reduces the overall size of the type by 80%. This changes the stroke weight and the feel of the font. Expert sets in the Adobe Type Library have small caps options.

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5. Add letter spacing to capitalized text and small caps Letterspacing is the amount of space between characters in a word. Some software programs caller letterspacing tracking. Use positive number values (to about 2 or 3) to open up letterspacing to capitalized text and small caps, except when periods are used between characters.

6. Use Old Style figures when appropriate Old style figures, also known as non-lining figures do not line up on the baseline as regular or lining numerals do. They can be found in various fonts. If the body text has a significant amount of numbers, research a font family where they are included. If non-lining numerals are not available, use a slightly smaller point size for the lining numbers. Think of lining numbers as upper case numbers and non-lining numbers as lower case numbers.

7. Use caps properly With options given to you by almost any type family (bold, point size, etc) you will seldom need to use all caps to draw attention to your text. Not all typefaces are legible when set in all caps; esp. true for script and decorative typefaces. Short headlines may be the once exception to this rule.

“WHETHER YOU THINK YOU CAN OR WHETHER YOU THINK YOU CAN’T— YOU ARE RIGHT.” —HENRY FORD Founder, Ford Motor Company

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8. Use copyright, register, and trademark marks properly The copyright, register, and trademark characters need to be reduced to work with body text. At times, depending on the typeface, you may need to reduce the mark between 50% and 70%. The goal is to match the x-height. The copyright mark should be approximately 70% of the surrounding text. Unlike the ™ symbol, the © should NOT be superscripted and should remain on the baseline. ™ is usually superscripted for the chosen font. ™ and ® are normally set higher then other marks. If you choose to superscript ®, reduce it to about 60% of the size.

9. ELLIPSIS CHARACTER Use the ellipsis character and NOT three periods. You can access the ellipsis by typing Option + : (colon). Allow a small amount of space before and after. However if it is not crowding the text, leave no space at all.

10. Avoid underlined text This was useful back in the days of the typewriter to draw attention to the text. With digital type and their families, you should not need to use underlined text.

11. Increase line spacing to improve readability in body text Line spacing (aka leading) refers to the space between lines of text. It is important for readability and appearance. Leading is measured from baseline to baseline. As a rule of thumb, allow leading that is 120% of the point size. For sans serif, you may need 130% or more. When setting headlines, solid leading (leading = point size, 12/12) or negative leading (leading =< point size, 12/10) may be appropriate.

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12. Body copy size Body text is set anywhere from 9-12 points. When you print text, it is usually larger than what it looked like on the screen. So, print out your text before finalizing your layout. Type studies will help you determine the proper size before you proceed with your layout.

13. Altering fonts Don’t alter the original typeface by stretching or condensing the letters improperly. Certain type families provide you with a lot of flexibility, so you should not need to destroy or alter text.

14. Items in a series Items in a series do not use a comma before the word “and.” (i.e., ‘peaches, apples and oranges.’)

15. Kerning headlines Adjust the space between two particular letters to allow for more consistent negative space.

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17. Word spacing should be fairly close For text meant for extended reading, the amount of space between words in a paragraph should be fairly close–about the width of a lowercase “i.” If the word spacing is too close, it appears as one giant word and legibility is decreased. Keep the spaces between words fairly thin, consistent and even!

14. Legibility of fonts Sans serif typefaces work well for headlines and to set text that is aligned to vertical/horizontal lines. Certain sans serif typefaces which are not very geometrical work well for body copy (i.e. Frutiger, Meta, Scala Sans, etc.)

15. Decrease line length and increase margins Line length is a measure of text on one line. Any measure between 45 and 75 characters is comfortable for single column widths. The ideal measure for body text length is 66 characters (counting both letters, punctuation, and spaces.) For multiple columns, a measure between 40 and 50 characters is ideal.

16. Avoid letterspacing lowercase body copy Donâ&#x20AC;&#x2122;t letterspace body copy as it really hampers legibility. Use letterspacing when working with caps. small caps, numbers and display text where looser type spacing may increase legibility.

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18. Ideal column width For single-column pages, 4.25 inches is ideal. For two-column width, columns can be as narrow as 2 inches. Turning on the hyphenation feature can improve word spacing.

19. Justification of text Justification can be appropriate in certain places. However, it can create certain problems such as rivers and word spacing. Adjusting size of margins, decreasing body copy size, turning on auto hyphenation and manually hyphenating the text are all examples of possible solutions.

20. Choose alignment that fits Make sure the alignment chosen for all areas of text are legible and consistent with the design and guidelines. Left-aligned text is easier to read and set. Justified text is harder to set w/o inevitable word spacing problems. Right-aligned and centered are generally not used for body copy.

21. ALWAYS SPELL CHECK Once you are finished with your design, spell check the text using both of the following: A) Use spell=check option that comes with the software you are using for the project. B) Print the document and read it. The monitor and design of the document will make text look perfect when it may not be. Even if text is given to you by a client, check it. Never ever assume that it is correct. Keep a dictionary close as well.

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“BEAT THE DEAD HORSE.”

24. Rules of hyphenation Don’t rely on the software to judge where hyphens should be placed. At the end of lines, leave at least two characters behind and take at least three forward. For example, “ele-gantly” is acceptable, but “elegant-ly” is not because it takes too little of the word to the next line. Avoid leaving the stub end of a hyphenated word or any word shorter then four letters as the last line of a paragraph. Avoid more then 3 consecutive hyphenated lines. Avoid hyphenating or breaking proper names and titles. Creating a non-breaking space before and after the name will ensure that the name will not break.

—KEVIN BRUEGER Designer at Samata Mason, on exploring ideas to the very ends of their tails.

22. Indents In continuous text, mark all paragraphs after the first with an indent of at least one â&#x20AC;&#x153;emâ&#x20AC;? (3 spaces). Do NOT use three spaces but rather use the tabs or indents option in your software.

23. Avoid widows and orphans Widows are either single words alone on a line or single sentences alone on a new page. Orphans are single lines of copy alone at the end of a page.

25. Avoid beginning three consecutive lines with the same word Since software programs deal with line breaks automatically based upon a number of variables, it is possible to have paragraphs with consecutive lines beginning with the same word. When this happens simply adjust the text to avoid/fix the problem.

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Baskerville Italic

SPECIAL CHARACTERS

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

“

Option [

opening double quote

”

Option Shift [

closing double quote

‘

Option ]

opening single quote

’

Option Shift ]

closing single quote; apostrophe

–

Option Hyphen

en dash

—

Option Shift Hyphen

em dash

…

Option ;

ellipsis

•

Option 8

bullet

ﬁ

Option Shift 5

ligature of f and i

ﬂ

Option Shift 6

ligature of f and l

Option g

™

Option 2

trademark

Option r

registered

Option Shift 8

degree symbol (e.g., 102°F)

Option $

cent symbol

€

Option Shift 2

Euro symbol

⁄

Option Shift 1 (one)

fraction bar

Option 1 (one)

inverted exclamation point

Option Shift ?

inverted question mark

Option 3

UK pound symbol

Option c

cedilla

Option Shift c

capitol cedilla

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“WE SPEND A LOT OF EFFORT TRYING TO MAKE THINGS LOOK EFFORTLESS.” —ALEXANDER ISLEY Principal, Alexander Isley Design

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

Option e

Option ~

Option u

Option n

Option i

Use copyright, register, and trademark marks properly The copyright, register, and trademark characters need to be reduced to work with body text. At times, depending on the typeface, you may need to reduce the mark between 50% and 70%. The goal is to match the x-height. The copyright mark should be approximately 70% of the surrounding text. Unlike the ™ symbol, the © should NOT be superscripted and should remain on the baseline. ™ is usually superscripted for the chosen font. ™ and ® are normally set higher then other marks. If you choose to superscript ®, reduce it to about 60% of the size.

Ellipsis Character Use the ellipsis character and NOT three periods. You can access the ellipsis by typing Option + : (colon). Allow a small amount of space before and after. However if it is not crowding the text, leave no space at all.

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E Didot Regular

COLUMN WIDTH (line length)

Column Width Having the right amount of characters on each line is key to the readability of your text. It shouldn’t merely be your design that dictates the width of your text, it should also be a matter of legibility.

The optimal line length for your body text is considered to be 50-60 characters per line, including spaces. Reading takes place in small leaps of 5–10 characters at a time. 55–60 characters per line could be considered an appropriate line length, allowing the eye 6–12 quick stops on each line. Narrower lines would cause the reader to have to switch from line to line unnecessarily often, and they also cause problems with the way justified columns appear. If a line of text is too long the visitor’s eye will have a hard time focusing on the text. This is because the length makes it difficult to get an idea of where the line starts and ends. Furthermore it can be difficult to continue from the correct line in large blocks of text. If a line is too short the eye will have to travel back too often, breaking the reader’s rhythm. Too short lines also tend to stress people, making them begin on the next line before finishing the current one (hence skipping potentially important words).

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DIY Using the text below set the paragraph at 20 characters per line, 40 characters, 60 characters and 80 characters per line. Keep the font and the leading the same just change the column width.

20 characters per line 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. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

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40 characters per line 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. Marinettiâ&#x20AC;&#x2122;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.

60 characters per line 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. Marinettiâ&#x20AC;&#x2122;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.

80 characters per line 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. Marinettiâ&#x20AC;&#x2122;s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

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THAT’S WHAT I DO FOR A LIVING.” —RON MIRIELLO Principal, Miriello Grafico SUBTLE

F HYPHENATION

Archer Italic

Hyphenation Don’t rely on the software to judge where hyphens should be placed. At the end of lines, leave at least two characters behind and take at least three forward. For example, “ele-gantly” is acceptable, but “elegant-ly” is not because it takes too little of the word to the next line. Avoid leaving the stub end of a hyphenated word or any word shorter then four letters as the last line of a paragraph. Avoid more then 3 consecutive hyphenated lines. Avoid hyphenating or breaking proper names and titles. Creating a non-breaking space before and after the name will ensure that the name will not break. Avoid beginning three consecutive lines with the same word. Since software programs deal with line breaks automatically based upon a number of variables, it is possible to have paragraphs with consecutive lines beginning with the same word. When this happens simply adjust the text to avoid/fix the problem.

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Hyphenation rules pay attention to: — 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 a words in a headline and avoid hyphenation in a callout

“ON THE SMALLEST LEVEL, CREATIVITY CAN ALTER MOODS. ON THE GRANDEST LEVEL, IT CAN CHANGE LIVES.” —STEFFANIE LORIG Principal, Lorig Design

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G DASHES

Adobe Caslon Pro Bold

NEVER USE TWO HYPHENS INSTEAD OF A DASH. USE HYPHENS, EN DASHES, AND EM DASHES APPROPRIATELY.

Everyone knows what a hyphen is—that tiny 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. On a typewriter, we were taught to use a double hyphen to indicate a dash, like so: -- . We were taught that because typewriters didn’t have a real dash, as the professional typesetters have. With the Mac, we no longer need to use the double hyphen—we have an em dash, which is a long dash, such as the one you see in this sentence. We also have an en dash, which is a little shorter than the em dash.

Hyphen A hyphen is strictly for hyphenating words or line breaks. Your punctuation style manual goes into great detail about when to use a hyphen; there doesn’t seem to be a great deal of confusion surrounding that issue. We all know where to find it—on the upper right of the keyboard, next to the equal sign.

En Dash – An en dash is called an en dash because it is approximately the width of the capital letter N in that particular font and size. It is used between words indicating a duration, such as an hourly time or months or years. Use it where you might otherwise use the word “to.” An en dash can be used with a thin space on either side of it, if you want a little room, but don’t use a full space. Here are a few examples of places to use the en dash. Notice that, really, these are not hyphenated words, and a plain hyphen is not the logical character to use. October – November 7:30 – 9:45 AM 3 – 5 years of age The en dash is also used when you have a compound adjective and one of the elements is made of two words or a hyphenated word such as: San Francisco–Chicago Flight pre–Vietnam period high-class–high-energy lifestyle

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Em Dash — The em dash is twice the width of the en dash—it’s about the size of the capital M. This dash if often used in a manner similar to a colon or parenthesis, or it indicates an abrupt change in thought, or it’s used in a spot where a period is too strong and a comma is too weak (check your punctuation style manual for the exact use of the dash, if you’re unsure). Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Since you were properly taught, of course, you know that the double hyphen is not supposed to have a space on either side of it—neither is the em dash, as you see right here in this sentence. There are six other examples of the em dash in this chapter.

OK, so where do you find these characters? - –

HYPHEN Next to the zero at the top right of the keyboard EN DASH Option Hyphen

(hold the Option key down while pressing the hyphen)

— EM DASH Option Shift Hyphen

(hold the Option and Shift keys down while pressing the hyphen)

City-named fonts and the dashes Please read the chapters on Fonts (p. 35) to understand the difference between city-named fonts and those without city names. Regarding the en and em dashes, some city-named fonts have them switched; that is, fonts like Geneva or New York access the en dash with Option Shift Hyphen and the em dash with Option Shift.

“TO LIVE A CREATIVE LIFE, WE MUST LOSE OUR FEAR OF BEING WRONG.” — Joseph Chilton Pearce Writer and philosopher SUBTLE

H H SMALL CAPS

Sabon Italic

Sabon Roman

H hh

There are a number of techniques that designers and typographers

use to make type more beautiful and pleasantâ&#x20AC;&#x201D;one technique is the use of small caps. Small caps are capital letters that are approximately the same size of lowercase letters. Small caps are often used simply for their design effect, but they have several very practical uses in fine typography. Sometimes an article or chapter opening begins with the first line (or part of the first line) in small caps, as in this chapter. This is a simple and elegant way to lead the reader into text.

Sabon Roman

Sabon Italic

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Where to use small caps If you set acronyms in regular all caps, their visual appearance is unnecessarily overwhelming. One standard and practical place to use small caps is in acronyms such as fbi, nrc, cbs, or simm. Traditionally, “a.m.” and “p.m.” are set with small caps. If you were taught to type on a typewriter (or if you were taught on a keyboard by someone who was taught on a typewriter), you probably learned to set these abbreviations in all caps because

there were no small caps on typewriters. But now that you have the capability, you can and should set them properly. Harriet, an FBI agent, turned on CNN to get the dirt on the CIA before going to bed at 9:30 P.M. Harriet, an fbi agent, turned on cnn to get the dirt on the cia before going to bed at 9:30 p.m.

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

True-drawn small caps There are quite a few font families that include “true-drawn” small caps—letterforms that have been redesigned to match the proportions and thickness of the uppercase.

These families are often called “expert” sets or perhaps “small cap sets” (see chapter 8). The result is a smooth , uniform, undisturbing tone throughout the text.

There Is No Rest For the Wicked The Wicked Are Very Weary True-drawn small caps are specially drawn to match the weight of the capital letters in the same face. Typefaces are Sabon Roman and Walbaum Roman

Creating small caps on your computer Most programs have a command in the Format or Font menu to change selected lowercase letters to small caps. If not, type the text in all caps and then reduce the selected letters to about 70 percent of the point size of the rest of the type (this is what the computer shortcut does). These two methods are okay if you are going to use small caps just once in a while on a fairly low-level jobs. But if you are producing fine typography, you really need to invest in a typeface that has specially designed small caps. When you simply reduce the point size of the type (the same thing the computer does when you use a menu command), all the proportions are reduced and the thickness of the strokes no longer match the other letters.

T W HE

ICKED

A V W RE

ERY

EARY.

The weight of the computer-drawn small caps is thinner than the weight of the regular initial (first letter) caps. Typeface is Trade Gothic Regular If you need to have a face that does not have a matching set for small caps, try using the semibold face (if their is one) for the small caps, since when you reduce their size their line thickness will shrink. Or you can try changing the default size of the small capsâ&#x20AC;&#x201D;if you application sets small caps at 70 percent, try changing that to 82 percent to match the stroke thickness better. Unfortunately, in QuarkXPress the small cap size applies to your entire documentâ&#x20AC;&#x201D;to every font, to ever size, every style, every weight. This is very poor typographic handling. In PageMaker you can change the small cap size per character, and you can add it to your style sheets.

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“I WOULD SHOW MY JOBS TO MY MOTHER, [AND] SHE WOULD ALWAYS SAY THE SAME THING: “THAT’S NICE, DEAR.” AND THEN SHE WOULD SAY “DID YOU WRITE IT?” OR “DID YOU DO THE DRAWING?” OR “DID YOU TAKE THE PICTURES?” I’D ALWAYS ANSWER “NO,” THEN I REALIZED THE PROBLEM. MY ANSWER WAS THEN, “I MADE THIS HAPPEN. IT’S CALLED DESIGN.”

â&#x20AC;&#x201D; BRIAN WEBB Principal, Webb & Webb, formerly Trickett & Webb

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NUMERALS & FIGURES IN TYPOGRAPHY Mrs Eaves Roman

Old Style figures (non–lining figures) Old Style figures, also known as non-lining figures do not line up on the baseline as regular or lining numerals do. They can be found in various fonts. Old Style 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. Old Style figures have more of a traditional, classic look and are very useful and quite beautiful when set within text. They are only available for certain typefaces, sometimes as the regular numerals in a font, but more often within a supplementary or expert font. The figures are proportionately spaced, eliminating the white spaces that result from monospaced lining figures, especially around the numeral one.

Unlike lining figures, Old Style figures blend in without disturbing the color of the body copy. They also work well in headlines since they’re not as intrusive as lining figures. In fact, many people prefer them overall for most uses except charts and tables. It’s well worth the extra effort to track down and obtain typefaces with old Style figures; the fonts that contain them might well become some of your favorites. If the body text has a significant amount of numbers, research a font family where they are included. If non-lining numerals are not available, use a slightly smaller point size for the lining numbers. Think of lining numbers as upper case numbers and non-lining numbers as lower case numbers.

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Sabon 12

134

1023

323

12.5

134.0

17.8

1023.4

323.0

134

1023

323

12.5

134.0

17.8

1023.4

323.0

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

Notice how beautifully these numbers blend into the text: Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505.

Walbaum 12

134

1023

323

12.5

134.0

17.8

1023.4

323.0

134

1023

323

12.5

134.0

17.8

1023.4

323.0

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

Notice how beautifully these numbers blend into the text: Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505.

MrsEaves 12

134

12.5

1023

323

134.0

17.8

1023.4

323.0

134

1023

323

12.5

134.0

17.8

1023.4

323.0

1023

323

17.8

1023.4

323.0

1023

323

17.8

1023.4

323.0

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

Notice how beautifully these numbers blend into the text: Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505.

Meta 12

134

12.5

134.0

134

12.5

134.0

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

Notice how beautifully these numbers blend into the text: Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505.

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Akzidenz Grotesk 12

134

1023

323

12.5

134.0

17.8

1023.4

323.0

134

1023

323

12.5

134.0

17.8

1023.4

323.0

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

Notice how beautifully these numbers blend into the text: Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505.

Scala Sans 12

134

12.5

134.0

134

12.5

134.0

1023

323

17.8

1023.4

323.0

1023

323

17.8

1023.4

323.0

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

Notice how beautifully these numbers blend into the text: Dear John, please call me at 438-9762 at 3:00 to discuss marriage. Or write to me at Route 916, zip code 87505.

“WE ARE WHAT WE REPEATEDLY DO.” —ARISTOTLE Greek philosopher and mathematician

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INTERESTING TYPE FACT The most common ligature is the “&” (ampersand). This was originally a combination of the letters “e” and “t”, et, the Latin for “and”. However, the ampersand is generally no longer considered to be a ligature — but that’s how it started out.

LIGATURES

Hoefler Text Italic

LIGATURES AND OTHER SPECIAL CHARACTERS In the course of almost any design project, you’re likely to use a variety of special characters, from ligatures and typographer’s quotes to em dashes and registered trademark symbols. Most of these characters are accessed using keyboard shortcuts, which is handy as long as you can retain those shortcuts from work session to work session. Adobe InDesign delivers features that make it easier than ever to work with special characters: automatic ligature substitution; an Insert Character dialog box that lists all of the glyphs available for a font; a right-click (Control+click on the Macintosh) menu that lists common special characters you can insert anywhere; and the option to convert standard quote marks to typographer’s quotes as you type. Plus, you can search for and replace special characters easily.

Ligatures In most fonts, certain letters cause unsightly collisions with adjacent characters. Ligatures provide a typographically graceful way of mediating the conflicts: the crashing characters are combined into a single glyph that diplomatically resolves their differences.

In English, the ligatures ff, fi, fl, ffi, and ffl are most common. Most fonts include ligatures, but remembering their keyboard shortcuts is difficult, and once they’ve been inserted, they can’t be edited. Plus, because they change the characters in a word, they cause spell-checkers to cough and sputter. Automatic ligature substitution eliminates these problems. To turn it on, simply check Ligatures on the Character palette menu. The ligatures included in the specified font display on-screen and they print, but the text remains fully editable and the spelling of words containing ligatures is unaffected.

final coffee official

Minion Pro Medium, ligatures turned on

final coffee official

Minion Pro Medium, ligatures turned off

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Flush space Adobe InDesign introduces a new special character called the flush space. Available on the right-click menu (Control+click on the Macintosh platform), this character adds a variable amount of space to a line and is designed to be used with justified text. The amount of space that the flush space adds to a line is determined first by whether the text is justified or not, and then by how much space is available on the line. In ragged text, the flush space behaves just like a regular word space. In justified text, it expands to consume all available extra space on the line.

For example, many magazines use an end-of-story character that is right-aligned as in the example to the left. If the final paragraph in a story is full-justified (meaning the last line must span the full width of the paragraph), you can insert a flush space, and the character will align properly.

Absence diminishes weak passions and increases great ones, as the wind blows out candles and fans fire. r Absence diminishes weak passions and increases great ones, as the wind blows out candles and fans fire. r

The flush space just acts like a regular space…

…except when the Full Justify Paragraph is selected. Then it absorbs all the extra space on the line.

Insert character Many fonts include hundreds or even thousands of glyphs, ranging from multiple versions of individual letters to typographically correct fractions, special ornaments, and more. However, until the release of Adobe InDesign, designers had no way to access all of these glyphs, except by investing in expert versions of fonts. Even then, expert fonts typically made only a portion of a font’s glyphs available. With InDesign, you have access to every glyph in every font, including Japanese fonts, through the easy-to- use Insert Character dialog box. For example, fonts such as Adobe’s Galahad® include multiple versions of certain characters for different language requirements. With the Insert Character dialog box, all of these characters are at your fingertips for on-the-fly insertion into your layouts.

To quickly add more commonly used special characters, such as dashes, discretionary hyphens, and special spaces, you can right-click (Control+click on the Macintosh platform) the text and choose Insert Character. A convenient menu loaded with characters appears for you to use.

Use the Insert Character dialog box to access every glyph available in a font and insert the ones you want on the fly. For quick access to common special characters, right-click of Control-click text, and then choose a character from the menu that appears.

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—GUNNAR SWANSON Principal, Gunnar Swanson Design Office

“FOR GRAPHIC DESIGN TO BE GREAT IT NEEDS TO BE PROFOUNDLY ABOUT YOU. AND THE MOST IMPORTANT THING TO REMEMBER IS THAT IT HAS NOTHING TO DO WITH YOU.”

Bauer Bodoni Bold

TYPOGRAPHIC COLOR

(X-HEIGHT)

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X-height A typeface’s color is determined by stroke width, x-height, character width and serif styles Readability and legibility are two key elements of printed text that typographer strive to maximize. Readability extended amount of text – such as an article, book, or annual report – is easy to read. Legibility refers to whether an refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable. There are several factors that determine whether a text is readable. When deciding what typeface should be used for a job, consideration should be given to the typeface and its x-height. It is important to understand how a block of text can express a message through its texture/color, therefore suiting a particular design solution. Fonts set in the same size, same leading and column width will produce varying degrees of “color”. In typography, color can also describe the balance between black and white on the page of text. A typeface’s color is determined by stroke width, x-height, character width and serif styles.

As a designer, if you are only asked to make the text readable on the page the following questions should be asked ... WHO IS TO READ IT?

HOW WILL IT BE READ?

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

Quickly. In passing. Focused. Near. Far.

ag ag ag ag ag ag ag ag ag ag ag ag ag ag ag ag ag ag ag ag SUBTLE 85

DIY You will be exploring one type of typographic color. To achieve results that can be compared you need to use the same sizes, same leading and the same column width.

Choose any 10 serif fonts and 10 sans serif fonts from the approved font list. And compare the fonts based on the x-height. Make sure all the following information is on the page __ x-height comparison __ name of font __ classification __ designerâ&#x20AC;&#x2122;s name __ body copy all set to 9/12 It is critical that you see the same size fonts, leading and column width. Only change the font in the example no other settings should change.

Look carefully how the x-height, stroke weight and character width effect the color of the type. Also note how the visual size of the type faces that are the same size do not appear the same size. Is there a difference in readability? Describe the font its x-height, character width and color.

KK kk X x hg

Xxhg

9/12 x-height: average character width: average color: medium

9/12 x-height: large character width: average color: medium

Sabon Old Style Jan Tschichold – 1967

72 point

Syntax Humanist Sans Serif Hans Eduard Meier – 1969

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KK kk X xhg

X xhg

9/12 x-height: small character width: narrow color: medium

9/12 x-height: large character width: wide color: dark

Bembo Old Style Stanley Morison – 1929

72 point

Univers Neo-grotesque Sans Serif Adrian Frutiger – 1957

K K kk X x h g X xhg

72 point

Belizio Slab Serif David Berlow – 1987

DIN Grotesque Sans Serif Albert Jan Pool – 1995

9/12 x-height: large character width: wide color: dark

9/12 x-height: large character width: narrow color: light

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K kk K Xx h g

Xxhg

9/12 x-height: small character width: narrow color: light

9/12 x-height: average character width: wide, narrow, average color: dark

Baskerville Transitional John Baskerville – 1757

72 point

Gill Sans Humanist Sans Serif Eric Gill – 1926

KK kk X xh g

Xxhg

9/12 x-height: small character width: narrow color: light

9/12 x-height: average character width: narrow color: medium

Adobe Garamond Pro Old Style David Berlow – 1989

72 point

Akzidenz Grotesk Grotesque Sans Serif Robert Slimbach – 1989

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KK kk

X x hg X xhg

72 point

Walbaum Modern Justus Walbaum – 1804

Meta Humanist Sans Serif Erik Spiekermann – 1990

9/12 x-height: large character width: wide color: dark

9/12 x-height: large character width: average color: dark

KK kk X xhg Archer Slab Serif Tobias Frere-Jones

Xxh g

72 point

Helvetica Neo-grotesque Sans Serif Max Miedinger â&#x20AC;&#x201C; 1957

9/12 x-height: average character width: average color: light

9/12 x-height: large character width: wide color: dark.

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KK kk X x hg MrsEaves Old Style David Berlow

Xx h g

72 point

Gotham Geometric Sans Serif Tobias-Frere Jones

9/12 x-height: small character width: narrow color: light

9/12 x-height: large character width: wide color: medium

K kk K Xxhg

X xhg

Didot Modern Firmin Didot – 1784–1811

9/12 x-height: average character width: narrow color: light

72 point

Trade Gothic Grotesque Sans Serif Jackson Burke – 1948

9/12 x-height: large character width: narrow color: medium

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KK kk X x hg

Xxhg

9/12 x-height: small character width: narrow color: light

9/12 x-height: large character width: wide color: dark

Bauer Bodoni Modern Giambattista Bodoni –1798

72 point

Frutiger Humanist Sans Serif Adrian Frutiger – 1975

“NO ONE EVER DISCOVERED ANYTHING NEW BY COLORING INSIDE THE LINES.”

— THOMAS VASQUEZ Art Director, Cyclops Design

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L LEADING RULES + COLOR

Cochin Regular

Leading or linespace Line spacing is the vertical distance between lines of text. Leading is the hot-metal printing term that refers to the strips of lead that were inserted between text measures in order to space them accurately. Leading is specified in points and refers now days to the space between lines of a text block. Leading introduces space into the text block and allows characters to “breathe” so that the information is easy to read. To achieve a balanced and well-spaced text block, leading usually has a higher point size than the text it is associated with, for example 9pt text maybe set with 12pt leading. Most writers use either double-spaced lines or single-spaced lines— nothing in between—because those are the options presented by word processors. These habits are held over from the typewriter era. Originally, a typewriter’s carriage could only move vertically in units of a single line. Therefore, linespacing choices were limited to one, two, or more lines at a time. Double spacing became the default because single-spaced typewritten text is dense and hard to read. But double-spacing is still looser than optimal.

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DIY Using 3 different column widths set the leading to negative, set solid, normal, extreme – negative leading is when the leading is smaller than the type size 9pt/7pt – set solid means the leading and the type size are the same size 9pt/9pt – normal would be something like 9pt/12pt – then you get extreme...

20 character column 9pt/7pt

9pt/9pt

9pt/12pt

9pt/18pt

SUBTLE manifesto glorified

101

40 character column 9pt/7pt 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. Marinettiâ&#x20AC;&#x2122;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.

9pt/9pt

9pt/12pt

9pt/18pt

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103

60 character column 9pt/7pt

9pt/9pt

9pt/12pt

9pt/18pt

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105

“SOME PEOPLE ARE TOXIC. AVOID THEM.” —MILTON GLASER Principal, Milton Glaser Inc., and design educator

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107

M Belizio Regular

KERNING

Kerning Kerning is an adjustment of the space between two letters. The characters of the Latin alphabet emerged over time; they were never designed with mechanical or automated spacing in mind. Thus some letter combinations look awkward without special spacing considerations. Gaps occur, for example, around letters whose forms angle outward or frame an open space (W, Y, V, T). In metal type, a kerned letter extends past the lead slug that supports it, allowing two letters to fit more closely together. In digital fonts, the space between letter pairs is controlled by a kerning table created by the type designer, which specifies spaces between problematic letter combinations. Working in a page layout program, a designer can choose to use metric kerning or optical kerning as well as adjusting the space between letters manually where desired. A well-designed typeface requires little or no additional kerning, especially at text sizes.

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109

m Metric kerning

Metric kerning uses the kerning tables that are built into the typeface. When you select metric kerning in your page layout program, you are using the spacing that was intended by the type designer. Metric kerning usually looks good, especially at small sizes. Cheap novelty fonts often have little or no built-in kerning and will need to be optically kerned.

Belizio Regular

Optical kerning

Optical kerning is executed automatically by the page layout program. Rather than using the pairs addressed in the fontâ&#x20AC;&#x2122;s kerning table, optical kerning assesses the shapes of all characters and adjusts the spacing wherever needed. Some graphic designers apply optical kerning to headlines and metric kerning to text. You can make this process efficient and consistent by setting kerning as part of your character styles.

“I OWE IT ALL TO ART BOOKS, CHOCOLATE AND YOUNG MEN.” BEATRICE WOOD Ceramic Artist, Age 105

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S NT ME

IGN AL

Walbaum Roman

Alignments 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 â&#x20AC;&#x201C; 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. If someone insists that fully justified text is better than left-aligned text, tell them they are wrong. If someone else tells you that leftaligned text is better than justified text, tell them they are wrong. If they are both wrong, then what's right? Alignment is only a small piece of the puzzle. What works for one design might be totally inappropriate for another layout. As with all layouts, it depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design.

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Left aligned, ragged right Speaking just in terms of alignment, left aligned (Flush Left, Ragged Right) text is the most readable. Left aligned text uses the optimum word spacing and letter spacing that the designer built into the font, and the spacing is very consistent so you do not have to struggle through the words at all. And as you read, your key can quickly find the beginning of the next line. 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). If you bump (soft return) words down, be sure to do it as the last south in your final layout. Otherwise when you edit the text, change the type size or column width, alter the layout in any way, you will ed up with tab spaces, empty spaces or line breaks in the middle of your sentences. Fortunately, in flush left alignments you can easily make type corrections and adjust lines, often without effecting the rest of the text. Because you can control where lines end you can try to avoid beginning consecutive lines with the same word. Avoid ending consecutive lines with the same word. And avoid ending lines with the words: the, of, at, a, by...

Center aligned 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, donâ&#x20AC;&#x2122;t center it. As with all layouts, alignment depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design. No matter what alignment you use, remember to pay close attention to hyphenation and word/character spacing as well to insure that your text is as readable as possible. There will undoubtedly be well-meaning friends, business associates, clients, and others who will question your choices. Be prepared to 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.

n Walbaum Roman

Justified alignment

When you justify text, the computer forces the lines to extend to a certain length by adding or deleting space between the words, and sometimes between the letters. Some programs let you specify the minimum and maximum amounts the spacing can adjust, but the computer will override your specifications if necessary.

The greatest problem with justified text, both in terms of readability and aesthetics, is the uneven word spacing and letter spacing: some lines have extra spacing, some less. This irregularity is visually disturbing and interrupts reading. The shorter the line length in relation to the size of the type, the worse this problem becomes because there are fewer words between which to add or delete space. * Please make an example of this in your workbook you can find an example in the folder)

One simple rule for determining whiter a line length is “long enough” to justify is this: The line length in picas should be twice the point size of the type. If you are using 12 point type, the minimum line length you should try to justify is 24 picas (6 picas = 1 inch). For many years, justified type reigned supreme as the way to set most text. But the trend over the past couple of decades has been to allow the natural spacing of flush left text to dominate, losing the structured look of the “block” of text and maximizing readability. SUBTLE

115

O Sabon Roman

JUSTIFICATION

Justification Justify text only if the line is long enough to prevent awkward and inconsistent word spacing. The only time you can safely justify 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 example on the bottom of the previous page.

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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.

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

Widows and orphans Never leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program youâ&#x20AC;&#x2122;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 When a paragraph ends and leaves fewer than seven characters (not words, characters) on the last line, that line is called a widow. Worse than leaving one word at the end of a line is leaving part of a word, the other part being paraphrased on the line above.

o Sabon Italic

Orphans When the last line of a paragraph, be it ever so long, wonâ&#x20AC;&#x2122;t fit at the bottom of a column and must end itself at the top of the next column, that is an orphan. ALWAYS correct this.

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DIY Use one size, one leading, one column width. Justify the text. All you are changing is the justification setting in InDesign. The goal is to find a setting that has a comfortable wordspace and letterspace.

Try 5 different settings using one serif font, try the same settings with a sans serif. (10 Total) â&#x20AC;&#x201C; Change the min, desired, maximum numbers â&#x20AC;&#x201C; Write down the numbers for each setting

Baskerville 9pt/12pt – 60 character column Minimum – 80% Desired – 100% Maximum – 133% Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Minimum – 80% Desired – 100% Maximum – 133%

Minimum – 50% Desired – 100% Maximum – 133% Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. SUBTLE

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Minimum – 20% Desired – 100% Maximum – 133% Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Minimum – 80% Desired – 100% Maximum – 133%

Minimum – 120% Desired – 150% Maximum – 180% Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Minimum – 80% Desired – 100% Maximum – 133%

Minimum – 80% Desired – 150% Maximum – 200% Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Minimum – 80% Desired – 100% Maximum – 133%

Gotham 9pt/12pt – 60 character column Minimum – 80% Desired – 100% Maximum – 133% Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

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Minimum – 80% Desired – 100% Maximum – 133%

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Adobe Garamond Pro Regular

COMBINING TYPEFACES

Combining typefaces When combining serif and sans serif text fonts, one shroud try and 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 idea.

“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.”

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DIY Try the 10 type combinations below. Follow the Type Specimen example (you should already have a lot of this done if you did the homework the first day of this project). You are exploring what typefaces go together and why. You do not need to keep the type sizes the same. If you need to make a font larger or smaller so the x-heights become more similar that is fine. Or you can exaggerate their differences: make the font size larger or a bold or italic...

Combine serif with sans serif 1. Old Style with Humanist sans serif 2. Old Style with Grotesque sans serif 3. Transitional with Geometric sans serif 4. Transitional with Humanist sans serif 5. Modern with Geometric sans serif 6. Modern with Grotesque sans serif 7. New Transitional with Geometric sans serif 8. New Transitional with Grotesque sans serif 9. Slab serif with Geometric sans serif 10. Slab serif with Humanist sans serif 11. Extra: Slab serif with Grotesque sans serif

Type Specimen 1: Old Style and Humanist Sans Serif—Bembo & Meta

Typeface: Bembo Regular

Usage: Pull Quotes, Body Copy

24/24 From this hour I ordain myself loos’d of limits and imaginary lines. Going where I list, my own master total and absolute. Typeface: Bembo Regular and Italic

Usage: Body Copy

11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine. 11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space.The east and the west are mine, and the north and the south are mine.

Typeface: Meta Bold

Usage: Titles

36/36 The east and the west are mine, and the north and the south are mine. Typeface: Meta Caps

Usage: Titles

9/11 The east and the west are mine, and the north and the south are mine. I am larger, better than I thought, I did not know I held so much goodness.

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Type Specimen 2: Old Style with Grotesque Sans Serif—Sabon & Akzidenz Grotesk

Typeface: Sabon Roman

Usage: Pull Quotes, Body Copy

24/24 From this hour I ordain myself loos’d of limits and imaginary lines. Going where I list, my own master total and absolute. Typeface: Sabon Roman and Italic

Usage: Body Copy

11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine. 11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine.

Typeface: Akzidenz Grotesk Bold

Usage: Titles

36/36 The east and the west are mine, and the north and the south are mine. Typeface: Akzidenz Grotesk Light Extended

Usage: Titles

9/11 The east and the west are mine, and the north and the south are mine. I am larger, better than I thought, I did not know I held so much goodness.

Type Specimen 3: Transitional with Geometric Sans Serif—Baskerville & Gotham

Typeface: Baskerville Regular

Usage: Pull Quotes, Body Copy

24/24 From this hour I ordain myself loos’d of limits and imaginary lines. Going where I list, my own master total and absolute. Typeface: Baskerville Regular and Italic

Usage: Body Copy

11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine. 11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine.

Typeface: Gotham Bold

Usage: Titles

36/36 The east and the west are mine, and the north and the south are mine. Typeface: Gotham Condensed Light

Usage: Titles

9/11 The east and the west are mine, and the north and the south are mine. I am larger, better than I thought, I did not know I held so much goodness.

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Type Specimen 4: Transitional with Humanist Sans Serif—MrsEaves & Gill Sans

Typeface: MrsEaves Roman

Usage: Pull Quotes, Body Copy

24/24 From this hour I ordain myself loos’d of limits and imaginary lines. Going where I list, my own master total and absolute. Typeface: MrsEaves Roman and Italic

Usage: Body Copy

11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine. 11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine.

Typeface: Gill Sans Bold

Usage: Titles

Typeface: DIN Medium Alt

Usage: Titles

36/36 The east and the west are mine, and the north and the south are mine. 9/11 The east and the west are mine, and the north and the south are mine. I am larger, better than I thought, I did not know I held so much goodness.

Type Specimen 5: Modern with Geometric Sans Serif—Bodoni & Futura

Typeface: Bauer Bodoni Roman

Usage: Pull Quotes, Body Copy

24/24 From this hour I ordain myself loos’d of limits and imaginary lines. Going where I list, my own master total and absolute. Typeface: Bauer Bodoni Roman and Italic

Usage: Body Copy

11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine. 11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine.

Typeface: Futura Bold

Usage: Titles

36/36 The east and the west are mine, and the north and the south are mine. Typeface: Futura Light Condensed

Usage: Titles

9/11 The east and the west are mine, and the north and the south are mine. I am larger, better than I thought, I did not know I held so much goodness.

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“WITHOUT CONTRAST, YOU’RE DEAD.”

â&#x20AC;&#x201D;PAUL RAND Designer and art director SUBTLE

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Type Specimen 6: Modern with Grotesque Sans Serif—Walbaum & Univers

Typeface: Walbaum Roman

Usage: Pull Quotes, Body Copy

24/24 From this hour I ordain myself loos’d of limits and imaginary lines. Going where I list, my own master total and absolute. Typeface: Walbaum Roman and Italic

Usage: Body Copy

11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine. 11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine.

Typeface: Univers 65 Bold

Usage: Titles

36/36 The east and the west are mine, and the north and the south are mine. Typeface: Univers Condensed

Usage: Titles

9/11 The east and the west are mine, and the north and the south are mine. I am larger, better than I thought, I did not know I held so much goodness.

Type Specimen 7: New Transitional with Geometric—Cheltenham & Gotham

Typeface: ITC Cheltenham Book

Usage: Pull Quotes, Body Copy

24/24 From this hour I ordain myself loos’d of limits and imaginary lines. Going where I list, my own master total and absolute. Typeface: ITC Cheltenham Book and Italic

Usage: Body Copy

11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine. 11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine.

Typeface: Gotham Black

Usage: Titles

36/36 The east and the west are mine, and the north and the south are mine. Typeface: Gotham Condensed Book

Usage: Titles

9/11 The east and the west are mine, and the north and the south are mine. I am larger, better than I thought, I did not know I held so much goodness.

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Type Specimen 8: New Transitional with Grotesque—Bookman and Trade Gothic

Typeface: ITC Bookman Medium

Usage: Pull Quotes, Body Copy

24/24 From this hour I ordain myself loos’d of limits and imaginary lines. Going where I list, my own master total and absolute. Typeface: ITC Bookman Light and Italic

Usage: Body Copy

11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine. 11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine.

Typeface: Trade Gothic Bold

Usage: Titles

36/36 The east and the west are mine, and the north and the south are mine. Typeface: Trade Gothic Condensed No. 18

Usage: Titles

9/11 The east and the west are mine, and the north and the south are mine. I am larger, better than I thought, I did not know I held so much goodness.

Type Specimen 9: Slab Serif with Geometric Sans Serif—Rockwell & Avenir

Typeface: Rockwell Regular

Usage: Pull Quotes, Body Copy

24/24 From this hour I ordain myself loos’d of limits and imaginary lines. Going where I list, my own master total and absolute. Typeface: Rockwell Light and Italic

Usage: Body Copy

11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine. 11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine.

Typeface: Avenir Black

Usage: Titles

36/36 The east and the west are mine, and the north and the south are mine. Typeface: Avenir Medium

Usage: Titles

9/11 The east and the west are mine, and the north and the south are mine. I am larger, better than I thought, I did not know I held so much goodness.

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Type Specimen 10: Slab Serif with Humanist Sans Serif—Memphis & Frutiger

Typeface: Memphis Medium

Usage: Pull Quotes, Body Copy

24/24 From this hour I ordain myself loos’d of limits and imaginary lines. Going where I list, my own master total and absolute. Typeface: Memphis Light and Italic

Usage: Body Copy

11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine. 11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine.

Typeface: Frutiger Bold

Usage: Titles

36/36 The east and the west are mine, and the north and the south are mine. Typeface: Frutiger Condensed

Usage: Titles

9/11 The east and the west are mine, and the north and the south are mine. I am larger, better than I thought, I did not know I held so much goodness.

Type Specimen 11: Slab Serif with Grotesque Sans Serif—Belizio and DIN

Typeface: Belizio Regular

Usage: Pull Quotes, Body Copy

24/24 From this hour I ordain myself loos’d of limits and imaginary lines. Going where I list, my own master total and absolute. Typeface: Belizio Regular and Italic

Usage: Body Copy

11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine. 11/13 From this hour I ordain myself loos’d of limits and imaginary lines, Going where I list, my own master total and absolute, Listening to others, considering well what they say. Pausing, searching, receiving, contemplating, Gently, but with undeniable will, divesting myself of the holds that would hold me. I inhale great draughts of space. The east and the west are mine, and the north and the south are mine.

Typeface: DIN Bold

Usage: Titles

36/36 The east and the west are mine, and the north and the south are mine. Typeface: DIN Medium Alt

Usage: Titles

9/11 The east and the west are mine, and the north and the south are mine. I am larger, better than I thought, I did not know I held so much goodness.

SUBTLE Section Jen’s Type Book

141

USE REAL QUOTATION MARKS—NEVER THOSE GROTESQUE GENERIC MARKS THAT ACTUALLY SYMBOLIZE INCH OR FOOT MARKS: USE “ AND ” — NOT “ AND “.

Q QUOTATIONS

MrsEaves Roman

Baskerville Regular

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TYPEWRITER QUOTATION MARKS ARE THE SINGLE MOST VISIBLE SIGN OF UNPROFESSIONAL TYPE. Baskerville Regular

MrsEaves Roman

Quotation Marks Of course, on a typewriter when you wanted quotation marks you used the typewriter quote marks, the ones that otherwise one would think are inch marks (“) and foot marks (‘). Those symbols are never found, though, as quotation marks in a book, magazine, ad, poster, etc., simply because that is not what they are. Fortunately, the Mac thoughtfully provides us with real quotation marks. Unfortunately, they’re tucked away on one of those invisible keyboards that you can only see with a desk accessory Key Caps (see page 21 for more info on Key Caps). It takes an extra split second to access them, but you get used to it. The subtle, added professionalism they give your work is very well worth the effort, even on the ImageWriter. This is where they are hidden:

Opening double quote:

“

Option [

Closing double quote:

”

Option Shift [

Opening single quote:

‘

Option ]

Closing single quote:

’

Option Shift ]

Do you see the pattern? When you are typing, instead of using the revolting “ key, hold down the Option and/or Shift keys while you press the opening or closing bracket. You may even want to put a piece of tape on those bracket keys and draw in the proper quote marks to remind you exactly where they are. Some software applications will convert the typewriter quotes to the real quotes for you automatically, but it is sensible to get accustomed to placing them yourself. They are also available at your Desktop when you’re naming files, as well as in the Save As… dialogue boxes, in paint programs, database and spreadsheet programs—just anywhere you can type. There is no excuse for not using them.

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There often seems to be confusion where the quotation marks belong when punctuation is involved. These are the guidelines:

Punctuation used with Quotation Marks Commas and periods are always placed inside quotation marks. Always. Really. Colons and semicolons go outside the quotation marks. Question marks and exclamation points go in or out, depending on whether they belong to the material inside the quote or not. Logically, if they belong to the quoted material, the belong inside the quote marks, and vice versa. If more than one paragraph is quoted, the double quote is placed at the beginning of each paragraph, but only at the end of the last one. What an interesting conversation.

“WHEN IN ROME, USE TIMES ROMAN.” — Marty Neumeier Neutron LLC

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R Bembo Regular

APOSTROPHES

USE REAL APOSTROPHES, NOT THE FOOT MARKS: ‘ NOT ‘ Apostrophes This is actually exactly the same as the previous chapter, but it’s set off separately because it is so important and often people don’t connect quotation marks with apostrophes. But the apostrophe is nothing more than a single closing quotation mark. Apostrophe:

’

Option Shift ]

Apostrophe Rules As an aside, people are often confused about where the apostrophe belongs. There are a coupe of rules that work really well:

For possessives: Turn the phrase around. The apostrophe will be placed after whatever word you end up with. For example: the phrase the boys’ camp, to know where the 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.” Another example: the women’s room; “This room belongs to the women.” The big exception to this is “its.” “Its” uses a possessive never has an apostrophe!!! The word it only as an apostrophe as a conjunction.—“it’s” always means “it is” or “it has.” Always. It may be easier if to remember if you recall that yours, hers, and his don’t use apostrophes—and neither should its.

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’ Baskerville Regular

MrsEaves Roman

For contractions: The apostrophe replaces the missing letter.

For example: you’re always means you are; the apostrophe is replacing the a from are. That’s an easy way to distinguish it 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 omission of letters:

In a phrase such as Rock ’n’ Roll, there should always be an apostrophe before and after the n, because the a and the n 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 places of the f. There is no earthly reason for the 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 their be? It is not possessive, nor is it a contraction—it’s simply plural

“IF I WORK ON THIS PROJECT ANY LONGER I’M GOING TO START OVULATING.”

— JIM LIENHART Principal, Lienhart Design, on an extremely arduous logo design project for a women’s personal hygiene project SUBTLE

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Bookman Light

PARAGRAPH BREAKS

Paragraph breaks Paragraph breaks set a rhythm for the reader. The breaks have a relationship with the column of text as well as the page margins. A break may be 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

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DIY Explore at least 10 different ways to show that there are 3 paragraphs. The investigation should be of new and different ways to show a paragraph break. Begin with 8.5/12 as a baseline size and leading. You may make text smaller or larger to show a new paragraph. Use the â&#x20AC;&#x153;Tschicholdâ&#x20AC;? grid for this exercise. Create an area on the page that can be consistent for all 10 explorations, you are exploring only how to show a paragraph break NOT how to alter layouts. There is a big difference.

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as Futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in libertà, by which poetry was to become “an uninterrupted sequence of new images… strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom–of–the–world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst (circa 1915), “Everything of any value is theatrical.”

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

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

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uturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. ut it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as Futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

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

“GOD SAVE OUR FILES!” — RASTKO CIRIC Poster designer and instruction, University of Arts, Belgrade

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T Adobe Caslon Pro

HEADERS AND SUBHEADS

Headers and subheads The two largest type elements on the page are the heads and the subheads. The heads are the titles given to the main dividers of sections in the text. The subheads are the titles of the secondary areas of division in the text. Since headlines are the most important element on the page, typographically speaking, they should be given the greatest importance. This may mean size, but there are other ways to create emphasis. The subheads are of secondary importance; they should be set large enough to clearly differentiate from the text copy, but small enough to be less important than the headline. Heads and subheads are elements for which a designer can use type creatively. They should be the most dynamic element on the page.

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Kerning Adjust the space between letters according to your sensitive visual preference. One of the most important things a professional typesetter does for a client is kern the type. Kerning is the process of removing small unites of space between letters in order to create visually-consistent letterspacing; the larger the letters, the more critical it is to adjust their spacing. Awkward letterspacing not only looks nĂ¤ive and unprofessional, it can disrupt the communication of the words. Look carefully at these two examples:

WASHINGTON WASHINGTON

unkerned kerned

The secret of kerning is that it is totally dependent on your eye, not on the machine. In the first example, each letter has mechanically the same amount of space on either side of it. Some spaces appear to be larger because of the shape of the letterâ&#x20AC;&#x201D;angled or rounded. Each character presents a different visual impression on the page, and reacts with other letters according to their particular combinations of dark and light space. These impressions can be broken down into a few generalized combinations

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

HO OC OT

A vertical next to a curve needs less space.

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

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

DIY Using 6 solutions from your the paragraph break investigation add the header and subhead to the text. Important questions to ask yourself: How are the headers/subheads treated? How to they relate to the text? How to the react to the page? Please use all of the following text: the text is the same from the last exercise you are just adding a header and subheads. Look back at your font combinations to get an idea on typefaces you

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WORDS IN LIBERTY A Prologue to Futurism

Radical mix of art and life.

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

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

A Prologue to Futurism

Radical mix of art and life.

WORDS IN LIBERTY

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WORDS IN LIBERTY A Prologue to Futurism

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

WORDS IN LIBERTY A Prologue to Futurism

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

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A Prologue to Futurism

WORDS IN LIBERTY

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

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

A Prologue to Futurism

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U CAPTIONS

AND NOTES

ITC Cheltenham Book

Footnotes and endnotes Footnotes and endnotes are necessary components of scholarly and technical writing. Theyâ&#x20AC;&#x2122;re also frequently used by writers of fiction, from Herman Melville (Moby-Dick) to contemporary novelists. Whether their intent is academic or artistic, footnotes present special typographic challenges. Specifically, a footnote is a text element at the bottom of a page of a book or manuscript that provides additional information about a point made in the main text. The footnote might provide deeper background, offer an alternate interpretation or provide a citation for the source of a quote, idea or statistic. Endnotes serve the same purpose but are grouped together at the end of a chapter, article or book, rather than at the bottom of each page. These general guidelines will help you design footnotes and endnotes that are readable, legible and economical in space. (Note that academic presses and journals can be sticklers for format: before proceeding, check with your client or publisher to see if they have a specific stylesheet that must be followed.)

Numbers or symbols 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.

Size 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 theyâ&#x20AC;&#x2122;re smaller, footnotes and endnotes should still remain at a readable size.

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WORDS IN LIBERTY A Prologue to Futurism

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

Radical mix of art and life.

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

• parole in libertà = words set free (liberty)

• selbst = himself

parole in libert = words set free (liberty)

selbst = himself

A Prologue to Futurism

Radical mix of art and life.

WORDS IN LIBERTY

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

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

parole in libertà = words set free (liberty)

selbst = himself

WORDS IN LIBERTY A Prologue to Futurism

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

parole in libertà = words set free (liberty) selbst = himself

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

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A Prologue to Futurism

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

WORDS IN LIBERTY

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

[2] parole in libertà = words set free (liberty)

selbst = himself

[3]

WORDS IN LIBERTY Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988

A Prologue to Futurism

parole in libertà = words set free (liberty)

selbst = himself

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V Filosofia Regular

FONT SPECS

Archer

CLASSIFICATION: SLAB SERIF

MaxogGdQRst BOOK 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 ( ) { } ? ! @ & * HAIRLINE

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

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 { } ? ! @ & *

BOLD ITALIC

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

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CLASSIFICATION: GROTESQUE

Akzidenz Grotesk

MaxogGdQRst ROMAN 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 ( ) { } ? ! @&* BOLD

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 90(){}?!@&*

Baskerville

CLASSIFICATION: TRANSITIONAL

MxaogGdQRt REGULAR 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 ( ) { } ? ! @ &* SMALL CAPS

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

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

BOLD

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

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CLASSIFICATION: SLAB SERIF

Belizio

MxagGdQrR REGULAR 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 567890(){}?!@&* ITALIC

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 90(){}?!@&* BOLD

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4567890(){}?!@&* BLACK ITALIC

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

Bell Gothic

CLASSIFICATION: GROTESQUE

MxagGdQrRI LIGHT 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 ( ) { } ? ! @&* BOLD

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

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

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CLASSIFICATION: OLD STYLE

Bembo

MxnogGdQrRst REGULAR 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 ( ) { } ? ! @&* ITALIC

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

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

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

Bookman

CLASSIFICATION: NEW TRANSITIONAL

MxaogGdQrR REGULAR 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(){}?!@&* ITALIC

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 567890(){}?!@&* BOLD ITALIC

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 567890(){}?!@&*

SUBTLE

191

CLASSIFICATION: MODERN (DIDONE)

Bodoni

MxaogGdQrRst REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @&*123456789 ITALIC

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

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

AaBbCcDdEeFfGgHhIiJjKkLlMm NnOoPpQqRrSsTtUuVvWwXxYyZz 123 4567890(){}?!@&*

Caslon

CLASSIFICATION: TRANSITIONAL

MxanogGdQRt REGULAR

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

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

c h i k l Ss T t 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.

SWASH

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Z ORNAMENT

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

SUBTLE

193

CLASSIFICATION: TRANSITIONAL

Century Schoolbook

MxaogGdQrRt REGULAR A basic system for classifying typefaces was devised in the nineteenth century, when printerssoughttoidentifyaheritagefortheir 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 periodsinartandliterature.Designersinthe 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 NnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890(){}?!@&*12345 6789 ITALIC

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 890(){}?!@&* BOLD ITALIC

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

CLASSIFICATION: OLD STYLE

Cheltenham

MaxogGdQrRs REGULAR 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 ( ) { } ?!@&* ITALIC

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

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

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

SUBTLE

195

CLASSIFICATION: MODERN

Cholla

MaxnogGdQrRst UNICASE 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 123 4567890(){}?!@&* REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 123 4567890(){}?!@&*

Clarendon

CLASSIFICATION: SLAB SERIF

MxagGdQrRt LIGHT 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 90(){}?!@&* REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 90(){}?!@&* BOLD

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 90(){}?!@&*

SUBTLE

197

CLASSIFICATION: GRID BASED SANS SERIF

Clicker

MaxnogGdQRs REGULAR Abasicsystemforclassifyingtypefaceswas devised in the nineteenth century, when printerssoughttoidentifyaheritagefortheir own craft analogous to that of art history. Humanistletterformsarecloselyconnected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These threemaingroupscorrespondroughlytothe Renaissance,Baroque,andEnlightenment periodsinartandliterature.Designersinthe twentiethandtwenty-firstcenturieshave continuedtocreatenewtypefacesbasedon 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 123 4567890(){}?!@&*

Didot

CLASSIFICATION: MODERN

MxaogGdQrRt REGULAR

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?!@&*123456789 ITALIC

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

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

SUBTLE

199

CLASSIFICATION: GROTESQUE

DIN

MaxnogGdQrRt LIGHT 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 ( ) { } ? ! @ & *123456789 REGULAR

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

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

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

DIN

CLASSIFICATION: GROTESQUE

MaxngdQHAMBURG LIGHT 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.

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *123456789 REGULAR CONDENSED

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

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

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

SUBTLE

201

CLASSIFICATION: BLACKLETTER

Disturbance

MxnatQbWFGdR REGULAR 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 1234567890(){}?!@&*12345 6789 ITALIC

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

BOLD

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 890(){}?!@&*

CLASSIFICATION: BLACKLETTER

Fette Fraktur

MxnaopQrRtf REGULAR 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 4567890(){} ?!@&*

SUBTLE

203

CLASSIFICATION: MODERN

Filosofia

MxnaopQrRtfGg REGULAR 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 4567890(){}?!@&* FRACTIONS

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

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

CLASSIFICATION: GROTESQUE

Franklin Gothic

MaxodQRtfgG BOOK 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 ( ) { } ? ! @&* DEMI

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 67890(){}?!@&* CONDENSED

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 123 4567890(){}?!@&*

SUBTLE

205

CLASSIFICATION: HUMANIST

Frutiger

MaxodQRtfGg 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.

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4567890(){}?!@&* REGULAR

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4567890(){}?!@&*

Futura

CLASSIFICATION: GEOMETRIC

MxaopQRstGg BOOK

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 67890(){}?!@&* EXTRA BOLD

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

SUBTLE

207

CLASSIFICATION: HUMANIST

Gill Sans

MaxnbyogGQRt REGULAR 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 ( ) { } ? ! @ & * ITALIC

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 123 4567890(){}?!&*

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 90(){}?!@&*

Gotham

CLASSIFICATION: GEOMETRIC

MayogGdQRt BOOK 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(){}?!@&* BOLD

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 90(){}?!@&* ITALIC

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

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

SUBTLE

209

CLASSIFICATION: GROTESQUE

Helvetica

MaoygGdQrRt

REGULAR

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

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

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

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

Interstate

CLASSIFICATION: NEO-GROTESQUE

MaoygGdQrRt REGULAR 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 ( ) {}?!@&* BOLD

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 90(){}?!@&* BOLD CONDENSED

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4567890(){}?!@&*

SUBTLE

211

CLASSIFICATION: SCRIPT

Kunstler Script

MayoGdQrRst

REGULAR

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CLASSIFICATION: TRANSITIONAL SLAB SERIF

Melior

MayogGdQrRt REGULAR 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 ( ) {}?!@&* ITALIC

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

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

SUBTLE

213

CLASSIFICATION: SLAB SERIF

Memphis

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4567890(){}?!@&*