typographic guide

!

everything you need to know and more.

Typographyguide

1

6 X-Height

14 Hyphenation Rules

21 Alignment

26 Justification

34 Combining Typefaces

40 Quotes, Apostrophes and Dashes

50 Special Characters

52 Bullets

56 Numerals / Figures

60 Small Caps

64 Paragraph Breaks

76 Headers, Subheads and Crossheads

84 Captions and Notes

88 Font Specs

2

• Use only one space between sentences • Use real quotation marks • Use real

apostrophes • Make sure the apostrophes are where they belong • Hang the punc-

tuation off the aligned edge • Use en or em dashes, use consistently • Kern all

headlines where necessary • Never use the spacebar to align text, always set tabs

and use the tab key • Leave no widows or orphans • Avoid more than 3 hyphen-

ations in a row • Avoid too many hyphenations in any paragraph • Avoid hyphenat-

ing 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 hy-

phenation in a callout • Never justify the text on a short line • Keep the word spac-

ing consistent • Tighten up the leading in lines with all caps or with few ascenders

and descenders • Use a one-em first-line indent on all indented paragraphs •

Adjust the spacing between paragraphs • Either indent the first line of paragraphs

or add extra space between them – not both • Use a decimal or right-aligned tab

for the numbers in numbered paragraphs • Never have one line in a paragraph

in the column or following • Never combine two serif fonts on one page • Rarely

combine two sans serif fonts on one page • Rarely combine more than three type-

faces on one page • Use the special characters whenever necessary, including

super- and subscript • Spend the time to create nice fraction or chose a font that

has fractions • If a correctly spelled word needs an accent mark, use it.

3

Readability and Legibility are two key elements of printed text

that typographer strive to maximize. Readability extended

amount of text – such as an article, book, or annual report –

is easy to read. Legibility refers to whether an refers to whether

a short burst of text – such as a headline catalog listing, or stop

sign – is instantly recognizable.

Readability

There are several factors that determine

whether a text is readable. When decid-

ing what typeface should be used for

a job, consideration should be given

to the typeface and its x-height. It is im-

portant to understand how a block of text

can express a message through its tex-

ture/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.

4

legibility

How will it be read?

As a designer, if you are only asked to make the text readable on the page the following questions should be asked:

Who is going to read it?

• Someone that wants to read it?

• Someone that has to read it?

• Quickly

• In passing

• Focused

• Near

• Far

!

5

X height

7

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 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 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 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, 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, power, and move-ment. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institu-

• mrs eaves (Roman) 9/11

• serif

• Zuzana Licko

• TYPE COLOR

• univers (55 Roman) 9/11

• Sans Serif : neo-grotesque

• Adrian Frutiger

• Tall x-height : short ascenders

Xxhg Xxhg

8

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 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 conflict and called for the sweeping repudia-tion 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 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 glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were character-ized by the depiction of several successive 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.

• GIll Sans (Regular) 9/11

• Sans Serif : Humanist

• Eric Gill

• Slight contrast in stroke width : Light color

• DIN (Regular) 9/11

• Sans Serif

• Linotype

• Geometric : Mono weight : Dark color

Xxhg Xxhg

9

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

• Memphis (Light) 9/11

• Slab Serif

• Rudolf Weiss

• Narrow : Tall X-height : Light color

• Memphis (Medium) 9/11

• Slab Serif

• Rudolf Weiss

• Narrow : Tall X-height : Dark color

Xxhg Xxhg

10

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 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 manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cel-ebrating change, originality, and innovation in culture and 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 succes-sive 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.

• Helvetica Neue (Regular) 9/11

• Sans Serif : Grotesque

• Max Medinger

• Mono weight : Short ascenders & descenders

• Futura (Medium) 9/11

• Sans Serif : Geometric

• Paul Renner

• Pointed apex : Ascenders are taller than capitals

Xxhg Xxhg

11

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 move-ment. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social.

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 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 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.

• Interstate (Regular) 9/11

• Sans Serif : Grotesque

• Tobias Frere-Jones

• Wide spacing : Short ascenders & descenders

• Bembo (Regular) 9/11

• Old Style Humanist

• Stanley Morrison

• Small x-height : wide character width

XxhgXxhg

12

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 empha-sis 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, power, and move-ment. He exalted violence and conflict and called for the

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

• Serifa (55 Roman) 9/11

• Slab Serif

• Adrian Frutiger

• Humanist qualities : Highly readable

• Bauer Bodoni (Roman) 9/11

• Modern

• Heinrich Jost

• Extreme stroke contrast : Hairline serifs

Xxhg Xxhg

13

HYPHEN-In unjustified text, the text

block is set with normal letter

and word spacing. Because of

the even word spacing the text

will have an even texture – no

large spaces between words.

The lines will naturally vary

in length. A ragged text block

can integrate with the layout

and add visual interest to the

page. The difficulty is making

the ragged edge have a

pleasing silhouette.

When the first line in the text is longer than the

second, it becomes separate from the layout

and creates a box-like shape. This destroys one

of the advantages of unjustified text. The ragged

edge needs to have a life, but a narrow column

can be less active. Another advantage to ragged

text is less hyphenation is needed. Therefore,

names, dates or words which are normally read

together can stay together.

14

• 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

ATION rules

15

Never leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program you’re working in. Sometimes widening a margin just a hair will do it. But it must be done.

Widows and orphans on a page are wrong.!

16

Widows and orphans on a page are wrong.

WidowWhen a paragraph ends and

leaves fewer than seven char-

acters (not words, characters)

on the last line, that line is

called a widow. Worse than

leaving one word at the end of

a line is leaving part of a word,

the other part being para-

phrased on the line above.

OrphanWhen the last line of a paragraph, be it ever so long, won’t fit at

the bottom of a column and must end itself at the top of the next

column, that is an orphan. ALWAYS correct this.

RiversIn typography, rivers, or rivers of white, are visu-

ally unattractive gaps appearing to run down a

paragraph of text. They can occur with any spac-

ing, though they are most noticeable with wide

word spaces caused by either full text justifica-

tion or monospaced fonts.

17

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

Look for bad line breaks throughout every line of body copy. Here are several examples of the sorts of things to looks for:

Justify the headline so it stays in the line

Use a line break (shift return) to bump “a” down tothe next line, where it fits very nicely

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

Never hyphenate a person’s name. I have to go up a few lines, bump “off” down, which bumped the other line endings down.

[Above] also took care of the unappropriate widown here.

There is plenty of room to squeeze “bought” onthis line, perhaps by kerning the line a tiny bit.

“Horsebarn” is a good long word that could be hyphenated; type a dischy. Bet-ter yet, with “bought” moved up, it gave enough room to move “horsebarn” up. If now, try opening th text block or text box a wee bit.

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

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

18

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

Casing Adder Bat

Of course, do this only on final copy, after all editing has been done.!

19

Don’t hyphenate headlines. Don’t leave widows (very short last lines) in headlines.

Fix it either way,

Don Quixote de la Man-cha

Professor and The-rapist to Lecture

Don’t Lose Your SelfRespect

Man Walks Barefoot Across Bay Bridge



That’s a law

Fix it.

Watch where the first line of a two-line headline ends - does it or rewrite!

20

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

As with all layouts, alignment depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particu-lar 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 read-able as possible. There will undoubtedly be well-meaning friends, business associ-ates, clients, and others who will question your choices. Be prepared to explain why you chose the alignment you did and be prepared to change it (and make necessary adjustments to keep it looking good) if the person with final approval still insists on something different.


21

If someone insists that fully justified text is better than left-aligned text...

If someone else tells you that left-aligned text is better than justified text...

22

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

tell them they are wrong.!

23

Traditionally many books, newsletters, and newspapers use

full-justification as a means of packing as much informa-

tion 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 publi-

cations set in left-aligned text would look odd, even unpleasant.

You may find that fully-justified text is anecessity either due to space constraints or expectations of the auhdience. If possible though, try to break up dense blocks of texts with ample subheadings, margins, or graphics.

• Often considered more formal, bur less friendly than

left-aligned text.

• Usually allows for more characters per line, packing more

into the same amount of space (than the same text set left-

aligned).

• May require extra attention to word and character spacing

and hyphenation to avoid unsightly rivers of white space

running through the text.

• May be more familiar to readers in some types of publica

tions, such as books and newspapers.

• Some people are naturally drawn to the “neatness” of text

that lines up perfectly on the left and right.

Justified text

24

• Often considered more informal, friend-

lier than justified text.

• The ragged right edge adds an element

of white space.

• May require extra attention to hyphen-

ation to keep right margin from being too

ragged.

• Generally type set left-aligned is easier

to work with (i.e. requires less time, at-

tention, and tweaking from the designer

to make it look good).

There is nothing inherently

wrong with centered text.

As with ragged right or fully-

justified text alignment, what

works for one design might be

totally inappropriate for another

layout. There are simply fewer

situations where centered text

is appropriate. When in doubt,

don’t center it.

Left-alignedragged right

Centered text

25

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.!The only time you can safely get away with

justifying text

26

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

and squint at it.

27

If your line is shorter, as in newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward.

Justify text only if the line is long enough

to prevent awkward and inconsistent

word spacing.

You’ve seen newspaper columns where all text is justified, often with a word stretching all the way

across the column, or a little word on either side of the column with a big gap in the middle. Gross.

But that’s what can happen with justified type. When you do it, the effect might not be as radical as

the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfort-

able gaps in some lines, while other lines will be all squished together.

28

Here is a general guideline for determining if your line length

is long enough to satisfactorily justify the text: the line length in

picas should be about twice the point size of the type; that is, if the

type you are using is 12 point, the line length should be at least 24

picas (24 picas is 4 inches-simply divide the number of picas by

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

an 18-pica line (3 inches) before you try to justify it, and 18-point

type should be on a 36-pica line (6 inches). The rulers in most

programs can be changed to picas, if you like.

Justified text was the style for many years-we grew up

on it. But there has been a great deal of research done on

readability (how easy something is to read) and it 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.

80 : 100 : 130



picas should be about twice the point size of the type; that is,

if the type you are using is 12 point, the line length should be

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

of picas by 6, as there are 6 picas per inch). Thus 9-point type

should be on an 18-pica line (3 inches) before you try to justify

it, and 18-point type should be on a 36-pica line (6 inches). The

rulers in most programs can be changed to picas, if you like.

65 : 150 : 400Justified 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.

This is an example of a typical justification setting. It provides easy readability and isn’t too distracting

There is slightly too much space between the words in this example. It remains readable but doesn’t flow very nicely.

29

40 : 80 : 120

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

enough to satisfactorily justify the text: the line length in picas should

be about twice the point size of the type; that is, if the type you are

using is 12 point, the line length should be at least 24 picas (24 picas is

4 inches-simply divide the number of picas by 6, as there are 6 picas

per inch). Thus 9-point type should be on an 18-pica line (3 inches)

before you try to justify it, and 18-point type should be on a 36-pica

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

if you like.

Justified text was the style for many years-we grew up on

it. But there has been a great deal of research done on read-

ability (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

Here is a general guideline for determining if your line length is

long enough to satisfactorily justify the text: the line length in picas

should be about twice the point size of the type; that is, if the type

you are using is 12 point, the line length should be at least 24 picas

(24 picas is 4 inches-simply divide the number of picas by 6, as there

are 6 picas per inch). Thus 9-point type should be on an 18-pica

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

be on a 36-pica line (6 inches). The rulers in most programs can be

changed to picas, if you like.

Justified text was the style for many years-we grew up on it.

But there has been a great deal of research done on readabil-

ity (how easy something is to read) and it shoes that those






The text in this example flows nicely and is easy to read. It is a very sucessful example, however there could be slightly more space beween the words, the san-serif font works better than the serif.

This example is much too tight. Readability is compromised.

30

200 : 250 : 300



picas should be about twice the point size of the type; that is,

if the type you are using is 12 point, the line length should be

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

of picas by 6, as there are 6 picas per inch). Thus 9-point type

should be on an 18-pica line (3 inches) before you try to justify

it, and 18-point type should be on a 36-pica line (6 inches). The

rulers in most programs can be changed to picas, if you like.

Justified text was the style for many years-we grew up

on it. But there has been a great deal of research done

on readability (how easy something is to read) and it

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.

Here is a general guideline for determining if your line

length is long enough to satisfactorily justify the text: the

line length in picas should be about twice the point size

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

the line length should be at least 24 picas (24 picas is 4

inches-simply divide the number of picas by 6, as there are

6 picas per inch). Thus 9-point type should be on an 18-

pica line (3 inches) before you try to justify it, and 18-point

type should be on a 36-pica line (6 inches). The rulers in

most programs can be changed to picas, if you like.

Justified text was the style for many years-we

grew up on it. But there has been a great deal of

research done on readability (how easy something is

to read) and it shoes that those disruptive, incon-

sistent 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.

There is too much space between the words in this example. It not only looks awkward but the gaps created make it hard to read.

This is another decent example. It could be slightly tighter, however.

31

280 : 300 : 450

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

enough to satisfactorily justify the text: the line length in picas should

be about twice the point size of the type; that is, if the type you are

using is 12 point, the line length should be at least 24 picas (24 picas is

4 inches-simply divide the number of picas by 6, as there are 6 picas

per inch). Thus 9-point type should be on an 18-pica line (3 inches)

before you try to justify it, and 18-point type should be on a 36-pica

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

if you like.



readability (how easy something is to read) and it shoes that those






Here is a general guideline for determining if your

line length is long enough to satisfactorily justify the

text: the line length in picas should be about twice

the point size of the type; that is, if the type you are

using is 12 point, the line length should be at least

24 picas (24 picas is 4 inches-simply divide the number

of picas by 6, as there are 6 picas per inch). Thus

9-point type should be on an 18-pica line (3 inches)

before you try to justify it, and 18-point type should be

on a 36-pica line (6 inches). The rulers in most pro-

Justified text was the style for many years-we

grew up on it. But there has been a great

deal of research done on readability (how easy

something is to read) and it 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

This is one of the worst examples. The gaps created are awful. They create more of a block of random words rather than a cohe-sive text box

There isn’t enough word spacing in this example, creating run-on sentences and making it difficult to read.

32

25 : 200 : 1000

Here is a general guideline for determining if your

line length is long enough to satisfactorily justi-

fy the text: the line length in picas should be about twice

the point size of the type; that is, if the type you are

using is 12 point, the line length should be at least 24 picas

(24 picas is 4 inches-simply divide the number of picas by 6, as

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

18-pica line (3 inches) before you try to justify it, and 18-point

type should be on a 36-pica line (6 inches). The rulers in most



readability (how easy something

is to read) and it shoes that those

disruptive, inconsistent gaps between the words in-

hibit the flow of reading. Besides, they look dumb.

Keep your eyes open as you look at profession-

ally printed work (magazines, newsletters, an-


is long enough to satisfactorily justify the text: the line length

in picas should be about twice the point size of the type; that

is, if the type you are using is 12 point, the line length should

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

number of picas by 6, as there are 6 picas per inch). Thus

9-point type should be on an 18-pica line (3 inches) before

you try to justify it, and 18-point type should be on a 36-pica

line (6 inches). The rulers in most programs can be changed

to picas, if you like.

Justified text was the style for many years-we grew

up on it. But there has been a great deal of research

done on readability (how easy something is to read)

and it 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

This example is sucessful. The spacing could be slightly tighter but they flow nicely.

The lines spaces in this example a extremely awkward and inconsistent.

33

When combining serif and sans serif text fonts, one shroud

try and match the characteristics of form and type color: pro-

portion, x-heights. Keep an eye on the characteristic shapes

of the letterform. A well designed page contains no more than

two different typefaces or four different type variations such

as type size and bold or italic style.

Using 2 different serif fonts or 2 different sans serifs fonts in the same composition is never a good idea.

combiningtypefaces

Although there is not recipe

there is a place to start:!

34

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.

WORDS IN LIBERTY

• Futura Extra Bold 14/16

• Futura Extra Bold 10/12

• Mrs Eaves 9/12

aa BB ee GG gg

Very good example of a large contrast

between a serif body copy font and

san-serif headline font. Futura and Mrs

Eaves work well together and provide an

easily readable contrast.

Geometric Sans / New Transitional

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 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.

WORDS IN LIBERTY

• Helvetica Medium 14/16

• Helvetica Medium 9/12

• Memphis Light 8/12

aa BB ee GG gg

Both the Helvetica and Memphic font

are mono weight, having a serif font

with varying stroke widths might have

provided more of a contrast.

Slab Serif / Humanist Sans

35

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 in-novation 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-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.

WORDS IN LIBERTY

• Gill Sans Bold 14/16

• Gill Sans Bold Italic 10/12

• Bodoni Book 9/12

aa BB ee GG gg

A good combination of a bold typeface

with a serif font. Gill Sans stroke had to

be bumped up to bold in order to con-

trast more with the Bodoni Book font.

Old Style / Humanist Sans

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

paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,

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

past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified

contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were character-

ized 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.

WORDS IN LIBERTY

• Trade Gothic Medium 14/16

• Trade Gothic Bold 10/12

• Garamond 9/12

aa BB ee GG gg

There is already a large difference in

the Medium and Bold font in the type-

face of Trade Gothic. The contrast is

extremely evident in this example.

Old Style / Grotesque Sans

36

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 succes-sive actions of a subject at the same time. Marinetti’s manifesto glorified the new technol-ogy 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 cultural institutions as museums and libraries.

WORDS IN LIBERTY

• Furtura Bold 14/16

• Futura Bold 10/12

• Adobe Caslon 9/12

aa BB ee GG gg

Futura Bold had a commanding

presence in this example, when paired

with Caslon. Caslon or the subhead

could even be slightly smaller to add

more emphasis

Traditional / Geometric Sans

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 em-

phasis 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 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

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.

WORDS IN LIBERTY

• Frutiger Bold 14/16

• Frutiger Bold 9/12

• Belizio 7/12

aa BB ee GG gg

The san-serif font, Frutiger, with the

serif font, Belizio, pair nicely together.

Nothing in this example is overly loud

but still provides enough of a contrast.

Traditional / Humanist Sans

37

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 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 automo-bile 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.

WORDS IN LIBERTY

• Helvetica Bold 14/16

• Helvetica 12/12

• Mrs Eaves 9/12

aa BB ee GG gg

The verticalness of Helvetica’s letter

forms and the horizontalness of Mrs

Eaves’ letterforms offer an interesting

contrast in letter spacing.

Grotesque / Transitional

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 in-novation 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-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.

WORDS IN LIBERTY

• Furtura Bold 14/16


• Bauer Bodoni 9/12

aa BB ee GG gg

Futura bold’s commanding presence

is evident when paired with the serif,

Bauer Bodoni. The two work well to-

gether providing a nice contrast, without

competing for attention.

Geometric Sans / Modern

38

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

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

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

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

ciety. 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 automo-

bile 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.

WORDS IN LIBERTY

• Univers Condensed 14/16

• Univers Light Condensed 10/12

• Didot Regular 7/12

aa BB ee GG gg

Univers condensed is a mono-weight

font and when paired with Didot Regular

that has a large variety of stroke weight,

the contrast is dynamic.

Grotesque Sans / Modern

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 Mari-netti, 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 cul-tural, social, and political values and the destruction of such cultural institutions

WORDS IN LIBERTY



• Rockwell 9/12

aa BB ee GG gg

This is an interesting example of a

bold, san-serif font paired with a heavily

weighted serif. While they both have

heavey stroke widths it is nice to see

the contrast soley in the serif.

Slab Serif / Geometric Sans

39

Quotes Apostrophies!

Dashes

It is necessary to know how to set them yourself because

sometimes the software doesn’t do it or does it wrong.

40

Use real quotation marks – never those grotesque generic marks that actually symbolize ditto/inch or foot marks: use “and” – not “and”.

Bridge Clearance 16' 7"The young man stood 6' 2"The length of the wall is 153'9"

Most software applications will convert the typewriter quotes

to the real quotes for you automatically as you type. Check

the preferences for your application – you’ll find a check box

to tell your application to automatically set something like

“typographer’s quotes,” “smart quotes,” or “curly quotes.”

Then as you type using the standard ditto key (“), the software

will set the correct quotation marks for you.

Opening double quote: “ Type: Option [

Closing double quote: ” Type: Option Shift [

Opening single quote: ‘ Type: Option ]

Closing single quote: ’ Type: Option Shift ]

Dashes

41

As an aside, people often are confused about where the

apostrophe belongs. There are a couple of rules that work very well.

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.

42

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

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

needs to indicate the missing year. In the 80s would mean

the temperature; In the ’80s would mean the decade. (Notice

there is no apostrophe before the s! Why would there be? It is

not possessive, nor is it a contraction — it is simply plural.

43

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

“The big exception to this is “its.” “Its” used as a possessive

never has an apostrophe! The word it only has an apostrophe

as a contraction. It may be easier to remember if you recall

that yours, hers, and his don’t use apostrophes — and neither

should its.

“it’s” always means “it is” or “it has.” Always.!

44

For contractions: The apostrophe replaces the missing letter. For example: your’re always means you are; the apostrophe is replacing the a from are. That’s an easy way to distinguish it from your as in your house and to make sure you don’t say: Your going to the store.

As previously noted, it’s means “it is”; the apostrophe is

indicating where the i is left out. Don’t means “do not”; the

apostrophe is indicating where the o is left out.

45

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

hyphen -en dash –em dash —

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 profes-

sional 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.

Never use two

hyphens instead of a dash.

Use hyphens, en dashes, and em

dashes appropriately.

46

A hyphen is one third of the em rule and is used to link words. It serves as a

compound modifier where two words become one, such as x-height. A hyphen is

also used to break works at syllables in text blocks.

47

An en dash is half of the em rule (the width of a capital N) and is used between words that indicate a duration, such as time or months or years. Use it where you might otherwise use the word “to.”

In a page layout application, the en dash can be used with a

thin space on either side of it. If you want you can kern it so

it is not a full space.

October – December6:30 – 8:45 A.M.4 – 6 years of age

To type an en dash

en dash – Option Hyphen

hold the Option key down, then tap the

hyphen key

48

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

To type an em dash

em dash — Shift Option Hyphen

hold the Shift and Option keys down, then tap

the hyphen key.

Our equivalent on the typewriter was the double hyphen, but

now we have a real em dash. Using two hyphens (or worse,

one) where there should be an em dash makes your look very

unprofessional.

When using an—no space is used on

either side.

49

and accent marks. On the following pages are the key combinations for just about every accent you might need.

Remember, to set an accent mark over a letter,

press the Option key, let go, and then letter, then

press the letter you want under it.

´ Option e` Option ~ (upper-left or next to the Spacebar)¨ Option u˜ Option nˆ Option i

!The following is a list of the most often-used

special characters

50

“ Option [ opening double quote

” Option Shift [ closing double quote

‘ Option ] opening single quote

’ Option Shift ] closing single quote; apostrophe

– Option Hyphen en dash

— Option Shift Hyphen em dash

… Option ; ellipsis (this character can’t be separated at the end of a line as

three periods can)

• Option 8 bullet (easy way to remember as it’s the asterisk key)

fi Option Shift 5 ligature of f and i

fl Option Shift 6 ligature of f and l

© Option g

™ Option 2

® Option r

° Option Shift 8 degree symbol (e.g., 102°F)

¢ Option $

€ Option Shift 2 Euro symbol

⁄ Option Shift 1 (one) fraction bar (this doesn’t descend below the line like

the slash does)

¡ Option 1 (one)

¿ Option Shift ?

£ Option 3

ç Option c

Ç Option Shift c

51

bullet, of course !52

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 para-graphs. Even if you use the bullet that is part of your font, don’t automatically assume it’s the right size: it might need to be altered in scale or position to make it look balanced next to the text.

Bullets should be centered on either the cap height or x-

height, depending on the nature of your copy. If all of your

items begin with a cap, center the bullet on the cap, or a bit

lower so it balances with the negative spaces created by the

lowercase. If your items all begin with lowercase characters,

center the bullets on the x-height. Insert some space after

the bullet to avoid crowding.

The preferred way to align bullets is with the left margin. You

can also have the bullets overhang the margin, and keep all

your text aligned with the left margin. Whichever style you

choose, your listing will look best if items that run more than

one line are indented so that the copy aligns with itself, and

not with the bullet on the first line.

53

Another 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 dingbat from the

Zapf 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 still sitting on the

baseline. So select the character and shift it

up above the baseline.

54

Pick any three adjectives that

describe yourself:

• lovely

• surly

• ghastly

• womanly

• saintly

• ungodly

• stately


describe yourself:

v lovely

a surly

t ghastly

, womanly

3 saintly

5 ungodly

V stately


describe yourself:

, lovely

, surly

, ghastly

, womanly

, saintly

, ungodly

, stately

choose a dingbat instead of the dumb ol’bullet (the bullet is Option 8)

You have lots of dingbats to choose from, but they are usually too big.

You can decrease the point size of the bullet, but then it sits too low.

Raise the dingbat higher off the baseline.


describe yourself:, lovely, surly, ghastly, womanly, saintly, ungodly, stately

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 illustration!). Keep these simple and in proportion with the rest of your text.

55

It’s well worth the extra effort to track down and obtain

typefaces with oldstyle numerals

Numerals

!Figures

57

Oldstyle 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 monospaced in text faces so that they line up vertically on charts. Oldstyle figures have more of a traditional,

classic look. They are only available for certain

typefaces, sometimes as the regular numerals

in a font, but more often within a supplemen-

tary or expert font. The figures are proportion-

ately spaced, eliminating the white spaces that

result from monospaced lining figures, espe-

cially 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.

58

Notice how large and clunky these numbers appear:

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 me at Route 916, zip code 87505

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

59

There are quite a few font families that include “true-drawn” small caps—letterforms that have been redesigned to match the proportions and thicknesses of the uppercase. These families are often called “experts” sets or perhaps “small cap” sets (see Chapter 8).

The result is a smooth, uniform, undisturbing

tone throughout the text.

Small!

Caps

61

If you set acronyms in regular all caps, their visual presence is unnecessarily overwhelming. One standard and practical place to use small caps is in acronyms such as FBI, NCR, CBS, or SIMM.

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

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

The capital letters in the middle of the sentence call too much attention to themselves.

Notice how the small caps blend in with the text. The capital letters for P.M. are much too

large — the abbreviation is not that important.

The weight of the computer-drawn small caps is thinner than the weight of the regular initial

(first letter) caps. Typeface is Eurostile.

The Wicked Are Very Weary.

Traditionally, “A.M.” and “P.M.” are set with

small caps. If you were taught on a typewrit-

er (of if you were taught on a keyboard by

someone who was taught on a typewriter),

you probably learned to set these abbre-

viations in all caps because there were no

small caps on typewriters. But now that you

have the capability, you can and should set

the properly.

62

There Is No resT For The WIcked

The Wicked Are Very Weary.

True-drawn small caps are specially drawn to match the weight of the

capital letters in the same face. Typefaces are Caslon Semibold, Caslon

Expert Semibold, Caslon Regular amd Caslon Expert Regular.

63

Paragraph breaks set a rhythm for the reader.

The breaks have a relationship with the

column of text as well as the page margins.

A break may be introduced as an indentation,

as a space or both.

1. first line at the beginning of an article should be

flush left (do not indent first paragraph)

2. block paragraphs are flush left and are separated

by extra leading not a full return

3. the amount indent is = to the leading (sometimes

needs a bit more)

4. never hit two returns between paragraphs

In typography there are four rules regarding paragraph breaks:

ParagraphBreaks

64

The over all page feel will be influenced by your choice.

!

65

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Fi-garo published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he 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 contem-porary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance ifavor 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 uninter-rupted 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 expres-sive 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 be-tween themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

66


67

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

But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or 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 ifavor 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 unin-terrupted 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 expres-sive 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 be-tween themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

68

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.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance ifavor of the transformed present (1909), the later manifestos of Futurist poets and art-ists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in 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 innova-tive 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 Mari-netti selbst3 (circa 1915), “Everything of any value is theatrical.”

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

69

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 an-ger and amazement, to arouse controversy, and to attract widespread attention.


While Marinetti’s opening manifesto for Ital-ian Futurism bristled with a polemical stance ifavor 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 lan-guage, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Fu-turists’ 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.”

70


71

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


While Marinetti’s opening manifesto for Italian Futurism bristled with a po-lemical stance ifavor 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 juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”

!!

!

72

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.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and mo-tion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance ifavor of the transformed present (1909), the later manifestos of Futurist poets and art-ists offered formal, “technical” approaches to the works then getting under way. The key term—still resonant today—was parole in 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 inno-vative 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.”

73

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futur-ism, 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 ifavor 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’ 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.”

74

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 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.


While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance ifavor 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 im-ages… (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,

75

!Headers subheads

Headers are used to indicate the subject matter

and subheads are used to emphasise the header.

Crossheads

77


Wor

ds

in L

iber

tyA

Pro

logue

to

Futu

rism

78

While Marinetti’s opening manifesto for Italian Futurism bristled with

a polemical stance ifavor 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’ performances mixed declamation and gesture, events and sur-

roundings, indifference and engagement, to break the barriers between

themselves and those who came to jeer or cheer them. Wrote Marinetti

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

Words in Liberty:A Prologue to Futurism


a radical mix of art and life

But it is the movements which survive, oddly, here where we live and

work as poets and artists: or, if not the movements, then their sense

of art as an life itself. All of which, as futurism, had come sharply into

focus by the start of the world war: a first radical mix of art and life, the

epitome in the poplar mind of an avant-garde. It was, on both its 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.

!

79




!!

!

to Futurism

A radical mix of art and life

Words in Liberty: A Prologue

80


Words in LibertyA Prologue to Futurism


81





Words in Liberty:

A prologue to Futurism

82

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.1 Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance ifavor 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 uninter-rupted 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 expres-sive 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 be-tween themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”


Words in Liberty

A Prologue to Futurism

83

!

Captionsnotes

Whether their intent is academic or artistic, footnotes present

special typographic challenges.

84

Footnotes and endnotes are necessary components of scholarly and technical writing. They’re also frequently used by writers of fiction, from Herman Melville (Moby-Dick) to contemporary novelists.

Specifically, a footnote is a text element at the

bottom of a page of a book or manuscript that

provides additional information about a point

made in the main text. The footnote might

provide deeper background, offer an alternate

interpretation or provide a citation for the

source of a quote, idea or statistic. Endnotes

serve the same purpose but are grouped to-

gether at the end of a chapter, article or book,

rather than at the bottom of each page.

85

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 proceed-

ing, check with your client or publisher to

see if they have a specific stylesheet that

must be followed.)

86

Numbers or Symbols: Footnotes are

most often indicated by placing a superscript

numeral immediately after the text to be ref-

erenced. The same superscript numeral then

precedes the footnoted text at the bottom of

the page. Numbering footnotes is essential

when there are many of them, but if footnotes

are few they can be marked with a dagger, as-

terisk, or other symbol instead. Endnotes should

always use numerals to facilitate easy referencing.

Size: Footnotes and endnotes are set

smaller than body text. The difference in size

is usually about two points, but this can vary

depending on the size, style and legibility of

the main text. Even though they’re smaller,

footnotes and endnotes should still remain at

a readable size.

87


Wor

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2 par

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in l

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198

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88

While Marinetti’s opening manifesto for Italian Futurism bristled with

a polemical stance ifavor 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’ performances mixed declamation and gesture, events and sur-

roundings, indifference and engagement, to break the barriers between

themselves and those who came to jeer or cheer them. Wrote Marinetti

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

Words in Liberty:A Prologue to Futurism



But it is the movements which survive, oddly, here where we live and

work as poets and artists: or, if not the movements, then their sense

of art as an life itself. All of which, as futurism, had come sharply into

focus by the start of the world war: a first radical mix of art and life, the

epitome in the poplar mind of an avant-garde. It was, on both its 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.

!

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

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

89




!!

!

to Futurism


Words in Liberty: A Prologue

2 parole in liberta = words set free (liberty)


3 selbst = himself

90


Words in Liberty

A Prologue to Futurism




3 selbst = himself

91





Words in Liberty:

A prologue to Futurism2 parole in liberta = words set free (liberty)


3 selbst = himself

92

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.1 Futurism rejected traditions and glori-fied contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance ifavor 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 uninter-rupted 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 expres-sive 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 be-tween themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), “Everything of any value is theatrical.”


Words in Liberty

A Prologue to Futurism1 Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988


3 selbst = himself

93

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95

HUMANIST

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Jenson, Goudy’s Kennerly, Bruce Rogers’ Centaur

GERALD (OLD STYLE)

xoaengdp• contrast between thick and thin strokes is more pronounced• horizontal bar on e• diagonal stress is less prominent• shorter x-height

• scooped serifs, sturdy without being heavy

Sabon, Garamond, Bembo, Times, Plantin, Caslon Old Style

TRANSITIONAL

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Baskerville, Caslon, Perpetua, (newer garamonds)

SerifDIDONE (MODERN)

xoaengdp• extreme contrast between thick and thin strokes• hairline (strokes) serifs• horizontal stress• horizontal bar on e

Jenson, Goudy’s Kennerly, Bruce Rogers’ Centaur

NEW TRANSITIONAL

xoaengdp• sturdy typefaces hold up under poor printing• little contrast between thick and think strokes• horizontal stress• horizontal bar on e• tall x-height• shorter ascenders, descenders

Bookman, Century Schoolbook, Cheltenham

EGYPTIAN OR SLAB SERIF

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Baskerville, Caslon, Perpetua, (newer garamonds)

96

GROTESQUE

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Helvetica, Univers, Akzidenz Grotesk, Folio

Sans Serif

GEOMETRIC

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99

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HAMBURGERQ hamburgerq?!&interstatedesigner: tobias frere-jones classification: grotesque characteristics: short ascenders/descenders,

angled finials

HAMBURGERQ hamburgerq?!&künstler scriptdesigner: hans bohn classification: script characteristics: different line weights, ball

terminals, goudy caps

HAMBURGERQ hamburgerq?!&meliordesigner: herman zapf classification: transitional serif characteristics: high stroke contrast, square

serif ending

HAMBURGERQ hamburgerq?!&futuradesigner: paul rennerz classification: geometric characteristics: circular bowls/counters,

monoweight, wide

100

HAMBURGERQ hamburgerq?!&mrs eavesdesigner: zuzana licko classification: transitional characteristics: vertical stress, g has no open

counter, thick and thin strokes

HAMBURGERQ hamburgerq?!&news gothicdesigner: morris fuller benton classification: grotesque characteristics: tall x-height, shallow

descenders

HAMBURGERQ hamburgerq?!&plateletdesigner: conor mangat classification: geometric characteristics: no stroke variation, half upper/

half lower

HAMBURGERQ hamburgerq?!&rockwelldesigner: monotype corporation classification: slab serif characteristics: mono weight, square serifs

HAMBURGERQ hamburgerq?!&rotis sans serifdesigner: otl aicher classification: humanist sans serif characteristics: tall x-height, two story a,

Q tail is above baseline

HAMBURGERQ hamburgerq?!&rotis serifdesigner: otl aicher classification: humanist serif characteristics: bracketed serifs, tall x-height,

subtle stroke contrast

HAMBURGERQ hamburgerq?!&sabondesigner: jan tschichold classification: old style characteristics: thicks and thins, short

x-height, scooped serifs

HAMBURGERQ hamburgerq?!&memphisdesigner: emil rudolf weiss classification: slab serif characteristics: mono weight, square serifs,

horizontal stress

101

HAMBURGERQ hamburgerq?!&shelleydesigner: matthew carter classification: script characteristics: all characters connect,

consistent loop

HAMBURGERQ hamburgerq?!&snell roundhanddesigner: matthew carter (charles snell) classification: script characteristics: calligraphy influenced, strong

stroke variation

HAMBURGERQ hamburgerq?!&swiftdesigner: gerard unger classification: new transitional/humanist characteristics: sturdy, tall x-height, short

ascenders/descenders

HAMBURGERQ hamburgerq?!&trade gothicdesigner: jackson burke classification: humanist san serif characteristics: tall x-height, short ascenders/

descenders

HAMBURGERQ hamburgerq?!&universdesigner: adrian frutiger classification: grotesque characteristics: monoweight, heavy, short

ascenders/descenders

HAMBURGERQ hamburgerq?!&voltadesigner: konrad bauer, walter baum classification: slab serif characteristics: thick/thin strokes, large

square serifs

HAMBURGERQ hamburgerq?!&walbaumdesigner: justus erich walbaum classification: modern characteristics: extreme contrast, hairline

serifs, horizontal stress

HAMBURGERQ hamburgerq?!&memphisdesigner: emil rudolf weiss classification: slab serif characteristics: mono weight, square serifs,

horizontal stress

102

Font details

103

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 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 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.

Aa Bb Cc Dd Ee Ff Gg Hh Ii 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 { } ? ! @ & *


104

ROMAN

BOLD

BLACK

Akzidenz Grotesk

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

A basic system for classifying typefaces was devised in the nine-teenth century, when printers sought to identify a heritage for their own craft analogous to that of art history. Humanist 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 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.




105

REGULAR

SMALL CAPS

ITALIC

BOLD

Baskerville

MxaogGdQRtA 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 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.





106

REGULAR

ITALIC

BOLD

BLACK ITALIC

Belizio

MxagGdQrRA 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 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 connect-ed 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 con-tinued to create new typefaces based on historic characteris-tics.





107

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 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.




108

MxagGdQrRIREGULAR

ITALIC

BOLD

EXTRA BOLD

Bembo

MxnogGdQrRstA 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 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 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.





109

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 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

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.





110

MxaogGdQrRREGULAR

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




111

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 Ba Ca Da Ea Fa Ga Ha Ia Ja Ka La Ma Na Oa Pa Qa Ra Sa Ta Ua Va Wa Xa Ya Z

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

c h i k l Ss T t

112

MxanogGdQRtREGULAR

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.






113

REGULAR

ITALIC

BOLD

BOLD ITALIC

Cheltenham

MaxogGdQrRsA 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.






114

MaxogGdQrRsUNICASE

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 ( ) { } ? ! @ & *


115

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.




116

MxagGdQrRtREGULAR

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.


117

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.




118

MxaogGdQrRtDIN

MaxnogGdQrRtLIGHT

REGULAR

MEDIUM

BLACK


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



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

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

119

DIN

MaxngdQHAMBURGLIGHT CONDENSED

REGULAR CONDENSED

BOLD CONDENSED

BLACK CONDENSED







120

MaxngdQHAMBURGREGULAR

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 ( ) { } ? ! @ & *

121

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,


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 veniss

122

MxnaopQrRtfgREGULAR

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




123

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.





124

CONDENSED

REGULAR

BOLD

ULTRA BLACK

Frutiger

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

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





125

BOOK

BOLD

EXTRA BOLD

Futura

MxaopQRstGgA 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 twenti-eth and twenty-first centuries have

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.




126

MxaopQRstGgREGULAR

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.





ULTRA LIGHT

127

REGULAR

ITALIC

BOLD

Gill Sans

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



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


128

BOOK

BOLD

ITALIC

LIGHT

Gotham

MayogGdQRtA basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art history.

Humanist letterforms are closely con-

nected to calligraphy and the move-

ment of the hand. Transitional and

modern typefaces are more abstract

and less organic. These three main

groups correspond roughly to the

Renaissance, Baroque, and Enlight-

enment periods in art and litera-

ture. Designers in the twentieth and

twenty-first centuries have continued

to create new typefaces based on

historic characteristics.

A basic system for classifying type-

faces was devised in the nineteenth

century, when printers sought to

identify a heritage for their own

craft analogous to that of art history.

Humanist letterforms are closely

connected to calligraphy and the

movement of the hand. Transitional

and modern typefaces are more ab-

stract and less organic. These three

main groups correspond roughly

to the Renaissance, Baroque, and

Enlightenment periods in art and

literature. Designers in the twenti-

eth and twenty-first centuries have

continued to create new typefaces

based on historic characteristics.





129

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.





ULTRA LIGHT

130

MaoygGdQrRtREGULAR

BOLD

BLACK

BOLD CONDENSED

Interstate

MaoygGdQrRtA basic system for classifying typefaces


when printers sought to identify a

heritage for their own craft analogous to

that of art history. Humanist letterforms

are closely connected to calligraphy

and the movement of the hand. Transi-

tional and modern typefaces are more

abstract and less organic. These three

main groups correspond roughly to the

Renaissance, Baroque, and Enlighten-

ment periods in art and literature. De-

signers in the twentieth and twenty-first

centuries have continued to create new

typefaces based on historic character-

istics.

A basic system for classifying typefac-

es was devised in the nineteenth cen-

tury, when printers sought to identify

a heritage for their own craft analo-

gous to that of art history. Humanist

letterforms are closely connected to

calligraphy and the movement of the

hand. Transitional and modern typefac-

es are more abstract and less organic.

These three main groups correspond

roughly to the Renaissance, Baroque,

and Enlightenment periods in art and

literature. Designers in the twentieth

and twenty-first centuries have contin-

ued to create new typefaces based on






131

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 ( ) { } ? ! @ & *

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. De-signers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

132

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.





133

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.




134

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.






135

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


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






136

MaxogGdQrRstREGULAR

ITALIC

BOLD

News Gothic

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

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




137

REGULAR

OCR A

MaopQRfGgA basic system for clas-

sifying typefaces was

devised in the nineteenth

century, when printers

sought to identify a heri-

tage for their own craft

analogous to that of art

history. Humanist let-

terforms are closely con-

nected to calligraphy and

the movement of the hand.

Transitional and modern

typefaces are more histor-

ic characteristics.


138

MaopQRfGgBOOK

ITALIC

BOLD

Optima

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





139

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.






140

REGULAR

ITALIC

BOLD

Perpetua

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

A basic system for classifying typefaces was devised in

the nineteenth century, when printers sought to identify

a heritage for their own craft analogous to that of art

history. Humanist letterforms are closely connected to cal-

ligraphy and the movement of the hand. Transitional and

modern typefaces are more abstract and less organic. These

three main groups correspond roughly to the Renaissance,

Baroque, and Enlightenment periods in art and literature.

Designers in the twentieth and twenty-first centuries

have continued to create new typefaces based on historic

characteristics.




141

THIN

REGULAR

HEAVY

Platelet

MaxbyogGQrRtA basic system for classifying typefaces



tage for their own craft analogous to

that of art history. Humanist letter-

forms are closely connected to cal-

ligraphy and the movement of the hand.

Transitional and modern typefaces are

more abstract and less organic. These

three main groups correspond roughly to

the Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and twenty-

first centuries have continued to create

new typefaces based on historic charac-

teristics.

A basic system for classifying typefaces



tage for their own craft analogous to

that of art history. Humanist letter-

forms are closely connected to cal-

ligraphy and the movement of the hand.

Transitional and modern typefaces are

more abstract and less organic. These

three main groups correspond roughly to

the Renaissance, Baroque, and Enlight-

enment periods in art and literature.

Designers in the twentieth and twenty-

first centuries have continued to create

new typefaces based on historic charac-

teristics.

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

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

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

? ! @ & *



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

? ! & *



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

? ! @ & *

142

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.




143

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.




144

(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.





145

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 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.






146

MxayogGQfRREGULAR

CAPS

ITALIC

BOLD

Scala Sans

MxabyogGdQrRA basic system for classifying typefaces was




Humanist letterforms are closely connected

to calligraphy and the movement of the

hand. Transitional and modern typefaces

are more abstract and less organic. These

three main groups correspond roughly to the

Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in

the twentieth and twenty-first centuries have

continued to create new typefaces based on


A basic system for classifying typefaces was




Humanist letterforms are closely connected

to calligraphy and the movement of the

hand. Transitional and modern typefaces

are more abstract and less organic. These

three main groups correspond roughly to the

Renaissance, Baroque, and Enlightenment

periods in art and literature. Designers in

the twentieth and twenty-first centuries have

continued to create new typefaces based on






147

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







148

MxaoygGdQRREGULAR

Snell Rouandhand

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 ( ) { } ? ! @ & *

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 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.

149

BOLD CONDENSED

REGULAR

ITALIC

BOLD

Swift

MxaoygGdQrRA basic system for classifying typefaces



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




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,


and literature. Designers in the twentieth and

twenty-first centuries have continued to create

new typefaces based on historic characteristics.





150

MxaoygGdQrRREGULAR

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.






151

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.






152

MxanyogGdQrRREGULAR

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 letterforms are closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics.

A basic system for classifying type-faces was devised in the 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.





153

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.





154

MyogGdQrR

155

Designed by Danielle Self Class project for Professor Herstowski’s Typography 02: The University of Kansas, Spring 2011

Text for the book was compiled from the following sources:

• Elements of Typographic Style Robert Bringhurst

• Getting it Right with Type: the Do’s and Don’ts of Typography Victoria Square

• Mac is Not A Typewriter Robin Williams

This book is not to be sold to the public and to only be used by the designer for their reference and student design portfolio.

156

typographic guide

Documents

page of text

text readable

line of paragraphs

block of text

short line

line indent

short burst of text

aligned edge use en