The Rules of Type by Druedavis - Desconhecido

1
R
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THE RULES OF TYPE
CProfessor Selbys Typography 02
CThe University of Kansas, Spring 2012
CDesigned by Drue Davis
THE RULES OF TYPE
4
5
6. X-height
34.Hyphenation
42.Alignment
48.Justifcation
58.Combining Typefaces
68. Quotations, Apostraphes, & Dashes
74. Special Characters
92. Bullets
98.Numerals
102. Small Caps
108. Paragraph breaks
122. Headers, Subheads, & Crossheads
132. Captions & Notes
142. Font Specifcations
TABLE OF CONTENTS CONTENTS
6
THE BASICS
The following is a compendium of the rules of type
established in this book. You might want to check
through these after completeting a publication.
7
CUse only one space between sentences.
CUse real quotation marks.
CUse real apostrophes.
CMake sure the apostrophes are where they belong.
CHang the punctuation off the aligned edge.
C Use en or em dashes, use consistently.
C Kern all headlines where necessary.
C Never use the spacebar to align text, always set tabs and use the tab key.
C Leave no widows or orphans.
C Avoid more than 3 hyphenations in a row.
C Avoid too many hyphenations in any paragraph.
C Avoid hyphenating or line brakes of names and proper nouns.
C Leave a least 2 characters on the line and 3 following.
CAvoid beginning consecutive lines with the same word.
C Avoid ending consecutive lines with the same word.
C Avoid ending lines with the words: the, of, at, a, by.
C Never hyphenate a words in a headline and avoid hyphenation in a callout.
C Never justify the text on a short line.
C Keep the word spacing consistent.
C Tighten up the leading in lines with all caps or with few ascenders and descenders.
C Use a one-em frst-line indent on all indented paragraphs.
C Adjust the spacing between paragraphs.
C Either indent the frst line of paragraphs or add extra space between them not both.
C Use a decimal or right-aligned tab for the numbers in numbered paragraphs.
C Never have one line in a paragraph in the column or following.
C Never combine two serif fonts on one page.
C Rarely combine two sans serif fonts on one page.
CRarely combine more than three typefaces on one page.
C Use the special characters whenever necessary, including super- and subscript.
C Spend the time to create nice fraction or chose a font that has fractions.
C If a correctly spelled word needs an accent mark, use it.
THE BASI CS
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XX
9
X-HEI GHT
XX
10
X-HEIGHT
Readability and legibility are two key elements of
printed text that typographers strive to maximize.
11
READABILITY EXTENDED AMOUNT OF TEXTSUCH AS AN ARTICLE, BOOK, OR ANNUAL
REPORTIS EASY TO READ.
Legibility refers to whether an refers to whether a short burst of textsuch as a headline
catalog listing, or stop signis instantly recognizable. There are several factors that determine
whether a text is readable. When deciding what typeface should be used for a job, consideration
should be given to the typeface and its x-height. It is important to understand how a block of
text can express a message through its texture/color, therefore suiting a particular design
solution. Fonts set in the same size, same leading and column width will produce varying de-
grees of color. In typography, color can also describe the balance between black and
white on the page of text. A typefaces color is determined by stroke width, x-height, character
width and serif styles.
AS A DESIGNER, IF YOU ARE ONLY ASKED TO MAKE THE TEXT READABLE ON THE PAGE
THE FOLLOWING QUESTIONS SHOULD BE ASKED:
Readability and legibility are two key elements of printed text that typographer strive to
maximize. Readability extended amount of textsuch as an article, book, or annual reportis
easy to read. Legibility refers to whether an refers to whether a short burst of textsuch as a
headline catalog listing, or stop signis instantly recognizable.
There are several factors that determine whether a text is readable. When deciding what type-
face should be used for a job, consideration should be given to the typeface and its x-height.
It is important to understand how a block of text can express a message through its texture/
color, therefore suiting a particular design solution. Fonts set in the same size, same leading and
column width will produce varying degrees of color.In typography, color can also describe the
balance between black and white on the page of text. A typefaces color is determined by stroke
width, x-height, character width and serif styles.
AS A DESIGNER, IF ONLY ASKED TO MAKE THE TEXT READABLE
ON THE PAGE THEN THE FOLLOWING SHOULD BE ASKED:
CWho is to read it? Someone that wants to read it?
Someone that has to read it?
CHow will it be read?
Quickly. In passing. Focused. Near. Far.
X-HI EGHT
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14
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Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and 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. Marinettis 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.
Mrs Eaves
Zuzana Licko
X-HEIGHT: SMALL CHARACTER WIDTH: AVERAGE COLOR: LIGHT
Xxhg
X-HI EGHT
15
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X-HEIGHT: LARGE CHARACTER WIDTH: NARROW COLOR: LIGHT
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 tra-
ditions and glorified contemporary life, mainly by empha-
sizing 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. Marinettis
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 sweep-
ing repudiation of traditional cultural, social, and political
values and the destruction of such cultural institutions as
museums and libraries.
Univers
Adrian Frutiger
Xxhg
X-HI EGHT
16
X-HEIGHT: LARGE CHARACTER WIDTH: AVERAGE COLOR: MEDIUM
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 tradi-
tions and glorified contemporary life, mainly by emphasiz-
ing 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. Marinettis mani-
festo glorified the new technology of the automobile and the
beauty of its speed, power, and movement. He exalted vio-
lence and conflict and called for the sweeping repudiation of
traditional
Melior
Hermann zapf
Xxhg
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X-HI EGHT
17
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.
Marinettis manifesto glorified the new technology of the auto-
mobile and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping repu-
diation of traditional cultural, social, and political values and the
destruction of such cultural institutions as museums.
Helvetica Neue 55
Max Miedinger
Xxhg
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X-HI EGHT
18
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X-HEIGHT: SMALL CHARACTER WIDTH: AVERAGE COLOR: AVERAGE
Marinetti, reflected his emphasis on discarding what he conceived to
be the static and irrelevant art of the past and celebrating change,
terized by the depiction of several successive actions of a subject at
the same time. Marinettis manifesto glorified the new technology of
the automobile and the beauty of its speed, power, and movement.
He exalted violence and conflict.
Baskerville
John Baskerville
Xxhg
X-HI EGHT
19
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X-HEIGHT: LARGE CHARACTER WIDTH: NARROW COLOR: DARK
Futurism was first announced on February 20, 1909, when the Paris newspaper
Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and society. Futurism
rejected traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were characterized by the
depiction of several successive actions of a subject at the same time. Marinettis
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.
DIN MIDDLESHRIFT
Albert Janpool
Xxhg
X-HI EGHT
20
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..............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
Marinetti, reflected his emphasis on discarding what he conceived to be
the static and irrelevant art of the past and celebrating change, original-
ity, and innovation in culture and society. Futurism rejected traditions
and glorified contemporary life, mainly by 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.
Marinettis 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
Filosofia
Zuzano Licko
Xxhg
X-HI EGHT
21
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..............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
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. Marinettis 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.
Akzidenz Grotesk
Gunter Gerhard Lunge
Xxhg
X-HI EGHT
22
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..............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
Marinetti, reflected his emphasis on discarding what he conceived to be
the static and irrelevant art of the past and celebrating change, original-
ity, and innovation in culture and society. Futurism rejected traditions
and glorified contemporary life, mainly by 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.
Marinettis 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
GARAMOND
Claude Garamond
Xxhg
X-HI EGHT
23
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X-HEIGHT: LARGE CHARACTER WIDTH: NARROW COLOR: MEDIUM
social, and political values and the destruction of such cultural insti-
tutions as museums and libraries.
NEWS GOTHIC
Morris Fuller Benton
Xxhg
X-HI EGHT
24
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the automobile and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping repudiation
of traditional
Bembo
Francesco Griffo
Xxhg
X-HI EGHT
25
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X-HEIGHT: AVERAGE CHARACTER WIDTH: AVERAGE COLOR: DARK
social, and political values and the destruction of such cultural
institutions as museums and libraries.
Futura
Paul Renner
Xxhg
X-HI EGHT
26
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..............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
Futurism was first announced on February 20, 1909,
when the Paris newspaper Le Figaro published a mani-
festo by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he con-
ceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in cul-
ture and society. Futurism rejected traditions and glo-
rified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works
were characterized by the depiction of several succes-
sive actions of a subject at the same time. Marinettis
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
Volta
Konrad Bauer & Walter Baum
X-HEIGHT: AVERAGE CHARACTER WIDTH: WIDE COLOR: DARK
Xxhg
X-HI EGHT
27
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X-HEIGHT: LARGE CHARACTER WIDTH: NARROW COLOR: LIGHT
and motion. The works were characterized by the depiction
of several successive actions of a subject at the same time.
Marinettis manifesto glorified the new technology of the auto-
mobile and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping repu-
diation of traditional cultural, social, and political values and
the destruction of such cultural institutions.
Trade Gothic
Jackson Burke
Xxhg
X-HI EGHT
28
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..............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
Futurism was first announced on February 20, 1909,
when the Paris newspaper Le Figaro published a mani-
festo by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and 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 char-
acterized by the depiction of several successive actions
of a subject at the same time. Marinettis 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 repu-
diation of traditional
Calrendon
Robert Besley
Xxhg
X-HI EGHT
29
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X-HEIGHT: AVERAGE CHARACTER WIDTH: AVERAGE COLOR: DARK
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.
Scala Sans
Martin Majoor
Xxhg
X-HI EGHT
30
............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
..............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
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.
Marinettis 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
Memphis
Rudolf Wolf
Xxhg
X-HI EGHT
31
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..............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
X-HEIGHT: LARGE CHARACTER WIDTH: NARROW COLOR: DARK
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. Marinettis 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.
Interstate
Tobias Frere-Jones
Xxhg
X-HI EGHT
32
............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
..............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
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. Marinettis 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
Didot
Firmin Didot
X-HEIGHT: AVERAGE CHARACTER WIDTH: AVERAGE COLOR: LIGHT
Xxhg
X-HI EGHT
33
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..............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
X-HEIGHT: AVERAGE CHARACTER WIDTH: WIDE COLOR: MEDIUM
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.
Gil Sans
Eric Gill
Xxhg
X-HI EGHT
34
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..............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
the sweeping repudiation of traditional
Didot
Firmin Didot
Xxhg
X-HI EGHT
35
............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
..............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
He exalted violence and conflict and called for the sweeping repudia-
tion of traditional cultural, social, and political values and the destruc-
Gil Sans
Eric Gill
Xxhg
X-HI EGHT
36
HH
37
HYPHENATI ON
HH
38
HYPHENATION
Guidelines on the appropriate use of hyphenation
in headlines and body text.
39
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 textureno 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 diffculty is making the ragged edge have a pleasing sil-
houette. When the frst 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 unjustifed 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.
IMPORTANT HYPHENATION RULES:
CHow the text is read avoid widows (one word on the last line
of a paragraph)
CAvoid hyphenating or line brakes of names and proper nouns
CLeave a least 2 characters on the line and 3 following
CAvoid beginning consecutive lines with the same word
CAvoid ending consecutive lines with the same word
CAvoid ending lines with the words: the, of, at, a, by...
CNever hyphenate a words in a headline and avoid hyphenation in a callout
HYPHENATI ON
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WIDOWS AND ORPHANS.
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 youre work-
ing in. Sometimes widening a margin just a hair will do it. But it must be done. Widows and
orphans on a page are wrong.
WIDOW
CWhen a paragraph ends and leaves fewer than seven characters (not
words, characters) on the last line, that line is called a widow. Worse than
leaving one word at the end of a line is leaving part of a word, the other part
being paraphrased on the line above.
ORPHAN
CWhen the last line of a paragraph, be it ever so long, wont ft at the bottom
of a column and must end itself at the top of the next column, that is an
orphan. ALWAYS correct this.
RIVERS
CIn typography, rivers, or rivers of white, are visually unattractive gaps
appearing to run down a paragraph of text. They can occur with any
spacing, though they are most noticeable with wide word spaces caused by
either full text justifcation or monospaced fonts.
HYPHENATI ON
41
HEADLINES
The following are examples of incorrect ways to hyphenate words
within a headline and examples of the correct way.
Dont hyphenate headliens. Thats a law.
DON QUIXOTE DE LA MAN-
CHA
Also, watch where the frst line of a two-line
headline endsdoes it create a silly or mis-
leading phrase? Fix it.
PROFESSOR AND THE-
RAPIST TO LECTURE
Dont leave widows (very short last lines) in
headlines.
MAN WALKS BAREFOOT ACROSS BAY
BRIDGE
The corrected headline
MAN WALKS BAREFOOT ACROSS BAY
BRIDGE
MAN WALKS BAREFOOT
ACROSS BAY BRIDGE
HYPHENATI ON
42
BAD LINE BREAKS.
Look for bad line breaks throughout every line of body copy. Of course, do this only on fnal
copy, after all editing has been done! Here are several examples of the sorts of things to look for:
CASTING ADDER
BAT
Heresy borsch-boil starry a
boarder borsch boil gam
plate lung, lung a gore in-
ner ladle wan-hearse torn
coiled Mutt-fll.
Mutt-fll worsen mush of-
fer torn, butted hatter putty
gut borsch-boil tame, an off
oiler pliers honor tame, door
moist cerebrated worse Cas-
ing. Casing wrsted sickened
basement, any hatter betting
orphanage off .526 (ffe toe
sex).
Casing worse gut lurking
an furry poplarspatially
wetter gull coiled Any-bally.
Any-bally worse Casings
sweat-hard, any harpy cobble
wandered toe gat merit,
bought Casing worse toe pore
toe becalm Any-ballys
horsebarn. (Boil pliers honor
Mutt-fll tame dint gat mush
offer celery infect, day gut
nosing atroll.)
Butt less gat earn wetter star-
ry
CASTING ADDER BAT
Heresy borsch-boil starry
a boarder borsch boil gam
plate lung, lung a gore inner
ladle wan-hearse torn coiled
Mutt-fll.
Mutt-fll worsen mush
offer torn, butted hatter putty
gut borsch-boil tame, an
off oiler pliers honor tame,
door moist cerebrated worse
Casing. Casing wrsted sick-
ened basement, any hatter
betting orphanage off .526
(ffe toe sex).
Casing worse gut lurking
an furry poplarspatially
wetter gull coiled Any-bally.
Any-bally worse Casings
sweat-hard, any harpy cobble
wandered toe gat merit, bought
Casing worse toe pore
becalm Any-ballys horsebarn.
(Boil pliers honor Mutt-fll
tame dint gat mush offer celery
infect, day gut nosing atroll.)
Butt less gat earn wetter starry
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HYPHENATI ON
43
8. Horsebarn is a good long word that could be hyphenated; type a dischy.
Better yet, when bought moved up, it gave enough room to move hore-
barn up. If not, try opening the text block or text box wee bit.
1.Justify the headline so it stays on line.
2.Use a line break (Shift Return) to bump a down to the next line, where
it fts very nicely.
3.Kern the line a tiny bit to bring the rest of the word up.
4. Type a dischy in front of the word to bump it down.
5. Never hyphenate a persons name. I had to go up a few lines, bump off
down, which bumped the other line endings down. The also took care of the
inappropriate widow in 6.
7. There is plenty of room to squeeze bought on this line, perhaps by kern-
ing the line a tiny bit.
9. Edit: to get rid of that terrible widow,
exchange a short word for a long word.
6. Never have widows.
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HYPHENATI ON
44
A A
45
ALI GNMENT
A A
46
ALIGNMENT
No matter what alignment you use, remember
to pay close attention to hyphenation and
word/character spacing as well to insure that
your text is as readable as possible.
47
IN UNJUSTIFIED TEXT, THE TEXT BLOCK IS SET WITH NORMAL
LETTER AND WORD SPACING.
If someone insists that fully justifed text is better than left-aligned text, tell them they are
wrong. If someone else tells you that left-aligned text is better than justifed text, tell them
they are wrong.
IF THEY ARE BOTH WRONG, THEN WHATS 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.
THERE WILL UNDOUBTEDLY BE WELL-MEANING FRIENDS, BUSINESS ASSOCIATES,
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 fnal approval still
insists on something different.
A COMMENT ABOUT CENTER ALIGNMENT:
CThere is nothing inherently wrong with centered text. As with ragged right or
fully-justifed text alignment, what works for one design might be totally inap-
propriate for another layout. There are simply fewer situations where centered
text is appropriate. When in doubt, dont center it.
CAs with all layouts, alignment depends on the purpose of the piece, the audi-
ence 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.
ALI GNMENT
48
JUSTIFIED TEXT
Traditionally many books, newsletters, and newspapers use full-justifcation.
They use this as a means of packing as much information onto the page as possible to cut
down on the number of pages needed. While the alignment was chosen out of necessity, it has
become so familiar to us that those same types of publications set in left-aligned text would
look odd, even unpleasant. You may fnd that fully-justifed text is a necessity either due to
space constraints or expectations of the audience. If possible though, try to break up dense
blocks of texts with ample subheadings, margins, or graphics.
CHARACTERISTICS:
COften considered more formal, less friendly than left-aligned text.
CUsually allows for more characters per line, packing more into the same
amount of space (than the same text set left-aligned).
CMay require extra attention to word and character spacing and hyphenation
to avoid unsightly rivers of white space running through the text.
CMay be more familiar to readers in some types of publications, such as books
and newspapers.
CSome people are naturally drawn to the neatness of text that lines up
perfectly on the left and right.
EXAMPLE:
dominant themes, the machine and motion.
ALI GNMENT
49
LEFT-ALIGNED, RAGGED RIGHT
In English and most European languages where words are read left-to-right, text is often
aligned fush left, meaning that the text of a paragraph is aligned on the left-hand side with the
right-hand side ragged. Ragged right text is considered more informal than fully justifed text.
Although fush left alignment is less likely to have typographic rivers or problems, common
to fully justifed text, care must be taken to prevent drastic changes in the length of the line.
Abrupt changes from line to line makes the text diffcult to read.
CHARACTERISTICS:
COften considered more informal, friendlier than justifed text.
CThe ragged right edge adds an element of white space.
CMay require extra attention to hyphenation to keep right margin from
being too ragged.
CMay be more familiar to readers in some types of publications, such as
books and newspapers.
CGenerally type set left-aligned is easier to work with (i.e. requires less time,
attention, and tweaking from the designer to make it look good).
EXAMPLE:
traditions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion.
ALI GNMENT
50
J
J
51
J USTI FI CATI ON
J
J
52
JUSTIFICATION
Justify text only if the line is long enough to prevent
awkward and inconsistent word spacing.
53
THE ONLY TIME YOU CAN SAFELY GET AWAY WITH JUSTIFYING TEXT IS IF YOUR TYPE IS
SMALL ENOUGH AND YOUR LINE IS LONG ENOUGH.
This is used in books where the text goes all the way across the page. If your line is shorter,
as in newsletter, or if you dont 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. Youve seen
newspaper columns where all text is justifed, 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 thats what can happen with justifed type. When you do it, the effect might not be as
radical as the newspaper column, but if your lines are relatively short, you will inevitably end
up with uncomfortable gaps in some lines, while other lines will be all squished together.
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 fow of
reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed
work (magazines, newsletters, annual reports, journals) and youll fnd theres a very strong
trend to align type on the left and leave the right ragged.
CHECKING FOR RIVERS:
CWhen your work comes out of the printer, turn it upside down and squint
at it. The rivers will be very easy to spot. Get rid of them. Try squinting at the
examples on the following pages.
JUSTI FI CATI ON
54
ized by the depiction of several successive actions of a subject at
the same time. Marinettis manifesto glorified the new technol-
ogy 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 muse-
ums and libraries.
AKZIDENZ GROTESK
DIDOT
75. 90. 120.
75. 90. 120.
JUSTI FI CATI ON
55
ized by the depiction of several successive actions of a subject at
sweeping repudiation of traditional cultural, social, and politi-
cal values and the destruction of such cultural institutions as
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. Marinettis 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 politi-
cal values and the destruction of such cultural institutions as muse-
ums and libraries.
AKZIDENZ GROTESK
DIDOT
85. 90. 95.
85. 90. 95.
JUSTI FI CATI ON
56
the sweeping repudiation of traditional cultural, social, and
political values and the destruction of such cultural institu-
tions as museums and libraries.
AKZIDENZ GROTESK
DIDOT
95. 100. 110.
95. 100. 110.
JUSTI FI CATI ON
57
and motion. The works were characterized the depiction of sev-
eral successive actions of a subject at the same time. Marinettis
manifesto glorified the new technology of the automobile and
the beauty of its speed, power, and movement. He exalted vio-
lence and conflict and called for the sweeping repudiation of
traditional cultural, social, and political values and the destruc-
terized by the depiction of several successive actions of a subject
at the same time. Marinettis manifesto glorified the new technology
of the automobile and the beauty of its speed, power, and move-
ment. He exalted violence and conflict and called for the sweeping
repudiation of traditional cultural, social, and political values and the
destruction of such cultural institutions as museums and libraries.
AKZIDENZ GROTESK
DIDOT
70. 75. 80.
70. 75. 80.
JUSTI FI CATI ON
58
the sweeping repudiation of traditional cultural, social, and
political values and the destruction of such cultural institu-
tions as museums and libraries.
AKZIDENZ GROTESK
DIDOT
95. 100. 130.
95. 100. 130.
JUSTI FI CATI ON
59
ized the depiction of several successive actions of a subject at
sweeping repudiation of traditional cultural, social, and politi-
cal values and the destruction of such cultural institutions as
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. Marinettis manifesto glori-
fied the new technology of the automobile and the beauty of its
AKZIDENZ GROTESK
DIDOT
85. 110.130.
85. 110.130.
JUSTI FI CATI ON
60
CC
61
COMBI NI NG TYPEFACES
CC
62
COMBINING TYPEFACES
Restrict yourself to two typefaces within a document.
The inclusion of multiple serif or sans serif typefaces
will cause unwanted tension.
63
WHEN COMBINING SERIF AND SANS SERIF TEXT FONTS, ONE SHOULD TRY
AND MATCH THESE CHARACTERISTICS:
Form, type color, proportion, and x-heights. Although there is not recipe there is a place to
start: keep an eye on the characteristic shapes of the letterform. A well designed page contains
no more than two different typefaces or 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 composi-
tion is never a good idea).
TIPS FOR EFFECTIVE TYPE COMBINATIONS:
CGo for high contrast: size, strength, and typographic color
CA sans serif typeface is easier to read at a glance, and, thus,
more effective for headlines.
CSerifs in a typeface facilitate the forward movement of reading, making
serif typefaces an ideal choice for body copy
64
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was
first announced on February 20, 1909, when
the Paris newspaper Le Figaro published
a manifesto by the Italian poet and editor
Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived
to be the static and irrelevant art of the past
and celebrating change, originality, and
innovation in culture and society. Futurism
rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant
themes, the machine and motion. The works
were characterized by the depiction of several
successive actions of a subject at the same
time. Marinettis manifesto glorified the new
technology of the automobile and the beauty
of its speed, power, and movement.
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first
announced on February 20, 1909, when
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
themes, the machine and motion. The works
were characterized by the depiction of several
time. Marinettis manifesto glorified the new
technology of the automobile and the beauty
of its speed, power, and movement.
aa BB ee GG gg

aa BB ee GG gg

CThere is a visible contrast between these two
typeaces, which is further punctuated by the bold
style of the sans serif font. Both of these typefaces
have organic aspect that compliment each other.
CThis is a more prominent contrast between the two
typefaces. The large x-height and bolding of sans
serif typeface is easier to read than the body copy,
which outlines a clear delineation in heirarchy.
OLD STYLE
9/12 Adobe Garamond
OLD STYLE
9/12 Bembo
HUMANIST SANS SERIF
12/16 Frutiger
GROTESQUE SANS SERIF
12/16 Akzidenz Grotesk
65
WORDS IN LIBERTY
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. Marinettis
manifesto glorified the new technology of
the automobile and the beauty of its speed,
power, and movement.
WORDS IN LIBERTY
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
time. Marinettis manifesto glorified the
new technology of the automobile and the
beauty of its speed, and power.
aa BB ee GG gg

aa BB ee GG gg

CAlthough there is a clear difference between
the heading and the body copy, the stroke of
futura seems a bit heavy, which creates a similar
typographic color as the bold, enlarged title and
creates tension.
CBoth of these typefaces maintain organic
attributes that compliment each other well. The
humanist sans serif functions well as the body
copy. Both are very approachable.
TRANSITIONAL
12/16 Baskerville
TRANSITIONAL
12/16 Bookman
GEOMETRIC SANS SERIF
9/12 Futura
HUMANIST SANS SERIF
9/12 Syntax
66
WORDS IN LIBERTY
to be the static and irrelevant art of the
past and celebrating change, originality,
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
manifesto glorified the new technology of
the automobile and the beauty of its speed,
power, and movement.
Words in Liberty
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.
Marinettis manifesto glorified the
new technology of the automobile and
the beauty of its speed, power, and
movement.
aa BB ee GG gg aa BB ee GG gg

CEven though serif fonts are good choices for
body copy, Modern typefaces like Bodoni were
dedigned as display fonts. The variations in stroke
and width contrasts with futuras uniform width.
CThis is a cobimation that demonstrates clear hier-
archy. the title is easy to read and the modern serif
typeface is more subdued, but legible
MODERN
12/16 Baur Bodini
MODERN
9/12 Didot
9/12 Futura
12/16 Akzidenz Grotesk (bold)
67
WORDS IN LIBERTY
A Prologue to Futurism: Futurism
was first announced on February 20,
1909, when the Paris newspaper Le Figaro
beauty of its speed, power, and movement.
Words In Liberty
change, originality, and innovation in culture
and society. Futurism rejected traditions
and glorified contemporary life, mainly by
successive actions of a subject at the
same time. Marinettis manifesto glorified
the new technology of the automobile and
the beauty of its speed, and power.
aa BB ee GG gg

aa BB ee GG gg

CThe large x-height of Futura creates a contrast
with the small x0height of Mrs. Eaves
CThe strenth of Akzindenz Grotesk as the body
copey competes with thte header. This makes hei-
rarchy hard to see.
NEW TRANSITIONAL
16/21 Mrs.Eaves
NEW TRANSITIONAL
21/24 Perpetua
9/12 Futura
HUMANIST SANS SERIF
9/12 Berthhold Akzindenz Grotesk
68
WORDS IN LIBERTY
beauty of its speed, power, and movement.
Words in Liberty
change, originality, and innovation in
culture and society. Futurism rejected
traditions and glorified contemporary
themes, the machine and motion.
The works were characterized by the
depiction of several successive actions
manifesto glorified the new technology
of the automobile and the beauty of its
speed, power, and movement.
aa BB ee GG gg aa BB ee GG gg

CMemphis functions as a display font. Even
though serif fonts are considered strong choices
for body cioy, the slabs seem too bulky for legibil-
ity. Futura contrasts this well.
CThis solution uses the slab serif in the body copy.
The typeface style light to improve legibility.
SLAB SERIF
16/21 Memphis
SLAB SERIF
9/12 Rockwell
9/12 Futura
12/16 Akzidenz Grotesk
69
There is not a binding recipe for
type combinations. It is a matter
of typographic sensitivity and
experience. Expert typographers, as
well as careless amateurs permit
themselves combinations that
would horrify colleagues with more
traditional sympathies.
70
Q Q
71
QUOTATI ONS, APOSTRAPHES & DASHES
Q Q
72
QUOTATIONS/APOST-
RAPHES/DASHES
The following are rules regarding the proper use of
quotation marks, apostraphes, dashes, hyphens, em-
dashes, and en-dashes.
73
USE REAL QUOTATION MARKS
Never those grotesque generic marks that actually symbolize ditto/inch or foot marks: use
and not and. Most software applications wbvill convert the typewriter quotes to the real
quotes for you automatically as you type. Check the preferences for your applicationyoull
fnd a check box to tell your application to automatically set something like typographers
quotes, smart quotes, or curly quotes. Then as you type using the standard ditto key (), the
software will set the correct quotation marks for you.
BUT IT IS NECESSARY TO KNOW HOW TO SET THEM YOURSELF
BECAUSE SOMETIMES THE SOFTWARE DOES NOT ACTUALLY
DO IT OR DOES IT WRONG.
Opening double quote: Type: Option [
Closing double quote: Type: Option Shift ]
Opening single quote: Type: Option [
Closing single quote: Type: Option Shift ]
EXAMPLES:
Bridge Clearance: 16 7
The young man stood 6 2
The length of the wall is 1539.
QUOTATI ONS, APOSTRAPHES, & DASHES
74
APOSTRAPHE KEY COMMAND: + OPTION + SHIFT + ]
Peopele are often confused about where the apostrophe belongs. These are a couple of rules
that work very well. For possessives: Turn the phrase around. The apostrophe will be placed
after whatever word you end up with. For example, in the phrase the boys camp, to know where
to place the apostrophe say to yourself, The camp belongs to the boys. The phrase the boys
camp says The camp belongs to the boy.
THE BIG EXCEPTION TO THIS IS ITS.
CIts used as a possessive never has an apostrophe! The word it only has an
apostrophe as a contractionits always means it is or it has. Always.
CIt may be easier to remember if you recall that yours, hers, and his dont
use apostrophes and neither should its.
FOR CONTRACTIONS: THE APOSTROPHE REPLACES THE MISSING LETTER.
For example: yourre always means you are; the apostrophe is replacing the a from are. Thats
an easy way to distinguish it from your as in your house and to make sure you dont say: Your
going to the store. As previously noted, its means it is; the apostrophe is indicating where the
i is left out. Dont means do not; the apostrophe is indicating where the o is left out.
FOR OMISSION OF LETTERS:
In a phrase such as Rock n Roll, there should be an apostrophe before and after the n,
because the a and the d are both left out. And dont turn the frst apostrophe aroundjust
because it appears in front of the letter does not mean you need to use the opposite single
quote. An apostrophe is still the appropriate mark (not n).
IN A PHRASE SUCH AS:
CHouse o Fashion, the apostrophe takes the place of the f. There is no
reason for an apostrophe to be set before the o.
CGone Fishin the same pattern is followed the g is missing.
IN A DATE WHEN PART OF THE YEAR IS LEFT OUT, AN APOSTROPHE NEEDS TO
INDICATE THE MISSING YEAR.
In the 80s would mean the temperature; In the 80s would mean the decade. (Notice there is no
apostrophe before the s! Why would there be? It is not possessive, nor is it a contractionit is
simply plural.
75
DASHES
Never use two hyphens instead of a dash. Use hyphens, en dashes and em dashes properly.
Everyone knows what a hyphens isthat tiny little dash that belongs in some words, like
mother-in-law, or in phone numbers. Its also used to break a word at the end of a line, of
course you might have been taught to use a double hyphen to indicate a dash, like so : -- . This
is a typewriter convention because typewriters didnt have the real dash used in professional
typesetting. On a Mac, no one needs to use the double hyphenwe 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.
THE BIG EXCEPTION TO THIS IS ITS.
CIts used as a possessive never has an apostrophe! The word it only has an
apostrophe as a contraction its always means it is or it has. Always.
CIt may be easier to remember if you recall that yours, hers, and his dont
use apostrophesand neither should its.
HYPHEN -
A hyphen is one third of the em rule and is used to link words. It serves as a compound modi-
fer where two words become one, such as x-height. A hyphen is also used to break works at
syllables in text blocks.
EN DASH - KEY COMMAND: OPTION + HYPHEN KEY
An en dash is half of the em rule (the width of a capital N) and is used between words that
indicate a duration, such as time or months or years. Use it where you might otherwise use the
word to. In a page layout application, the en dash can be used with a thin space on either side
of it. If you want you can kern it so it is not a full space.
EM DASH - KEY COMMAND: SHIFT + OPTION + HYPHEN
The em dash is twice as long as the en dashits about the size of a capital letter M in the size
and typeface youre using at the time. This dash is often used in place of a colon or parentheses,
or it might indicate an abrupt change in thought, or its used in a spot where a period is too
strong and a comma is too weak.
Our equivalent on the typewriter was the double hyphen, but now we have a
real em dash. Using two hyphens(or worse, one) where there should be an em dash makes
your look very unprofessional.
EXAMPLE:
October December
6:30 8:45 A.M.
4 6 years of age
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76
S
S
77
SPECI AL CHARACTERS
S
S
78
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SPECIAL CHARACTERS
The following is a list of the most often-used special
characters and accent marks. On the following
pages are the key combinations for just about every
accent you might need.
79
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Opening double quote
Closing double quote
Opening single quote
Closing single quote; apostrophe
En dash
Em dash
Ellipsis
Bullet
Ligature of f and i
Ligature of f and l
Ccopyright
Trademark
Registered trademark
Degree
Cent
Euro
Fraction bar
Upside-down exclamation point
Upside-down question mark
Pound
Cedilla
Capital cedilla
Acute
Grave
Trema
Tilda
Circumfex
Option [
Option Shift [
Option ]
Option Shift ]
Option Hyphen
Option Shift Hyphen
Option ;
Option 8
Option Shift 5
Option Shift 6
Option g
Option 2
Option r
Option Shift 8
Option $
Option Shift 2
Option Shift 1
Option 1 (one)
Option Shift ?
Option 3
Option c
Option Shift c
E Option Shift e
E` Option Shift ~
E

Option Shift u
Option Shift u
E Option Shift c
SPECI AL CHARACTERS
SPECIAL CHARACTERS
80
81
82
H
H
83
H
H
84
85
86
3 1
87
3
88
C C
C
C
C
C
C
C
89
C C
C C
C C
C
C
C
90
91
92
B B
93
BULLETS
B B
94
18
BULLETS
Bullet, of course! This very useful typographic
element can add emphasis, clarity and visual
interest to all kinds of copy.
95
BULLETS
SIMPLY PUT, A BULLET IS A LARGE DOT USED TO DRAW ATTENTION TO EACH ITEM IN A LIST
OR SERIES. THESE ITEMS CAN BE WORDS, PHRASES, SENTENCES OR PARAGRAPHS.
Even if you use the bullet that is part of your font, dont automatically assume its 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 PREFERED 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 frst line.
TO BE MORE CREATIVE, SUBSTITUTE SYMBOLS OR
DINGBATS FOR THE ACTUAL BULLETS.
CTry squares, triangles or check marks.
CDont try multiple bullets together.
CKeep bullets simple and in proportion to the rest of your text.
BULLETS
96
DINGBATS AS BULLETS
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 ol round bullet (orheaven forbida hyphen). But
the Zapf Dingbat character is too big. If you reduce its size, the dingbat is too low because the
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.
PICK ANY THREE ADJECTIVES
TO DESCRIBE YOURSELF:
C lovely
5surly
E ghastly
T womanly
Z saintly
3ungodly
S stately
R sprightly
lovely
surly
ghastly
womanly
saintly
ungodly
stately
sprightly
Choose a dingbat instead. Decrease the dingbat size.
.......................................... ..........................................
BULLETS
97
C lovely
Csurly
C ghastly
C womanly
C saintly
Cungodly
C stately
C sprightly
C lovely
Csurly
C ghastly
C womanly
C saintly
Cungodly
C stately
C sprightly
Raise the dingbat higher.
..........................................
BULLETS
98
NN
99
NUMERALS
NN
100
18
NUMERALS
Oldstyle fgures are a style of numeral which
approximate lowercase letterforms by having an
x-height and varying ascenders and descenders.
BULLETS
101
OLDSTYLE FIGURES ARE VERY USEFUL AND QUITE BEAUTIFUL WHEN SET WITHIN THE TEXT.
The more common lining (or aligning) fgures which are all-cap height and typically mono-
spaced in text faces so that they line up vertically on charts. Oldstyle fgures have more of a
traditional, classic look. They are only available for certain typefaces, sometimes as the regu-
lar numerals in a font, but more often within a supplementary or expert font. The fgures are
proportionately spaced, eliminating the white spaces that result from monospaced lining fgures,
especially around the numeral one.
UNLIKE LINING FIGURES, THEY BLEND WITHOUT DISTURBING THE COLOR OF THE TEXT.
They also work well in headlines since theyre not as intrusive as lining fgures. In fact, many
people prefer them overall for most uses except charts and tables. Its well worth the extra effort
to track down and obtain typefaces with oldstyle numerals; the fonts that contain them might well
become some of your favorites.
NOTICE HOW CLUNKY THESE NUMBERS APPEAR:
CDear John, please call me at 438-9762 at 3:00 to discuss marriage.
Or write to me at Route 916, zip code 87505
NOTICE HOW BEAUTIFULLY THESE NUMBERS BLEND:
CDear John, please call me at 438-9762 at 3:00 to discuss marriage.
Or write to me at Route 916, zip code 87505
NUMERALS
NUMERALS
102
SS
103
SMALL CAPS
SS
104
SMALL CAPS
Small caps are uppercase (capital) letters that
are about the size of normal lowercase letters in
any given typeface.
105
SMALL CAPS ARE LESS INTRUSIVE WHEN ALL UPPERCASE APPEARS WITHIN NORMAL
TEXT OR CAN BE USED FOR SPECIAL EMPHASIS.
Computer programs can generate small caps for a any typeface, but those are not the same as
true small caps. True small caps have line weights that are proportionally correct for the typeface,
which me and that they can be used within a body of copy without looking noticeably wrong.
USE SMALL CAPS FOR ACRONYMS
CSet acronyms such as nasa or nasdaq when they appear in
body text. or headlines.
CIf you set acronyms in regular all caps, their visual presence is unnecessarily
overwhelming. One standard and practical place to use small caps is in
acronums such as fbi, nrc, cbs, or simm.
USE SMALL CAPS FOR COMMON ABBREVIATIONS
CSet common abbreviations such as am or pm in small caps so they dont
overpower the accompanying text.
CUse small caps for a.m. and p.m.; space once after the number,
and use periods.
CIf the font does not have small caps reduce the font size slightly
USE TRUE SMALL CAPS FONTS
CAvoid simply resizing capital letters or using the small caps feature
in some programs.
CInstead use typefaces that have been specifcally created as small caps.
SMALL CAPS
SMALL CAPS
106
TRUE-DRAWN SMALL CAPS
There are quite a few font families tha include true-drawn small capsletterforms that have
been redesigned to match the proportions and thickness of the uppercase. These families are
often called exper sets or perhaps small cap sets (see Chapter 8). The result is a smooth,
uniform, undisturbing tone throughout the text.
EXAMPLE OF COMPUTER GERNERATED SMALL CAPS
CThe weight of the computer-drawn small caps is thinner than the weight
of the regular initial (frst letter) caps. (Typeface below is Akzinez Grotesk)
EXAMPLE OF TRUE-DRAWN SMALL CAPS
CNotice that the stroke width appears uniform throughout the text.
(Typeface below is Didot)
The Wicked Are Very WeAry
SMALL CAPS
107
EXAMPLE OF TRUE-DRAWN SMALL CAPS
CNotice that the stroke width appears uniform throughout the text.
(Typeface below is Didot)
The Wicked Are Very Weary
SMALL CAPS
108
PP
109
PARAGRAPH BREAKS
PP
110
PARAGRAPH BREAKS
Paragraph breaks set a rhythm for the reader.
They are a vital part a page visual movement.
111
THE BREAKS HAVE A RELATIONSHIP WITH THE COLUMN OF TEXT
AS WELL AS THE PAGE MARGINS.
A break may be introduced as an indentation, as a space or both. The over all page feel will be
infuenced by your choice. In typography there are four rules regarding paragraphs.
THE RULES OF PARAGRAPHS BREAKS:
CFirst line at the beginning of an article should be fush left
(do not indent frst paragraph)
CBlock paragraphs are fush left and are separated by extra
leading not a full return
CThe amount of indent is = to the leading (sometimes needs a bit more)
CNever hit two returns between paragraphs.
PARAGRAPH BREAKS
PARAGRAPH BREAKS
112
celebrating 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 manifestos rhetoric was passionately bombastic; its
tone was aggressive and inflammatory and was purposely intended
to inspire public anger and amazement, to arouse controversy, and
to attract widespread attention. But is is the movements which
survive, oddly, here where we live and work as poets and artists:
or, if not the movements, then their sense of art as an life itself.
All of which, as futurism, had come sharply into focus by the start
of the world war: a first radical mix of art and life, the epitome in
the poplar mind of an avant-garde. It was, on both its Russian &
Italian sides, the first great art movement led by poets; and if
its means now sometimes seem exaggerated or unripe in retro-
spect, they carry within them the seed of all that we were later to
become. While Marinettis opening manifesto for Italian Futurism
bristled with a polemical stance in favor of the transformed pres-
ent (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 liberta, 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 typog-
raphy in the visual presentation of language, as set in motion
by forerunners like Mallarme. Outrageous and aggressive, the
Futurists performances mixed declamation and gesture, events
and surroundings, indifference and engagement, to break the bar-
riers between themselves and those who came to jeer or cheer
them. Wrote Marinetti selbst (circa 1915), Everything of any value
is theatrical.
PARAGRAPH BREAK EXPERIMENT 1
PARAGRAPH BREAKS
113
PARAGRAPH BREAKS
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro
published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The
name Futurism, coined by Marinetti, reflected his emphasis on discarding what he
conceived to be the static and irrelevant art of the past and celebrating change, origi-
nality, and innovation in culture and society. Futurism rejected traditions and glori-
fied contemporary life, mainly by emphasizing two dominant themes, the machine
and motion. The manifestos 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 attention.
But is is the movements which survive, oddly, here where we live and work as poets and
artists: or, if not the movements, then their sense of art as an life itself. All of which, as
futurism, had come sharply into focus by the start of the world war: a first radical mix
of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its
Russian & Italian sides, the first great art movement led by poets; and if its means
now sometimes seem exaggerated or unripe in retrospect, they carry within them the
seed of all that we were later to become.
While Marinettis opening manifesto for Italian Futurism bristled with a polemical stance
in favor of the transformed present (1909), the later manifestos of Futurist poets
and artists offered formal, technical approaches to the works then getting under
way. The key term--still resonant today--was parole in liberta, 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 presen-
tation of language, as set in motion by forerunners like Mallarme. Outrageous and
aggressive, the Futurists performances mixed declamation and gesture, events and
surroundings, indifference and engagement, to break the barriers between them-
selves and those who came to jeer or cheer them. Wrote Marinetti selbst (circa 1915),
Everything of any value is theatrical.
114
to attract widespread attention.
But is is the movements which survive, oddly, here where we live
and work as poets and artists: or, if not the movements, then their
sense of art as an life itself. All of which, as futurism, had come
sharply into focus by the start of the world war: a first radical mix
of art and life, the epitome in the poplar mind of an avant-garde. It
was, on both its Russian & Italian sides, the first great art move-
ment led by poets; and if its means now sometimes seem exagger-
ated or unripe in retrospect, they carry within them the seed of all
that we were later to become.
While Marinettis opening manifesto for Italian Futurism bristled
with a polemical stance in favor of the transformed present (1909),
the later manifestos of Futurist poets and artists offered formal,
technical approaches to the works then getting under way. The
key term--still resonant today--was parole in liberta, by which
poetry was to become an uninterrupted sequence of new imag-
es (a) strict bet of images or analogies, to be cast into the mys-
terious 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 forerun-
ners like Mallarme. Outrageous and aggressive, the Futurists per-
formances mixed declamation and gesture, events and surround-
ings, indifference and engagement, to break the barriers between
themselves and those who came to jeer or cheer them. Wrote
Marinetti selbst (circa 1915), Everything of any value is theatrical.
PARAGRAPH BREAKS
115
ebrating change, originality, and innovation in culture and soci-
While Marinettis opening manifesto for Italian Futurism bris-
tled with a polemical stance in favor of the transformed present
(1909), the later manifestos of Futurist poets and artists offered
mysterious sea of phenomena. This freedom-of-the-world, while it
PARAGRAPH BREAKS
116
PARAGRAPH BREAKS
Marinetti selbst (circa 1915),
117
name Futurism, coined by Marinetti, reflected his emphasis on discarding what he con-
ceived to be the static and irrelevant art of the past and celebrating change, originality,
and innovation in culture and society. Futurism rejected traditions and glorified contem-
porary life, mainly by emphasizing two dominant themes, the machine and motion. The
manifestos rhetoric was passionately bombastic; its tone was aggressive and inflammatory
and was purposely intended to inspire public anger and amazement, to arouse contro-
versy, and to attract widespread attention.
But is is the movements which survive, oddly, here where we live and work as poets
and artists: or, if not the movements, then their sense of art as an life itself. All of which,
as futurism, had come sharply into focus by the start of the world war: a first radical
mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its
Russian & Italian sides, the first great art movement led by poets; and if its means now
sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of
all that we were later to become.
While Marinettis opening manifesto for Italian Futurism bristled with a polemi-
cal stance in favor of the transformed present (1909), the later manifestos of Futurist
poets and artists offered formal, technical approaches to the works then getting under
way. The key term--still resonant today--was parole in liberta, by which poetry was to
become an uninterrupted sequence of new images (a) strict bet of images or analo-
gies, to be cast into the mysterious sea of phenomena. This freedom-of-the-world, while
it resembled other forms of collage and of image juxtaposition, more fully explored the
use of innovative and expressive typography in the visual presentation of language, as
set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists
performances mixed declamation and gesture, events and surroundings, indifference and
engagement, to break the barriers between themselves and those who came to jeer or
cheer them. Wrote Marinetti selbst (circa 1915), Everything of any value is theatrical.
PARAGRAPH BREAKS
118
C But is is the movements which survive, oddly, here where we live
C While Marinettis opening manifesto for Italian Futurism bris-
PARAGRAPH BREAKS
119
PARAGRAPH BREAKS
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 manifestos rhetoric was passionately bombas-
tic; its tone was aggressive and inflammatory and was purposely intended to
inspire public anger and amazement, to arouse controversy.
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 radi-
cal 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 Marinettis opening manifesto for Italian Futurism bristled with a polemical
stance in favor of the transformed present (1909), the later manifestos of Futurist poets
way. The key term--still resonant today--was parole in liberta, by which poetry was
analogies, to be cast into the mysterious sea of phenomena. This freedom-of-
the-world, while it resembled other forms of collage and of image juxtaposition,
more fully explored the use of innovative and expressive typography in the
visual presentation of language, as set in motion by forerunners like Mallarme.
Outrageous and aggressive, the Futurists performances mixed declama-
tion 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 selbst (circa 1915).
120
PARAGRAPH BREAKS
newspaper Le Figaro published a manifesto by the Italian poet
and editor Filippo Tommaso Marinetti. The name Futurism,
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.
121
technical approaches to the works then getting under way. The key
term--still resonant today--was parole in liberta, 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 presenta-
tion of language, as set in motion by forerunners like Mallarme.
Outrageous and aggressive, the Futurists performances mixed
declamation and gesture, events and surroundings, indifference and
engagement, to break the barriers between themselves and those
who came to jeer or cheer them. Wrote Marinetti selbst(circa 1915),
tone was aggressive and inflammatory and was purposely intend-
ed to inspire public anger and amazement, to arouse controversy,
and to attract wide.
PARAGRAPH BREAKS
122
H H
123
HEADERS, SUBHEADS, & CROSSHEADS
H H
124
Head is the main title of a layout and is typically the
most visually prominent element of the hierarchy; while
a subhead is a subordinate subdivision of the heading.
HEADERS/SUB-
HEADS/CROSSHEADS
125
ONE WAY IN WHICH HEADERS AND SUBHEADS ADOPT THE HIGHEST VISUAL HIERARCHY
IS THROUHGH ENLARGED TEXT.
Increasing the size of the text improves its legibility, which makes it easier to view at a glance,
and delineates a clear distinction from the body copy. Enlarged text, however, requires a sensitive
handling to maintain visually consistent letterspacing within the title and subhead through a
process called kerning. The larger the letters, the more critical it is to adjust the spacing
RULES FOR KERNING
CKerning is dependent on your eye, not the machine.
CCircular letters appear smaller next to rectangular letters.
CAdjust the letters according to your visual perception
CYou can usually focus better on that white space if you look at the text with
your eyes squinted.
HEADERS, SUBHEADS, & CROSSHEADS
126
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, origi-
nality, and innovation in culture and society.
1
Futurism rejected
two dominant themes, the machine and motion. The manifestos
rhetoric was passionately bombastic; its tone was aggressive and
inflammatory and was purposely intended to inspire public anger
and amazement, to arouse controversy. 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 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
Marinettis opening manifesto for Italian Futurism bristled with
a polemical stance in favor of the transformed present (1909), the
later manifestos of Futurist poets and artists offered formal, tech-
nical approaches to the works then getting under way. The key
term--still resonant today--was parole in liberta
2
, by which poetry
was to become an uninterrupted sequence of new images (a)
strict bet of images or analogies, to be cast into the mysterious sea
of phenomena. This freedom-of-the-world, while it resembled
other forms of collage and of image juxtaposition, more fully
explored the use of innovative and expressive typography in the
visual presentation of language, as set in motion by forerunners
like Mallarme. Outrageous and aggressive, the Futurists perfor-
mances mixed declamation and gesture, events and surroundings,
indifference and engagement, to break the barriers between them-
selves and those who came to jeer or cheer them. Wrote Marinetti
selbst
3
(circa 1915), Everything of any value is theatrical.
PARAGRAPH BREAKS
W
O
R
D
S

I
N

L
I
B
E
R
T
Y
127
PARAGRAPH BREAKS
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 manifestos rhetoric was passionately bombastic; its tone
was aggressive and inflammatory and was purposely intended to inspire public anger
and amazement, to arouse controversy,.
cal 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.
way. The key term--still resonant today--was parole in liberta
2
, by which poetry was
selves and those who came to jeer or cheer them. Wrote Marinetti selbst
3
(circa 1915),
WORDS IN LIBERTY
RADICAL MIX OF ART & LIFE:
A PROLOGUE TO FUTURISM
128
ety.
1
Futurism rejected traditions and glorified contemporary life,
with a polemical stance in favor of the transformed present
2
, by
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 typog-
raphy in the visual presentation of language, as set in motion
by forerunners like Mallarme. Outrageous and aggressive, the
Futurists performances mixed declamation and gesture, events
and surroundings, indifference and engagement, to break the bar-
riers between themselves and those who came to jeer or cheer
them. Wrote Marinetti selbst
3
(circa 1915), Everything of any value
is theatrical.
PARAGRAPH BREAKS
WORDS IN LIBERTY
A PROLOGUE TO FUTURISM:
129
PARAGRAPH BREAKS
1
Futurism rejected traditions and glorified contem-
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 some-
times seem exaggerated or unripe in retrospect, they carry within them the seed of all that
we were later to become.
in favor of the transformed present (1909), the later manifestos of Futurist poets and art-
ists offered formal, technical approaches to the works then getting under way. The key
2
, 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 Mallarme. Outrageous and aggressive, the Futurists performances mixed
declamation and gesture, events and surroundings, indifference and engagement, to
break the barriers between themselves and those who came to jeer or cheer them. Wrote
Marinetti selbst
3
radical mix of art & life:
a prologue to futurism:
WORDS IN LIBERTY
130
PARAGRAPH BREAKS
ety.
1
key term--still resonant today--was parole in liberta
2
, by which
Marinetti selbst
3
(circa 1915),
words in liberty
131
PARAGRAPH BREAKS
newspaper Le Figaro published a manifesto by the Italian poet and edi-
tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he conceived to be the stat-
ic and irrelevant art of the past and celebrating change, originality, and
innovation in culture and society.
1
Futurism rejected traditions and glo-
rified contemporary life, mainly by emphasizing two dominant themes,
the machine and motion. The manifestos rhetoric was passionately
bombastic; its tone was aggressive and inflammatory and was pur-
posely intended to inspire public anger and amazement, to arouse con-
troversy, and to attract widespread attention.
ment led by poets; and if its means now sometimes seem exag-
gerated or unripe in retrospect, they carry within them the seed of
While Marinettis opening manifesto for Italian Futurism bristled with
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 liberta
2
, by which poetry was to become
an uninterrupted sequence of new images (a) strict bet of images
or analogies, to be cast into the mysterious sea of phenomena. This
freedom-of-the-world, while it resembled other forms of collage and
of image juxtaposition, more fully explored the use of innovative and
expressive typography in the visual presentation of language, as set
in motion by forerunners like Mallarme. Outrageous and aggressive,
the Futurists performances mixed declamation and gesture, events
and surroundings, indifference and engagement, to break the barriers
between themselves and those who came to jeer or cheer them. Wrote
Marinetti selbst
3
words in liberty
132
C C
133
C C
CAPTI ONS & NOTES
134
CAPTIONS & NOTES
Footnotes, endnotes, numbers, and symbols.
135
FOOTNOTES AND ENDNOTES ARE NECESSARY COMPONENTS OF
SCHOLARLY AND TECHNICAL WRITING.
Theyre also frequently used by writers of fction, from Herman Melville (Moby-Dick) to contem-
porary novelists. Whether their intent is academic or artistic, footnotes present special typo-
graphic challenges. Specifcally, 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 foot-
note might provide deeper background, offer an alternate interpretation or provide a citation for
the source of a quote, idea or statistic. Endnotes serve the same purpose but are grouped together
at the end of a chapter, article or book, rather than at the bottom of each page.
THESE GENERAL GUIDELINES WILL HELP YOU DESIGN FOOTNOTES AND ENDNOTES THAT
ARE READABLE, LEGIBLE AND ECONOMICAL IN SPACE. (Note that academic presses and jour-
nals can be sticklers for format: before proceeding, check with your client or publisher to see if
they have a specifc stylesheet that must be followed.)
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CFootnotes are most often indicated by placing a superscript numeral im-
mediately after the text to be referenced. The same superscript numeral then
precedes the footnoted text at the bottom of the page. Numbering footnotes
is essential when there are many of them, but if footnotes are few they can
be marked with a dagger, asterisk, or other symbol instead. Endnotes should
always use numerals to facilitate easy referencing.
SIZE
CFootnotes 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 theyre smaller, footnotes and endnotes
should still remain at a readable size.
CAPTI ONS & NOTES
CAPTIONS & NOTES
136
A PROLOGUE TO FUTURI SM: 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
two dominant themes, the machine and motion. The manifestos
rhetoric was passionately bombastic; its tone was aggressive and
inflammatory and was purposely intended to inspire public anger
and amazement, to arouse controversy.
A RADICAL MIX OF ART AND LIFE: But it is the move-
ments 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 ret-
rospect, they carry within them the seed of all that we were later to
become. While Marinettis opening manifesto for Italian Futurism
bristled with a polemical stance in favor of the transformed pres-
ent (1909), the later manifestos of Futurist poets and artists offered
2
, by
the visual presentation of language, as set in motion by forerunners
selbst
3
CAPTI ONS & NOTES
W
O
R
D
S

I
N

L
I
B
E
R
T
Y
3
selbst = himself
1
Philip Meggs, History of
Graphic Design,
Van Nostrand Reinhold, 1988
2
parole in liberta =
words set free (liberty)
137
CAPTI ONS & NOTES
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 manifestos rhetoric was passionately bombastic; its tone
was aggressive and inflammatory and was purposely intended to inspire public anger
and amazement, to arouse controversy,.
cal 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.
2
, by which poetry was
selves and those who came to jeer or cheer them. Wrote Marinetti selbst
3
(circa 1915),
WORDS IN LIBERTY
A PROLOGUE TO FUTURISM
3
.

s
e
l
b
s
t

=

h
i
m
s
e
l
f
1
.

P
h
i
l
i
p

M
e
g
g
s
,

H
i
s
t
o
r
y

o
f

G
r
a
p
h
i
c

D
e
s
i
g
n
,

V
a
n

N
o
s
t
r
a
n
d

R
e
i
n
h
o
l
d
,

1
9
8
8
2
.

p
a
r
o
l
e

i
n

l
i
b
e
r
t
a

=

w
o
r
d
s

s
e
t

f
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e
e

(
l
i
b
e
r
t
y
)
138
ety.
1
While Marinettis opening manifesto for Italian Futurism bris-
2
, by
the visual presentation of language, as set in motion by forerunners
selbst
3
CAPTI ONS & NOTES
WORDS IN LIBERTY
A PROLOGUE TO FUTURISM:
3
selbst = himself
2
parole in liberta =
1
Philip Meggs, History
of Graphic Design,
139
1
Futurism rejected traditions and glorified contem-
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 some-
times seem exaggerated or unripe in retrospect, they carry within them the seed of all that
we were later to become.
in favor of the transformed present (1909), the later manifestos of Futurist poets and art-
ists offered formal, technical approaches to the works then getting under way. The key
2
, 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 Mallarme. Outrageous and aggressive, the Futurists performances mixed
declamation and gesture, events and surroundings, indifference and engagement, to
break the barriers between themselves and those who came to jeer or cheer them. Wrote
Marinetti selbst
3
CAPTI ONS & NOTES
WORDS
IN LIBERTY
1
Philip Meggs, History
of Graphic Design,
3
selbst = himself
2
parole in liberta =
140
CAPTI ONS & NOTES
ety.
1
key term--still resonant today--was parole in liberta
2
, by which
Marinetti selbst
3
(circa 1915),
words in liberty
3
selbst = himself
2
parole in liberta =
1
Philip Meggs, History of Graphic Design,
141
CAPTI ONS & NOTES
newspaper Le Figaro published a manifesto by the Italian poet and edi-
tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he conceived to be the stat-
ic and irrelevant art of the past and celebrating change, originality, and
innovation in culture and society.
1
Futurism rejected traditions and glo-
rified contemporary life, mainly by emphasizing two dominant themes,
the machine and motion. The manifestos rhetoric was passionately
bombastic; its tone was aggressive and inflammatory and was pur-
posely intended to inspire public anger and amazement, to arouse con-
troversy, and to attract widespread attention.
ment led by poets; and if its means now sometimes seem exag-
gerated or unripe in retrospect, they carry within them the seed of
While Marinettis opening manifesto for Italian Futurism bristled with
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 liberta
2
, by which poetry was to become
an uninterrupted sequence of new images (a) strict bet of images
or analogies, to be cast into the mysterious sea of phenomena. This
freedom-of-the-world, while it resembled other forms of collage and
of image juxtaposition, more fully explored the use of innovative and
expressive typography in the visual presentation of language, as set
in motion by forerunners like Mallarme. Outrageous and aggressive,
the Futurists performances mixed declamation and gesture, events
and surroundings, indifference and engagement, to break the barriers
between themselves and those who came to jeer or cheer them. Wrote
Marinetti selbst
3
words in liberty
3
.

s
e
l
b
s
t

=

h
i
m
s
e
l
f
2
.

p
a
r
o
l
e

i
n

l
i
b
e
r
t
a

=

w
o
r
d
s

s
e
t

f
r
e
e

(
l
i
b
e
r
t
y
)
1
.

P
h
i
l
i
p

M
e
g
g
s
,

H
i
s
t
o
r
y

o
f

G
r
a
p
h
i
c

D
e
s
i
g
n
,

V
a
n

N
o
s
t
r
a
n
d

R
e
i
n
h
o
l
d
,

1
9
8
8
142
FF
143
FF
FONT SPECI FI CATI ONS
144
Right and wrong do not exist in
graphic design. There is only effective
and non-effective communication.
Peter Bilak - Illegibility
145
CLASSIFICATION: SLAB SERIF
BOOK
HAIRLINE
SEMI-BOLD
BOLD ITALIC
Archer
MaxogGdQRst
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-frst 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-frst 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 ( ) { } ? ! @ &
*

Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { } ? ! @ & *
146
CLASSIFICATION: GROTESQUE
ROMAN
BOLD
BLACK
Akzidenz Grotesk
MaxogGdQRst
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
the twentieth and twenty-rst centuries have
continued to create new typefaces based
on historic characteristics.
A basic system for classifying typefac-
es was devised in the nineteenth cen-
tury, when printers sought to identify
a heritage for their own craft analo-
gous to that of art history. Humanist
letterforms are closely connected to
calligraphy and the movement of the
hand. Transitional and modern typefac-
es are more abstract and less organic.
These three main groups correspond
roughly to the Renaissance, Baroque,
and Enlightenment periods in art and
literature. Designers in the twentieth
and twenty-frst centuries have contin-
ued to create new typefaces based on
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
147
CLASSIFICATION: TRANSITIONAL
REGULAR
SMALL CAPS
ITALIC
BOLD
Baskerville
MxaogGdQRt
when printers sought to identify a heritage
for their own craft analogous to that of
art history. Humanist letterforms are
less organic. These three main groups cor-
respond roughly to the Renaissance, Ba-
roque, and Enlightenment periods in art
characteristics.
characteristics.
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
& *
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 ( ) { } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
148
REGULAR
ITALIC
BOLD
BLACK ITALIC
Belizio
MxagGdQrR
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-frst centuries have
continued to create new typefaces
based on historic characteristics.
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.
and twenty-frst centuries have con-
tinued to create new typefaces based
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 ( ) { } ? ! @ & *
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 ( ) { } ? ! @ & *
Jj Kk Ll Mm Nn Oo Pp Qq
Rr Ss Tt Uu Vv Ww Xx Yy
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
149
LIGHT
BOLD
BLACK
Bell Gothic
MxagGdQrRI
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
characteristics.
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
150
CLASSIFICATION: OLD STYLE
REGULAR
ITALIC
BOLD
EXTRA BOLD
Bembo
MxnogGdQrRst
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
respond roughly to the Renaissance, Baroque,
and Enlightenment periods in art and literature.
Designers in the twentieth and twenty-frst
centuries have continued to create new type-
faces based on historic characteristics.
Baroque, and Enlightenment periods
in art and literature. Designers in the
twentieth and twenty-frst centuries have
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
151
MxnogGdQrRst
CLASSIFICATION: NEW TRANSITIONAL
REGULAR
ITALIC
BOLD
BOLD ITALIC
Bookman
MxaogGdQrR
identify a heritage for their own craft
analogous to that of art history. Hu-
manist letterforms are closely con-
nected to calligraphy and the move-
ment of the hand. Transitional and
modern typefaces are more abstract
and less organic. These three main
groups correspond roughly to the
Renaissance, Baroque, and Enlight-
enment periods in art and literature.
Designers in the twentieth and
twenty-frst centuries have continued
to create new typefaces based on
craft analogous to that of art his-
tory. Humanist letterforms are
closely connected to calligraphy
and the movement of the hand.
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-frst
centuries have continued to create
new typefaces based on historic
characteristics.
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
5 6 7 8 9 0 ( ) { } ? ! @ & *
5 6 7 8 9 0 ( ) { } ? ! @ & *
152
CLASSIFICATION: MODERN (DIDONE)
REGULAR
ITALIC
BOLD
ORNAMENTS
Bodoni
MxaogGdQrRst
their own craft analogous to that of art
history. Humanist letterforms are closely
connected to calligraphy and the move-
ment of the hand. Transitional and modern
typefaces are more abstract and less or-
ganic. These three main groups correspond
roughly to the Renaissance, Baroque, and
Enlightenment periods in art and literature.
centuries have continued to create new
typefaces based on historic characteristics.
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & * 1 2 3 4 5 6 7 8 9
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
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 ( ) {
} ? ! @ & *
Ss Tt Uu Vv Ww Xx Yy Zz 1
2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & * FONT SPECI FI CATI ONS
153
MxaogGdQrRst
REGULAR
ITALIC
SWASH
ORNAMENT
ALTERNATE
Caslon
MxanogGdQRt
groups correspond roughly to the Renaissance,
and literature. Designers in the twentieth and
twenty-frst centuries have continued to create
new typefaces based on historic characteristics.
hand. Transitional and modern typefaces
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
& *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
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
154
REGULAR
ITALIC
BOLD
BOLD ITALIC
Century Schoolbook
MxaogGdQrRt
when printers sought to identify a
heritage for their own craft analogous to
that of art history. Humanist letter-
Transitional and modern typefaces are
more abstract and less organic. These
three main groups correspond roughly to
the Renaissance, Baroque, and Enlight-
Designers in the twentieth and twenty-
frst centuries have continued to create
new typefaces based on historic charac-
teristics.
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (
) { } ? ! @ & *
Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7
8 9 0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
( ) { } ? ! @ & *
155
MxaogGdQrRt
REGULAR
ITALIC
BOLD
BOLD ITALIC
Cheltenham
MaxogGdQrRs
characteristics.
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
156
CLASSIFICATION: MODERN
UNICASE
REGULAR
Cholla
MaxnogGdQrRst
periods in art and literature. Designers in the
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 ( ) { } ? ! @ & *
3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
157
MaxnogGdQrRst
LIGHT
REGULAR
BOLD
Clarendon
MxagGdQrRt
craft analogous to that of art history.
Humanist letterforms are closely con-
Designers in the twentieth and twen-
ty-frst centuries have continued to
create new typefaces based on historic
characteristics.
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
158
CLASSIFICATION: GRID BASED SANS SERIF
REGULAR
Clicker
MaxnogGdQRs
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
159
MaxnogGdQRs
REGULAR
ITALIC
BOLD
Didot
MxaogGdQrRt
Humanist letterforms are closely connected to
calligraphy and the movement of the hand.
sance, Baroque, and Enlightenment periods
in art and literature. Designers in the twenti-
eth and twenty-frst centuries have continued
characteristics.
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & * 1 2 3 4 5 6 7 8 9
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
& *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (
) { } ? ! @ & *
160
DIN
MaxnogGdQrRt
LIGHT
REGULAR
MEDIUM
BLACK
characteristics.
the twentieth and twenty-frst centuries
have continued to create new typefaces
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ &
* 1 2 3 4 5 6 7 8 9
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { ? ! @ & *
161
MaxnogGdQrRt
DIN (Condensed)
MaxngdQHAMBURG
LIGHT CONDENSED
REGULAR CONDENSED
BOLD CONDENSED
BLACK CONDENSED
A basic system for classifying typefaces was devised in the
nineteenth century, when printers sought to identify a heritage
for their own craft analogous to that of art history. Humanist
letterforms are closely connected to calligraphy and the
movement of the hand. Transitional and modern typefaces
are more abstract and less organic. These three main groups
correspond roughly to the Renaissance, Baroque, and
Enlightenment periods in art and literature. Designers in the
twentieth and twenty-frst centuries have continued to create
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-frst centuries have continued to create new
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 (
) { } ? ! @ & *
Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
( ) { } ? ! @ & *
162
REGULAR
ITALIC
BOLD
Disturbance
MxnatQbWFGdR
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
typefaces are more abstract and less organic.
These three main groups correspond roughly to
the Renaissance, Baroque, and Enlightenment
twentieth and twenty-frst 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
( ) { } ? ! @ & *
Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7
8 9 0 ( ) { } ? ! @ & *
163
MxnatQbWFGdR
CLASSIFICATION: BLACKLETTER
REGULAR
Fette Fraktur
MxnaopQrRtfg
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
164
REGULAR
FRACTIONS
UNICASE
Filosofa
MxnaopQrRtfGg
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
Enlightenment periods in art
and literature. Designers in the
twentieth and twenty-frst cen-
turies have continued to create
characteristics.
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3
4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx
Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
! @ & *
165
BOOK
DEMI
HEAVY
CONDENSED
Franklin Gothic
MaxodQRtfGg
for their own craft analogous to that of art
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,
twentieth and twenty-frst centuries
have continued to create new typefac-
es based on historic characteristics.
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
166
CLASSIFICATION: HUMANIST
CONDENSED
REGULAR
BOLD
ULTRA BLACK
Frutiger
MaxodQRtfGg
heritage for their own craft analo-
4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Tt Uu Vv Ww Xx Yy Zz 1 2 3
4 5 6 7 8 9 0 ( ) { } ? ! @ & *
167
CLASSIFICATION: GEOMETRIC
BOOK
BOLD
EXTRA BOLD
Futura
MxaopQRstGg
for their own craft analogous to that
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.
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-frst
centuries have continued to create
characteristics.
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (
) { } ? ! @ & *
Uu Vv Ww Xx Yy Zz 1 2 3 4 5
6 7 8 9 0 ( ) { } ? ! @ & *
2 3 4 5 6 7 8 9 0 ( ) { } ?
! @ & *
168
REGULAR
ITALIC
BOLD
Gill Sans
MaxnbyogGQRt
three main groups correspond roughly
to the Renaissance, Baroque, and En-
lightenment periods in art and litera-
ture. Designers in the twentieth and
twenty-frst centuries have continued to
characteristics.
1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
169
BOOK
BOLD
ITALIC
LIGHT
Gotham
MayogGdQRt
Humanist letterforms are closely con-
enment periods in art and litera-
twenty-first centuries have continued
to create new typefaces based on
Humanist letterforms are closely
eth and twenty-first centuries have
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
170
REGULAR
BOLD
BLACK EXTENDED
Helvetica
MaoygGdQrRt
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
& *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
LIGHT
171
MaoygGdQrRt
CLASSIFICATION:
REGULAR
BOLD
BLACK
BOLD CONDENSED
Interstate
MaoygGdQrRt
that of art history. Humanist letterforms
and the movement of the hand. Transi-
tional and modern typefaces are more
abstract and less organic. These three
Renaissance, Baroque, and Enlighten-
ment periods in art and literature. De-
signers in the twentieth and twenty-frst
typefaces based on historic character-
istics.
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (
) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
4 5 6 7 8 9 0 ( ) { } ? ! @ & *
172
CLASSIFICATION: TRANSITIONAL SERIF
REGULAR
ITALIC
BOLD
BOLD
Melior
MayogGdQrRt
that of art history. Humanist letterforms
and the movement of the hand. Transi-
tional and modern typefaces are more
abstract and less organic. These three
Renaissance, Baroque, and Enlighten-
ment periods in art and literature. De-
signers in the twentieth and twenty-frst
typefaces based on historic character-
istics.
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
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 ( ) { } ? ! @ & *
173
LIGHT
MEDIUM
EXTRA BOLD
Memphis
MxagGdQrRt
tury, when printers sought to identify a
three main groups correspond roughly
to the Renaissance, Baroque, and En-
lightenment periods in art and litera-
twenty-frst centuries have continued to
characteristics.
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
MayogGdQrRt
174
REGULAR
CAPS
BLACK
ITALIC
Meta
MaxogGdQrRst
the hand. Transitional and modern typefac-
es are more abstract and less organic. These
the Renaissance, Baroque, and Enlighten-
ment periods in art and literature. Designers
in the twentieth and twenty-frst centuries
have continued to create new typefaces
characteristics.
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
175
REGULAR
ITALIC
BOLD
FRACTIONS
Mrs Eaves
MaxogGdQrRst
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
organic. These three main groups correspond
Designers in the twentieth and twenty-frst 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-frst centuries have continued to create new typefaces
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3
4 5 6 7 8 9
( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ &
*
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
MaxogGdQrRst
176
REGULAR
ITALIC
BOLD
News Gothic
MaxogGdQrRst
ers sought to identify a heritage for their
ers sought to identify a heritage for their
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
1 2 3 4 5 6 7 8 9
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
177
CLASSIFICATION: SAN SERIF MONOSPACED
REGULAR
OCR A
MaopQRfGg
A 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.
Qq Rr Ss Tt Uu Vv Ww Xx
Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
MaxogGdQrRst
178
CLASSIFICATION: SAN SERIF
BOOK
ITALIC
BOLD
Optima
MxaopQRstGg
characteristics.
characteristics.
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
179
LIGHT
OLD STYLE
MEDIUM
BLACK
Palatino
MxaopQRstGg
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
& *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
REGULAR
ITALIC
BOLD
Perpetua
MxaopQRstGgq
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
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-frst centuries
have continued to create new typefaces based on historic
characteristics.
4 5 6 7 8 9 0 ( ) { } ? ! @ & *
8 9 0 ( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ &
*
THIN
REGULAR
HEAVY
Platelet
MaxbyogGQrRt
tage for their own craft analogous to
forms are closely connected to cal-
ligraphy and the movement of the hand.
teristics.
tage for their own craft analogous to
forms are closely connected to cal-
ligraphy and the movement of the hand.
teristics.
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 ( ) { }
? ! @ & *
182
REGULAR
ALTERNATE
BOLD
Priori Sans
MxanopdrRtSfGg
history. Humanist letterforms are closely connected to
calligraphy and the movement of the hand. Transitional
organic. These three main groups correspond roughly to
the Renaissance, Baroque, and Enlightenment periods
in art and literature. Designers in the twentieth and
twenty-frst centuries have continued to create new
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-frst centuries have
continued to create new typefaces based on historic
characteristics.
( ) { } ? ! @ & *
Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6
7 8 9 0 ( ) { } ? ! @ & *
183
CLASSIFICATION: NEW TRANSITIONAL
REGULAR
ALTERNATE
BOLD
Priori Serif
MxanodQrRtSfg
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
twentieth and twenty-frst centuries have con-
tinued to create new typefaces based on historic
characteristics.
A basic system for classifying typefaces was de-
vised in the nineteenth century, when printers
sought to identify a heritage for their own craft
analogous to that of art history. Humanist let-
terforms are closely connected to calligraphy
and the movement of the hand. Transitional and
modern typefaces are more abstract and less
organic. These three main groups correspond
centuries have continued to create new type-
faces based on historic characteristics.
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4
5 6 7 8 9 0 ( ) { } ? ! @ & *
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 0 ( ) { } ? ! @ & *
184
(55) SANS
ITALIC
SERIF
ITALIC
Rotis
MxanopQrRtGg
sance, Baroque, and Enlightenment periods in
art and literature. Designers in the twentieth
characteristics.
3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6
7 8 9 0 ( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
185
REGULAR
SMALL CAPS
BOLD
BOLD ITALIC
Sabon
MxayogGQfR
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
( ) { } ? ! & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
186
REGULAR
CAPS
ITALIC
BOLD
Scala Sans
MxabyogGdQrR
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! &
*
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
187
REGULAR
ITALIC
BOLD
BLACK
Serifa
MxaoygGdQR
was devised in the nineteenth cen-
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
( ) { } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
188
CLASSIFICATION: SCRIPT
REGULAR
Snell Roundhand
axogbGdQrRst
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
Dolessecte ver sim er aut wismod mincilit loboreet
praessed tat. Iquis eu feuis dolore faci ercil
eriurer sisi tet, quamconse do odolor amcom-
modit vulla feugait luptatisl dolorer augait praessi.
Lut vel iriuscil et luptat. Nullandre magna feugiam,
quis aute conullu ptatincip ea alit wis et volore dip
et, cortin henisi. Quis autet, veros accum ipit vel
ute mod ting eumsandreet am, qui te faciniat num-
mod eu feugiat ex essim vent vendre tat venibh
et pratuer ipsum volortio eniat praessed mincilit
dolobortie tat. Lam dolut amcommy nos
eraessed tin ulput ut vulputat, quat, volo-
bor incip et essi.orper sum quamconsed
magniam, quisit accum voloborem alit iuscipit la
consequam dit nulput acing eu feum quat. Ut lup-
tat at.
189
CLASSIFICATION: NEW TRANSITIONAL/HUMANIST SERIF
BOLD CONDENSED
REGULAR
ITALIC
BOLD
Swift
MxaoygGdQrR
respond roughly to the Renaissance, Ba-
roque, and Enlightenment periods in art
characteristics.
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
& *
1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
& *
190
REGULAR
BOLD
BLACK
BLACK
Syntax
MxaoygGdQrR
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
191
CONDENSED
MEDIUM
BOLD
BOLD NO.2
Trade Gothic
MxanyogGdQrR
characteristics.
characteristics.
8 9 0 ( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
! @ & *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
! @ & *
MxaoygGdQrR
192
CLASSIFICATION: MOMDERN
REGULAR
ITALIC
SMALL CAPS
BOLD
Walbaum
MxyagGdQrR
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
( ) { } ? ! @ & *
Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7
8 9 0 ( ) { } ? ! @ & *
193
REGULAR
MEDIUM
MEDIUM ITALIC
BOLD
Volta
MyogGdQrR
ry. Humanist letterforms are close-
ly connected to calligraphy and the
Tt Uu Vv Ww Xx Yy Zz 1 2 3
4 5 6 7 8 9 0 ( ) { } ? ! @ & *
3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5
6 7 8 9 0 ( ) { } ? ! @ & *
Qq Rr Ss Tt Uu Vv Ww
Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
194
195
FONT SPECS
CText for the book was compiled from the fol-
lowing sources: Elements of Typographic Style
by Robert Bringhurst, Getting it Right with Type:
the Dos and Donts of Typography by Victoria
Square, Mac is Not A Typewriter by
Robin Williams.
CThis book is not to be sold to the public and to
only be used by the designer for their reference
and student design portfolio.
THE RULES OF TYPE
196
R
R
DRUE DAVI S

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