Typography: Structures.

Structures

Stefania Maria Padalino | Art 227 - Typography: Structures | Instructor: John Nettleton | Oregon State University | June 9, 2004

DYNAMIC ENERGY

Typography

Stefania Maria Padalino | Art 227 - Typography: Structures | Instructor: John Nettleton | Oregon State University | June 9, 2004

Foreword

This book is a very short summary of a course I took this year at Oregon State University, Art 227 Typography: Structures with John Nettleton.

What I have learned about letterforms and typography is that letters have a life and dignity of their own, as Robert Bringhurst said. “Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn.

Well-chosen words deserve well-chosen letters; these in turn deserve to be set with affection, intelligence, knowledge, and skill.Typography is a link, and it ought, as a matter of honor, courtesy, and pure delight, to be as strong as the others in the chain.”

I am impressed with the way the textbooks I have read for this class talk about letters and typography.

I feel like I am approaching almost a sacred subject, and if nothing else, I should regard it with respect.

SMP

“Typography is concerned with the structuring and arranging of visual language. Both typeform and typography are designed to convey a message.

The question of how typography is used to convey a message can be divided into two parts, typography as appearance or style, and the practicalities of working with typography, such as legibility, scale and formatting.”

Phil Baines & Andrew Haslam

“In all stages of the historical development of the world, the written word and typography have [sic] been a fundamental ingredient in human culture.

Only a few specialists are, however, familiar with their background and effect.Whereas the names of the innovators in the “classical disciplines”, [sic] such as painting, music and literature, are common knowledge, those of type designers and typographers of all historical periods are largely unknown; only a few appreciate the significance of their work.

Yet the effects of text and typography on all spheres of human activity are constantly present. They influence the fields of aesthetics and technology, of the arts and economics.

Without them the rapid exchange of information we take for granted in our contemporary world would be inconceivable.”

Typography–An Encyclopedic Survey of Type Design and Techniques

Contents 2 Letters 4 Letterspacing 6 Kerning 8 Column width 10 Leading 12 Alignment 14 Rags 16 Ligatures 18 Hanging punctuation 20 Expressing Hierarchy 22 Normative studies phase II

ascender height cap height median baseline descender height

Baseline The imaginary line defining the visual base of letterforms.

x-height The height in any typeface of the lowercase ‘x.’

Median the imaginary line defining the x-height of letterforms.

Ascender The portion of the stem of a lowercase letterform that projects above the median.

Mphx

x-height

Descender That portion of the stem of a lowercase letterform that projects below the baseline

Comparing typefaces

Letters

The design and use of typefaces as a means of visual communication from calligraphy to the ever-developing use of digital type is the broad use of the term typography.

However, the art and practice of typography began with the invention of moveable type and the printing press.

Typography is sometimes seen as encompassing many separate fields from the type designer who creates letterforms to the graphic designer who selects typefaces and arranges them on the page.

Important to remember

Bembo

Typography

Caslon

Typography

Baskerville

Typography

Bodoni

Typography

Helvetica

Typography

Univers

Typography

Typography exists to honor content.

Letters have a life and dignity of their own.

Read the text before designing it.

Give full typographic attention even to incidental details.

“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.Typography is concerned with the structuring and arranging of visual language.”

Robert Bringhurst

“As with any craft that has evolved over 500 years, typography employs a number of technical terms.

These mostly describe specific part of letterforms.

It is a good idea to familiarize yourself with this lexicon.

Knowing a letterform’s component parts makes it much easier to identify specific typefaces.”

Make the visible relationship between the text and other elements.

Choose a typeface or a group of faces that will honor and elucidate the character of the text.

John Kane

2

‘Don’t letterspace the lower case without a reason.’

Robert Bringhurst

Normal tracking

Letterspacing

Ideas “The space between letters is integral to all typography.

A particular letterspace may enhance or destroy the aesthetic quality of a typeface or the legibility of text.‘A man who would letterspace lower case would steal sheep,’ Fredirec Goudy liked to say. If this wisdom needs updating, it is chiefly to add that a woman who would letterspace lower case would steal sheep as well.

Normal letterspace is related to the counterforms of lower case letters.Typefaces with large counterforms require more letterspace than typefaces with small counterforms.

Letterspace must be decisive, either in harmony with or in strong contrast to the counterforms of lower case letters.

For text, most typefaces set with the default set width appear too tight. Additional letterspace improves legibility and aesthetic quality. Unprofessional typesetting is generally cause not by the choice of typeface, but by too much, too little, or irregular letterspacing.Nevertheless, like every rule, this one extends only as far as its rationale.The reason for not letterspacing lower case is that it hampers legibility. But, there are some lowercase alphabets to which this principle doesn’t apply.

Everything is connected to everything else and searching for solutions often requires being alert to spot the unlikely connections...

In Critique magazine Marty Neumeier writes:“If idea-making can’t be reduced to a system, perhaps it can be expressed in a formula.

Like the workings of the internal combustion engine, the conceptual process can be seen as a series of controlled explosions that drive ideas forward.

In a car engine, when fuel is mixed with fresh air and ignited by a spark, the wheels turn and the car accelerates. In the human mind, when a problem is mixed with a new perspective and exposed to intuition, the wheels turn and we arrive at a new concept. Problem + fresh perspective x intuition = concept.

Tight tracking Ideas Everything is connected to everything else and searching for solutions often requires being alert to spot the unlikely connections...

In Critique magazine Marty Neumeier writes:“If idea-making can’t be reduced to a system, perhaps it can be expressed in a formula.Like the workings of the internal combustion engine,the conceptual process can be seen as a series of controlled explosions that drive ideas forward.

In a car engine,when fuel is mixed with fresh air and ignited by a spark,the wheels turn and the car accelerates.In the human mind,when a problem is mixed with a new perspective and exposed to intuition,the wheels turn and we arrive at a new concept.Problem + fresh perspective x intuition = concept.

(Robert Bringhurst)

When letterspacing is too tight, the type appears patchy, disrupted by clusters; when too open, it looks scattered and framented.

In both instances,the type is irritating and tiresome to read.

The correct letterspacing in continuous text is a subtle question of balance: what is the optimum space that sufficiently separates the letters without creating a string of disconnected elements that are difficult to grasp? The answer depends on the typeface and size, and the visual result intended by the typographic designer.

For both serif and sans serif type the optimum letterspace for text is determined by the counterforms of the lower case letters.

Typefaces with small counterforms require less space between letters that those with large counterforms. If the letterspace is visually larger than the median counterforms of the lower case letter, the type appears too open. On the computer, most design applications adopt an average set width intended to work with all type sizes.

For most typefaces, however, text composed with this setting appears too tight, requiring the letterspace to be increase for optimum legibility and aesthetic quality. In sizes larger than 24 point, most typefaces composed with an average set width appear too open.

Display sizes generally require a decrease in letterspacing.

In large type sizes, individual letterforms are visually more distinct, making it important to pay special attention to the letterforms in relation to each other.”

Willi Kunz, Macro-and Microaesthetic

Loose tracking Ideas E ve r y t h i n g i s c o n n e c t e d t o eve r y t h i n g e l s e a n d s e a rc h i n g f o r solutions often requires being aler t to spot the unlikely connections...

In Cr itique magazine Mar ty Neumeier wr ites:“ If idea-making c a n ’t b e re d u c e d t o a system, perhaps it can be expressed in a for mula.

Like the workings of the internal c o m bu s t i o n e n g i n e, t h e c o n c e p tual process can be seen as a ser ies of controlled explosions that dr ive ideas forward. In a car eng ine, when fuel is mixed with fresh air and ignited by a spark, the wheels t u r n a n d t h e c a r a c c e l e r a t e s .

In the human mind, when a problem is mixed with a new per spective and exposed to intuition, the wheels turn and we arrive at a new concept. Problem + fresh perspective x intuition = concept.

4

Kerning

“The term ‘kerning’ describes the automatic adjustment of space between letters. Because kerning removes space between letters, it is often mistakenly referred to as ‘letterspacing.’ In fact, letterspacing means adding space between letters, not removing it. For our purposes,the term ‘tracking,’ used in most computer program that incorporate typesetting, best describes the addition or removal of space between letters. Keep in mind that even the best tracking table sometimes requires minor adjust ments, especially at larger point sizes.”

John Kane

“ Kerning can increase consistency of spacing in word like Washington or Toronto, where the combinations Wa and To are kerned, But names like Wisconsin,Tübingen,Tbilisi and Los Alamos, as well as common words like The and This, remain more or less immune to alteration. Hand compositors rarely kern text sizes, because their kerning pairs must be manually fitted, one at a time. Computerized typesetting makes extensive kerning easy, but judgment is still required, and the computer does not make gook judgment any easier to come by. Too little kerning is preferable to too much, and inconsistent kering is worse than none.

Type design is an art practiced by few and mastered by fewer, but font-editing softwaremakes it possible for anyone to alter in a moment the widths and shapes of letters to which as artist may have devoted decades of study, years of inspiration and a rare concentration of skill.The power to destroy such a type designer’s work should be used with caution.

And arbitrarily condensing or expanding letterforms is the poorest of all methods for fitting un-editable copy into unalterable space.”

Robert Bringhurst

“Kern consistently and modestly or not at all.

Don’t stretch the space until it breaks.”

Robert Bringhurst

Originally, the term ‘kern’ described the portion of a letterform that extended beyond the body of the type slug. Today the term ‘kerning’ describes the automatic adjustment of space between letters.

Because kerning removes space between letters, it is often mistakenly referred to as ‘letterspacing.’ In fact, letterspacing means adding space between letters, not removing it.

“ Visually awkward combinations, such as Ke, LT,ey, vo, are improved by reducing the space between the individual letters. Adjusting the letterspace between two letters is known as kerning.Words set in all capital letters also require attention to the space between individual letters.

The particular combinations of letterforms determine whether space needs to be added or subtracted to achieve a visually even composition.The optimum letterspace for a word set in all capital letters is determined by letters with large counterforms, such as C, D, G, O, Q, or with large surrounding space, such as L, T, V, Q,Y. if any of these letters stand apart, the space between the other letters needs to be increased. Ultimately, every letter should unobtrusively integrate itself into the visual form of the word.Unprofessional typesetting is generally cause not by the choice of typeface, but by too much, too little, or irregular letterspacing.”

Ye Ye With kerning

Without kerning

Willi Kunz, Macro-and Microaesthetic

6

Column width

“ The question of column width is not merely one of design or format; the question of legibilityis of equal importance.

The reader should be able to read the message of a text easily and comfortably. This depends to a not inconsiderable extent on the size of the type, the length of the lines, and the leading.Printed matter in normal format is generally read with the eye at a distance of 30-35 cm.The size of the type should be calculated with this distance in mind. Both too small and too large a type costs the reader an effort. He tires more rapidly.

According to a well-known empirical rule there should be 7-10 words per line, for a text of any length of the line can be readily calculated. So as to keep the type area light and open in appearance, we have to determine the leading, i.e. the vertical distance from line to line, so that it suits the size of type. Photo- typesetting has brought an additional problem; namely, that of the spacing between letters. In lead type the distance between the letters was determined by the body size an equalized. In photo-typesetting the distance between letters has to be adjusted a new every time in the photosetting machine.

Hence the irregularity of the typeface and the, unfortunately, usually too closely set letters.The designer is well advised when ordering photo-typesetting to insist on normal spacing between the letters.

“ Practical experience has shown that the column width of most printed matter (magazines, brochures) contain from 5 to 8 words, averaging 40 to 60 characters. Even though there are no standards for the number of characters per line, we can take the average number of 40 to 60 characters as being an easily readable quantity.Type sizes for continuous text matter are between 8 and 12 points. Well-leaded lines emphasize the horizontal and make reading easier. In each kind of work (e.g. book or display pane), the dimensions of the page size or format are an important factor in determining the arrangement of columns. Where display lines are placed on above another, the space between lines has to be judged optically. In some cases equal line-spaces (leading) has an unequal optical effect.

Such “errors” are overcome by different variations of linespacing.”

Ruedi Rüegg

“Every difficulty standing in the reader’s way means loss of quality in communication and memorability.

Just as overlong lines tire, so do overshot ones. The eye find the long line strenuous to read because too much energy must be spent keeping the horizontal line in sight over a long distance. In the case of the too short line, the eye is copelled to change lines too often and this again wastes energy.

The right width of column is essential for an even and pleasant rhythm of reading which enables the reader to relax and concentrate wholly on the content.”

Column width medium

Grid Systems in Graphic Design

“Choose a comfortable measure.”

Robert Bringhurst

Column width short

Column width long

8

Leading

“ Leading calls for just as close attention as the width of the lines.

For, like lines which are too long or too short, leading can also affect the type area and hence the readability of the text.

Lines that are too narrowly set impair reading speed because the upper and lower lines are both taken in by the eye at the same time.The eye cannot focus on excesi-vely close so accurately that one line alone is read without the immediate surrounding area also entering the visual field.The eye is distractires more easily.The same also holds true in respect of lines that are too widely space.The reader has trouble in linking up with the next line, his uncertainty grows, and fatigue sets in earlier. Good leading can carry the eye optically form one line to the next, giving it confidence and stability, and enabling it to absorb and remember more easily what has been read.

Where reading is smooth and easy, the meaning content of the words is gra-sped more clearly; they acquire more character and expression and etch themselves more sharply on the mind.

Proper leading is one of the most important factors in obtaining a harmonious and functional type area which is aestheti cally pleasing and will stand the test of the time. Another point calling for attention concerns the type area containing 3, 4 or more different type sizes.To ensure a regular and attractive typographic design the leads for the various type sizes must be adjusted to one another.The size of the leads determines the number of lines that can be accommodated on a printed page.

The larger the leads, the smaller the number of lines that can be placed on a page.”

Ideas Everything is connected to everything else and searching for solutions often requires being alert to spot the unlikely connections…

In Critique magazine Marty Neumeier writes: “If idea making can’t be reduced to a system, perhaps it can be expressed in a formula. Like the workings of the internal combustion engine, the conceptual process can be seen as a series of controlled explosions that drive ideas forward.

In a car engine, when fuel is mixed with fresh air and ignited by a spark, the wheels turn and the car accelerates.

In the human mind, when a problem is mixed with a new perspective and exposed to intuition, the wheels turn and we arrive at a new concept. Problem + fresh perspective x intuition = concept. An example of this formula in practice is the invention of the printing press. Gutenberg could not figure out how to press a large number of letter seals onto a single sheet of paper at the same time.

One day at a wine festival (after sampling a glass or two), he began to look carefully at a wine press. Suddenly he realized that the wine press, with minor alterations, might be transformed into a printing press. Mein Gott! The simple mixture of two ideas, the letter seal and the wine press, sparked by a little imagination, produced one of the greatest inventions of the Renaissance.”

9/9 Bembo

Idea Everything is connected to everything else and searching for solutions often requires being alert to spot the unlikely connections…

In Critique magazine Marty Neumeier writes:“If idea

From Grid Systems in Graphic Design

making can’t be reduced to a system, perhaps it can be expressed in a formula. Like the workings of the internal combustion engine, the conceptual process can be seen as a series of controlled explosions that drive ideas forward. In a car engine, when fuel is mixed with fresh air and ignited by a spark, the wheels turn and the car accelerates. In the human mind, when a problem is mixed with a new perspective and expo-

“Choose a basic leading that suits the typeface, text and measure.”

Robert Bringhurst

sed to intuition, the wheels turn and we arrive at a new concept.

Problem + fresh perspective x intuition = concept.

An example of this formula in practice is the invention of the printing press. Gutenberg could not figure out how to press a large number of letter seals onto a single sheet of paper at the same time. One day at a wine festival (after sampling a glass or two), he began to look carefully at a wine press.

Suddenly he realized that the wine press, with minor alterations, light be transformed into a printing press. Mein Gott!

9/14 Bembo

The simple mixture of two ideas, the letter seal and the wine press, sparked by a little imagination, produced one of the greatest inventions of the Renaissance.”

10

Alignment

Traditionally, it was common practice to set type in a justified alignment.This was done for reasons of efficiency; in addition it was more familiar and was considered to be more refined. In the 1920s, designer began to question this typographic convention and experiment with alternative text setting styles. Unjustified and asymmetrical typography began to find widespread acceptance. Among experimental typographic designers was Herbert Bayer, who said, “I have long believed that our conventional way of writing and setting type could be improved for easier I started to abandon the flush-left-and-right system for short lines of text and have introduced the flush-left system, leaving a ragged-right outline.

“ There are appropriate reasons for setting either justified or unjustified typography, but type set flush left and ragged right promotes greater legibility. If properly used, flush-left, ragged-right typography provides visual points of reference that guide the eye smoothly down the page from line to line. Because each line is either shorter or longer than the next, the eye is cued from one to another. Lacking are visual cues that promote easy reading.With the use of unjustified typography, wordspacing is even, creating a smooth rhythm and a consistent texture. The indiscriminate placement of additional space between works in order to justify lines causes awkward gaps or “rivers” in paragraphs, which are disruptive to reading. Hyphenations at the end of lines should be used whenever possible to keep wordspacing consistent.”

Flush left

Flush right

This format most closely mirrors the asymmetrical experience of handwriting.

Each line starts at the same point but ends wherever the last word on the line ends. Spaces between words are consistent throughout the text, allowing the type to create an even gray value.

This format places emphasis on the end of a line as opposed to its start. It can be useful in situations (like captions) where the relationship between text and image might be ambiguous without a strong orientation to the right.

Justified

Centered This format imposes symmetry upon the text, assigning equal value and weight to both ends of any line.

It transforms fields of text into shapes, thereby adding a pictorial quality to material that is non-pictorial by nature.

Because centered type creates such a strong shape on the page, it’s important to amend line breaks so that the text does not appear too jagged.

Like centering, this format imposes a symmetrical shape on the text. It is achieved by expanding or reducing spaces between words and, sometimes, between letters. The resulting openness , of lines can occasionally produce ‘rivers of space running vertically trough the text. Careful attention to line breaks and hyphenation is required to amend this problem whenever possible.

Typographic Design

“Shape the page and frame the textblock so that it honors and reveals every element, every relationship between elements, and every logical nuance of the text.”

Robert Bringhurst

12

example of soft rag

Rags

In justified text, there is always a trade-off between evenness of word spacing and frequency of hyphenation. The best available compromise will depend on the nature of the text as well as on the specifics of the design. Good compositors like to avoid consecutive hyphenated line-ends, but frequent hyphens are better that sloppy spacing, and ragged setting is better yet. Narrow measures – which prevent good justification are commonly used when the text is set in multiple columns. Setting ragged right under these conditions will lighten the page and decrease its stiffness, as well as preventing an outbreak of hyphenation. Many unserifed faces look best when set ragged no matter what the length of the measure.

And monospaced fonts, which are common on typewriters, always look better-set ragged, in standard typewriter style.

A typewriter (or a computer-driven printer of similar quality) that justifies its lines in imitation of typesetting is a presumptuous machine, mimicking the outer form instead of the inner truth of typography.

example of medium rag

“When setting ragged text with a computer, take a moment to refine your software’s understanding of what constitutes an honest rag. Many programs are predisposed to invoke a minimum as well as a maximum line. If permitted to do so, whether they are ragging or justifying the text. Ragged setting under these conditions produces an orderly ripple down the righthand side, making the text look like a neatly pinched piecrust.This approach combines the worst features of justification with the worst features of ragged setting, while eliminating the principal virtues of both. Unless the measure is excruciatingly narrow, it is usually better to set a hard rag.This means a fixed word space, no minimum line, and no hyphenated linebreaks.”

“Set ragged if ragged setting suits the text and the page.”

Robert Bringhurst

example of hard rag

“ When setting ragged-right test, care should be taken not to rag the type too much. Uncontrolled line breaks of erratic rhythm can create awkward spaces that inhibit reading. In ragged-right type, care should be given to the selection of interline spacing, for it influences legibility and appearance. Spatial consistency and rhythmic line breaks result from careful typographical decisions.

The breaking of lines can be determined by the author’s meaning rather tan by appearance. This method, sometimes referred to as ”thought-unit” typography, arranges lines into discrete parts related to the meaning of the text. Ragged right lines may be of any length, with line breaks that are logical and focus on the intended message of the writer.”

Typographic Design

Robert Bringhurst

14

Ligature

“Ligatures combine two or three letters into a single character. They are available on in expert fonts, and are crucial for the refined setting of serf type. The ligatures fi an fl are, because of their frequency, the most important.

Letterspaced text precludes the use of ligatures.”

ff fi fl ffi ffl

Willi Kunz

Use the ligatures required by the font, and the characters required by the language, in which you are setting type.

In most roman faces the letter f reaches into the space beyond it.

In most Italics, the f reaches into the space on both sides.

Typographers call these overlaps kerns. Only a few kerns, like those in the arm of the f and the tail of the j, are implicit in a normal typefont.

Robert Bringhurst

“If you wish to avoid ligatures altogether, restrict yourself to faces that don’t require them.

Willi Kunz

ff fi fl ffi ffl Bembo, set without ligatures (above) and with ligature (below)

AE ae Æ æ

16

Hanging Punctuation Examples of Hanging Punctuation Compare these two examples of a pull-quote without and with hanging punctuation: “Attention to typographic detail is one aspect of design that separates the amate“ Attention to typographic detail is one aspect of design that separates the amate-

“Attention to typographic detail is one aspect of design that separates the amateurs from the pros.Today's software makes some of these details of typography easier than ever to accomplish.

Hanging punctuation, commonly used for pull-quotes, creates the illusion of a uniform edge for the text, with the punctuation outside the margins.

It's also called optical alignment.

Beyond punctuation, optical margin adjustments may be used to make subtle shifts to allow for the shapes of letters and serifs, such as extending the edge of initial caps outside the outer margin.

The eye craves order and alignment. However, technically aligned text doesn't always look as if it is perfectly aligned because of the shape and size of characters in text, especially punctuation. Optical alignment makes text edges look more orderly and balanced. At typical body copy sizes, optical misalignment is rarely noticeable. However, at the larger text sizes used for pull-quotes and headlines the use of hanging punctuation adds a touch of refinement to the layout. It may take extra time to hang your punctuation, especially if your software has no automatic alignment options, but the results are noticeable.

Designing with Hanging Punctuation In some programs, such as Adobe Illustrator and Adobe InDesign, hanging punctuation is an automated function. For other programs it requires some manual manipulation of the text. For programs that don't have automatic options to hang punctuation you can use kerning or invisible characters to create the hanging punctuation effect.To manually hang the initial (left) quotation mark in a pull-quote: Method 1 1. Add a space in front of the left quotation mark 2. Kern the space to the left (negative kern value) until it moves outside the margin Note:The quotation mark may not show up on screen once kerned but it will print.

Method 2 • Apply a hanging indent to the paragraph so that the quotation mark extends to the left of the optical margin for the remainder of the text.

• Or, create a paragraph style or style sheet with a hanging indent.

http://desktoppub.about.com

18

Expressing Hierarchy

In most circumstances, a designer’s first goal is to make material comprehensible to a reader. In other words, you should understand the material well enough to know how someone else needs to read it to make the best sense out of it.This understanding happens on two levels: content and form.The recipe opposite is a fairly straightforward presentation of the making of an apple tart.With the exception of one or two terms specific to cooking, its content does not require any special knowledge. However, in its form–the manner in which information is set and place on a page–the process it describes can be made clearer than it appears as plain typescript.To understand the form, you must first understand the kinds of information the recipe contains and then rank it according to levels of importance, thereby creating a hierarchy. In this recipe there are the following levels of information:

title (1) subtitles (2) text (3).

Establishing a format After analyzing and organizing the content, devise a format that expresses differences within the text. Because the line length required for easy reading of directions is more or less twice the line length required for a list of ingredients, the area within the margins of the sheet is divided vertically into three intervals, or columns. Ingredients cross-align with the directions that refer to them. Single line spaces indicate breaks between paragraphs. Double line spaces indicate breaks between sections of text.

John Kane

Within the text there are ingredient lists (3A) oven temperature instructions (3B) directions (3C).

Successfully setting this recipe in type requires that you make each of these distinctions clear to the reader.

20

Normative Studies

phase 2 Optimum of study three

Optimun of study one

Optimum of study two

22

Bibliography Carter, Rob, Day, Ben, and Meggs, Philip.

Typographic Design: Form and Communication.

John Wiley & Sons, Inc.Third Edition.

Kane, John. A type primer. Prentice Hall, Inc. 2003 Bringhurst, Robert.The Elements of Typographic Style.

2nd rev. ed. Point Roberts,WA: Hartley & Marks, 1996.

Kunz,Willi.Typography: Macro-and Microaesthetics.

Conclusion My intent for this book was to keep it simple even because the time available to me was very limited. I also wanted to create a sense of dynamicity and this is the best I could think about for the time on hand.

I hope the result is not too bad.

SMP

Colophon Computer programs used: QuarkXPress Passport Adobe Illustrator 10 Adobe Photoshop 7.0 Fonts: Bembo – Bembo Bold Helvetica Neue – 75 Helvetica Bold Fonts & size: Headings - 75 Helvetica Bold - 24 pt. type SubHeadings - Bembo Bold - 12 pt. type Text - Bembo 9/11.5