typography workbook

TYPOGRAPHY

WORKBOOK

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Designed by Jordan Key. Class project for Professor Herstowski’s Typography 02 at the University of Kansas, Spring 2012.

Text for the book was compiled from the following sources: Elements of Typographic Style by Robert Bringhurst, Getting it Right with Type: the Do’s and Don’ts of Typography by Victoria Square, 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.

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table of contents

Rules

X–Height

Hyphenation Rules

Alignments

Justification

Combining Typefaces

Quotes, Apostrophes, Dashes

Special Characters

Bullets

Numerals/Figures

Small Caps

Paragraph Breaks

Headers Subheads Crossheads

Captions and Notes

Font Spec

8

14

28

36

44

52

62

70

76

82

88

94

102

110

118

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‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘ ÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆ

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Use only one space between sentences. Use real quotation marks. Use real apostrophes. Make sure the apostrophes are where they belong. Hang the punctuation off the aligned edge.Use en or em dashes, use consistently. Kern all headlines where necessary. Never use the spacebar to align text, always set tabs and use the tab key. Leave no widows or orphans. Avoid more than 3 hyphenations in a row.

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Avoid too many hyphenations in any paragraph. Avoid hyphenating or line brakes of names and proper nouns. Leave a least 2 characters on the line and 3 following. Avoid beginning consecutive lines with the same word. Avoid ending consecutive lines with the same word. Avoid ending lines with the words: the, of, at, a, by.. Never hyphenate a words in a headline and avoid hyphenation in a call out.

rules

8

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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. Never have one line in a paragraph in the column or following.Never combine two serif fonts on one page. Rarely combine two sans serif fonts on one page.

Rarely combine more than three typefaces on one page. Use the special characters whenever necessary, including super- and subscript. Spend the time to create nice fraction or chose a font that has fractions. If a correctly spelled word needs an accent mark, use it.

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X-HEIGHT

14


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

x-height

In typography, color can also describe the balance between black and white

on the page of text. A typeface’s color is determined by stroke width, x-height,

character width and serif styles.

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g

16


A typeface’s color

is determined

by stroke width,

x-height, character

width and serif styles.

Readability and legibility are two key elements of printed text that typographer strive to maximize. Readability extended amount of text – such as an article, book, or annual report – is easy to read. Legibility refers to whether an refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable.

There are several factors that determine whether a text is readable. When

deciding what typeface should be used for a job, consideration should be given

to the typeface and its x-height. It is important to understand how a block of text

can express a message through its texture/color, therefore suiting a particular

design solution. Fonts set in the same size, same leading and column width will

produce varying degrees of “color”.

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

As a designer, if you are only asked to make the text readable on the page the

following questions should be asked...

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

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

9


Univers was designed by Adrian Frutiger on Swiss principles for Charles Peignot at Deberny & Peignot.

Frutiger imposed strict discipline across all elements of the series, from light to dark, extra condensed to extended, a concordance of design that was possible in the foundry type and photocomposition fonts. Any version may be mixed within a word with any other. It may be argued that the design of the most popular central series is limited by strict conformity to little used extremes. If Helvetica gives us the strongest central designs at some sacrifice in uniformity across the series, Univers gives us a uniform series by disciplining the central designs.

universAdrian Frutiger

x-height: large

character width: wide

color: dark

Xxhg

Rotis is a large typeface family consisting of, Serif, Semi Serif, Semi Serif and Sans Serif font styles. Agfa Rotis was created for Agfa Compugraphic. The font styles are matched for weight and height to give consistency when mixed. Certain round characters have a distinctive calligraphic treatment which is apparent in all styles. A versatile family which can be used for text as well as display setting. Designed by Otl Aicher at Druckhaus Maack, Agfa Rotis is very readable and good for use in any contemporary texts.

rotis serifOtl Aicher

x-height: average

character width: average

color: light

Xxhg


Frutiger is a sans-serif typeface by the Swiss type designer Adrian Frutiger. It was commissioned in 1968 by the newly built Charles De Gaulle International Airport at Roissy, France, which needed a new directional sign system. Instead of using one of his previously designed typefaces like Univers, Frutiger chose to design a new one. The new typeface, originally called Roissy, was completed in 1975 and installed at the airport the same year. Frutiger’s goal was to create a sans serif typeface with the rationality and clean-liness of Univers, but with the organic and proportional aspects of Gill Sans. The result is that Frutiger is a distinctive and legible typeface. Ascenders and descenders are very prominent, and apertures are wide to easily distinguish letters from each other.

frutigerAdrian Frutiger

x-height: large


color: dark

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Developed for Martha Stewart Living, Archer is a family of 48 original typefaces for text and display designed by Jesse Ragan, Tobias Frere-Jones and Jonathan Hoefler. The goal of the project was to create a family of typefaces that would help Martha Stewart Living maintain a consistent editorial voice over a broad range of designed service pieces that require a number of specialty typographies: recipes, glossaries, instructional charts and diagrams each draw from a unique visual culture, all of which were ingredients in the development of Archer. Archer is that rarest of typefaces, managing to temper the “scientific” associations of the slab serif aesthetic with a welcome note of sentimentality. The result is a typeface that is demonstrably smart and eminently likable.

archerHoefler & Frere-Jones

x-height: small


color: light

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The original design appeared in 1926 when Douglas Cleverdon opened a bookshop in his home town of Bristol, where Gill painted the fascia over the window in sans-serif capitals that would later be known as Gill Sans. In addition, Gill had sketched a design for Cleverdon, intended as a guide for him to make future notices and announcements. Gill further developed it into a complete font family after Stanley Morison commissioned the development of Gill Sans to combat the families of Erbar, Futura and Kabel which were being launched in Germany during the latter 1920s. Gill Sans was later released in 1928 by Monotype Corporation. Gill Sans became popular when in 1929 Cecil Dandridge commissioned Eric Gill to produce Gill Sans to be used on the London and North Eastern Railway for a unique typeface for all the LNER’s posters and publicity material.

gill sansEric Gill

x-height: small


color: dark

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Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas’sche Schriftgiesserei of Münchenstein, Switzerland. Haas set out to design a new sans-serif typeface that could compete with the successful Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage. In 1960, the typeface’s name was changed by Haas’ German parent company Stempel to Helvetica in order to make it more marketable internationally. It was initially suggested that the type be called ‘Helvetia’ which is the original Latin name for Switzerland. This was ignored by Eduard Hoffmann as he decid-ed it wouldn’t be appropriate to name a type after a country.

helveticaMax Miedinger

x-height: large


color: dark

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Egyptian, or slab serif, typefaces surged to popularity in the early 1800s. Memphis was the first Egyptian revival, designed by Dr. Rudolf Wolf in 1929 for the Stempel foundry.

The letter shapes are geometric and stems and serifs have the same weight values. Because of the geometric basis of its forms, Memphis is often thought of as a font for technical fields, making a rational, purposeful impression. This emphasis on objectivity is well-suited to technical texts, but Memphis is appropriate for any text which should exhibit a clear, neutral character. Some weights are availabla as soft rounded versions.

memphisRuldolf Wolf

x-height: small


color: dark

XxhgRockwell Regular is a distinctive version of a geometric slab serif design, which has retained its popularity since its appearance in the 1930’s. The slab serifs, or Egyptians, originated in the nineteenth century when they were used principally for display work. Rockwell Regular is notable for its judiciously clipped slab serifs, and is given a particular sparkle by means of its angular terminals. In more recent years this style of typeface has been increasingly used for text setting where their even color and visual impact can be fully exploited.

rockwellMonotype staff

x-height: average


color: dark

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Syntax is a humanist sans-serif typeface designed by the Swiss typeface designer Hans Eduard Meier in 1968, and released in 1969 by the D. Stempel Schriftgießerei of Frankfurt am Main. It is believed to be the final face designed and released by D. Stempel for foundry casting. The original drawings were done in 1954. Meier worked on additional weights and variations to the Syntax typeface. Meier described Syntax as being a sans-serif face modeled on the Renaissance serif typeface, similar to Bembo. The uppercase has a wide proportion, and the terminals not being parallel to the baseline provide a sense of animation. The lowercase a and g follow the old style model of having two storeys.

syntaxHans Eduard Meier

x-height: average


color: dark

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The first slab serif fonts appeared at the beginning of industrial-ization in Great Britain in 1820. Clarendon and Ionic became the names for this new development in England, known as English Egyptienne elsewhere in Europe. Clarendon is also the name of a particular font of this style, which, thanks to its clear, objective and timeless forms, never lost its contemporary feel. In small point sizes Clarendon is still a legible font and in larger print, its individual style attracts attention.

clarendonRobert Besley

x-height: average


color: dark

XxhgWalbaum was originally punchcut by Justus Erich Walbaum in Weimar around 1800. It ranks with Bodoni and Didot as one of the great European “modern” style typefaces. Modern types represented the ultimate typographic development of the late eighteenth and early nineteenth centuries. They have characteristics quite different from the types that preceded them; such as extreme vertical stress and fine hairlines contrasted by bold main strokes. This contemporary version of the Walbaum font is quite authentically close to J. E. Walbaum’s original, and it distinguishes itself from the other moderns with its wider caps and larger x-height. Some of the individual characters are quite different from other moderns as well, such as the b with no foot serif, the lowercase a with its squarish counter shape, and the Q tail with the curious asymmetric juncture. Possibly the most unique of the modern types, this beautiful family is legible, flexible, and has compelling warmth in its openness and grace.

walbaumJustus Erich Walbaum

x-height: average


color: dark

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In 1936 the German Standard Committee selected DIN 1451 as the standard typeface for use in the areas of engineering, tech-nology, traffic, administration and business. The earliest version of a DIN typeface was released by the D Stempel AG foundry in 1923. Stempel’s design was based on a 1905 typeface for the Königlich Preußische Eisenbahn-Verwaltung (Royal Prussian Railway Administration) and was applied mostly to schematics and blueprints. This version later became the basis for DIN-Engschrift (Condensed). In 1929, the Berthold foundry released a version, and it, too, was used mostly for technical drawings. Both of the early DIN typefaces were made available as lettering templates cut from an acetate material for drafting use. Both of the earliest DIN typefaces were used primarily in oblique form.Popularity grew rapidly, once the DIN typeface was adopted.

dinD Stempel AG Foundry

x-height: average

character width: narrow

color: light

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This type was designed by Francesco Griffo, a prolific punchcut-ter who was one of the first to depart from the heavier pen-drawn look of humanist calligraphy to develop the more stylized look we associate with roman types today. In 1929, Stanley Morison and the design staff at the Monotype Corporation used Griffo’s roman as the model for a revival type design named Bembo. They made a number of changes to the fifteenth-century letters to make the font more adaptable to machine composition. The italic is based on letters cut by the Renaissance scribe Giovanni Tagliente. Because of their quiet presence and graceful stability, the lighter weights of Bembo are popular for book typography. The heavier weights impart a look of conservative dependability to advertising and packaging projects. With 31 weights, including small caps, Old style figures, expert characters, and an alternate cap R, Bembo makes an excellent all-purpose font family.

bemboFrancesco Griffo

x-height: small


color: light

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

futuraPaul Renner

x-height: average


color: dark

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Before 1937, telephone books were printed in a variety of type-faces and consequently were often difficult to decipher. Because of his successful work on the legibility problems of newspaper typefaces, Chauncey H. Griffith was hired to develop a typeface that would compact enough to fit large amounts of information on a page while being legible at small sizes even when printed under less than desirable conditions.

bell gothicChauncey H. Griffith

x-height: large


color: dark

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Serifa was designed by Adrian Frutiger for the Bauer foundry in 1966. The letterforms are based on those of Frutiger’s earlier sans serif design, Univers. Square, unbracketed serifs have been added, making this a slab serif (or Egyptian) typeface.

Usually, slab serif types are blocky and difficult to read in text, but Serifa has more humanistic forms that are highly readable for both text and display applications such as headlines, captions, or corporate logos.

serifaAdrian Frutiger

x-height: small


color: dark

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During the first months of their collaboration, Hoefler and Frere-Jones discovered their mutual affection for this disappearing species of lettering. In 2000, a commission to design a signature sans serif for GQ afforded them the chance to explore the style, for which Frere-Jones undertook a massive study of building lettering in New York, starting with a charming but rarely examined sign for the Port Authority Bus Terminal. Though Frere-Jones wanted his drawings to exhibit the “mathematical reasoning of a draftsman” rather than the instincts of a type designer, he allowed Gotham to escape the grid wherever necessary, giving the design an affability usually missing from ‘geometric’ faces. Unlike the signage upon which it was based, Gotham includes a lowercase, an italic, a full range of weights, and an extended range of widths.

gothamHoefler and Frere–Jones

x-height: large


color: light.

Xxhg


The first cuts of Trade Gothic were designed by Jackson Burke in 1948. He continued to work on further weights and styles until 1960 while he was director of type development for Mergenthaler-Linotype in the USA.

Trade Gothic does not display as much unifying family structure as other popular sans-serif font families, but this dissonance adds a bit of earthy naturalism to its appeal. Trade Gothic is often seen in advertising and multimedia in combination with roman text fonts, and the condensed versions are popular in the newspaper industry for headlines.

trade gothicJackson Burke

x-height: large


color: light

Xxhg

Palatino is an easy to read and popular text typeface. Within the typeface family a wide variety of weights and variations are available. Palatino was designed by German typeface designer Hermann Zapf, who also created Optima. It was initially released in 1948 by the Linotype foundry. The above examples are based on Palatino Linotype, an updated version that Zapf created in 1999 for Linotype and Microsoft. It includes extended Latin, Greek and Cyrillic character sets. Monotype created a Palatino look-alike called Book Antiqua. Microsoft includes this typeface in Windows and Microsoft Office. The font is named after the 16th century Italian master of calligraphy Giambattista Palatino.

PalantinoHermann Zapf

x-height: average


color: light.

XxhgZuzana Licko’s revival of Baskerville. It is named after Sarah Eaves, John Baskerville’s housekeeper, who later became his wife after the death of her husband. This typeface is named after Sarah Eaves, the woman who became John Baskerville’s wife. As Baskerville was setting up his printing and type business, Mrs. Eaves moved in with him as a live-in housekeeper, eventu-ally becoming his wife after the death of her first husband, Mr. Eaves. Like the widows of Caslon, Bodoni, and the daughters of Fournier, Sarah similarly completed the printing of the unfinished volumes that John Baskerville left upon his death.

mrs eavesZuzana Licko

x-height: average


color: dark

Xxhg

HYPHENATION RULES

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In unjustified text, the text block is set with normal letter and word spacing. Because of the even word spacing the text will have an even texture – no large spaces between words. The lines will naturally vary in length. A ragged text block can integrate with the layout and add visual interest to the page. The difficulty is making the ragged edge have a pleasing silhouette. When the first line in the text is longer than the second, it becomes separate from the layout and creates a box-like shape. This destroys one of the advantages of unjustified text. The ragged edge needs to have a life, but a narrow column can be less active. Another advantage to ragged text is less hyphenation is needed. Therefore, names, dates or words which are normally read together can stay together.

Hyphenation rules pay attention to:-- how the text is read avoid widows (one word on the last line of a paragraph)

-- avoid hyphenating or line brakes of names and proper nouns

-- leave a least 2 characters on the line and 3 following

-- avoid beginning consecutive lines with the same word

-- avoid ending consecutive lines with the same word

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

-- never hyphenate a words in a headline and avoid hyphenation in a call out

hyphenation rules

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Widows and OrphansNever leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing

privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from

the letters, words, or lines, depending on which program you’re working in. Sometimes widening a margin

just a hair will do it. But it must be done. Widows and orphans on a page are wrong.

WidowWhen 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.

OrphanWhen 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.

ALWAYS correct this.

RiversIn typography, rivers, or rivers of white, are visually unattractive gaps appearing to run down a paragraph

of text. They can occur with any spacing, though they are most noticeable with wide word spaces caused by

either full text justification or monospaced fonts.

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Casing Adder BatHeresy borsch-boil starry a boarder borsch boil gam plate lung, lung a gore in–ner ladle wan–hearse torn coilded Mutt–fill. Mutt–fill worsen much of-fer torn, buttered hatter putty gut borsch–boil tame, an off oiler pliers horror tame, door moist cerebrated worse Cas-ing. Casing worsted sickened basement, any hatter betting orphanage off .526 (fife toe sex). Casing worse gut lurking an furry poplar—spatially wetter gull coiled Any–bally. Any–bally worse Casing’s sweat–hard, any harpy cobble wandered toe gat merit, bought Casing worse toe pore toe becalm Any–bally’s horsebarn. (Boil pliers honor Mutt–fill tame dint gat much offer celery; infect, day gut nosing atoll.) Butt less gat earn wetter starry.

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

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

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

very nicely

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

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

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

which bumped the other line endings down. this also took care of the

inappropiate widow in 6.

7. there is plenty of room to squeeze “bought” on this line, perhaps by kerning the

line a tiny bit

8. “Horsebarn” is a good long word that could be hyphenated; type a dischy.

Better yet, when “bought” moved up, it gave enough room to move

“horsebarn” up. If not, try opening the text block or text box a wee bit.

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

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Don’t hypenate headlines. That’s a law.

Don Quixote de la Man-

chaAlso, watch where the first line of a two–line headline ends—does it create a silly or misleading phrase? Fix it.

Professor and The- Don’t Lose Your Self

rapist to Lecture RespectDon’t leave widows(very short last lines) in headlines.

Man Walks Barefoot Across Bay

BridgeFix it either way, or rewrite!

Man walks barefoot across Bay Bridge

Man walks barefoot

across Bay Bridge

ALIGNMENTS


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

“Right and wrong

do not exist in

graphic design.

There is only effective

and non-effective

communication.”

— Peter Bilak

If they are both wrong, then what’s right? Alignment is only a small piece of the

puzzle. What works for one design might be totally inappropriate for another

layout. As with all layouts, it depends on the purpose of the piece, the audience

and its expectations, the fonts, the marginsw and white space, and other ele-

ments on the page. The most appropriate choice is the alignment that works for

that particular design.

alignments

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ww

ww

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Justified TextTraditionally many books, newsletters, and newspapers use full-justification as

a means of packing as much information onto the page as possible to cut down

on the number of pages needed. While the alignment was chosen out of neces-

sity, it has become so familiar to us that those same types of publications set in

left-aligned text would look odd, even unpleasant.

You may find that fully-justified text is a necessity either due to space constraints or expectations of the audience. If possible though, try to break up dense blocks of texts with ample subheadings, margins, or graphics.-- Often considered more formal, less friendly than left-aligned text.

-- Usually allows for more characters per line, packing more into the same amount of space (than the same

text set left-aligned).

-- May require extra attention to word and character spacing and hyphenation to avoid unsightly rivers of

white space running through the text.

-- May be more familiar to readers in some types of publications, such as books and newspapers.

-- Some people are naturally drawn to the “neatness” of text that lines up perfectly on the left and right.

Left-Aligned, Ragged Right-- Often considered more informal, friendlier than justified text.

-- The ragged right edge adds an element of white space.

-- May require extra attention to hyphenation to keep right margin from being

too ragged.

-- Generally type set left-aligned is easier to work with (i.e. requires less time,

attention, and tweaking from the designer to make it look good).

CenteredThere is nothing inherently wrong with centered text. As with ragged right or fully-justified text alignment,

what works for one design might be totally inappropriate for another layout. There are simply fewer situa-

tions where centered text is appropriate. When in doubt, don’t center it.

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

No matter what alignment you use,

remember to pay close attention to

hyphenation and word/character spacing

as well to insure that your text is as

readable as possible.

There will undoubtedly be well-meaning friends, business associates, clients, and others who will question your choices. Be prepared to ex-plain why you chose the alignment you did and be prepared to change it (and make necessary adjustments to keep it looking good) if the per-son with final approval still insists on something different.


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JUSTIFICATION

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

The only time you can safely get away with justifying text is if your type is small

enough and your line is long enough, as in books where the text goes all the

way across the page. If your line is shorter, as in newsletter, or if you don’t have

many words on the line, than as the type aligns to the margins the words space

themselves to accommodate it. It usually looks awkward. You’ve seen

newspaper columns where all text is justified, often with a word stretching all

the way across the column, or a little word on either side of the column with a big

gap in the middle. Gross. But that’s what can happen with justified type. When

you do it, the effect might not be as radical as the newspaper column, but if your

lines are relatively short, you will inevitably end up with uncomfortable gaps in

some lines, while other lines will be all squashed together.

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

justification

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AA

AA

AA

AA

AA

AA

Here is a general guideline for determining if your line length is long enough to

satisfactorily justify the text: the line length in picas should be about twice the

point size of the type; that is, if the type you are using is 12 point, the line length

should be at least 24 picas (24 picas is 4 inches-simply divide the number of

picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an

18-pica line (3 inches) before you try to justify it, and 18-point type should be on a

36-pica line (6 inches). The rulers in most programs can be changed to picas,

if you like.

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

45

Isn’t that an odd thing to read as you see this whole book justified? But it’s just like the choice to use all caps: when you choose to justify type, you must real-ize you are choosing that look and sacrificing the most effective word spacing. Depending on the project, one may be more important than the other. For this book, I wanted the look of the justified line and I felt the line length was long enough to give me a minimum amount of awkward word spacing (although I must admit I still find the uneven word spacing irritating, even on this length of line; I can’t have everything, they tell me).

Isn’t that an odd thing to read as you see this whole book justified? But it’s just like the choice to use all caps: when you choose to justify type, you must realize you are choosing that look and sacrificing the most effective word spacing. Depending on the project, one may be more important than the other. For this book, I wanted the look of the justified line and I felt the line length was long enough to give me a minimum amount of awkward word spacing (although I must admit I still find the uneven word spacing irritating, even on this length of line; I can’t have everything, they tell me).

Isn’t that an odd thing to read as you see this whole book justified? But it’s just like the choice to use all caps: when you choose to justify type, you must real-ize you are choosing that look and sacrificing the most effective word spacing. Depending on the project, one may be more important than the other. For this book, I wanted the look of the justified line and I felt the line length was long enough to give me a minimum amount of awkward word spacing (although I must admit I still find the uneven word spacing irritating, even on this length of line; I can’t have everything, they tell me).

Isn’t that an odd thing to read as you see this whole book justified? But it’s just like the choice to use all caps: when you choose to justify type, you must realize you are choosing that look and sacrificing the most effective word spacing. De-pending on the project, one may be more important than the other. For this book, I wanted the look of the justified line and I felt the line length was long enough to give me a minimum amount of awkward word spacing (although I must admit I still find the uneven word spacing irritating, even on this length of line; I can’t have everything, they tell me).

Isn’t that an odd thing to read as you see this whole book justified? But it’s just like the choice to use all caps: when you choose to justify type, you must re-alize you are choosing that look and sacrificing the most effective word spacing. Depending on the proj-ect, one may be more important than the other. For this book, I wanted the look of the justified line and I felt the line length was long enough to give me a min-imum amount of awkward word spacing (although I must admit I still find the uneven word spacing irri-tating, even on this length of line; I can’t have every-thing, they tell me).

Isn’t that an odd thing to read as you see this whole book justified? But it’s just like the choice to use all caps: when you choose to justify type, you must realize you are choos-ing that look and sacrificing the most effective word spacing. Depending on the project, one may be more important than the other. For this book, I wanted the look of the justified line and I felt the line length was long enough to give me a mini-mum amount of awkward word spacing (although I must ad-mit I still find the uneven word spacing irritating, even on this length of line; I can’t have everything, they tell me).

80% 100% 133% 80% 100% 133%

80% 90% 100% 80% 90% 100%

80% 80% 80% 80% 80% 80%

Isn’t that an odd thing to read as you see this whole book justified? But it’s just like the choice to use all caps: when you choose to justify type, you must re-alize you are choosing that look and sacrificing the most effective word spacing. Depending on the proj-ect, one may be more important than the other. For this book, I wanted the look of the justified line and I felt the line length was long enough to give me a min-imum amount of awkward word spacing (although I must admit I still find the uneven word spacing irri-tating, even on this length of line; I can’t have every-thing, they tell me).

Isn’t that an odd thing to read as you see this whole book justified? But it’s just like the choice to use all caps: when you choose to justify type, you must realize you are choosing that look and sacrificing the most effective word spacing. De-pending on the project, one may be more important than the other. For this book, I wanted the look of the justified line and I felt the line length was long enough to give me a minimum amount of awkward word spacing (although I must admit I still find the uneven word spacing irritating, even on this length of line; I can’t have everything, they tell me).



80% 90% 100%2%no hyphenation

80% 90% 100%2%no hyphenation

80% 85% 90%2%

80% 85% 90%2%

COMBINING TYPEFACES

52

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

Æ

When combining serif and sans serif text fonts, one shroud try and match the characteristics of form and type color: proportion, x-heights.

combining typefaces

“There is not 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 not recipe there is a place to start, keep an eye on the characteristic shapes of the letterform. A well designed page contains no more than two different typefaces or four different type variations such as type size and bold or italic style. {Using 2 different serif fonts or 2 different sans serifs fonts in the same composition is never a good idea}

9

ÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆ

Caslon Gill Sans

Caslon Trade Gothic

Baskerville Futura

Baskerville Gill Sans

Bodoni Futura

Bodoni Trade Gothic

MrsEaves Futura

MrsEaves Trade Gothic

Memphis Futura

Memphis Gill Sans

Words in LibertyA Prologue to Futurism

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

Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Mari-

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

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

change, originality, and innovation in culture and society. 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.

aa BB ee GG ggcaslon 24pt : oldstyle and gill sans 7pt : humanistUsing Gill Sans as the body text condenses line width because the x–height is shorter than other san serif typefaces.

This is a clean font to pair with a more detailed typefaces such as Caslon.











aa BB ee GG ggbaskerville 14pt : tradional and gill sans 7pt : humanistTo increase hierarchy and to have a quick read I used Baskerville for the header and body text. To differentiate the

subhead from header I choose the very legible Gill Sans.

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

Æ

54


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

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

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

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

of the past and celebrating change, originality, and innovation in culture and

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

emphasizing two dominant themes, the machine and motion. The 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.

aa BB ee GG ggcaslon 24pt : oldstyle and trade gothic 7pt : grotesqueBecause Caslon has a lot of variation in the stroke weight I decided to pair it with Trade Gothic. Using Caslon as the

title made for an easy, clear read. Trade Gothic, also very legible worked well as the body text’s typeface.












aa BB ee GG ggfutura 24pt : geometric and bodoni 7pt : modernThe serif typeface Bodoni was chosen for an easy read. The simplicity of Futura make an eye catching

legible header.











aa BB ee GG ggfutura 24pt : geometric and baskerville 7pt : traditionalBecause Futura has a consistent strong stroke width it served well as a header for this article. It is eye catching and

stands out against the other text. Baskerville in contrast is a very legible typeface, great for the mass grouping of text












aa BB ee GG ggbodoni 24pt : modern and trade gothic 7pt : grotesqueTo increase hierarchy and to have a quick read I used Bodoni for the header. Using Trade Gothic for the remainder

of the text kept the text very legible and clean.


55











aa BB ee GG ggmemphis 24pt : slab serif and gill sans 7pt : humanistTo increase hierarchy and to have a clear and defined header and subhead I choose Memphis as my typeface. The

simplicity of Gill Sans is legible for readers












aa BB ee GG ggmrs eaves 24pt : new traditional and trade gothic 7pt : grotesqueTo increase hierarchy and to have a traditional feel I used Mrs Eaves for the header. The smaller x–height of it makes

it stand out from Trade Gothic’s taller x–height.


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

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

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

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

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

rejected traditions and glorified contemporary life, mainly by emphasizing two

dominant themes, the machine and motion. The manifesto’s rhetoric was passion-

ately bombastic; its tone was aggressive and inflammatory and was purposely

intended to inspire public anger and amazement, to arouse controversy, and to

attract widespread attention.

aa BB ee GG ggmemphis 24pt : slab serif and futura 7pt : geometricTo increase hierarchy and to have a quick read I used Memphis for the header and subhead. These two typefaces

have a very similar vertical axis that make them a great pair.


Futurism was first announced on February 20, 1909, when the Paris newspaper Le Fi-

garo published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti.

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

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

nality, and innovation in culture and society. Futurism rejected traditions and glori-

fied 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.

aa BB ee GG ggfutura 24pt : geometric and mrs eaves 7pt : new traditionalBecause Futura has such a large x–height, Mrs. Eaves had to be used at a much larger size to make the 2 fonts more

optically similar. To increase hierarchy and to have a quick read I used Futura for the header and subhead.

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

ÆÆ

Æ

56


9

QUOTES,APOSTROPHES,

DASHES

‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘

quotes, apostrophes, dashesQuotation MarksUse real quotation marks – never those grotesque generic marks that actually

symbolize ditto/inch or foot marks: use “and” – not “and”. Most software applica-

tions will convert the typewriter quotes to the real quotes for you automatically

as you type. Check the preferences for your application – you’ll find a check

box to tell your application to automatically set something like “typographer’s

quotes,” “smart quotes,” or “curly quotes.” Then as you type using the standard

ditto key (“), the software will set the correct quotation marks for you.

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

Opening double quote: “ Type: Option [

Closing double quote: ” Type: Option Shift ]

Opening single quote: ‘ Type: Option [

Closing single quote: ’ Type: Option Shift ]

Bridge Clearance: 16’ 7”The young man stood 6’ 2”The length of the wall is 153’9”.

62

‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘

ApostropheApostrophe: ’ option shift ]

As as aside, people often are confused about where the apostrophe belongs. There are a couple of rules that work very well.

For possessives: Turn the phrase around. The apostrophe will be placed after

whatever word you end up with. For example, in the phrase the boys’ camp, to

know where to place the apostrophe say to yourself, “The camp belongs to the

boys.” The phrase the boy’s camp says “The camp belongs to the boy.”

The big exception to this is “its.” “Its” used as a pos-sessive 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. Don’t means “do not”; the apostrophe is indicating where the o is left out.

For omission of letters: In a phrase such as Rock ’n’ Roll, there should be an

apostrophe before and after the n, because the a and the d are both left out. And

don’t turn the first apostrophe around — just because it appears in front of the

letter does not mean you need to use the opposite single quote. An apostrophe is

still the appropriate mark (not ‘n’).

In a phrase such as House o’ Fashion, the apos-

trophe takes the place of the f. There is not earthly

reason for an apostrophe to be set before the o.

In a phrase such as Gone Fishin’ the same pattern is

followed — the g is missing.

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

missing year. In the 80s would mean the temperature; In the ’80s would mean the

decade. (Notice there is no apostrophe before the s! Why would there be? It is not

possessive, nor is it a contraction — it is simply plural.

63

‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘

DashesNever use two hyphens instead of a dash.

Use hyphens, en dashes, and em dashes appropriately.

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

You might have been taught to use a double hyphen to indicate a dash, like so

: -- . This is a typewriter convention because typewriters didn’t have the real

dash used in professional typesetting. On a Mac, no one needs to use the double

hyphen—we have a professional em dash, the long one, such as you see in this

sentence. We also have an en dash, which is a little shorter than the em dash.

64

‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘‘

hyphen -en dash –em 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 at syllables in text blocks.

En dash -en dash – Option Hyphen

hold the Option key down, then tap the hyphen key

An en dash is half of the em rule (the width of a capital N) and is used between

words that indicate a duration, such as time or months or years. Use it where you

might otherwise use the word “to.”

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

October – December

6:30 – 8:45 A.M.

4 – 6 years of age

Em dash -em dash — Shift Option Hyphen

hold the Shift and Option keys down, then tap the hyphen key.

The em dash is twice as long as the en dash—it’s about the size of a capital

letter M in whatever size and typeface you’re using at the moment. This dash

is often used in place of a colon or parentheses, or it might indicate an abrupt

change in thought, or it’s used in a spot where a period is too strong and a

comma is too weak.

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

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

65

SPECIALCHARACTERS

§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§

The following is a list of the most often-used

special characters and accent marks. On the

following pages are the key combinations

for just about every accent you might need.

specialcharacters

70

§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§§

Option [ opening double quoteOption Shift [ closing double quoteOption ] opening single quoteOption Shift ] closing single quote; apostropheOption Hyphen en dashOption Shift Hyphen em dashOption ; ellipsis (this character can’t be separated at the end of a line) Option 8 bullet (easy way to remember as it’s the asterisk key)Option Shift 5 ligature of f and iOption Shift 6 ligature of f and lOption gOption 2Option r Option Shift 8 degree symbol (e.g., 102°F)Option $Option Shift 2 Euro symbolOption Shift 1 (one) fraction bar (this doesn’t descend below the line)Option 1 (one)Option Shift ?Option 3Option c Option Shift c

“

‘‘

‘

’

–

—

…

•

fi

fl

©

™

®

°

¢

€

⁄

¡

¿

£

ç

Ç

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

´ Option e

` Option ~

¨ Option u

˜ Option n

ˆ Option i

71

BULLETS

76

•••••••••••••••••••••••••••••••••••••

This very useful typographic element can add emphasis, clarity and visual interest to all kinds of copy.

bullets

Simply put, a bullet is a large dot used to draw attention to each item in a list or series. The items can be

single words, phrases, sentences or paragraphs. Even if you use the bullet that is part of your font, don’t

automatically assume it’s the right size: it might need to be altered in scale or position to make it look

balanced next to the text.

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

The preferred way to align bullets is with the left margin. You can also have the bullets overhang the

margin, and keep all your text aligned with the left margin. Whichever style you choose, your listing

will look best if items that run more than one line are indented so that the copy aligns with itself, and

not with the bullet on the first line.

To be more creative, substitute symbols or dingbats for the actual bullets. Try squares, triangles or check marks. Keep these simple and in proportion with the rest of your text.

9

•••••••••••••••••••••••••••••••••••••

• lovely• surely• ghastly• womanly• saintly• ungodly• stately• sprightly

t lovelyt surelyt ghastlyt womanlyt saintlyt ungodlyt statelyt sprightly

w lovelyt surelyu ghastlys womanlyi saintlyn ungodlyv stately3 sprightly

t lovelyt surelyt ghastlyt womanlyt saintlyt ungodlyt statelyt sprightly

NUMERALSFIGURES

82

4444444444444444444444444444444444444

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

numeralsfigures

Oldstyle figures are very useful and quite beautiful when set within text. Unlike lining figures, they blend in

without disturbing the color of the body copy. They also work well in headlines since they’re not as intrusive

as lining figures. In fact, many people prefer them overall for most uses except charts and tables. It’s well

worth the extra effort to track down and obtain typefaces with oldstyle numerals; the fonts that contain them

might well become some of your favorites.

9

4444444444444444444444444444444444444

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

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

SMALLCAPS

88

BB

BB

BB

BB

BB

BB

BB

BB

BB

BB

BB

BB

BB

BB

BB

BB

BB

BB

BB

BB

BB

BB

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

small caps

-- Use small caps for acronyms. Set acronyms such as NASA or NASDAQ in small

caps when they appear in body text or headlines.

-- Use small caps for common abbreviations. Set common abbreviations such

as AM or PM in small caps so they don’t overpower the accompanying text. Use

small caps for A.M. and P.M.; space once after the number, and use periods. (if the

font does not have small caps reduce the font size slightly)

-- Use true small caps fonts. Avoid simply re–sizing capital letters or using the

small caps feature in some programs. Instead use typefaces that have been

specifically created as small caps.

9


Harriet, an fbi agent, turned on cnn to get the dirton the cia before going to bed at 9:30 p.m.

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

The Wicked Are Very Weary.

THE WICKED ARE VERY WEARY.

PARAGRAPHBREAKS

94

====================================

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

paragraph breaks

Definitions:

The function of a paragraph

is t mark a pause, setting the

paragraph apart from what

precedes it. If a paragraph is

preceded by a title or subhead,

the indent is superfluous and can

therefore be omitted.

In typography there are 4 rules regarding paragraph breaks:1. first line at the beginning of an article should be flush left (do not indent first paragraph)

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

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

4. never hit two returns between paragraphs

9

====================================

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 discard-ing what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in libertà1, by which poetry was to become “an uninterrupted sequence of new images… a strict bet of im-ages or analogies, to be cast into the mysterious sea of phenomena.” This freedom–of–the–world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst2 (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. 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.


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 libertà1, 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 Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst2 (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 discard-ing what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

WHILE Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in libertà1, by which poetry was to become “an uninterrupted sequence of new images… a strict bet of im-ages or analogies, to be cast into the mysterious sea of phenomena.” This freedom–of–the–world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst2 (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. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

BUT IS IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE WE LIVE AND work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retro-spect, 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 manifes-tos 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 libertà1, 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 Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst2 (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. 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 wide-spread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in libertà1, 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 Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst2 (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 edi-tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, re-flected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.• But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” move-ment 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 libertà1, 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 phenom-ena.” 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 forerun-ners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst2 (circa 1915), “Everything of any value is theatrical.”



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, “techni-cal” approaches to the works then getting under way. The key term—still resonant today—was parole in libertà1, 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 Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engage-ment, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst2 (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 irrel evant art of the past and celebrating change, originality, and innova tion in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombas tic; 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.But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in libertà1, 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 Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst2 (circa 1915), “Everything of any value is theatrical.”

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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 discard-ing what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

RADICAL MIX OF ART AND LIFE


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 libertà1, by which poetry was to become “an uninterrupted sequence of new images… a strict bet of im-ages or analogies, to be cast into the mysterious sea of phenomena.” This freedom–of–the–world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst2 (circa 1915), “Everything of any value is theatrical.”



Radical Mix of Art and Life


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 libertà1, 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 Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst2 (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. Futurism rejected traditions and

glorified contemporary life, mainly by emphasizing two dominant themes, the machine

and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive

and inflammatory and was purposely intended to inspire public anger and amazement, to

arouse controversy, and to attract widespread attention.


BUT IS IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE WE LIVE

and work as poets and artists: or, if not the movements, then their sense of art as an life

itself. All of which, as futurism, had come sharply into focus by the start of the world war:

a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was,

on both its Russian & Italian sides, the first great “art” movement led by poets; and if its

means now sometimes seem exaggerated or unripe in retrospect, they carry within them the

seed of all that we were later to become.

WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM

bristled with a polemical stance in favor of the transformed present (1909), the later

manifestos of Futurist poets and artists offered formal, “technical” approaches to the works

then getting under way. The key term—still resonant today—was parole in libertà1, 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 Mallarmé. Outrageous and aggressive, the Futurists’

performances mixed declamation and gesture, events and surroundings, indifference and

engagement, to break the barriers between themselves and those who came to jeer or cheer

them. Wrote Marinetti selbst2 (circa 1915), “Everything of any value is theatrical.”

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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 libertà1, by which poetry was to become “an uninterrupted sequence of new images… a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom–of–the–world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mal-larmé. 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 selbst2 (circa 1915), “Everything of any value is theatrical.”





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, “techni-cal” approaches to the works then getting under way. The key term—still resonant today—was parole in libertà1, 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 Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engage-ment, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst2 (circa 1915), “Everything of any value is theatrical.”

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

Radical Mix of Art and LifeBut is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, “technical” ap proaches to the works then getting under way. The key term—still reso nant today—was parole in libertà1, by which poetry was to become “an uninterrupted sequence of new images… a strict bet of images or analo gies, to be cast into the mysterious sea of phenomena.” This freedom– of–the–world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst2 (circa 1915), “Everything of any value is theatrical.”

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CAPTIONS & NOTES

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Footnotes and EndnotesFootnotes and endnotes are necessary components of scholarly and technical

writing. They’re also frequently used by writers of fiction, from Herman Melville

(Moby-Dick) to contemporary novelists. Whether their intent is academic or

artistic, footnotes present special typographic challenges.

captions & notes

Specifically, a footnote is a text element at the bottom of a page of a book or manuscript that provides

additional information about a point made in the main text. The footnote might provide deeper background,

offer an alternate interpretation or provide a citation for the source of a quote, idea or statistic. Endnotes

serve the same purpose but are grouped together at the end of a chapter, article or book, rather than at the

bottom of each page.

These general guidelines will help you design footnotes and endnotes that are readable, legible and

economical in space. (Note that academic presses and journals can be sticklers for format: before proceeding,

check with your client or publisher to see if they have a specific stylesheet that must be followed.)

Numbers or Symbols: Footnotes are most often indicated by placing a superscript numeral

immediately after the text to be referenced. The same superscript numeral then

precedes the footnoted text at the bottom of the page. Numbering footnotes

is essential when there are many of them, but if footnotes are few they can

be marked with a dagger, asterisk, or other symbol instead. Endnotes should

always use numerals to facilitate easy referencing.

Size: Footnotes and endnotes are set smaller than body text. The difference in size

is usually about two points, but this can vary depending on the size, style and

legibility of the main text. Even though they’re smaller, footnotes and endnotes

should still remain at a readable size.

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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 discard-ing what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988 Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was ag-gressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

RADICAL MIX OF ART AND LIFE


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. parole in liberta = words set free (liberty), 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 engage-ment, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3. selbst = himself (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, to arouse controversy, and to attract widespread attention.



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.”1.

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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 society1. Futurism rejected traditions and

glorified contemporary life, mainly by emphasizing two dominant themes, the machine

and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive

and inflammatory and was purposely intended to inspire public anger and amazement, to

arouse controversy, and to attract widespread attention.


BUT IS IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE WE LIVE

and work as poets and artists: or, if not the movements, then their sense of art as an life

itself. All of which, as futurism, had come sharply into focus by the start of the world war:

a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was,

on both its Russian & Italian sides, the first great “art” movement led by poets; and if its

means now sometimes seem exaggerated or unripe in retrospect, they carry within them the

seed of all that we were later to become.

WHILE MARINETTI’S OPENING MANIFESTO FOR ITALIAN FUTURISM bristled

with a polemical stance in favor of the transformed present (1909), the later manifestos of

Futurist poets 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 analo-

gies, 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 mo-

tion 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 society1. 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. 1. Philip Meggs, History of Graphic Design, Van Nostrand

Reinhold, 1988



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 art-ists offered formal, “technical” approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual pre-sentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.” 2. parole in liberta = words

set free (liberty) 3. selbst = himself1. Philip Meggs, History of

Graphic Design, Van Nostrand

Reinhold, 1988

2. parole in liberta = words set

free (liberty)

3. selbst = himself


Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society1. 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.



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” ap-proaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become “an 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 decla-mation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

Words in LibertyA Prologue to FuturismFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innova tion in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombas tic; 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. 1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988

Radical Mix of Art and LifeBut is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the pop lar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now some times seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets 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 uninterrupt ed 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 juxtaposi tion, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerun ners like Mallarme. Outrageous and aggressive, the Futurists’ perfor mances mixed declamation and gesture, events and surroundings, indif ference 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.” 2. parole in liberta = words set free (liberty) 3. selbst = himself

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

1. Philip Meggs, History of Graphic De-sign, Van Nos-trand Reinhold, 1988

3. selbst = himself

FONT SPEC

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118

BOOK

HAIRLINE

SEMI-BOLD

BOLD ITALIC

Archer

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

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

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


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


119

ROMAN

BOLD

BLACK

Akzidenz Grotesk

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

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




REGULAR

SMALL CAPS

ITALIC

BOLD

Baskerville

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

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





REGULAR

ITALIC

BOLD

BLACK ITALIC

Belizio

MxagGdQrRA basic system for classifying type-faces was devised in the nineteenth century, when printers sought to identify a heritage for their own craft analogous to that of art his-tory. Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern type-faces are more abstract and less organic. These three main groups correspond roughly to the Renais-sance, Baroque, and Enlighten-ment periods in art and literature. Designers in the twentieth and twenty-first centuries have contin-ued to create new typefaces based

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





MxagGdQrRLIGHT

BOLD

BLACK

Bell Gothic

MxagGdQrRIA basic system for classifying typefaces

was devised in the nineteenth century, when

printers sought to identify a heritage for their

own craft analogous to that of art history.

Humanist letterforms are closely connected

to calligraphy and the movement of the hand.

Transitional and modern typefaces are more

abstract and less organic. These three main

groups correspond roughly to the Renais-

sance, Baroque, and Enlightenment periods in

art and literature. Designers in the twentieth

and twenty-first centuries have continued

to create new typefaces based on historic

characteristics.




REGULAR

ITALIC

BOLD

EXTRA BOLD

Bembo

MxnogGdQrRstA basic system for classifying typefaces was

devised in the nineteenth century, when print-

ers sought to identify a heritage for their own

craft analogous to that of art history. Humanist

letterforms are closely connected to calligraphy

and the movement of the hand. Transitional

and modern typefaces are more abstract and

less organic. These three main groups cor-

respond roughly to the Renaissance, Baroque,

and Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first

centuries have continued to create new type-

faces based on historic characteristics.

A basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a heri-

tage for their own craft analogous to that

of art history. Humanist letterforms are

closely connected to calligraphy and the

movement of the hand. Transitional and

modern typefaces are more abstract and

less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods

in art and literature. Designers in the

twentieth and twenty-first centuries have

continued to create new typefaces based

on historic characteristics.





REGULAR

ITALIC

BOLD

BOLD ITALIC

Bookman

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

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





MxnogGdQrRst

REGULAR

ITALIC

BOLD

ORNAMENTS

Bodoni

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

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

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




MxaogGdQrRstREGULAR

ITALIC

SWASH

ORNAMENT

ALTERNATE

Caslon

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

REGULAR

ITALIC

BOLD

BOLD ITALIC

Century Schoolbook

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






REGULAR

ITALIC

BOLD

BOLD ITALIC

Cheltenham

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






MxaogGdQrRt

UNICASE

REGULAR

Cholla

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









less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art

and literature. Designers in the twentieth



characteristics.

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

Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2

3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *


MaxnogGdQrRstLIGHT

REGULAR

BOLD

Clarendon

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

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




REGULAR

Clicker

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


REGULAR

ITALIC

BOLD

Didot

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

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




MaxnogGdQRs

DIN

MaxnogGdQrRtLIGHT

REGULAR

MEDIUM

BLACK


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



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

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

MaxnogGdQrRtDIN

MaxngdQHAMBURGLIGHT CONDENSED

REGULAR CONDENSED

BOLD CONDENSED

BLACK CONDENSED







REGULAR

ITALIC

BOLD

Disturbance

MxnatQbWFGdRA basic system for classifying typefaces was devised

in the nineteenth century, when printers sought

to identify a heritage for their own craft analo-

gous to that of art history. Humanist letterforms

are closely connected to calligraphy and the

movement of the hand. Transitional and modern

typefaces are more abstract and less organic.

These three main groups correspond roughly to

the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the

twentieth and twenty-first centuries have con-

tinued to create new typefaces based on historic

characteristics.

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

Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8

9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp

Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0

( ) { } ? ! @ & *

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

Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7

8 9 0 ( ) { } ? ! @ & *

MxnatQbWFGdRREGULAR

Fette Fraktur

MxnaopQrRtfgA basic system for classifying typefaces was

devised in the nineteenth century, when

printers sought to identify a heritage for

their own craft analogous to that of art

history. Humanist letterforms are closely

connected to calligraphy and the move-

ment of the hand. Transitional and modern

typefaces are more abstract and less or-

ganic. These three main groups correspond

roughly to the Renaissance, Baroque, and

Enlightenment periods in art and literature.


centuries have continued to create new

typefaces based on historic characteristics.

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

REGULAR

FRACTIONS

UNICASE

Filosofia

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

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




BOOK

DEMI

HEAVY

CONDENSED

Franklin Gothic

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

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





CONDENSED

REGULAR

BOLD

ULTRA BLACK

Frutiger

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

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





BOOK

BOLD

EXTRA BOLD

Futura

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

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




REGULAR

ITALIC

BOLD

Gill Sans

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



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


BOOK

BOLD

ITALIC

LIGHT

Gotham

MayogGdQRtA basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art history.

Humanist letterforms are closely con-

nected to calligraphy and the move-

ment of the hand. Transitional and

modern typefaces are more abstract

and less organic. These three main

groups correspond roughly to the

Renaissance, Baroque, and Enlight-

enment periods in art and litera-

ture. Designers in the twentieth and

twenty-first centuries have continued

to create new typefaces based on

historic characteristics.

A basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art history.

Humanist letterforms are closely

connected to calligraphy and the

movement of the hand. Transitional

and modern typefaces are more ab-

stract and less organic. These three

main groups correspond roughly

to the Renaissance, Baroque, and

Enlightenment periods in art and

literature. Designers in the twenti-

eth and twenty-first centuries have

continued to create new typefaces

based on historic characteristics.





REGULAR

BOLD

BLACK EXTENDED

Helvetica

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

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





ULTRA LIGHT

MaoygGdQrRtREGULAR

BOLD

BLACK

BOLD CONDENSED

Interstate

MaoygGdQrRtA basic system for classifying typefaces


when printers sought to identify a

heritage for their own craft analogous to

that of art history. Humanist letterforms

are closely connected to calligraphy

and the movement of the hand. Transi-

tional and modern typefaces are more

abstract and less organic. These three

main groups correspond roughly to the

Renaissance, Baroque, and Enlighten-

ment periods in art and literature. De-

signers in the twentieth and twenty-first

centuries have continued to create new

typefaces based on historic character-

istics.

A basic system for classifying typefac-

es was devised in the nineteenth cen-

tury, when printers sought to identify

a heritage for their own craft analo-

gous to that of art history. Humanist

letterforms are closely connected to

calligraphy and the movement of the

hand. Transitional and modern typefac-

es are more abstract and less organic.

These three main groups correspond

roughly to the Renaissance, Baroque,

and Enlightenment periods in art and

literature. Designers in the twentieth

and twenty-first centuries have contin-

ued to create new typefaces based on






REGULAR

Kunstler Script

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

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

REGULAR

ITALIC

BOLD

BLACK

Melior

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

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





LIGHT

MEDIUM

EXTRA BOLD

Memphis

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

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




REGULAR

CAPS

BLACK

ITALIC

Meta

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






REGULAR

ITALIC

BOLD

FRACTIONS

Mrs Eaves

MaxogGdQrRstA basic system for classifying typefaces was

devised in the nineteenth century, when print-

ers sought to identify a heritage for their own

craft analogous to that of art history. Humanist

letterforms are closely connected to calligraphy

and the movement of the hand. Transitional

and modern typefaces are more abstract and less

organic. These three main groups correspond



Designers in the twentieth and twenty-first cen-

turies have continued to create new typefaces


A basic system for classifying typefaces was devised in the

nineteenth century, when printers sought to identify a heritage

for their own craft analogous to that of art history. Humanist

letterforms are closely connected to calligraphy and the move-

ment of the hand. Transitional and modern typefaces are more

abstract and less organic. These three main groups correspond

roughly to the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the twentieth and

twenty-first centuries have continued to create new typefaces






REGULAR

ITALIC

BOLD

News Gothic

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

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




MaxogGdQrRst

REGULAR

OCR A

MaopQRfGgA basic system for clas-

sifying typefaces was

devised in the nineteenth

century, when printers

sought to identify a heri-

tage for their own craft

analogous to that of art

history. Humanist let-

terforms are closely con-

nected to calligraphy and

the movement of the hand.

Transitional and modern

typefaces are more histor-

ic characteristics.


MaopQRfGgBOOK

ITALIC

BOLD

Optima

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





LIGHT

OLD STYLE

MEDIUM

BLACK

Palatino

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






REGULAR

ITALIC

BOLD

Perpetua

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

A basic system for classifying typefaces was devised in

the nineteenth century, when printers sought to identify

a heritage for their own craft analogous to that of art

history. Humanist letterforms are closely connected to cal-

ligraphy and the movement of the hand. Transitional and

modern typefaces are more abstract and less organic. These

three main groups correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first centuries

have continued to create new typefaces based on historic

characteristics.




THIN

REGULAR

HEAVY

Platelet

MaxbyogGQrRtA basic system for classifying typefaces



tage for their own craft analogous to

that of art history. Humanist letter-

forms are closely connected to cal-

ligraphy and the movement of the hand.

Transitional and modern typefaces are

more abstract and less organic. These

three main groups correspond roughly to

the Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and twenty-

first centuries have continued to create

new typefaces based on historic charac-

teristics.




tage for their own craft analogous to

that of art history. Humanist letter-

forms are closely connected to cal-

ligraphy and the movement of the hand.

Transitional and modern typefaces are

more abstract and less organic. These

three main groups correspond roughly to

the Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and twenty-

first centuries have continued to create

new typefaces based on historic charac-

teristics.

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

Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx

Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }

? ! @ & *



Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }

? ! & *



Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }

? ! @ & *

REGULAR

ALTERNATE

BOLD

Priori Sans

MxanopdrRtSfGgA basic system for classifying typefaces was devised in

the nineteenth century, when printers sought to identify

a heritage for their own craft analogous to that of art

history. Humanist letterforms are closely connected to

calligraphy and the movement of the hand. Transitional

and modern typefaces are more abstract and less

organic. These three main groups correspond roughly to

the Renaissance, Baroque, and Enlightenment periods

in art and literature. Designers in the twentieth and

twenty-first centuries have continued to create new

typefaces based on historic characteristics.

A basic system for classifying typefaces was devised

in the nineteenth century, when printers sought to

identify a heritage for their own craft analogous to

that of art history. Humanist letterforms are closely

connected to calligraphy and the movement of the

hand. Transitional and modern typefaces are more

abstract and less organic. These three main groups

correspond roughly to the Renaissance, Baroque, and

Enlightenment periods in art and literature. Design-

ers in the twentieth and twenty-first centuries have

continued to create new typefaces based on historic

characteristics.




REGULAR

ALTERNATE

BOLD

Priori Serif

MxanodQrRtSfgA basic system for classifying typefaces was

devised in the nineteenth century, when printers

sought to identify a heritage for their own craft

analogous to that of art history. Humanist letter-

forms are closely connected to calligraphy and the

movement of the hand. Transitional and modern

typefaces are more abstract and less organic.

These three main groups correspond roughly to

the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the

twentieth and twenty-first centuries have con-

tinued to create new typefaces based on historic

characteristics.

A basic system for classifying typefaces was de-

vised in the nineteenth century, when printers

sought to identify a heritage for their own craft

analogous to that of art history. Humanist let-

terforms are closely connected to calligraphy

and the movement of the hand. Transitional and

modern typefaces are more abstract and less

organic. These three main groups correspond




centuries have continued to create new type-

faces based on historic characteristics.




(55) SANS

ITALIC

SERIF

ITALIC

Rotis

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

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





REGULAR

SMALL CAPS

BOLD

BOLD ITALIC

Sabon

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






REGULAR

CAPS

ITALIC

BOLD

Scala Sans

MxabyogGdQrRA basic system for classifying typefaces was





to calligraphy and the movement of the

hand. Transitional and modern typefaces

are more abstract and less organic. These

three main groups correspond roughly to the

Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in

the twentieth and twenty-first centuries have

continued to create new typefaces based on


A basic system for classifying typefaces was





to calligraphy and the movement of the

hand. Transitional and modern typefaces

are more abstract and less organic. These

three main groups correspond roughly to the

Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in

the twentieth and twenty-first centuries have

continued to create new typefaces based on






MxayogGQfR

REGULAR

ITALIC

BOLD

BLACK

Serifa

MxaoygGdQRA basic system for classifying typefaces

was devised in the nineteenth cen-

tury, when printers sought to identify

a heritage for their own craft analo-

gous to that of art history. Humanist

letterforms are closely connected to

calligraphy and the movement of the

hand. Transitional and modern typefac-

es are more abstract and less organic.

These three main groups correspond

roughly to the Renaissance, Baroque,

and Enlightenment periods in art and

literature. Designers in the twentieth

and twenty-first centuries have contin-

ued to create new typefaces based on







REGULAR

Snell Roundhand

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

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

MxaoygGdQR

BOLD CONDENSED

REGULAR

ITALIC

BOLD

Swift

MxaoygGdQrRA basic system for classifying typefaces








less organic. These three main groups cor-

respond roughly to the Renaissance, Ba-

roque, and Enlightenment periods in art

and literature. Designers in the twentieth



characteristics.

A basic system for classifying typefaces was




Humanist letterforms are closely connected to

calligraphy and the movement of the hand.

Transitional and modern typefaces are more

abstract and less organic. These three main

groups correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art

and literature. Designers in the twentieth and

twenty-first centuries have continued to create

new typefaces based on historic characteristics.





REGULAR

BOLD

BLACK

BLACK

Syntax

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






MxaoygGdQrR

CONDENSED

MEDIUM

BOLD

BOLD NO.2

Trade Gothic

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






REGULAR

MEDIUM

MEDIUM ITALIC

BOLD

Volta

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

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





MxanyogGdQrR

REGULAR

ITALIC

SMALL CAPS

BOLD

Walbaum

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

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





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