rules 3

x-height 7

hyphenation rules 23

widows 29

alignments 31

justification 37

combining typefaces 45

quotes/dashes 55

special characters 65

bullets 67

numeral figures 71

small caps 73

paragraph breaks 77

headers 89

caption notes 97

fontspec 107

The following is a compendium of the rules established in this book

paragraph — Never use the spacebar to align text, always set tabs and use the tab key.— Avoid ending lines with the words: the, of, at, a, by..— Keep the word spacing consistent.— Avoid ending consecutive lines with the same word.— Adjust the spacing between paragraphs.— Either indent the first line of paragraphs or add extra space between them – not both.— Never have one line in a paragraph in the colomn or following.— Avoid beginning consecutive lines with the same word.— Use a one-em first-line indent on all indented paragraphs.— Kern all headlines where necessary.

5

sentence— Use only one space between sentences.— Leave no widows or orphans.— Leave a least 2 characters on the line and 3 following.— Never justify the text on a short line.— Tighten up the leading in lines with all caps or with few ascenders and descenders.

— Use en or em dashes, use consistently. — Avoid more than 3 hyphenations in a row.— Avoid too many hyphenations in any paragraph.— Avoid hyphenating or line brakes of names and proper nouns.— Never hyphenate a words in a headline and avoid hyphenation in a callout.

dash and hyphens

rules6

sentence marks— Use real quotation marks.— Use real apostrophes.— Make sure the apostrophes are where they belong.— Hang the punctuation off the aligned edge.— Use a decimal or right-aligned tab for the numbers in numbered paragraphs.— 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.

fonts— 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.

7

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.

9

...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 recognize. 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.

readability/legibility

xheight10

ag ag ag

ag ag ag

ag ag ag futura walbaum

shelley

belizio gill sans bembo

adobe calson frutiger

bauer bodini

xheight12

ag ag ag

ag ag ag

ag ag

ag

ag

ag

ag ag

ag ag

ag ag

ag

ag

clarendon interstate

mrs eaves

meta

memphis

trade gothic rockwell univers

volta clicker

cholla

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 tradi-tions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and move-ment. He exalted violence and conflict and

adobe caslonCarol Twombly9/11 x-height: small character width: average color: light

Xxhg 72 point

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 inno-vation in culture and society. Futurism rejected traditions and glorified con-temporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology

frutigerAdrian Frutiger9/11x-height: large character width: narrowcolor: dark

Xxhg

xheight14

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, original-ity, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasiz-ing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifes-to glorified the new technology of the auto-mobile and the beauty of its speed, power,

bauer bodoniGiambattista Bodoni9/11 x-height: smallcharacter width: narrowcolor: light

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

futuraPaul Renner9/11x-height: average character width: narrowcolor: dark

Xxhg 72 point

15

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

walbaumJustus Walbaum9/11 x-height: largecharacter width: average color: light

Xxhg 72 point

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 inno-vation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

shellyMatthew Carter 9/11x-height: small character width: narrow color: light

X x h g

xheight16

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, 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 glo-rified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depic-tion of several successive actions of a

belizioDavid Berlow9/11 x-height: average character width: widecolor: light

Xxhg 72 point

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

gill sansEric Gill9/11x-height: average character width: average color: light

Xxhg

17

bemboFrancesco Griffo9/11 x-height: small character width: narrow color: light

chollaSibylle Hagmann9/11x-height: averagecharacter width: narrowcolor: dark

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

Xxhg 72 point

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

X xhg

xheight18

clarendonRobert Besley9/11 x-height: averagecharacter width: widecolor: dark

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 tradi-tions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depic-tion of several successive actions of a subject at the same time. Marinetti’s

XxhgFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on dis-carding what he conceived to be the stat-ic and irrelevant art of the past and cele-brating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depic-tion of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology

interstateTobias Frere-Jones9/11x-height: large character width: narrowcolor: dark

Xxhg 72 point

19

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 tradi-tions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glori-fied the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural,

Xxhg 72 point

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 innova-tion in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several suc-cessive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-nology of the automobile and the beauty of its speed, power, and movement. He exalted vio-lence and conflict and called for the sweeping

metaErik Spiekermann9/11x-height: large character width:narrow color: light

Xxhg

mrs. eavesZuzana Licko9/11 x-height: smallcharacter width: narrow color: light

xheight20

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 empha-sis 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 emphasiz-ing two dominant themes, the machine and motion. The works were character-ized by the depiction of several succes-sive actions of a subject at the same time. Marinetti’s manifesto glorified the

memphisRudolf Wolf9/11 x-height: average character width: widecolor: dark

Xxhg 72 point

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, origi-nality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed,

Xxhg

trade gothicJackson Burke9/11x-height: large character width: narrow color: light 21

universAdrian Frutiger9/11x-height: averagecharacter width: averagecolor: dark

rockwellFrank Hinman Pierpont9/11 x-height: averagecharacter width: widecolor: dark

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

Xxhg 72 point

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 empha-sis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, original-ity, and innovation in culture and soci-ety. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glori-

Xxhg

xheight22

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, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrat-ing change, originality, and innova-tion in culture and society. Futurism rejected traditions and glorified con-temporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were char-acterized by the depiction of several successive actions of a subject at the

XxhgFuturism 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 glo-rified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a

clickerGreg Thompson9/11x-height: large character width: narrowcolor: dark

Xxhg 72 point

voltaKonrad F. Bauer, Walter Baum9/11 x-height: averagecharacter width: widecolor: dark

23

hyphenationrules

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. 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. 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. 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.

25

pay attentionHyphenation rules pay attention to:

— how the text is read avoid widows (one word on the last line of a paragraph)

— avoid hyphenating or line brakes of names and proper nouns— leave a least 2 characters on the line and 3 following— avoid beginning consecutive lines with the same word— avoid ending consecutive lines with the same word— avoid ending lines with the words: the, of, at, a, by..— never hyphenate a words in a headline and avoid hyphenation in a callout

hyphenation rules26

Don’t hyphenate headlines. Don Quixote de la Man- cha

Watch where the first line of a two-line headline ends. Does it create a silly or misleading phrase? Professor and The- rapistto Lecture

Don’t leave widows (very short last lines) in headlines. Man Walks Barefoot Across Bay Bridge

Fix it either way, or rewrite! Man walks barefoot across Bay Bridge

Man walks barefoot across Bay Bridge

headlines

That’s a law.

Fix it.

27

Casing AdderBatHeresy borsch-boil starry aboarder borsch boil gamplate lung, lung a gore in-ner ladle wan-hearse torncoiled Mutt-fill. Mutt-fill worsen mush of-fter torn, butted hatter puttygut borsch-boil tame, an offoiler pliers honor tame, doormoist cerebrated worse Cas-ing.Casing worsted sickenedbasement, any hatter bettingorphanage off. 526 (fife towsex). Casing worse gut lurkingan furry poplar—spatiallywetter gull coiled Any-belly.Any-bally worse Casing’ssweat-hard, any harpy cobblewandered toe gat merit,bought Casing worse tow poretoe becalm Any-belly’shorsebarn. (Boil pliers honorMutt-fill tame dint gat mushoffer celery; infect, day gutnosing atoll.) Butt less get eam wetter star-ry.

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

{2} Use a line break (shift+return)to bumpt “a” down to the next line, where it fits very nicely.

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

{4} Type a dischy in front of the word to bumpt it down.

{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.

{6} Fix widows.

{7} Thereis plenty of room to squeeze “bought” on this line, perhaps by kerning the lin ea 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 box a wee bit.

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

1

2

3

4

5

6

7

8

9

hyphenation rules28

Casing Adder BatHeresy borsch-boil starrya boarder borsch boil gamplate lung, lung a gore innerladle wan-hearse torn coiledMutt-fill. Mutt-fill worsen mushoffter torn, butted hatter puttygut borsch-boil tame, anoff oiler pliers honor tame,door moist cerebrated worseCasing. Casing worsted sickenedbasement, any hatterbetting orphanage off. 526(fife tow sex). Casing worse gut lurkingan furry poplar—spatially wetter gull coiled Any-belly.Any-bally worse Casing’ssweat-hard, any harpy cobblewandered toe gat merit, bought Casing worse tow pore toe becalm Any-belly’s horsebarn. (Boil pliers honor Mutt-fill tame dint gat mush offer celery; infect, day gut nosing atoll.) Butt less get eam butterfly wetter starry.

29

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 remove spacing from the letters, words, or lines, depending on which program you’re working in. Or widening a margin just a hair will do it. But it must be done. Widows and orphans on a page are wrong.

widow When a paragraph ends and leaves fewer than seven characters (not words, charac-ters) on the last line, that line is called a widow. Worse than leaving one word at the end of a line is leaving part of a word, the other part being paraphrased on the line above.

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

Always correct this.

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

31

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 justi-fied text, tell them they are wrong. If they are both wrong, then what’s right?

alignments

Alignment is only a small piece of the puzzle. What works for one design might be totally inappropriate for another layout. As with all layouts, it depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page.The most appropriate choice is the alignment that works for that particular design.

33

“ Right and wrong do not exist in graphic design. There is only effective and non-effective communication.” — Peter Bilak, Illegibility

fully justified textYou 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 be more familiar to readers in some types of publications, such as books and newspapers.— May require extra attention to word and character spacing and hyphenation to avoid unsightly rivers of white space running through the text.— Some people are naturally drawn to the “neatness” of text that lines up perfectly on the left and right.

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 necessity, it has become so familiar to us that those same types of publications set in left-aligned text would look odd, even unpleasant.

35

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 inap-propriate for another layout. There

are simply fewer situations where centered text is ap-

propriate. When in doubt, don’t center it.

alignments36

As with all layouts, alignment depends on the purpose

of the piece,the audience, expectations, the fonts,

the margins white space, other elements on the

page.The most appropriate choice is the alignment that

works for that particular design. No matter what

alignment you use, remember to pay close attention to

hyphenation and word/character spacing as well to

insure that your text is as readable as possible. There will

undoubtedly be well-meaning friends, business asso-

ciates, clients, and others who will question your

choices. Be prepared to explain why you chose the align-

ment 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.

37

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

Justify text only if the line is long enough to

prevent awkward and inconsistent word spac-

ing.The only time you can safely get away with jus-

tifying 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 short-

er, 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 newspa-

per columns where all text is justified, often with a

word stretching all the way across the column, or a little

word on either side of the column with a big gap in

the middle. Gross. But that’s what can

happen with justified type. When you do it, the effect

might not be as radical as the newspaper column, but

if your lines are relatively short, you will inevitably end

up with uncomfortable gaps in some lines, while other

lines will be all squished together.

39

— 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)

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

— 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.

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

and squint at it. The rivers will be very easy to spot. Get rid of them. Try squinting at the example on the bottom

of the previous page.

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

justification40

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 tradi-tions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were charac-terized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and con-flict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

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

word spacingminimum: 50%desired: 80%maximum: 100%

problem: spacing seems to close together not really an area for the eye to rest, the word spacings are very close together.

41

word spacingminimum: 90%desired: 200%maximum: 250%

problem: large gaps in the words resoviling in large rivers through the text

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

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

justification42

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 cul-ture and society. Futurism rejected traditions and glorified contem-porary life, mainly by emphasizing two dominant themes, the machine and motion. The works were char-acterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruc-tion of such cultural institutions as museums and libraries.

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 innova-tion in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several suc-cessive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-nology of the automobile and the beauty of its speed, power, and movement. He exalted vio-lence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cul-tural institutions as museums and libraries.

word spacingminimum: 30%desired: 40%maximum: 50%

problem: the text is way to close together and doesnt allow for any gaps within the words., and too many words on a line

43

word spacingminimum: 85%desired: 90%maximum: 100%

problem: leave hyphens at the ending lines but besodes that the reythm of the gaps is good.

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 innova-tion in culture and society. Futurism reject-ed 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. He exalt-ed violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

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

justification44

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, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrat-ing change, originality, and innova-tion in culture and society. Futurism rejected traditions and glorified con-temporary life, mainly by emphasiz-ing two dominant themes, the machine and motion. The works were charac-terized by the depiction of several suc-cessive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institu-tions as museums and libraries.

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 empha-sis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, original-ity, and innovation in culture and soci-ety. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glori-fied the new technology of the automo-bile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repu-diation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

word spacingminimum: 20%desired: 50%maximum: 150%

problem: too many words on a page also and the line between the words is lost

45

when combiningserif and sans serif text fonts, one should try and match the characteristics of form and type color: proportion, x-heights.

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

reason for not combining two san serif fonts — not enough difference between the two make it look like you made a mistake reason for usually not combining two serif fonts — use different class fonts not same genere {Using 2 different serif fonts or 2 different sans serifs fonts

in the same composition is never a good idea

“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.”

Stay under control when picking a font from thefont menu. Keep the style consistant. NEVER combine two serif fonts on the same page, combine two sans serif fonts on the same page. Within the content of the text. It’s fine to make within the typeface changes on weight and style text more visually interesting it is more likely to read

sans serif heading serif body

49

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

aa BB ee GG gggoudy 9pt : old style frutiger 9pt/12pt: Humanist sans serif

These 2 fonts work together based in the style of each of the characters in both

the fonts are some what similar in height and width of the stroke. They do not

compete with in the shapes of the fonts allowing the eye to easily transition.

Fruitier black was used to create hierarchy.

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

aa BB ee GG ggbembo 9pt : old style frutiger 9pt/12: Akzidenz Grotesk sans serif

These 2 fonts work together based their characteristics within teh font. The

x-height is pretty similiar to eachother and the shaping of each letter is quite

siimilir. Again a bold Akzidenz Grotesk was used to create heierachy.

50

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

aa BB ee GG ggbaskerville 9pt : transitional, frutiger 9pt: Geometric sans serif

These 2 fonts work together based on the stroke width of the characters of the

letters. They also have different x-heighths, baskerville has a smaller x height

which helps with the body of the text.

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

aa BB ee GG ggperpetua 9pt : transitional, optima 9pt: Humanist sans serif

These 2 fonts work together based onteh roundness of teh cirlce of the letters as

well as the smaller x-height of the tranistion font , perpetua, compared to the

large x-height of optima.

51

WORDS IN LIBERTY

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

aa BB ee GG ggfilosophia 9pt : modern erostile 9pt: Geometric sans serif

These 2 fonts work together based on the stroke weight and shape of their

characters they are oposite in stule and have different x-heiths and character

widths which allow them to be contrasting to eachother

WORDS IN LIBERTY

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

aa BB ee GG ggwalbaum 9pt : modern news gothic 9pt: Grotesque sans serif

These 2 fonts work together based on the difference in character between both

the serif and san serif font. they also have different character width to help con-

trast the fonts.

52

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 dis-carding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cul-tural institutions as museums and libraries.

aa BB ee GG ggMrs. eaves 9pt : new transitional gotham 9pt: Geometric sans serif

These 2 fonts work together based on their character width and size and stoke

width of the two fonts. The x height is also different which allows contrast

between the two fonts

WORDS IN LIBERTYA Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glori-fied 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. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

aa BB ee GG ggclaredon 9pt : new transitional Helvetica 9pt: Grotesque sans serif

These 2 fonts work together based on the difference in stroke width this time the

serif font has a greater stroke with than the san serif, helvetica, font. The shapes

of the letters are also different pulling contrasts between the fonts.

53

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 celebrat-ing change, originality, and innovation in culture and society. Futurism rejected tradi-tions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several succes-sive actions of a subject at the same time. Marinetti’s manifesto glorified the new tech-nology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

aa BB ee GG ggrockwell 9pt : slab serif bauer bodini 9pt: Geometric sans serif

These 2 fonts work together based on their stroke width of the character and

the shapes of the characers. The x-height of baurer bodini is smaller and more

skinny in character width then rockwell which provides a good contrast.

WORDS IN LIBERTY

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

aa BB ee GG ggcourier 9pt : slab serif trade gothic 9pt: Humanist sans serif

These 2 fonts work together based on the distance between the two fonts in

character width and typographic color between the two fonts.

54

every time you turn on a computer and create something for print you are making a design so make it look good.

Quotation MarksUse real quotation marks – never those grotesque ge-neric 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 quota-tion 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 ](please include these and show them correctly)Bridge Clearance: 16’ 7’’The young man stood 6’ 2’’The length of the wall is 153’ 9’’

57

As as aside, people often are confused about where the apostrophe belongs. There are a couple of rules that work very well. 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. In a phrase such as House o’ Fashion, the apostrophe 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. For possessives: Turn the phrase around. The apostrophe will be placed after

whatever word you end up with. “The big excep-

tion to this is “its.” “Its” used as a possessive never has an apostrophe! The word it only has an apostrophe as a contraction—“it’s” always means “it is” or “it has.” Al-ways. It may be easier to remember if you recall that

yours, hers, and his don’t use apostrophes—and nei-ther should its. In a date when part of the year is left out, an apostrophe needs to indicate the miss-ing 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.)

Apostrophe: ’ option shift ]apostrophes

58

contractions: For contractions: The apostrophe replaces the missing letter. For example: your’re always means you are; the apostro-phe 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 dont’t say: Your going to the store.

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

omissions: 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 op-posite single quote. An apostrophe is still the appro-priate mark (not ‘n’).

59

Never 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 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.

dashes

quotes apostrophes dashes60

hyphen -A hyphen is strictly for hyphenating words or line breaks. Your punctuation style manual, such as The Chicago Manual of Style, goes into great detail about the proper use of hyphens.

There doesn’t seem to be a lot of confusion about when to use a hyphen, especially since your com-puter automatically inserts them at the ends of lines when necessary. But see Chapter 12 for some guidelines on how to make sure excessive or wrong hyphenations don’t make your work look amateurish.

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An en dash is called an en dash because it’s approxi-mately the width of a capital letter N in that par-ticular font and size. It is used between words that in-dicate 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 a little room, but don’t use a full space. (Check your manual for how to set a thin sapce.)

Here are a few examples of places to use the en dash.

October – December

6:30 – 8:45 A.M.

4 – 6 years of age

Notice that these are really not hyphenated words, and a plain hyphen is not the logically correct charac-ter to use. Notice that you automatically read the en dash as the word “to.”

En dash –en dash – Option Hyphenhold the Option key down, then tap the hyphen key

quotes apostrophes dashes62

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 of-ten used in place of a colon or parenthese, 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 (check our punctuation style man-ual for the exact use of the dash).

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.

Since you were properly taught, of course, you know that the double hyphen is not supposed to have a space on either side of it—neither is the em dash, as you can see right here in this sentence. There are six other examples of the em dash in this chapter.

Em dash —

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

em dash — Shift Option Hyphen

63

“ opening double quote Option [ ” closing double quote Option Shift [ ‘ opening single quote Option ] ’ closing single quote; apostrophe Option Shift ] – en dash Option Hyphen — em dash Option Shift Hyphen … ellipsis Option ; • bullet Option 8 fi ligature of f and i Option Shift 5fl ligature of f and l Option Shift 6 © copyright Option g™ trade mark Option 2® registration mark Option r ° degree symbol Option Shift 8 ¢ cent symbol Option $€ euro symbol Option Shift 2 ⁄ fraction bar Option Shift 1 ¡ upside down ! Option 1 (one)¿ upside down ? Option Shift ?£ division sign Option 3ç cedilla symbol Option c Ç captital cedilla Option Shift c

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 = é` Option + ~ = è¨ Option + u = ü˜ Option + n = ñˆ Option + i = î

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.

65

bullet, of course! This very useful typographic element can add em-phasis, clarity and visual interest to all kinds of copy.

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 bal-ances with the negative spaces created by the low-ercase. If your items all begin with lowercase characters, center the bullets on the x-height. Insert some space after the bullet to avoid crowding.

67

bullet alignmentThe 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 ding-bats for the actual bullets. Try squares, triangles or check marks (just not all at once, as shown in the illus-tration!). Keep these simple and in proportion with the rest of your text.

bullets68

dingbats or ornamentsAnother occasion to take advantage of the baseline shift feature is when using dingbats or ornaments. Suppose you have a list of items and you really want to use a fancy ding-bat from the Sapf Dingbats font, instead of using the boring ol’round bullet (or—heaven forbid—a hyphen). But the Zapf Dingbat character is too big. If you reduce its size, the dingbat is too low because the character is till sitting on the baseline. So select the char-acter and shift if up above the baseline.

Raise the dingbat higher off the baseline. lovely surly ghastly womanly saintly ungodly stately sprightly

You have lots of dingbats to choosefrom, but they are usually too big. lovely surly ghastly womanly saintly ungodly stately

Choose a dingbat instead of the dunb ol’bullet (the bullet is option 8)

• lovely

• surly

• ghastly

• womanly

• saintly

• ungodly

• stately

• sprightly

You have lots of dingbats to chose from, but they are usually too big lovely surly ghastly womanly saintly ungodly stately sprightly

69

oldstyle figuresOldstyle figures are a style of numeral which approximate lowercase letterforms by having an x-height and varying ascenders and descend-ers. They are considerably different from the more common “lining” (or “aligning”) figures which are all-cap height and typically mono-spaced in text faces so that they line up vertically on charts. Oldstyle figures have more of a traditional, classic look. They are only avail-able 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.

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.

Notice how large and clunky these numbers appear:

Dear John, please call me at 438-9762 at 3:00 to discuss marriage.

Or write to me at Route 916, zip code 87505.

Notice how beautifully these numbers blend into the text:

Dear John, please call me at 438-9762 at 3:00 to discuss marriage.

Or write to me at Route 916, zip code 87505.

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

73

If you set acronyms in regular all caps, their visual presence is unnecessar-ily overwhelming. One standard and practical place to use small caps is in

acronyms such as FBI, NRC, CBS, or SIMM.

Traditionally, “A.M.” and “P.M.” are set with small caps. If you were taught to type on a typewriter (or if you were taught on a keyboard by someone who was taight on a tpewriter), you probably learned to set these abbrviations in all caps because here were no small caps on type-writters. But now that you have the capablitlity, you can and should set them properly.

Harriet, and FBI agent, turn on CNN to get the dirt on the

CIA before going to bed at 9:30 P.M.

Harriet, and fbi agent, turn on cnn to get the dirt on the cia

before going to bed at 9:30 p.m.

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

acronyms

74

THE WICKED ARE VERY WEARYThe weight of the cmputer - drawn small caps is thinner than the weight of the reglar initial (fist letter) caps. Type-face is Eurostile Condensed

True-drawn small capsThere are quite a few font families that include “true-drawn” small caps – letterforms that have been redeigned to match the proportions and thickness of the uppercase. These famiies are often called “expert” sets or perhaps “small caps” sets (see chapter 8). The result is a smooth, uniform, undisturbing tone throughout the text.

There Is No Rest For The WickedThe Wicked Are Very Weary

true–drawn small caps are specially drawn to match the weight of the capitial letters in the same face. typefaces are caslon semibold, caslon expert semibold, calson regular, calson expert regular

75

paragraph breaksParagraph 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.

definitions: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 return3. the amount indent is = to the leading (sometimes needs a bit more)4. never hit two returns between paragraphs

77

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,

coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrel-

evant art of the past and celebrating change, originality, and innovation in culture and society.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.

But is is the movements which survive, oddly, here where we live and work as poets and art-

ists: 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 libertà2, 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 fore-

runners 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 selbst3 (circa 1915), “Everything of any

value is theatrical.”

paragraph breaks78

Futurism was first announced on February 20, 1909,

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

maso 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 in-

novation 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 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.

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 un-

ripe 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 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 libertà2, 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 aggres-

sive, 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.”

79

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 inflamma-

tory 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, “techni-

cal” approaches to the works then getting under way. The key term—still resonant today—was parole

in libertà2, 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 fore-

runners 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 selbst3 (circa 1915), “Everything of any

value is theatrical.”

paragraph breaks80

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 aggres-

sive 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 libertà2, 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 ex-

plored 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 selbst3

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

81

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 inflamma-

tory 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, “techni-

cal” approaches to the works then getting under way. The key term—still resonant today—was parole

in libertà2, 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 fore-

runners 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 selbst3 (circa 1915), “Everything of any

value is theatrical.”

paragraph breaks82

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 inflam-

matory 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

libertà2, 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 fore-

runners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and

gesture, events and surroundings, indifference and engagement, to break the barriers between them-

selves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything

of any value is theatrical.”

83

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 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 epito

me 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 libertà2, by which poetry was to become “an uninterrupted

sequence of new images… (a) strict bet of images or analogies, to be cast into the mysteri

ous sea of phenomena.” This freedom-of-the-world, while it resembled other forms of col-

lage 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 ges

ture, 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.”

paragraph breaks84

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 aggres-

sive 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 Rus-

sian & 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 libertà2, 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’ performanc-

es 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.”

85

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

lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined

by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art

of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected

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 inflamma-

tory 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 open-

ing 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 libertà2, 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. Outra-

geous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surround-

ings, 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.”

paragraph breaks86

Futurism was first announced on February 20, 1909, when

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

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

ceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in

culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasiz-

ing 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.

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 Futur-

ist poets and artists offered formal, “technical” approaches to the works then getting under way. The key

term—still resonant today—was parole in libertà2, 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 juxta-

position, 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

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

87

header— only be one primary header on a page — should be the title of the page — summarizes the contents of all the section in the page— main header or page title on a page can not be broken into an adjacent header — there must be a main header on all pages

subheader

— subheaders are used to separate content within a specific header — only a subheader, and a subsubheader can be broken into columnar format or adjacent subheaders— adjacent sub/subheaders may be used to split up information that is parallel in nature. — subheaders may be used to show the relationship of equal information— one column may have 2 adjacent sub/subheaders within it.

HEADER: that material which is separated

from the main body of text and appears at

the top of a printed page.

SUBHEAD: a phrase, sentence, or several

sentences near the title of the article or story.

rules for header and subheader

89

headers subheads crossheads

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 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 epito

me 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 libertà2, by which poetry was to become “an uninterrupted

sequence of new images… (a) strict bet of images or analogies, to be cast into the mysteri

ous sea of phenomena.” This freedom-of-the-world, while it resembled other forms of col-

lage 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 ges

ture, 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.”

90

Futurism was first announced on February 20, 1909, when

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

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

ceived 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 emphasiz-

ing 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.

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 Futur-

ist poets and artists offered formal, “technical” approaches to the works then getting under way. The key

term—still resonant today—was parole in libertà2, 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 juxta-

position, 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

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

A Prologue to Futurism

Radical mix of art and life

91

A Prologue to Futurism

Radical mix of art and life

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 inflamma-

tory 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, “techni-

cal” approaches to the works then getting under way. The key term—still resonant today—was parole

in libertà2, 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 fore-

runners 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 selbst3 (circa 1915), “Everything of any

value is theatrical.”

headers subheads crossheads92

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 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.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 amaze-

ment, 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.

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 Futur-

ist poets and artists offered formal, “technical” approaches to the works then getting under way. The key

term—still resonant today—was parole in libertà2, 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 juxta-

position, 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

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

93

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

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

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

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

and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two

dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its

tone was aggressive and inflammatory and was purposely intended to inspire public anger and amaze-

ment, 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. •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 libertà2, 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 aggres-

sive, 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.”

headers subheads crossheads94

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 inflamma-

tory 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, “techni-

cal” approaches to the works then getting under way. The key term—still resonant today—was parole

in libertà2, 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 fore-

runners 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 selbst3 (circa 1915), “Everything of any

value is theatrical.”

A Prologue to Futurism

Radical mix of art and life

95

Footnotes and endnotes are necessary compo-nents 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 chal-lenges.

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 deep-er background, offer an alternateinterpretation 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.

Footnotes and endnotes

97

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 thatmust be followed.)

captions notes98

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 end-notes should still remain at a readable size.

Numbers or Symbols: Footnotes are most often indicated by placing a superscript numeral immedi-ately after the text to be referenced. The same super-script 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 nu-merals to facilitate easy referencing.

99

4. parole in liberta = words set free (liberty)3. selbst = himself

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

captions notes

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 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 epito

me 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 libertà2, by which poetry was to become “an uninterrupted

sequence of new images… (a) strict bet of images or analogies, to be cast into the mysteri

ous sea of phenomena.” This freedom-of-the-world, while it resembled other forms of col-

lage 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 ges

ture, 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.”

100

Futurism was first announced on February 20, 1909, when

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

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

ceived 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 emphasiz-

ing 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.

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 Futur-

ist poets and artists offered formal, “technical” approaches to the works then getting under way. The key

term—still resonant today—was parole in libertà2, 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 juxta-

position, 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

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

A Prologue to Futurism

Radical mix of art and life

1. Phillip Meggs, History of Graphic Design, Van

Nostrand Reinhold, 1988

2. parole in liberta = words set free (liberty) 3. selbst = himself

101

A Prologue to Futurism

Radical mix of art and life

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 inflamma-

tory 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, “techni-

cal” approaches to the works then getting under way. The key term—still resonant today—was parole

in libertà2, 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 fore-

runners 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 selbst3 (circa 1915), “Everything of any

value is theatrical.”

1. Phillip Meggs, History of Graphic

Design, Van Nostrand Reinhold, 1988

parole in liberta = words set free (liberty)

3. selbst = himself

captions notes102

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 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.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 amaze-

ment, to arouse controversy, and to attract widespread attention. 1. Phillip Meggs, History of Graphic Design, Van Nostrand Reinhold,

1988.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. 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 libertà2, 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. Outra-

geous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surround-

ings, 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 = himself

103

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

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

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

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

and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two

dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its

tone was aggressive and inflammatory and was purposely intended to inspire public anger and amaze-

ment, 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. •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 libertà2, 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 aggres-

sive, 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. Phillip Meggs, History of Graphic Design, Van

Nostrand Reinhold, 19882. parole in liberta = words set free (liberty)

3. selbst = himself

captions notes104

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 inflamma-

tory 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, “techni-

cal” approaches to the works then getting under way. The key term—still resonant today—was parole

in libertà2, 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 fore-

runners 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 selbst3 (circa 1915), “Everything of any

value is theatrical.”

A Prologue to Futurism

Radical mix of art and life

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

105

106

CLASSIFICATION: SLAB SERIF

BOOK

HAIRLINE

SEMI-BOLD

BOLD ITALIC

Archer

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

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

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

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

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

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

108

CLASSIFICATION: SAN SERIF/GROTESQUE

ROMAN

BOLD

BLACK

Akzidenz Grotesk

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

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

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

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

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

109

CLASSIFICATION: TRANSITIONAL

REGULAR

SMALL CAPS

ITALIC

BOLD

Baskerville

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

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

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

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

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

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

110

CLASSIFICATION: SLAB SERIF

REGULAR

ITALIC

BOLD

Belizio

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

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

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

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

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

111

CLASSIFICATION: SAN SERIF

LIGHT

BOLD

BLACK

Bell Gothic

MxagGdQrRIA basic system for classifying typefaces

was devised in the nineteenth century, when

printers sought to identify a heritage for their

own craft analogous to that of art history.

Humanist letterforms are closely connected

to calligraphy and the movement of the hand.

Transitional and modern typefaces are more

abstract and less organic. These three main

groups correspond roughly to the Renais-

sance, Baroque, and Enlightenment periods in

art and literature. Designers in the twentieth

and twenty-first centuries have continued

to create new typefaces based on historic

characteristics.

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

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

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

112

MxagGdQrRICLASSIFICATION: OLD STYLE

REGULAR

ITALIC

BOLD

EXTRA BOLD

Bembo

MxnogGdQrRstA basic system for classifying typefaces was

devised in the nineteenth century, when print-

ers sought to identify a heritage for their own

craft analogous to that of art history. Humanist

letterforms are closely connected to calligraphy

and the movement of the hand. Transitional

and modern typefaces are more abstract and

less organic. These three main groups cor-

respond roughly to the Renaissance, Baroque,

and Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first

centuries have continued to create new type-

faces based on historic characteristics.

A basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a heri-

tage for their own craft analogous to that

of art history. Humanist letterforms are

closely connected to calligraphy and the

movement of the hand. Transitional and

modern typefaces are more abstract and

less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods

in art and literature. Designers in the

twentieth and twenty-first centuries have

continued to create new typefaces based

on historic characteristics.

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

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

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

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

113

CLASSIFICATION: TRANSITIONAL

REGULAR

ITALIC

BOLD

BOLD ITALIC

Bookman

MxaogGdQrRA basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own craft

analogous to that of art history. Hu-

manist letterforms are closely con-

nected to calligraphy and the move-

ment of the hand. Transitional and

modern typefaces are more abstract

and less organic. These three main

groups correspond roughly to the

Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and

twenty-first centuries have continued

to create new typefaces based on

historic characteristics.

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

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

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

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

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

114

MxaogGdQrRCLASSIFICATION: MODERN

REGULAR

ITALIC

BOLD

ORNAMENTS

Bodoni

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

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

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

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

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

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

115

CLASSIFICATION: SERIF/TRANSITIONAL

REGULAR

ITALIC

SWASH

ORNAMENT

ALTERNATE

Caslon

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

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

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

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

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

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

c h i k l Ss T t

116

MxanogGdQRtCLASSIFICATION: SERIF/TRANSITIONAL

REGULAR

ITALIC

BOLD

BOLD ITALIC

Century Schoolbook

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

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

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

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

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

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

117

CLASSIFICATION: TRANSITIONAL

REGULAR

ITALIC

BOLD

BOLD ITALIC

Cheltenham

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

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

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

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

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

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

118

MaxogGdQrRsCLASSIFICATION: MODERN

UNICASE

REGULAR

Cholla

MaxnogGdQrRstA basic system for classifying typefaces

was devised in the nineteenth century, when

printers sought to identify a heritage for

their own craft analogous to that of art his-

tory. Humanist letterforms are closely con-

nected to calligraphy and the movement of

the hand. Transitional and modern typefaces

are more abstract and less organic. These

three main groups correspond roughly to the

Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the

twentieth and twenty-first centuries have

continued to create new typefaces based on

historic characteristics.

A basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a heri-

tage for their own craft analogous to that

of art history. Humanist letterforms are

closely connected to calligraphy and the

movement of the hand. Transitional and

modern typefaces are more abstract and

less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art

and literature. Designers in the twentieth

and twenty-first centuries have continued

to create new typefaces based on historic

characteristics.

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

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

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

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

119

CLASSIFICATION: SLAB SERIF

LIGHT

REGULAR

BOLD

Clarendon

MxagGdQrRtA basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art history.

Humanist letterforms are closely con-

nected to calligraphy and the move-

ment of the hand. Transitional and

modern typefaces are more abstract

and less organic. These three main

groups correspond roughly to the

Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and twen-

ty-first centuries have continued to

create new typefaces based on historic

characteristics.

A basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art histo-

ry. Humanist letterforms are closely

connected to calligraphy and the

movement of the hand. Transitional

and modern typefaces are more ab-

stract and less organic. These three

main groups correspond roughly

to the Renaissance, Baroque, and

Enlightenment periods in art and

literature. Designers in the twenti-

eth and twenty-first centuries have

continued to create new typefaces

based on historic characteristics.

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

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

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

120

CLASSIFICATION: SAN SERIF

REGULAR

Clicker

MaxnogGdQRsA basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art histo-

ry. Humanist letterforms are closely

connected to calligraphy and the

movement of the hand. Transitional

and modern typefaces are more ab-

stract and less organic. These three

main groups correspond roughly

to the Renaissance, Baroque, and

Enlightenment periods in art and

literature. Designers in the twenti-

eth and twenty-first centuries have

continued to create new typefaces

based on historic characteristics.

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

121

CLASSIFICATION: MODERN SERIF

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.

Aa Bb Cc Dd Ee Ff Gg 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 (

122

MxaogGdQrRtCLASSIFICATION: GROTESQUE DIN

MaxnogGdQrRtLIGHT

REGULAR

MEDIUM

BLACK

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

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

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

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

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

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

123

CLASSIFICATION: GROTESQUE DIN

MaxngdQHAMBURGLIGHT CONDENSED

REGULAR CONDENSED

BOLD CONDENSED

BLACK CONDENSED

A basic system for classifying typefaces was devised in the

nineteenth century, when printers sought to identify a heritage

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

letterforms are closely connected to calligraphy and the

movement of the hand. Transitional and modern typefaces

are more abstract and less organic. These three main groups

correspond roughly to the Renaissance, Baroque, and

Enlightenment periods in art and literature. Designers in the

twentieth and twenty-first centuries have continued to create

new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in

the nineteenth century, when printers sought to identify

a heritage for their own craft analogous to that of art

history. Humanist letterforms are closely connected to

calligraphy and the movement of the hand. Transitional

and modern typefaces are more abstract and less

organic. These three main groups correspond roughly to

the Renaissance, Baroque, and Enlightenment periods

in art and literature. Designers in the twentieth and

twenty-first centuries have continued to create new

typefaces based on historic characteristics.

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

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

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

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

124

MaxngdQHAMBURGCLASSIFICATION: SERIF

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 ( ) { } ? ! @ & *

125

CLASSIFICATION: SAN SERIF

REGULAR

Fette Fraktur

MxnaopQrRtfgA basic system for classifying typefaces was

devised in the nineteenth century, when

printers sought to identify a heritage for their

own craft analogous to that of art history.

Humanist letterforms are closely connected to

calligraphy and the movement of the hand.

Transitional and modern typefaces are more

abstract and less organic. These three main

groups correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art

and literature. Designers in the twentieth and

twenty-first centuries have continued to create

new typefaces based on historic characteristics.

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *Idunt aliquam adignim velit utat. Etuer accum dunt ad magniam, ven-diat lam verostrud essi tetum illa facipisl utet endre feu faccum dit praessi. Ing ea feuguer aessenim atisi.Delessi. Sectet, sit, ver si.Alit ipit esequis exer adigna adignit aliquat lam dunt utpat aut nisisi.Tate conse nim adionsecte feuis etum dolobore molore verit veniss126

MxnaopQrRtfgCLASSIFICATION: SLAB SERIF

REGULAR

FRACTIONS

UNICASE

Filosofia

MxnaopQrRtfGgA basic system for classifying typefaces was

devised in the nineteenth century, when

printers sought to identify a heritage for their

own craft analogous to that of art history.

Humanist letterforms are closely connected

to calligraphy and the movement of the hand.

Transitional and modern typefaces are more

abstract and less organic. These three main

groups correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art

and literature. Designers in the twentieth and

twenty-first centuries have continued to create

new typefaces based on historic characteristics.

A basic system for classifying typefaces was devised in the nineteenth century, when print-ers 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 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

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

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

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

128127

CLASSIFICATION: SAN SERIF/ GROTESQUE

BOOK

DEMI

HEAVY

CONDENSED

Franklin Gothic

MaxodQRtfGgA basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a heritage

for their own craft analogous to that of art

history. Humanist letterforms are closely

connected to calligraphy and the move-

ment of the hand. Transitional and modern

typefaces are more abstract and less or-

ganic. These three main groups correspond

roughly to the Renaissance, Baroque, and

Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first

centuries have continued to create new

typefaces based on historic characteristics.

A basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to iden-

tify a heritage for their own craft anal-

ogous to that of art history. Humanist

letterforms are closely connected

to calligraphy and the movement of

the hand. Transitional and modern

typefaces are more abstract and less

organic. These three main groups cor-

respond roughly to the Renaissance,

Baroque, and Enlightenment periods

in art and literature. Designers in the

twentieth and twenty-first centuries

have continued to create new typefac-

es based on historic characteristics.

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

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

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

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

128

CLASSIFICATION: HUMANIST/SAN SERIF

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

A basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a

heritage for their own craft analo-

gous to that of art history. Humanist

letterforms are closely connected to

calligraphy and the movement of the

hand. Transitional and modern typefac-

es are more abstract and less organic.

These three main groups correspond

roughly to the Renaissance, Baroque,

and Enlightenment periods in art and

literature. Designers in the twentieth

and twenty-first centuries have contin-

ued to create new typefaces based on

historic characteristics.

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

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

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

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

129

CLASSIFICATION: GEOMETRIC/SAN SERIF

BOOK

BOLD

EXTRA BOLD

Futura

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

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

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

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

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

130

CLASSIFICATION: GROTESQUE/SAN SERIF

REGULAR

BOLD

BLACK EXTENDED

Helvetica

MaoygGdQrRtA basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a heritage

for their own craft analogous to that

of art history. Humanist letterforms are

closely connected to calligraphy and the

movement of the hand. Transitional and

modern typefaces are more abstract and

less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods

in art and literature. Designers in the

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.

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

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

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6

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

ULTRA LIGHT

131

CLASSIFICATION: SANS-SERIF

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.

A basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art histo-

ry. Humanist letterforms are closely

connected to calligraphy and the

movement of the hand. Transitional

and modern typefaces are more ab-

stract and less organic. These three

main groups correspond roughly

to the Renaissance, Baroque, and

Enlightenment periods in art and

literature. Designers in the twenti-

eth and twenty-first centuries have

continued to create new typefaces

based on historic characteristics.

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

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

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

132

CLASSIFICATION: GEOMETRIC SANS-SERIF

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 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 history.

Humanist letterforms are closely

connected to calligraphy and the

movement of the hand. Transitional

and modern typefaces are more ab-

stract and less organic. These three

main groups correspond roughly

to the Renaissance, Baroque, and

Enlightenment periods in art and

literature. Designers in the twenti-

eth and twenty-first centuries have

continued to create new typefaces

based on historic characteristics.

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

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

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

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

133

CLASSIFICATION: GROTESQUE/SAN SERIF

REGULAR

BOLD

BLACK EXTENDED

Helvetica

MaoygGdQrRtA basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a heritage

for their own craft analogous to that

of art history. Humanist letterforms are

closely connected to calligraphy and the

movement of the hand. Transitional and

modern typefaces are more abstract and

less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods

in art and literature. Designers in the

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.

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

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

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

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

ULTRA LIGHT

134

MaoygGdQrRtCLASSIFICATION: TRANSITIONAL

REGULAR

BOLD

BLACK

BOLD CONDENSED

Interstate

MaoygGdQrRtA basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a

heritage for their own craft analogous to

that of art history. Humanist letterforms

are closely connected to calligraphy

and the movement of the hand. Transi-

tional and modern typefaces are more

abstract and less organic. These three

main groups correspond roughly to the

Renaissance, Baroque, and Enlighten-

ment periods in art and literature. De-

signers in the twentieth and twenty-first

centuries have continued to create new

typefaces based on historic character-

istics.

A basic system for classifying typefac-

es was devised in the nineteenth cen-

tury, when printers sought to identify

a heritage for their own craft analo-

gous to that of art history. Humanist

letterforms are closely connected to

calligraphy and the movement of the

hand. Transitional and modern typefac-

es are more abstract and less organic.

These three main groups correspond

roughly to the Renaissance, Baroque,

and Enlightenment periods in art and

literature. Designers in the twentieth

and twenty-first centuries have contin-

ued to create new typefaces based on

historic characteristics.

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

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

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

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

135

CLASSIFICATION: SCRIPT

REGULAR

Kunstler Script

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

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

136

CLASSIFICATION: TRANSITONAL SERIF

REGULAR

ITALIC

BOLD

BOLD

Melior

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

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

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

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

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

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

137

CLASSIFICATION: SLAB SERIF

LIGHT

MEDIUM

EXTRA BOLD

Memphis

MxagGdQrRtA basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a heri-

tage for their own craft analogous to that

of art history. Humanist letterforms are

closely connected to calligraphy and the

movement of the hand. Transitional and

modern typefaces are more abstract and

less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods

in art and literature. Designers in the

twentieth and twenty-first centuries have

continued to create new typefaces based

on historic characteristics.

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

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

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

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

138

CLASSIFICATION: HUMANIST/SAN SERIF

REGULAR

CAPS

BLACK

ITALIC

Meta

MaxogGdQrRstA basic system for classifying typefaces was

devised in the nineteenth century, when

printers sought to identify a heritage for

their own craft analogous to that of art his-

tory. Humanist letterforms are closely con-

nected to calligraphy and the movement of

the hand. Transitional and modern typefac-

es are more abstract and less organic. These

three main groups correspond roughly to

the Renaissance, Baroque, and Enlighten-

ment periods in art and literature. Designers

in the twentieth and twenty-first centuries

have continued to create new typefaces

based on historic characteristics.

A basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a heri-

tage for their own craft analogous to that

of art history. Humanist letterforms are

closely connected to calligraphy and the

movement of the hand. Transitional and

modern typefaces are more abstract and

less organic. These three main groups

correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art

and literature. Designers in the twentieth

and twenty-first centuries have continued

to create new typefaces based on historic

characteristics.

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

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

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

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

139

CLASSIFICATION: TRANSITIONAL

REGULAR

ITALIC

BOLD

FRACTIONS

Mrs Eaves

MaxogGdQrRstA basic system for classifying typefaces was

devised in the nineteenth century, when print-

ers sought to identify a heritage for their own

craft analogous to that of art history. Humanist

letterforms are closely connected to calligraphy

and the movement of the hand. Transitional

and modern typefaces are more abstract and less

organic. These three main groups correspond

roughly to the Renaissance, Baroque, and

Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first cen-

turies have continued to create new typefaces

based on historic characteristics.

A basic system for classifying typefaces was devised in the

nineteenth century, when printers sought to identify a heritage

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

letterforms are closely connected to calligraphy and the move-

ment of the hand. Transitional and modern typefaces are more

abstract and less organic. These three main groups correspond

roughly to the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the twentieth and

twenty-first centuries have continued to create new typefaces

based on historic characteristics.

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

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

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

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

140

MaxogGdQrRstCLASSIFICATION: SAN SERIF

REGULAR

ITALIC

BOLD

News Gothic

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

141

CLASSIFICATION: MODERN

REGULAR

OCRA

MaopQRfGgA basic system for clas-

sifying typefaces was

devised in the nineteenth

century, when printers

sought to identify a heri-

tage for their own craft

analogous to that of art

history. Humanist let-

terforms are closely con-

nected to calligraphy and

the movement of the hand.

Transitional and modern

typefaces are more histor-

ic characteristics.

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

142

MaopQRfGg

CLASSIFICATION: NOT SERIF/SAN SERIF

BOOK

ITALIC

BOLD

Optima

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

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

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

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

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

143

CLASSIFICATION: OLD STYLE

LIGHT

OLD STYLE

MEDIUM

BLACK

Palatino

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

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

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

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

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

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

144

CLASSIFICATION: TRANSITIONAL

REGULAR

ITALIC

BOLD

Perpetua

MxaopQRstGgqA basic system for classifying typefaces was devised

in the nineteenth century, when printers sought

to identify a heritage for their own craft analogous

to that of art history. Humanist letterforms are

closely connected to calligraphy and the movement

of the hand. Transitional and modern typefaces are

more abstract and less organic. These three main

groups correspond roughly to the Renaissance,

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 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.

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

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

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

145

CLASSIFICATION: GEOMETRIC/SAN SERIF

THIN

REGULAR

HEAVY

Platelet

MaxbyogGQrRtA basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a heri-

tage for their own craft analogous to

that of art history. Humanist letter-

forms are closely connected to cal-

ligraphy and the movement of the hand.

Transitional and modern typefaces are

more abstract and less organic. These

three main groups correspond roughly to

the Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and twenty-

first centuries have continued to create

new typefaces based on historic charac-

teristics.

A basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a heri-

tage for their own craft analogous to

that of art history. Humanist letter-

forms are closely connected to cal-

ligraphy and the movement of the hand.

Transitional and modern typefaces are

more abstract and less organic. These

three main groups correspond roughly to

the Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and twenty-

first centuries have continued to create

new typefaces based on historic charac-

teristics.

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

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

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

? ! @ & *

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

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

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

? ! & *

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

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

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

? ! @ & *

146

CLASSIFICATION: TRANSITIONAL

REGULAR

ALTERNATE

BOLD

Priori Sans

MxanopdrRtSfGgA basic system for classifying typefaces was devised in

the nineteenth century, when printers sought to identify

a heritage for their own craft analogous to that of art

history. Humanist letterforms are closely connected to

calligraphy and the movement of the hand. Transitional

and modern typefaces are more abstract and less

organic. These three main groups correspond roughly to

the Renaissance, Baroque, and Enlightenment periods

in art and literature. Designers in the twentieth and

twenty-first centuries have continued to create new

typefaces based on historic characteristics.

A basic system for classifying typefaces was devised

in the nineteenth century, when printers sought to

identify a heritage for their own craft analogous to

that of art history. Humanist letterforms are closely

connected to calligraphy and the movement of the

hand. Transitional and modern typefaces are more

abstract and less organic. These three main groups

correspond roughly to the Renaissance, Baroque, and

Enlightenment periods in art and literature. Design-

ers in the twentieth and twenty-first centuries have

continued to create new typefaces based on historic

characteristics.

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

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

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

147

CLASSIFICATION: TRANSITIONAL

REGULAR

ALTERNATE

BOLD

Priori Serif

MxanodQrRtSfgA basic system for classifying typefaces was

devised in the nineteenth century, when printers

sought to identify a heritage for their own craft

analogous to that of art history. Humanist letter-

forms are closely connected to calligraphy and the

movement of the hand. Transitional and modern

typefaces are more abstract and less organic.

These three main groups correspond roughly to

the Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in the

twentieth and twenty-first centuries have con-

tinued to create new typefaces based on historic

characteristics.

A basic system for classifying typefaces was de-

vised in the nineteenth century, when printers

sought to identify a heritage for their own craft

analogous to that of art history. Humanist let-

terforms are closely connected to calligraphy

and the movement of the hand. Transitional and

modern typefaces are more abstract and less

organic. These three main groups correspond

roughly to the Renaissance, Baroque, and

Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first

centuries have continued to create new type-

faces based on historic characteristics.

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

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

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

148

CLASSIFICATION: HUMANIST/SAN SERIF

(55) SANS

ITALIC

SERIF

ITALIC

Rotis

MxanopQrRtGgA basic system for classifying typefaces was

devised in the nineteenth century, when

printers sought to identify a heritage for their

own craft analogous to that of art history.

Humanist letterforms are closely connected

to calligraphy and the movement of the hand.

Transitional and modern typefaces are more

abstract and less organic. These three main

groups correspond roughly to the Renais-

sance, Baroque, and Enlightenment periods in

art and literature. Designers in the twentieth

and twenty-first centuries have continued

to create new typefaces based on historic

characteristics.

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

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

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

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

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

149

CLASSIFICATION: OLD STYLE

REGULAR

SMALL CAPS

BOLD

BOLD ITALIC

Sabon

MxayogGQfRA basic system for classifying typefaces was

devised in the nineteenth century, when

printers sought to identify a heritage for

their own craft analogous to that of art

history. Humanist letterforms are closely

connected to calligraphy and the move-

ment of the hand. Transitional and modern

typefaces are more abstract and less or-

ganic. These three main groups correspond

roughly to the Renaissance, Baroque, and

Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first

centuries have continued to create new

typefaces based on historic characteristics.

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

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

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

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

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

150

MxayogGQfRCLASSIFICATION: HUMANIST/SAN SERIF

REGULAR

CAPS

ITALIC

BOLD

Scala Sans

MxabyogGdQrRA basic system for classifying typefaces was

devised in the nineteenth century, when

printers sought to identify a heritage for their

own craft analogous to that of art history.

Humanist letterforms are closely connected

to calligraphy and the movement of the

hand. Transitional and modern typefaces

are more abstract and less organic. These

three main groups correspond roughly to the

Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in

the twentieth and twenty-first centuries have

continued to create new typefaces based on

historic characteristics.

A basic system for classifying typefaces was

devised in the nineteenth century, when

printers sought to identify a heritage for their

own craft analogous to that of art history.

Humanist letterforms are closely connected

to calligraphy and the movement of the

hand. Transitional and modern typefaces

are more abstract and less organic. These

three main groups correspond roughly to the

Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in

the twentieth and twenty-first centuries have

continued to create new typefaces based on

historic characteristics.

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

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

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

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

151

CLASSIFICATION: SLAB SERIF

REGULAR

ITALIC

BOLD

BLACK

Serifa

MxaoygGdQRA basic system for classifying typefaces

was devised in the nineteenth cen-

tury, when printers sought to identify

a heritage for their own craft analo-

gous to that of art history. Humanist

letterforms are closely connected to

calligraphy and the movement of the

hand. Transitional and modern typefac-

es are more abstract and less organic.

These three main groups correspond

roughly to the Renaissance, Baroque,

and Enlightenment periods in art and

literature. Designers in the twentieth

and twenty-first centuries have contin-

ued to create new typefaces based on

historic characteristics.

A basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art histo-

ry. Humanist letterforms are closely

connected to calligraphy and the

movement of the hand. Transitional

and modern typefaces are more ab-

stract and less organic. These three

main groups correspond roughly

to the Renaissance, Baroque, and

Enlightenment periods in art and

literature. Designers in the twenti-

eth and twenty-first centuries have

continued to create new typefaces

based on historic characteristics.

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

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

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

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

152

CLASSIFICATION: SCRIPT

REGULAR

Snell Roundhand

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

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

153

CLASSIFICATION: TRANSITIONAL SERIF

BOLD CONDENSED

REGULAR

ITALIC

BOLD

Swift

MxaoygGdQrRA basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a heri-

tage for their own craft analogous to that

of art history. Humanist letterforms are

closely connected to calligraphy and the

movement of the hand. Transitional and

modern typefaces are more abstract and

less organic. These three main groups cor-

respond roughly to the Renaissance, Ba-

roque, and Enlightenment periods in art

and literature. Designers in the twentieth

and twenty-first centuries have continued

to create new typefaces based on historic

characteristics.

A basic system for classifying typefaces was

devised in the nineteenth century, when

printers sought to identify a heritage for their

own craft analogous to that of art history.

Humanist letterforms are closely connected to

calligraphy and the movement of the hand.

Transitional and modern typefaces are more

abstract and less organic. These three main

groups correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art

and literature. Designers in the twentieth and

twenty-first centuries have continued to create

new typefaces based on historic characteristics.

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

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

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

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

154

CLASSIFICATION: HUMANIST/SAN SERIF

REGULAR

BOLD

BLACK

BLACK

Syntax

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

A basic system for classifying typefaces

was devised in the nineteenth century,

when printers sought to identify a heritage

for their own craft analogous to that of art

history. Humanist letterforms are closely

connected to calligraphy and the move-

ment of the hand. Transitional and modern

typefaces are more abstract and less or-

ganic. These three main groups correspond

roughly to the Renaissance, Baroque, and

Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first

centuries have continued to create new

typefaces based on historic characteristics.

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

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

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

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

155

CLASSIFICATION: SAN SERIF

CONDENSED

MEDIUM

BOLD

BOLD NO.2

Trade Gothic

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

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

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

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

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

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

156

CLASSIFICATION: MODERN SERIF

REGULAR

ITALIC

SMALL CAPS

BOLD

Walbaum

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

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

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

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

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

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

157

CLASSIFICATION: TRANSITIONAL SLAB SERIF

REGULAR

MEDIUM

MEDIUM ITALIC

BOLD

Volta

MyogGdQrRA basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art history.

Humanist letterforms are closely

connected to calligraphy and the

movement of the hand. Transitional

and modern typefaces are more ab-

stract and less organic. These three

main groups correspond roughly

to the Renaissance, Baroque, and

Enlightenment periods in art and

literature. Designers in the twentieth

and twenty-first centuries have con-

tinued to create new typefaces based

on historic characteristics.

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

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

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

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

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

158

Designed by Kelsey AllenClass project for Professor Herstowski’s Typography 02 at the University of Kansas, Spring 2011. Text for the book was com-piled 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 Typewrit-er 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 stu-dent design portfolio.