Typographic Workbook: "Typography Tools"

Typography Tools

A special character is a character that is not an alphabetic or numeric character. Punctuation marks and other symbols are examples of special characters.

Unlike alphanumeric characters, special characters may have multiple uses.

characters special01

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 usally superscripted for the chosen font. ™ and ® are normally set higher than other marks. If you choose to superscript ®, reduce it to about 60%

Ellipsis Character

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

(´)Option/Alt+e-résumé

Remember,tosetanaccentmark overaletter,presstheOptionkey andtheletter,thenpressthe letteryouwantunderit.Oryoucan gouptoTypeGlyphstofindthe correctaccent.

Accent Marks

Check Sheet02Rules

– 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.

– 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 word 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 – not both.

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

Typographic Rules03

Type Crimes, typographic sins, things you should never do with type are committed every day. How important is typographic correctness and how unforgivable are the crimes?

Typographers have compiled a number of type crimes that have been labeled as “unforgivable.”

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.

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.

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.)

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.

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.

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.

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.

Altering fonts

Don’t alter the original typeface by stretching or condensing the letters improp¬erly. Certain type families provide you with a lot of flexibility.

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 copy¬right 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%.

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.

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. 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.

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.)

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.

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.

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.

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. You might have been taught to use or given text that uses a doublehyphen -- to indicate a dash.

This is a typewriter convention because typewriters because typewriters didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hyphen – we have a professional em dash, the long one, such as you see in this sentence. We also have an en dash.

Window Orphan Rivers04

Widow

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.

Orphan

When the last line of a paragraph, be it ever so long, won’t fit at the bottom of a column and must end itself at the top of the next column, that is an orphan.

Rivers

In typography, rivers, 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 mono-spaced fonts.

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. You might have been taught to use or given text that uses a doublehyphen -- to indicate a dash.

Typographic Rules05

This is a typewriter convention because typewriters because typewriters didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hyphen – we have a professional em dash, the long one, such as you see in this sentence. We also have an en dash.

Hyphen -

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

En dash –

To type an en dash, – Option/Alt Hyphen hold down the Option/Alt key, then tap the hyphen key.

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

When using an em—no space is used on either side.

When using an en – space is used on either side.

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).

Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Using two hyphens 9or works, one) where there should be an em dash your look very unprofessional.

October – December 6:30 – 8:45 A.M.

4 – 6 years of age

Hyphenation

Ideal column width

For single-column pages, 4.25 inches is ideal. For two-column width, columns can be as narrow as 2 inches. Hyphenation feature can improve word spacing.

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, decreas¬ing body copy size, turning on auto hyphenation and manually hyphenating the text are all examples of possible solutions.

Choose the alignment that fits

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

Always spell check

Indents

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 than four letters as the last line of a paragraph. Avoid more than 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.

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.

KERN YOUR

In continuous text, mark all paragraphs after the first with an indent of at least one “em” (3 spaces). Do NOT use three spaces but rather use the tabs or indents option in your software.

Avoid beginning three consecutive lines with the same word

Since software programs deal with line breaks automatically based upon several variables, it is possible to have paragraphs with consecutive lines beginning with the same word. Simply adjust the text to avoid/fix the problem.

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.

Items in a series

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

WORDS

Kerning in headlines

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

Quotations Apostrophes06

Use real quotation marks – never those grotesque generic marks (“) that actually symbolize ditto /inch “ or footmarks ‘. Most software applications will convert the typewriter quotes to the real quotes for you automatically as you type. Check the preferences for your application – you’ll find a check box to tell your application to automatically set something like “typographer’s quotes,” “smart quotes,” or “curly quotes”.

It is necessary to know how to set smart quotes/real quotes yourself because sometimes the software doesn’t do it or does it wrong

Smart quotes are the quotation marks used in good typography. There are four smart quote characters: the opening single quote (‘), the closing single quote (‘), the opening double quote (“), and the closing double quote (”).

Quotes

Straight quotes are the two generic vertical quotation marks located near the return key: the straight quote (‘) and the straight double quote (“). Straight quotes come to us from the typewriter.

a 'magic' sock.”

a 'magic' sock.”

a 'magic' sock.”

For possessives:

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

“The big exception to this is “its.” “Its” used as a possessive never has an apostrophe! The word it only has an apostrophe as a contraction — “it’s” always means “it is” or “it has.” Always. It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes — and neither should its.

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.

”

For omission of letters:

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

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

Small 07Capitals

Small caps are uppercase letterforms that are shorter in height than capitals letters. They are designed to blend with lowercase text. When designed as part of a typeface, they are most often the height of the lowercase x (or very slightly taller).

Small Caps

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

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%.

Use small caps for A.M. and P.M.; space once after the number and use periods. (If the font does not have small caps reduce the font size slightly).

Sans-Serif

Use small caps for acronyms. Set acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines. Use small caps for common abbreviations. Set common abbreviations such as AM or PM in small caps, so they don’t overpower the accompanying text.

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

Calibri

(Small Caps)

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

(Real)

harriet, an fbi agent, turned on Cnn to get the dirt on the Cia before going to bed at 9:30 pm.

Montserrat

(Small Caps)

Harriet, an FBI agent, turned on CNN to get the dirt on the CIA before going to

(real)

harriet, an fbi agent, turned on Cnn to get the dirt on the Cia before going to

Arial

(Small Caps)

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

(real)

harriet, an fbI agent, turned on Cnn to get the dirt on the CIa before going to bed at 9:30 pm.

Serif

Minion Pro

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

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

Adobe Caslon Pro

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

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

Georgia

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

harriet, an fbi agent, turned on Cnn to get the dirt on the Cia before going to bed at 9:30 PM.

Numerical Figures08

Our uppercase alphabet came from the indiscrimination capitals of the Romans. Our lowe rcase alphabet came from the European uncial alphabets of the Middle Ages, which themselves evolved from scribal approximations of the uppercase alphabet. But our figures were invented in India. They spread westward through the influence of Persian and Arab mathematicians. Traditionally they were known as Arabic numerals, but latterly as Hindu-Arabic numerals. Arabic and Indic languages, of course, look very different from European languages. Thus, figures have always presented a challenge for type designers, as they rely on shapes that are found nowhere in the uppercase and lowercase alphabets

Lining figures

Lining figures are usually the same height as caps, but not always. Some fonts have lining figures that fall between lowercase and cap height.

Oldstyle figures

“Oldstyle” is a curious term for these, because the oldest figures—the original Hindu-Arabic numerals of the first century—look more like lining figures.

Unlike lining figures, oldstyle figures are designed to look more like lowercase letters. The ones in Equity (shown below) are typical—some are short, some descend below the baseline, and some ascend. You won’t be surprised to hear that oldstyle figures work best in lowercase body text.

Oldstyle 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.

Sans-Serif

Minion Pro: 1, 2, 3, 4, 5, 6, 7, 8, 9, 0

Calibri: 1 ,2 ,3 ,4 ,5 ,6, 7, 8, 9, 0

Adobe Caslon Pro: 1, 2, 3, 4, 5, 6, 7, 8, 9, 0

Montserrat: 1, 2, 3, 4, 5, 6, 7, 8, 9, 0

Basker Old Face: 1, 2, 3, 4, 5, 6, 7, 8, 9, 0

Serif Serif

Arial: 1, 2, 3, 4, 5, 6, 7, 8, 9, 0

Sans-Serif

Georgia: 1, 2, 3, 4, 5, 6, 7, 8, 9, 0

Macho: 1, 2, 3, 4, 5, 6, 7, 8, 9, 0

High Tower Text: 1, 2, 3, 4, 5, 6, 7, 8, 9, 0

Candara: 1, 2, 3, 4, 5, 6, 7, 8, 9, 0

Javanese Text: 1, 2, 3, 4, 5, 6, 7, 8, 9, 0

Corbel: 1, 2, 3, 4, 5, 6, 7, 8, 9, 0

Dear John, please call me at 438. 9762 at 3:00 to discuss marriage or write me at Route 916, zipcode 87505

Dear John, please call me at 438. 9762 at 3:00 to discuss marriage or write me at Route 916, zipcode 87505

Typographic09Color

When typographers mention color, they are typically not referring to a rainbow. They speak of black and white, and the wide range of gray textures called forth when white and black interact. Every typeface has its own apparent lightness or darkness, or optical weight. A typeface’s color is determined by stroke width, x-height, character width, and serif styles.

Every typeface has its own apparent lightness or darkness, or optical weight. A typeface’s color is determined by stroke width, x-height, and character width.

“The business of typography is a continual weighing up of white and black, which requires thorough knowledge of the laws governing optical values.”

– Emil Ruder

Xxhg

Impact 8.5/12

x-height: small character width: narrow color: light

Granovetter begins by looking at balance theory. In brief, balance theory tells us that if an actor, A, is strongly tied to both B and C, it is extremely likely that B and C are, sooner or later, going to be tied to each other (1973:1363). Granovetter argues that because of this, bridge ties between cliques are always weak ties (1973:1364). Weak ties may not necessarily be bridges, but Granovetter argues that bridges will be weak. This is because if two actors share a strong tie, they will draw in their other strong relations and will eventually form a clique. The only way, therefore, that people in different cliques can be connected is through weak ties that do not have the strength to draw together all the “friends of friends.”

Century Gothic 8.5/12

x-height: average character width: narrow color: light

Granovetter begins by looking at balance theory. In brief, balance theory tells us that if an actor, A, is strongly tied to both B and C, it is extremely likely that B and C are, sooner or later, going to be tied to each other (1973:1363). Granovetter argues that because of this, bridge ties between cliques are always weak ties (1973:1364). Weak ties may not necessarily be bridges, but Granovetter argues that bridges will be weak. This is because if two actors share a strong tie, they will draw in their other strong relations and will eventually form a clique. The only way, therefore, that people in different cliques can be connected is through weak ties that do not have the strength to draw together all the “friends of friends.”

Corbel 8.5/12

x-height: average character width: narrow color: light

Granovetter begins by looking at balance theory. In brief, balance theory tells us that if an actor, A, is strongly tied to both B and C, it is extremely likely that B and C are, sooner or later, going to be tied to each other (1973:1363). Granovetter argues that because of this, bridge ties between cliques are always weak ties (1973:1364). Weak ties may not necessarily be bridges, but Granovetter argues that bridges will be weak. This is because if two actors share a strong tie, they will draw in their other strong relations and will eventually form a clique. The only way, therefore, that people in different cliques can be connected is through weak ties that do not have the strength to draw together all the “friends of friends.”

Xxhg Xxhg

Microsoft Yi Baiti 8.5/12

x-height: small character width: narrow color: light

Granovetter begins by looking at balance theory. In brief, balance theory tells us that if an actor, A, is strongly tied to both B and C, it is extremely likely that B and C are, sooner or later, going to be tied to each other (1973:1363). Granovetter argues that because of this, bridge ties between cliques are always weak ties (1973:1364). Weak ties may not necessarily be bridges, but Granovetter argues that bridges will be weak. This is because if two actors share a strong tie, they will draw in their other strong relations and will eventually form a clique. The only way, therefore, that people in different cliques can be connected is through weak ties that do not have the strength to draw together all the “friends of friends.”

Xxhg

Book Antiqua 8.5/12

x-heigh: average character width: narrow color: light

Granovetter begins by looking at balance theory. In brief, balance theory tells us that if an actor, A, is strongly tied to both B and C, it is extremely likely that B and C are, sooner or later, going to be tied to each other (1973:1363). Granovetter argues that because of this, bridge ties between cliques are always weak ties (1973:1364). Weak ties may not necessarily be bridges, but Granovetter argues that bridges will be weak. This is because if two actors share a strong tie, they will draw in their other strong relations and will eventually form a clique. The only way, therefore, that people in different cliques can be connected is through weak ties that do not have the strength to draw together all the “friends of friends.”

Xxhg

Cambria 8.5/12 x-height: average character width: narrow color: light

Granovetter begins by looking at balance theory. In brief, balance theory tells us that if an actor, A, is strongly tied to both B and C, it is extremely likely that B and C are, sooner or later, going to be tied to each other (1973:1363). Granovetter argues that because of this, bridge ties between cliques are always weak ties (1973:1364). Weak ties may not necessarily be bridges, but Granovetter argues that bridges will be weak. This is because if two actors share a strong tie, they will draw in their other strong relations and will eventually form a clique. The only way, therefore, that people in different cliques can be connected is through weak ties that do not have the strength to draw together all the “friends of friends.”

Baskervill Old Face 8.5/12

x-height: average character width: narrow color: light

Granovetter begins by looking at balance theory. In brief, balance theory tells us that if an actor, A, is strongly tied to both B and C, it is extremely likely that B and C are, sooner or later, going to be tied to each other (1973:1363). Granovetter argues that because of this, bridge ties between cliques are always weak ties (1973:1364). Weak ties may not necessarily be bridges, but Granovetter argues that bridges will be weak. This is because if two actors share a strong tie, they will draw in their other strong relations and will eventually form a clique. The only way, therefore, that people in different cliques can be connected is through weak ties that do not have the strength to draw together all the “friends of friends.”

Xxhg Xxhg

Microsoft Yi Baiti 8.5/12 x-height: small character width: narrow color: light

Granovetter begins by looking at balance theory.

In brief, balance theory tells us that if an actor, A, is strongly tied to both B and C, it is extremely likely that B and C are, sooner or later, going to be tied to each other (1973:1363). Granovetter argues that because of this, bridge ties between cliques are always weak ties (1973:1364). Weak ties may not necessarily be bridges, but Granovetter argues that bridges will be weak. This is because if two actors share a strong tie, they will draw in their other strong relations and will eventually form a clique. The only way, therefore, that people in different cliques can be connected is through weak ties that do not have the strength to draw together all the “friends of friends.”

Xxhg

Abril Titling 8.5/12

x-height: small character width: narrow color: light

Granovetter begins by looking at balance theory.

In brief, balance theory tells us that if an actor, A, is strongly tied to both B and C, it is extremely likely that B and C are, sooner or later, going to be tied to each other (1973:1363). Granovetter argues that because of this, bridge ties between cliques are always weak ties (1973:1364). Weak ties may not necessarily be bridges, but Granovetter argues that bridges will be weak. This is because if two actors share a strong tie, they will draw in their other strong relations and will eventually form a clique. The only way, therefore, that people in different cliques can be connected is through weak ties that do not have the strength to draw together all the “friends of friends.”

Xxhg

Aglet Slab 8.5/12

x-height: average character width: narrow color: light

Granovetter begins by looking at balance theory. In brief, balance theory tells us that if an actor, A, is strongly tied to both B and C, it is extremely likely that B and C are, sooner or later, going to be tied to each other (1973:1363). Granovetter argues that because of this, bridge ties between cliques are always weak ties (1973:1364). Weak ties may not necessarily be bridges, but Granovetter argues that bridges will be weak. This is because if two actors share a strong tie, they will draw in their other strong relations and will eventually form a clique. The only way, therefore, that people in different cliques can be connected is through weak ties that do not have the strength to draw together all the “friends of friends.”

Rockwell 8.5/12

x-height: average character width: narrow color: light

Granovetter begins by looking at balance theory.

In brief, balance theory tells us that if an actor, A, is strongly tied to both B and C, it is extremely likely that B and C are, sooner or later, going to be tied to each other (1973:1363). Granovetter argues that because of this, bridge ties between cliques are always weak ties (1973:1364). Weak ties may not necessarily be bridges, but Granovetter argues that bridges will be weak. This is because if two actors share a strong tie, they will draw in their other strong relations and will eventually form a clique. The only way, therefore, that people in different cliques can be connected is through weak ties that do not have the strength to draw together all the “friends of friends.”

Xxhg Xxhg

Microsoft Yi Baiti 8.5/12

x-height: small character width: narrow color: light

Granovetter begins by looking at balance theory. In brief, balance theory tells us that if an actor, A, is strongly tied to both B and C, it is extremely likely that B and C are, sooner or later, going to be tied to each other (1973:1363). Granovetter argues that because of this, bridge ties between cliques are always weak ties (1973:1364). Weak ties may not necessarily be bridges, but Granovetter argues that bridges will be weak. This is because if two actors share a strong tie, they will draw in their other strong relations and will eventually form a clique. The only way, therefore, that people in different cliques can be connected is through weak ties that do not have the strength to draw together all the “friends of friends.”

Font Classification10

Humanistic

The oldest Italian, mostly Venetian, printing type, designed at the end of the fif-teenth century during the Italian Renaissance, are based on the handwriting of the humanists. This script went back to the Carolingian minuscule of the ninth century. In 1470, Nicolas Jenson, a French printer who worked in Venice, was one of the first to cut a refined humanistic typeface. This is generally seen as the prime example for the first group of types we use to this day: the humanists.

Modern or Didone

These are the late neoclassical seriffed types and their name is a combination of the French printing family Didotand the Italian printer Bodoni of Parma. The typeface Bodoni by Giambattista Bodoni, also known as the ‘king ofthe typographers’ (principe dei tipografi) or ‘printer to the kings’, is seen as the highlight of the didones.

Transitional

The transitionals are the early neoclassical typefaces that appeared in the middle of the eighteenth century and were usually designed for a specific purpose. They are seen as the first types that were really designed. The transitionals mark the transition between the Renaissance and neoclassicism

Slab-serif

The slab-serifs are constructed typefaces and in general have hardly any thick- thin contrast. Some early slab-serifs are called egyptians – allegedly after the popularity of the Napoleonic campaign in Egypt and the resulting interest in Egyptology. (Confusingly, many of the geometrically constructed slab-serifs designed a hundred years later all bear egyptian place names such as Karnak, Luxor, Memphis etc., but they have nothing to do with the shape of the earlier egyptians which used the Grotesque form as their basis.) The Clarendon type- face is so typical for this group that in some English classifications the term ‘slab-serif’ is replaced with ‘Clarendon’.

Garalde

Appeared during the French Renaissance period. The name ‘garaldes’ is a contraction of the names of the French punchcutter Claude Garamond and of the Venetian printer Aldus Manutius. The first garaldes were based on the humanists, but they are more sophisticated, have narrower proportions and more fluent transitions.

Grotesque sans-serif

The sans-serif grotesques appeared as a result of the popularity of the Swiss style of typography after the Second World War. Sans-serif started to get used more and more frequently with the advent of the Helvetica in 1957, created by the Swiss Max Miedinger.

Humanistic sans-serif

Sans-serifs are typefaces that owe their essential form to writing. The French word ‘linéal’ unsurprisingly means ‘advancing in a straight line.’ They first appeared at the beginning of the nineteenth century (Caslon Foundry, 1812/14), but only in capitals. The first sans-serif with lowercase appeared in England in 1834. Towards the end of the nineteenth century, every foundry had a number of sans-serif typefaces with several variants. The humanistic sans-serifs are different because they follow the proportions of the classical Roman capital for the capitals and the humanistic manuscript hand for lowercase letters.

Geometric sans-serif

The geometric sans-serifs seem to be drawn with ruler and compass. It takes a lot of skill to produce clearly legible typography with these typefaces. Good microtypography, such as choosing the right letter spacing and line interval, is very important.

Combining11Typefaces

When combining serif and sans serif text fonts, one shroud tries and match the characteristics of form and type color: proportion, and x-heights. “There is no binding recipe for type combinations. It is a matter of typographic sensitivity and experience. Expert typographers, as well as careless amateurs, permit themselves combinations that would horrify colleagues with more traditional sympathies.”

Although there is no recipe there is a place to start: keep an eye on the characteristic shapes of the letterform. A welldesigned 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}

Book Antiqua

36pt: Header

Words in Liberty

Myrid Pro

18pt: Subhead

A PROLOGUE TO FUTURISM

Book Antiqua

18/18pt: Intro Text, Pull Quotes

Myrid Pro

9/12pt: Body Text

The works were characterized by the depiction of several successive actions of a subject at the same time. Mari netti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and move ment. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The 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.

Font Combination Rational

These two fonts work together becasue they demonstraight a good contrast be tween thin and thick type

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.

Words in Liberty

A PROLOGUE TO FUTURISM

Copperplate

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 li braries. 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.

These two fonts work together because it shows a combination of thin and thick text as well as how caps and lower case can flow woth one another.

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.

Proxima Nova Giorgia

36pt: Header

Words in Liberty

18pt: Subhead

A PROLOGUE TO FUTURISM

Proxima Nova

18/18pt: Intro Text, Pull Quotes

Futurism rejected traditions and glorified contempo rary life, mainly by emphasizing two dominant themes, the machine and motion.

Georgia

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 li braries. 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.

Font Combination Rational

These two fonts work together because it forces two fonts one thin the other thick er to work with one another leading your eyes.

Segoe UI Historic

36pt: Header

Words in Liberty

Century

18pt: Subhead

A PROLOGUE TO FUTURISM

Typeface: Name of Typeface

18/18pt: Intro Text, Pull Quotes

Typeface: Name of Typeface

9/12pt: Body Text

The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

Font Combination Rational

These two fonts work together because it demonstraights consistance in thin fonts

Futurism rejected traditions and glorified contem porary life, mainly by emphasizing two dominant themes, the machine and motion.

Bell MT

36pt: Header

Words in Liberty

Typeface: Candara

18pt: Subhead

A PROLOGUE TO FUTURISM

Typeface: Bell MT

18/18pt: Intro Text, Pull Quotes

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.

Typeface: Candara

9/12pt: Body Text

The works were characterized by the depiction of several successive actions of a subject at the same time. Mari netti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and move ment. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The 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.

Font Combination Rational

These two fonts work together because the fonts consists of a similar size and com plement one another in style.

Typeface: Candara

36pt: Header

Words in Liberty

Typeface: Georgia

18pt: Subhead

A PROLOGUE TO FUTURISM

Typeface: Candara

18/18pt: Intro Text, Pull Quotes

Typeface: Georgia

9/12pt: Body Text

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 li braries. 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.

Font Combination Rational

These two fonts work together because they complement each others font style.

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.

Typeface: Bookman Old Style

36pt: Header

Words in Liberty

Typeface: Myrid Pro

18pt: Subhead

A PROLOGUE TO FUTURISM

Typeface: Bookman Old Style

18/18pt: Intro Text, Pull Quotes

Typeface: Myrid

9/12pt: Body Text

The works were characterized by the depiction of several successive actions of a subject at the same time. Mari netti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and move ment. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The 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.

Font Combination Rational

These two fonts work together because they are both thick and help show flow through the

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dom inant themes, the machine and motion.

Typeface: Lucida Fax

36pt: Header

Words in Liberty

Typeface: Ebrima

18pt: Subhead

A PROLOGUE TO FUTURISM

Typeface: Lucia Fax

18/18pt: Intro Text, Pull Quotes

Typeface: Ebrima

9/12pt: Body Text

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 li braries. 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.

Font Combination Rational

These two fonts work together because of the clear diffrence between the serif and sans-serif style.

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.

Typeface: Arial

36pt: Header

Words in Liberty

Typeface: Century

18pt: Subhead

A PROLOGUE TO FUTURISM

Typeface: Arial

18/18pt: Intro Text, Pull Quotes

Typeface: Century

9/12pt: Body Text

The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

Font Combination Rational

These two fonts work together because of the diffrences in boldness.

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.

Words in Liberty

A PROLOGUE TO FUTURISM

Impact

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion.

The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was pas sionately 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.

These two fonts work together because of the diffrence in boldness be tween the two fonts.

Paragraph Breaks12Headers

In typography there are 4 rules regarding paragraph breaks:

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

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

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

4. never hit two returns between paragraphs

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 overall page feels will be influenced by your choice of deciding how to break the paragraph.

Examples

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

But is the movements that survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as 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 avantgarde. 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the- world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference, and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, arouse controversy, and attract widespread attention.

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, arouse controversy, and attract widespread attention.

But is the movements that survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”

This freedom-of-the- world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference, and engagement, to break the barriers between themselves and those who came to jeer or cheer them.

Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

But is the movements that survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”

This freedom-of-the- world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference, and engagement, to break the barriers between themselves and those who came to jeer or cheer them.

Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, arouse controversy, and attract widespread attention.

But is the movements that survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”

This freedom-of-the- world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference, and engagement, to break the barriers between themselves and those who came to jeer or cheer them.

Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

4Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, arouse controversy, and attract widespread attention.

But is the movements that survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as 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 avantgarde. 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the- world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference, and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, arouse controversy, and attract widespread attention.

But is the movements that survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the- world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference, and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Words in Liberty

A Prologue to Futurism

Furism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, arouse controversy, and attract widespread attention.

A radical mix of art and life

But is the movements that survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as 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 avantgarde. 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the- world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference, and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Words in Liberty

A Prologue to Futurism

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

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, arouse controversy, and attract widespread attention.

A radical mix of art and life

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

Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Words in Liberty

A Prologue to Futurism

Furism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, arouse controversy, and attract widespread attention.

A radical mix of art and life

But is the movements that survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as 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 avantgarde. 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the- world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference, and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Words in Liberty

A Prologue to Futurism

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

A radical mix of art and life

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

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

Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

A Prologue to Futurism

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

A radical mix of art and life

Words in Liberty

But is the movements that survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”

This freedom-of-the- world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme.

Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference, and engagement, to break the barriers between themselves and those who came to jeer or cheer them.

Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Words in Liberty

A Prologue to Futurism

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

A radical mix of art and life

But is the movements that survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as 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 liberta2, by which poetry was to become “an uninterrupted sequence of new images... (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedomof-the- world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference, and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

A 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.

13Justification

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 the newsletter, or if you don't have many words on the line, then as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You've seen newspaper columns where all text is justified, often with a word stretching all the way across the col¬umn, 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.

Sans-Serif

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected tradi tions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bom bastic; its tone was aggressive and inflammatory and was pur posely intended to inspire public anger and amazement, to arouse controversy, and to attract wide spread attention.

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

name: montserrat minimum: 90% desired: 120% maximum: 130% analysis: Clean, close, and aligned spacing is easy to read

name: calibri minimum: 100% desired: 100% maximum: 100% analysis: Clean, close, and aligned spacing is easy to read

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

name: franklin gothic heavy minimum: 90% desired: 100% maximum: 120% analysis: Clean, close, and aligned spacing is easy to read

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely in tended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

name: macho minimum: 50% desired: 80% maximum: 150% analysis: Clean, close, and aligned spacing is easy to read

Serif

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

name: bondi MT minimum: 90% desired: 120% maximum: 130% analysis: Clean, close, and aligned spacing is easy to read

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on dis carding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glori fied contemporary life, mainly by emphasizing two dominant themes, the machine and mo tion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and in flammatory and was purposely intended to inspire public anger and amazement, to arouse con troversy, and to attract wide spread attention.

name: lucida fax minimum: 70% desired: 80% maximum: 130% analysis: Clean, close, and aligned spacing is easy to read

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

name: century minimum: 30% desired: 100% maximum: 150% analysis: Clean, close, and aligned spacing is easy to read

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, orig inality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bom bastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

name: book antiqua minimum: 20% desired: 110% maximum: 120% analysis: Clean, close, and aligned spacing is easy to read

Designed by Nick Holt. Class project for Art 355, Fall 2022 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.