EVERYTHING

YOU EVER WANTED

TO KNOW ABOUT
Typography
(but were too afraid to ask)
 TABLE
of contents

Rules to Live By

X-Height

Hyphenation

Alignment

Justification

Combining Typefaces

Quotes, Apostrophes & Dashes

Special Characters

Bullets

Numerals & Figures

Small Caps

Paragraph Breaks

Headers, Subheads & Crossheads

Captions & Notes

2 3
RULES
to live by

Use only one space between sentences.

l

Use real quotation marks.

l

Use real apostrophes.

l

l Make sure the apostrophes are where they belong.

Hang the punctuation off the aligned edge.
l

Use en or em dashes, use consistently.

l

Kern all headlines where necessary.

l

Never use the spacebar to align text, always set tabs and use
l

the tab key.

Leave no widows or orphans.
l

Avoid more than 3 hyphenations in a row.

l

Avoid too many hyphenations in any paragraph.

l

Avoid hyphenating or line brakes of names and proper nouns.

l

Leave a least 2 characters on the line and 3 following.

l

Avoid beginning consecutive lines with the same word.

l

Avoid ending consecutive lines with the same word.

l

Avoid ending lines with the words: the, of, at, a, by.
l

Never hyphenate a word in a headline and avoid hyphenation

l

in a callout.

4 5
 Never justify the text on a short line.
l

Keep the word spacing consistent.

l

Tighten up the leading in lines with all caps or with few

l

ascenders and descenders.

Use a one-em first-line indent on all indented paragraphs.
l

Adjust the spacing between paragraphs.

l

Either indent the first line of paragraphs or add extra space be

l

tween them – not both.

Use a decimal or right-aligned tab for the numbers in
l

numbered paragraphs.
Never have one line in a paragraph in the column or following.
l

Never combine two serif fonts on one page.

l

Rarely combine two sans serif fonts on one page.

l

l Rarely combine more than three typefaces on one page.

Use the special characters whenever necessary, including
l

super- and subscript.

Spend the time to create nice fraction or chose a font that
l

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

Rarely combine
two sans serif
6 fonts on one page 7
 X-HEIGHT
color and readability
A typeface’s color is determined by stroke
width, x-height, character width and serif styles

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

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

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

As a designer, if you are only asked to make

the text readable on the page the following
questions should be asked...

Who is to read it?

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

How will it be read?

Quickly? In passing? Focused? Near? Far?

8 9
 Xxhg
Mrs Eaves
Zuzana Licko
Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism rejected
traditions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The works were
characterized by the depiction of several successive actions of a subject
at the same time. Marinetti’s manifesto glorified the new technology
of the automobile and the beauty of its speed, power, and movement.
He exalted violence and conflict and called for the sweeping repu-
diation of traditional cultural, social, and political values and the
Xx hg
Melior
Hermann Zapf
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by
the Italian poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change, origi-
nality, and innovation in culture and society. Futurism
rejected traditions and glorified contemporary life, mainly
by emphasizing two dominant themes, the machine and
motion. The works were characterized by the depiction of
several successive actions of a subject at the same time.
Marinetti’s manifesto glorified the new technology of the
automobile and the beauty of its speed, power, and move-
10
Xxh g
Univers
Adrian Frutiger
x-height: small Futurism was first announced on February 20, 1909, x-height: large
character width: average when the Paris newspaper Le Figaro published a mani- character width: narrow
color: light festo by the Italian poet and editor Filippo Tommaso color: light
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. Marinetti’s manifesto
glorified the new technology of the automobile and the
X xh g
Helvetica Neue
Max Miedinger
x-height: large Futurism was first announced on February 20, 1909, x-height: large
character width: average when the Paris newspaper Le Figaro published a character width: average
color: medium manifesto by the Italian poet and editor Filippo color: dark
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 depic-
tion of several successive actions of a subject at the
same time. Marinetti’s manifesto glorified the new
11
 X x hg
ITC Officina Sans
Erik Spiekermann
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by the
Italian poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on dis-
carding what he conceived to be the static and irrelevant art
of the past and celebrating change, originality, and innovation
in culture and society. Futurism rejected traditions and glori-
fied contemporary life, mainly by emphasizing two dominant
themes, the machine and motion. The works were characterized
by the depiction of several successive actions of a subject at
the same time. Marinetti’s manifesto glorified the new tech-
nology of the automobile and the beauty of its speed, power,
and movement. He exalted violence and conflict and called for
X xhg
Garamond
Claude Garamond
Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism rejected
traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were charac-
terized by the depiction of several successive actions of a subject at
the same time. Marinetti’s manifesto glorified the new technology of
the automobile and the beauty of its speed, power, and movement.
He exalted violence and conflict and called for the sweeping repudia-
tion of traditional cultural, social, and political values and the destruc-
12
X xhg
ITC New Baskerville
John Baskerville
x-height: small Futurism was first announced on February 20, 1909, when x-height: average
character width: narrow the Paris newspaper Le Figaro published a manifesto by the character width: wide
color: dark Italian poet and editor Filippo Tommaso Marinetti. The name color: light
Futurism, coined by Marinetti, reflected his emphasis on dis-
carding what he conceived to be the static and irrelevant art
of the past and celebrating change, originality, and innovation
in culture and society. Futurism rejected traditions and glori-
fied contemporary life, mainly by emphasizing two dominant
themes, the machine and motion. The works were character-
ized by the depiction of several successive actions of a subject
at the same time. Marinetti’s manifesto glorified the new tech-
nology of the automobile and the beauty of its speed, power,
and movement. He exalted violence and conflict and called
Xxhg
Futura
Paul Renner
x-height: average Futurism was first announced on February 20, 1909, when the x-height: large
character width: narrow Paris newspaper Le Figaro published a manifesto by the Italian character width: narrow
color: light poet and editor Filippo Tommaso Marinetti. The name Futurism, color: dark
coined by Marinetti, reflected his emphasis on discarding what
he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and
society. Futurism rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant themes, the machine
and motion. The works were characterized by the depiction
of several successive actions of a subject at the same time.
Marinetti’s manifesto glorified the new technology of the auto-
mobile and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping repu-
13
 X xh g
Volta T
Konrad F. Bauer, Walter Baum
Futurism was first announced on February
20, 1909, when the Paris newspaper Le Figaro
published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived to
be the static and irrelevant art of the past and
celebrating change, originality, and innova-
tion in culture and society. Futurism rejected
traditions and glorified contemporary life,
mainly by emphasizing two dominant themes,
the machine and motion. The works were
characterized by the depiction of several suc-
Xxh g
Filosofia
Zuzana Licko
Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism rejected
traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were charac-
terized by the depiction of several successive actions of a subject at
the same time. Marinetti’s manifesto glorified the new technology of
the automobile and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping repudiation
of traditional cultural, social, and political values and the destruction
14
Xxhg
Interstate
Tobias Frere-Jones
x-height: small Futurism was first announced on February 20, 1909, when x-height: large
character width: wide the Paris newspaper Le Figaro published a manifesto by character width: narrow
color: dark the Italian poet and editor Filippo Tommaso Marinetti. color: medium
The name Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism
rejected traditions and glorified contemporary life, mainly
by emphasizing two dominant themes, the machine and
motion. The works were characterized by the depiction of
several successive actions of a subject at the same time.
Marinetti’s manifesto glorified the new technology of the
automobile and the beauty of its speed, power, and move-
X xhg
Goudy Old Style
Frederic William Goudy
x-height: small Futurism was first announced on February 20, 1909, when the Paris x-height: large
character width: narrow newspaper Le Figaro published a manifesto by the Italian poet and character width: narrow
color: light editor Filippo Tommaso Marinetti. The name Futurism, coined by color: dark
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism rejected
traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were character-
ized by the depiction of several successive actions of a subject at the
same time. Marinetti’s manifesto glorified the new technology of the
automobile and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping repudiation
of traditional cultural, social, and political values and the destruction
15
 X xhg
Memphis
Rudolf Wolf
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by
the Italian poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived to be the
static and irrelevant art of the past and celebrating
change, originality, and innovation in culture and society.
Futurism rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant themes, the
machine and motion. The works were characterized by
the depiction of several successive actions of a subject
at the same time. Marinetti’s manifesto glorified the new
technology of the automobile and the beauty of its speed,
X xhg
Caslon
William Caslon
Futurism was first announced on February 20, 1909,
when the Paris newspaper Le Figaro published a mani-
festo by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he conceived to
be the static and irrelevant art of the past and celebrating
change, originality, and innovation in culture and society.
Futurism rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant themes, the
machine and motion. The works were characterized by the
depiction of several successive actions of a subject at the
same time. Marinetti’s manifesto glorified the new technol-
ogy of the automobile and the beauty of its speed, power,
16
Xxhg
Bembo
Stanley Morrison
x-height: average Futurism was first announced on February 20, 1909, when the Paris x-height: small
character width: wide newspaper Le Figaro published a manifesto by the Italian poet and character width: wide
color: dark editor Filippo Tommaso Marinetti. The name Futurism, coined by color: light
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism rejected
traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were charac-
terized by the depiction of several successive actions of a subject at
the same time. Marinetti’s manifesto glorified the new technology of
the automobile and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping repudiation
of traditional cultural, social, and political values and the destruction of
Xxhg
Gill Sans
Eric Gill
x-height: average Futurism was first announced on February 20, 1909, when the x-height: large
character width: narrow Paris newspaper Le Figaro published a manifesto by the Italian character width: narrow,
color: light poet and editor Filippo Tommaso Marinetti. The name Futurism, color: dark
coined by Marinetti, reflected his emphasis on discarding what he
conceived to be the static and irrelevant art of the past and cel-
ebrating change, originality, and innovation in culture and society.
Futurism rejected traditions and glorified contemporary life, mainly
by emphasizing two dominant themes, the machine and motion.
The works were characterized by the depiction of several succes-
sive actions of a subject at the same time. Marinetti’s manifesto
glorified the new technology of the automobile and the beauty of
its speed, power, and movement. He exalted violence and conflict
and called for the sweeping repudiation of traditional cultural,
17
 X xh g
Rockwell
Monotype Staff
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 suc-
cessive actions of a subject at the same time. Marinetti’s
manifesto glorified the new technology of the automobile
and the beauty of its speed, power, and movement. He
X xhg
Century Gothic
Mark Simonson
Futurism was first announced on February 20, 1909,
when the Paris newspaper Le Figaro published a mani-
festo by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he con-
ceived to be the static and irrelevant art of the past
and celebrating change, originality, and innovation
in culture and society. Futurism rejected traditions and
glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works
were characterized by the depiction of several succes-
sive actions of a subject at the same time. Marinetti’s
manifesto glorified the new technology of the automo-
bile and the beauty of its speed, power, and move-
18
Xx hg
Bodoni
Giambattista Bodoni
x-height: small Futurism was first announced on February 20, 1909, when x-height: average
character width: narrow the Paris newspaper Le Figaro published a manifesto by the character width: narrow
color: dark Italian poet and editor Filippo Tommaso Marinetti. The name color: light
Futurism, coined by Marinetti, reflected his emphasis on discard-
ing what he conceived to be the static and irrelevant art of the
past and celebrating change, originality, and innovation in cul-
ture and society. Futurism rejected traditions and glorified con-
temporary life, mainly by emphasizing two dominant themes,
the machine and motion. The works were characterized by the
depiction of several successive actions of a subject at the same
time. Marinetti’s manifesto glorified the new technology of the
automobile and the beauty of its speed, power, and movement.
He exalted violence and conflict and called for the sweeping
Xxh g
ITC Bookman
Ed Benguiat
x-height: average Futurism was first announced on February 20, 1909, x-height: large
character width: wide when the Paris newspaper Le Figaro published a man- character width: narrow
color: light ifesto by the Italian poet and editor Filippo Tommaso color: dark
Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he con-
ceived to be the static and irrelevant art of the past
and celebrating change, originality, and innovation in
culture and society. Futurism rejected traditions and
glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The
works were characterized by the depiction of several
successive actions of a subject at the same time.
Marinetti’s manifesto glorified the new technology of
19
HYPHENATION

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

l avoid widows (one word on the last line of

a paragraph)
l avoid hyphenating or line brakes of names

and proper nouns

l leave a least 2 characters on the line and

3 following
l avoid beginning consecutive lines with the

same word
l avoid ending consecutive lines with the

same word
l avoid ending lines with the words: the, of, at,

a, by, etc.
l never hyphenate a words in a headline and

avoid hyphenation in a callout

20 21
 Headline Rules:

Don’t hyphenate headlines.

Don Quixote de la Man-
cha

Also, watch where the first line of two-line headline ends — does it
create a silly or misleading phrase? If it does, fix it.
Professor and The-
rapist to Lecture

Don’t Lose Your Self

Respect

Don’t leave widows in headlines.

Man Walks Barefoot Across Bay
Bridge

Fix it either way, or rewrite:

Man Walks Barefoot Across Bay Bridge

Man Walks Barefoot

Across Bay Bridge

22 23
 1 Casing Adder
Bat
2 Heresy borsch-boil starry a
boarder borsch boil gam
3 plate lung, lung a gore in-
ner ladle wan-hearse torn
coiled Mutt-fill.
4 Mutt-fill worsen mush of-
fter torn, butted hatter putty
gut borsch-boil tame, an off
oiler pliers honor tame, door
5 moist cerebrated worse Cas-
ing. Casing worsted sickened
basement, any hatter betting
orphanage off .526 (fife toe
6 sax).
Casing worse gut lurking
an furry poplar—spatially
wetter gull coiled Any-bally.
Any-bally worse Casing’s
sweat-hard, any harpy cobble
7 wandered toe gat merit,
bought Casing worse tow pore
toe becalm Any-bally’s
8 horsebarn. (Boil pliers honor
Mutt-fill tame dint gat mush
offer celery; infect, day gut
nosing atoll.)
9 Butt less gat earn wetter star-
ry.
1. Justify the headline so it stays on one line. 2. Use a line break (shift+return) to bump
“a” down to the next line, where it fits very nicely. 3. Kern the line a tiny bit to bring the
rest of the word up. 4. Type a dischy in front of the word to bumpt it down. 5. Never
hyphenate a person’s name. I had to go up a few lines, bump “off” down, which bumped
the other line endings down. In 6. you must fix the widow . 7. There is plenty of room
to squeeze “bought” on this line, perhaps by kerning the line a tiny bit. 8. “Horsebarn”
is a good long word that could be hyphenated; type a dischy. Better yet, when “bought”
moved up, it gave enough room to move “horsebarn” up. If not, try opening the text box
a wee bit. 9. to get ride of that terrible widow, exchange a short word for a long word.
24
Casing Adder Bat
Heresy borsch-boil starry
a boarder borsch boil gam
plate lung, lung a gore inner
ladle wan-hearse torn coiled
Mutt-fill.
Mutt-fill worsen mush
offter torn, butted hatter putty
gut borsch-boil tame, an
off oiler pliers honor tame,
door moist cerebrated worse
Casing. Casing worsted sickened
basement, any hatter
betting orphanage off .526
(fife toe sax).
Casing worse gut lurking
an furry poplar—spatially
wetter gull coiled Any-bally.
Any-bally worse Casing’s
sweat-hard, any harpy cobble
wandered toe gat merit, bought
Casing worse tow pore toe
becalm Any-bally’s horsebarn.
(Boil pliers honor Mutt-fill
tame dint gat mush offer celery;
infect, day gut nosing atoll.)
Butt less gat earn wetter
starry.
25
 Line Breaks:
Look for bad line breaks throughout every line of body copy.
Do this only on a final copy after all editing has been done. Examples
of what to look for:
l Make sure headline text is justified appropriately
l Use line breaks (shift return) to bump text to next line when needed
l Use kerning to bring a hyphenated word together if necessary
l Never hyphenate people’s names
l Try substituting a short or a long word to make text fit.
26
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 you’re
working in. Sometimes widening a margin just a hair will do it. But it
must be done. Widows and orphans on a page are wrong.
Widow
When a paragraph ends and leaves fewer than seven characters (not
words, characters) on the last line, that line is called a widow. Worse
than leaving one word at the end of a line is leaving part of a word.
Orphan
When the last line of a paragraph, be it ever so long, won’t fit at the
bottom of a column and must end itself at the top of the next column,
that is an orphan. ALWAYS correct this.
Rivers
In typography, rivers, or rivers of white, are visually unattractive gaps
appearing to run down a paragraph of text. They can occur with any
spacing, though they are most noticeable with wide word spaces
caused by either full text justification or monospaced fonts.
27
 ALIGNMENT

If someone insists that fully justified text is better

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

“Right and wrong better than justified text, tell them they are wrong.
If they are both wrong, then what’s right? Alignment is only a small

do not exist in graphic

piece of the puzzle. What works for one design might be totally inappro-
priate 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.

design. There is only

effective and
non-effective
communication.”
— Peter Bilak,
on Illegibility
28 29
 Justified Text
Traditionally many books, newsletters, and newspapers use full-jus-
tification 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 find that fully-justified text is a necessity either due to space
constraints or expectations of the audience. If possible though, try
to break up dense blocks of texts with ample subheadings, margins,
or graphics.

l Often considered more formal, less friendly than left-

aligned text.
l Usually allows for more characters per line, packing more into
the same amount of space (than the same text set left-aligned).
l May require extra attention to word and character spacing
and hyphenation to avoid unsightly rivers of white space run
ning through the text.
l May be more familiar to readers in some types of publications,
such as books and newspapers.
l Some people are naturally drawn to the “neatness” of text that
lines up perfectly on the left and right.

30 31
 Left-Aligned, Ragged Right
l Often considered more informal, friendlier than justified text.
l The ragged right edge adds an element of white space.
l May require extra attention to hyphenation to keep right margin
from being too ragged.
l Generally type set left-aligned is easier to work with (i.e. requires
less time, attention, and tweaking from the designer to make it
look good).

Centered
There is nothing inherently wrong with centered text. As with ragged
right or fully-justified text alignment, what works for one design might
be totally inappropriate for another layout. There are simply fewer
situations where centered text is appropriate. When in doubt, don’t
center it.

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

No matter what alignment you use, remember to pay close attention to

hyphenation and word/character spacing as well to insure that your text
is as readable as possible.

There will undoubtedly be well-meaning friends, business associates,

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

32 33
JUSTIFICATION
Justify text only if the line is long enough to
prevent awkward and inconsistent word spacing.
The only time you can safely get away with justifying text is if your type
is small enough and your line is long enough, as in books where the text
goes all the way across the page. If your line is shorter, as in newsletter,
or if you don’t have many words on the line, than as the type aligns to
the margins the words space themselves to accommodate it. It usually
looks awkward. You’ve seen newspaper columns where all text is justi-
fied, often with a word stretching all the way across the column, or a
little word on either side of the column with a big gap in the middle.
Gross. But that’s what can happen with justified type. When you do it,
the effect might not be as radical as the newspaper column, but if your
lines are relatively short, you will inevitably end up with uncomfortable
gaps in some lines, while other lines will be all squished together.

When your work comes out of the printer, turn it

upside down and squint at it. The rivers will be very
easy to spot. Get rid of them.
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 inch-
es-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 some-
thing is to read) and it shows that those disruptive, inconsistent gaps
between the words inhibit the flow of reading. Besides, they look dumb.
Keep your eyes open as you look at professionally printed work (maga-
zines, newsletters, annual reports, journals) and you’ll find there’s a very
strong trend to align type on the left and leave the right ragged.

34 35
 Sans-Serif - Univers 55
Futurism was first announced on February
20, 1909, when the Paris newspaper Le
Figaro published a manifesto by the Italian
poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what
he conceived to be the static and irrelevant
art of the past and celebrating change, origi-
nality, and innovation in culture and society.
Futurism rejected traditions and glorified
contemporary life, mainly by emphasizing
two dominant themes, the machine and
motion. The works were characterized by
the depiction of several successiave actions
of a subject at the same time. Marinetti’s
manifesto glorified the new technology of
the automobile and the beauty of its speed,
power, and movement. He exalted violence
and conflict and called for the sweeping
repudiation of traditional cultural, social,
and political values and the destruction of
such cultural institutions as museums and
Minimum: 20%
Desired: 200%
Maximum: 500%
Comments: Too many diagonal rivers
36
Serif - Baskerville Old Face
Futurism was first announced on February 20, 1909,
when the Paris newspaper Le Figaro published a
manifesto by the Italian poet and editor Filippo
Tommaso Marinetti. The name Futurism, coined
by Marinetti, reflected his emphasis on discarding
what he conceived to be the static and irrelevant art
of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected
traditions and glorified contemporary life, mainly
by emphasizing two dominant themes, the machine
and motion. The works were characterized by the
depiction of several successive actions of a subject
at the same time. Marinetti’s manifesto glorified the
new technology of the automobile and the beauty
of its speed, power, and movement. He exalted
violence and conflict and called for the sweeping
repudiation of traditional cultural, social, and po-
litical values and the destruction of such cultural
institutions as museums and libraries.
37
 Sans-Serif
Futurism was first announced on February 20,
1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor
Filippo Tommaso Marinetti. The name Futur-
ism, 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. Futurism rejected traditions and
glorified contemporary life, mainly by empha-
sizing two dominant themes, the machine and
motion.Theworkswerecharacterizedbythede-
piction of several successive actions of a subject
at the same time. Marinetti’s manifesto glorified
the new technology of the automobile and the
beauty of its speed, power, and movement. He
exalted violence and conflict and called for the
sweeping repudiation of traditional cultural,
social, and political values and the destruction
of such cultural institutions as museums and li-
Minimum: 10%
Desired: 10%
Maximum: 10%
Comments: Not enough spacing between words
38
Serif
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by
the Italian poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change, origi-
nality, and innovation in culture and society. Futurism re-
jected traditions and glorified contemporary life, mainly
by emphasizing two dominant themes, the machine and
motion. The works were characterized by the depiction
of several successive actions of a subject at the same time.
Marinetti’s manifesto glorified the new technology of the
automobile and the beauty of its speed, power, and move-
ment. He exalted violence and conflict and called for the
sweeping repudiation of traditional cultural, social, and
political values and the destruction of such cultural institu-
tionsasmuseumsandlibraries.
39
 Sans-Serif
Futurism was first announced on February
20, 1909, when the Paris newspaper Le Figaro
published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived
to be the static and irrelevant art of the past
and celebrating change, originality, and in-
novation in culture and society. Futurism re-
jected traditions and glorified contemporary
life, mainly by emphasizing two dominant
themes, the machine and motion. The works
were characterized by the depiction of several
successive actions of a subject at the same
time. Marinetti’s manifesto glorified the new
technology of the automobile and the beauty
of its speed, power, and movement. He exalted
violence and conflict and called for the sweep-
ing repudiation of traditional cultural, social,
and political values and the destruction of such
cultural institutions as museums and libraries.
Minimum: 30%
Desired: 110%
Maximum: 115%
Comments: Akward Spacing
40
Serif
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, re-
flected his emphasis on discarding what he conceived to
be the static and irrelevant art of the past and celebrating
change, originality, and innovation in culture and society.
Futurism rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant themes, the
machine and motion. The works were characterized by
the depiction of several successive actions of a subject
at the same time. Marinetti’s manifesto glorified the
new technology of the automobile and the beauty of
its speed, power, and movement. He exalted violence
and conflict and called for the sweeping repudiation of
traditional cultural, social, and political values and the
destruction of such cultural institutions as museums
and libraries.
41
 Sans-Serif Serif

Futurism was first announced on Futurism was first announced on Febru-

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

Minimum: 10%
Desired: 500%
Maximum: 1000%
Comments: Far too much spacing

42 43
 Sans-Serif
Futurism was first announced on February
20, 1909, when the Paris newspaper Le Figaro
published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived
to be the static and irrelevant art of the past
and celebrating change, originality, and in-
novation in culture and society. Futurism re-
jected traditions and glorified contemporary
life, mainly by emphasizing two dominant
themes, the machine and motion. The works
were characterized by the depiction of sev-
eral successive actions of a subject at the
same time. Marinetti’s manifesto glorified the
new technology of the automobile and the
beauty of its speed, power, and movement.
He exalted violence 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.
Minimum: 80%
Desired: 120%
Maximum: 300%
Comments: Pretty Close!
44
Serif
Futurism was first announced on February 20, 1909,
when the Paris newspaper Le Figaro published a mani-
festo by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he con-
ceived to be the static and irrelevant art of the past
and celebrating change, originality, and innovation in
culture and society. Futurism rejected traditions and
glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The
works were characterized by the depiction of sev-
eral successive actions of a subject at the same time.
Marinetti’s manifesto glorified the new technology of
the automobile and the beauty of its speed, power,
and movement. He exalted violence and conflict and
called for the sweeping repudiation of traditional cul-
tural, social, and political values and the destruction
of such cultural institutions as museums and libraries.
45
 COMBINING
typefaces

When combining serif and sans serif text fonts,

one shoud try and match the characteristics of
form and type color: proportion and x-heights.
“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 hor-
rify colleagues with more traditional sympathies.”

Although there is not a recipe there is a place to start: keep an eye on

the characteristic shapes of the letterform. A well designed page con-
tains no more than two different typefaces or four different type varia-
tions such as type size and bold or italic style.

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

46 47
 Old Style: Garamond 14pt
Humanist Sans Serif: Gill Sans Bold 19 pt
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first an-
nounced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by
the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Mari-
netti, reflected his emphasis on discarding what
he conceived to be the static and irrelevant art of
the past and celebrating change, originality, and
innovation in culture and society.1 Futurism re-
jected traditions and glorified contemporary life,
mainly by emphasizing two dominant themes,
aa BB ee GG gg
The wide stance of Gill Sans Bold is a nice compliment to the likewise
wide stance of Garamond.
48
Old Style: Palatino 12pt
Grotesque Sans Serif: Helvetica 16pt
WORDS IN LIBERTY
A Prologue to Futurism:Futurism was first an-
nounced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by
the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Mari-
netti, reflected his emphasis on discarding what
he conceived to be the static and irrelevant art of
the past and celebrating change, originality, and
innovation in culture and society.1 Futurism re-
jected 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
aa BB ee GG gg
The square text of Helvetica is a good pair with Palatino, though the
size of the subheading had to be adjusted to match the x-height of
the body text.
49
 Modern: Bodoni 12 pt
Geometric Sans Serif: Futura Bold 24 pt
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first an-
nounced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the
Italian poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti, reflected
his emphasis on discarding what he conceived to be
the static and irrelevant art of the past and celebrat-
ing change, originality, and innovation in culture and
society.1 Futurism rejected traditions and glori-
fied contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The
works were characterized by the depiction of sev-
aa BB ee GG gg
Like Baskerville Old face with Century Gothic, Futura is far too mod-
ern to compliment Bodoni. The short letters of Bodoni look squat and
stubby next to the elongated Futura.
50
Modern: Walbaum 12 pt
Grotesque Sans Serif: Franklin Gothic Heavy 23 pt
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 con-
ceived to be the static and irrelevant art of
the past and celebrating change, original-
ity, and innovation in culture and society.1
Futurism rejected traditions and glorified
contemporary life, mainly by emphasizing
aa BB ee GG gg
The varying thickness of line weight within Walbaum make it a font
with darker color. This allows it to stand up against a thick typeface
like Franklin Gothic.
51
 Transitional: Baskerville Old Face 12 pt
Geometric Sans Serif: Century Gothic Bold 20 pt
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 edi-
tor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discard-
ing what he conceived to be the static and irrelevant art of
the past and celebrating change, originality, and innova-
tion in culture and society.1 Futurism rejected traditions
and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The
works were characterized by the depiction of several
successive actions of a subject at the same time. Marinet-
aa BB ee GG gg
These two fonts are too different to go well together. Century Gothic
Bold is too classic and short in starture to go with the super modern
geometric sans serif.
52
Transitional: Georgia 12 pt
Humanist Sans Serif: Myriad Pro Bold 25 pt
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first an-
nounced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by
the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Mari-
netti, reflected his emphasis on discarding what
he conceived to be the static and irrelevant art of
the past and celebrating change, originality, and
innovation in culture and society.1 Futurism re-
jected traditions and glorified contemporary life,
mainly by emphasizing two dominant themes,
the machine and motion. The works were char-
aa BB ee GG gg
Here Myriad Pro is a headline that packs a punch against the more
traditional serif .
53
 New Transitional: Perpetua 14 pt
Geometric Sans Serif: Gotham Book 19 pt
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first an-
nounced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the
Italian poet and editor FilippoTommaso Marinetti.
The name Futurism, coined by Marinetti, reflected
his emphasis on discarding what he conceived to be
the static and irrelevant art of the past and celebrat-
ing change, originality, and innovation in culture and
society.1 Futurism rejected traditions and glori-
aa BB ee GG gg
These fit well because they’re both rather wide, short fonts though
Gotham might be a tad too round for the more square Perpetua.
54
New Transitional: Mrs Eaves 12 pt
Grotesque: Franklin Gothic Heavy 22 pt
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 edi-
tor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discard-
ing what he conceived to be the static and irrelevant art
of the past and celebrating change, originality, and
innovation in culture and society.1 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.
aa BB ee GG gg
Though I find Mrs. Eaves a sometimes difficult font to work with,
this combination seems somewhat successful because they contrast
sharply enough to make an impact.
55
 Slab Serif: Clarendon 12 pt
Geometric Sans Serif: Futura Bold 22 pt
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first an-
nounced on February 20, 1909, when the
Paris newspaper Le Figaro published a man-
ifesto by the Italian poet and editor Filippo
Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis
on discarding what he conceived to be the
static and irrelevant art of the past and cel-
ebrating change, originality, and innovation
in culture and society.1 Futurism rejected
traditions and glorified contemporary
life, mainly by emphasizing two dominant
aa BB ee GG gg
These are both dark, punchy fonts that could be overkill, but I think in
this situation they strike a good balance.
56
Slab Serif: Rockwell 10 pt
Humanist Sans Serif: Calibri Bold 29 pt
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 Filip-
po 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 works were charac-
terized by the depiction of several successive actions of a
subject at the same time. Marinetti's manifesto glorified
the new technology of the automobile and the beauty of
aa BB ee GG gg
Even in bold, Calibri isn’t dark enough to be a headline for Rockwell.
Though normally sans serif s and serifs are paired as headline and body
copy respectively, I think in this case the reverse would be better.
57
QUOTES,
apostrophes & dashes
Quotation Marks
Use real quotation marks—never those grotesque generic marks that
actually symbolize ditto/inch or foot marks: use “and”—not "and".
Most software applications will convert the typewriter quotes to the
real quotes for you automatically as you type. Check the preferences
for your application—you’ll find a check box to tell your application
to automatically set something like “typographer’s quotes,” “smart
quotes,” or “curly quotes.” Then as you type using the standard ditto
key ("), the software will set the correct quotation marks for you.

But it is necessary to know how to set them yourself because some-

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

“ Option + [ opening double quote

” Option + Shift + [ closing double quote
‘ Option + ] opening single quote
’ Option + Shift +] closing single quote

Ditto/Inch or Foot Marks

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

58 59
 Apostrophe
’ option+ shift + ] apostrophe
As an aside, people are often confused about where the apostrophe
belongs. There are a couple of rules that work very well.
For possessives: Turn the phrase around. The apostrophe will
be placed after whatever word you end up with. For example, in the
phrase the boys’ camp, to know where to place the apostrophe say to
yourself, “The camp belongs to the boys.” The phrase the boy’s camp
says “The camp belongs to the boy.”
“The big exception to this is “its.” “Its” is used as a possessive and
never has an apostrophe! The word it only has an apostrophe as a
contraction—“it’s” always means “it is” or “it has.” Always.
It may be easier to remember if you recall that yours, hers, and his
don’t use apostrophes—and neither should its.
60
For contractions: The apostrophe replaces the missing letter.
For example: your’re always means you are; the apostrophe is replac-
ing the a from are. That’s an easy way to distinguish it from your as in
your house and to make sure you don’t say: Your going to the store.
As previously noted, it’s means “it is”; the apostrophe is indicating
where the i is left out. Don’t means “do not”; the apostrophe is indicat-
ing where the o is left out.
For omission of letters: In a phrase such as Rock ’n’ Roll, there
should be an apostrophe before and after the n, because the a and the
d are both left out. And don’t turn the first apostrophe around—just
because it appears in front of the letter does not mean you need to use
the opposite single quote. An apostrophe is still the appropriate mark
(not ‘n’).
In a phrase such as House o’ Fashion, the apostrophe takes the place of
the f. There is no earthly reason for an apostrophe to be set before the o.
In a phrase such as Gone Fishin’ the same pattern is followed—the g
is missing.
In a date when part of the year is left out, an apostrophe needs to indi-
cate the missing year. In the 80s would mean the temperature; In the
’80s would mean the decade. (Notice there is no apostrophe before the
s! Why would there be? It is not possessive, nor is it a contraction—it
is simply plural.
61
 Dashes
Never use two hyphens instead of a dash.
Use hyphens, en dashes, and em dashes appropriately.
Everyone knows what a hyphens is—that tiny little dash
that belongs in some words, like mother-in-law, or in
phone numbers. It’s also used to break a word at the end
of a line, of course.
You might have been taught to use a double hyphen to
indicate a dash, like so : -- . This is a typewriter conven-
tion because typewriters didn’t have the real dash used
in professional typesetting. On a Mac, no one needs to
Hyphen
A hyphen is one third of the em rule and is used to link words. It
serves as a compound modifier where two words become one, such
as x-height. A hyphen is also used to break works at syllables in
text blocks.
En dash
– Option + Hyphen en dash
An en dash is half of the em rule (the width of a capital N) and is used be-
tween words that indicate a duration, such as time or months or years. Use
it where you might otherwise use the word “to.”

use the double hyphen—we have a professional em dash, In a page layout application, the en dash can be used with a thin space on
the long one, such as you see in this sentence. We also either side of it. If you want you can kern it so it is not a full space.
have an en dash, which is a little shorter than
Hyphen October – December
the em dash. A hyphen is one third of the 6:30 – 8:45 A.M.
em rule and is used to link 4 – 6 years of age
words. It serves as a com-
pound modifier where two
words become one, such as x-
height. A hyphen is also used

hyphen -
to break works at syllables in Em dash
text blocks.
— Shift + Option + Hyphen em dash
The em dash is twice as long as the en dash—it’s about the size of a

en dash – capital letter M in whatever size and typeface you’re using at the mo-
ment. This dash is often used in place of a colon or parentheses, or
it might indicate an abrupt change in thought, or it’s used in a spot
where a period is too strong and a comma is too weak.

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

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

62 63
 SPECIAL
characters
Remember, to set an accent mark over a letter, press the Option key The following is a list of the most often-used special characters
and the corresponding key, then press the letter you want under it. and accent marks.

é Option + e + letter acute accent “ Option + [ opening double quote

à Option + ~ + letter grave accent ” Option + Shift + [ closing double quote
Ü Option + u + letter umlaut ‘ Option + ] opening single quote
ñ Option + n +letter spanish N ’ Option + Shift + ] closing single quote; apostrophe
î Option + i + letter circumflex ­ – Option + - en dash
— Option + Shift + - em dash
… Option + ; ellipsis
• Option + 8 bullet
fi Option + Shift + 5 ligature of f and i
fl Option + Shift + 6 ligature of f and l
© Option + g copyright symbol
™ Option + 2 trade mark
® Option + r registered trade mark
° Option + Shift + 8 degree symbol (e.g., 102°F)
¢ Option + $ cent
€ Option + Shift + 2 Euro symbol
⁄ Option + Shift + 1 fraction bar
¡ Option + 1 upside-down exclamation mark
¿ Option + Shift + ? upside-down question mark
£ Option + 3 pound
ç Option + c cedilla
Ç Option + Shift + c capitol cedilla

64 65
BULLETS

To be more creative, substitute symbols or ding-

This very useful typographic element can add bats for the actual bullets. Try squares, triangles
emphasis, clarity and visual interest to all kinds or simple shapes. Keep these in proportion with
of copy. the rest of your text. If you use a dingbat you usu-
ally have to make it smaller and raise it off of
Simply put, a bullet is a large dot used to draw attention to each item
in a list or series. The items can be single words, phrases, sentences the baseline.
or paragraphs. Even if you use the bullet that is part of your font,
don’t automatically assume it’s the right size: it might need to be al-
tered in scale or position to make it look balanced next to the text. l Bloviate F Bloviate n Bloviate
l Widdershins F Widdershins n Widdershins
Bullets should be centered on either the cap height or x-height, de-
pending on the nature of your copy. If all of your items begin with a l Skullduggery F Skullduggery n Skullduggery
cap, center the bullet on the cap, or a bit lower so it balances with the l Phalange F Phalange n Phalange
negative spaces created by the lowercase. If your items all begin with l Fiduciary F Fiduciary n Fiduciary
lowercase characters, center the bullets on the x-height. Insert some
space after the bullet to avoid crowding. l Borborygm F Borborygm n Borborygm
l Glabella F Glabella n Glabella
The preferred way to align bullets is with the left margin. You can also
have the bullets overhang the margin, and keep all your text aligned l Effluvium F Effluvium n Effluvium
with the left margin. Whichever style you choose, your listing will
look best if items that run more than one line are indented so that the
copy aligns with itself, and not with the bullet on the first line. B Bloviate H Bloviate t Bloviate
B Widdershins H Widdershins t Widdershins
B Skullduggery H Skullduggery t Skullduggery
B Phalange H Phalange t Phalange
B Fiduciary H Fiduciary t Fiduciary
B Borborygm H Borborygm t Borborygm
B Glabella H Glabella t Glabella
B Effluvium H Effluvium t Effluvium

66 67
 NUMERALS
& figures

Oldstyle figures are a style of numeral which approximate lower-

Lining Figures:
Dear John,
Please call me at 438–9762 at 3:00.
Or write to me at Route 913, zip code 87505.
Oldstyle Figures:
Dear John,
Please call me at 438–9762 at 3:00.
Or write to me at Route 913, zip code 87505.
case letterforms by having an x-height and varying ascenders and
descenders. They are considerably different from the more common
“lining” (or “aligning”) figures which are all-cap height and typically
monospaced in text faces so that they line up vertically on charts.
Oldstyle figures have more of a traditional, classic look. They are
only available for certain typefaces, sometimes as the regular numer-
als in a font, but more often within a supplementary or expert font.
The figures are proportionately spaced, eliminating the white spaces
that result from monospaced lining figures, especially around the
numeral one.
Oldstyle figures are very useful and quite beautiful when set within
text. Unlike lining figures, they blend in without disturbing the color
of the body copy. They also work well in headlines since they’re not
as intrusive as lining figures. In fact, many people prefer them overall
for most uses except charts and tables. It’s well worth the extra effort
to track down and obtain typefaces with oldstyle numerals.

68 69
SMALL CAPS

Small caps are uppercase (capital) letters that are about the size of
normal lowercase letters in any given typeface. Small caps are less
intrusive when all uppercase appears within normal text or can be
used for special emphasis. Computer programs can generate small
caps for 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 mean that they can be used within a
body of copy without looking noticeably wrong.
Without small caps the abbreviations stand
out too much from the rest of the text:
Harriet, an FBI agent, turned on CNN
to get the dirt on the CIA before going
to bed at 9:30 P.M.

l Use small caps for acronyms. Set acronyms such as NASA or

NASDAQ in small caps when they appear in body text or headlines. With small caps the typographic color
isn’t thrown off:
l Use small caps for common abbreviations. Set common abbrevia-
tions such as A.D. or B.C. in small caps so they don’t overpower the
Harriet, an FBI agent, turned on CNN
accompanying text. Use small caps for A.M. and P.M.; space once
after the number, and use periods. (if the font does not have small to get the dirt on the CIA before going
caps reduce the font size slightly) to bed at 9:30 P.M.

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

70 71
 PARAGRAPH
breaks
Paragraph breaks set a rhythm for the reader.
The breaks have a relationship with the column of text as well as the
page margins. A break may be introduced as an indentation, as a space
or both. The over all page feel will be influenced by your choice.

In typography there are 4 rules regarding paragraph breaks:

1. The first line at the beginning of an article

should be flush left (do not indent first paragraph)

2. Block paragraphs are flush left and are

separated by extra leading not a full return

3. The amount of indent is = to the leading

(sometimes needs a bit more)

4. Never hit two returns between paragraphs

72 73
 Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published
a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined
by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant
art of the past and celebrating change, originality, and innovation in culture and society. Futur-
ism rejected traditions and glorified contemporary life—mainly by emphasizing two dominant
themes—the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone
was aggressive and inflammatory and was purposely intended to inspire public anger and amaze-
ment, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as
poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as
futurism, had come sharply into focus by the start of the world war: a first radical mix of art and
life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides,
the first great “art” movement led by poets; and if its means now sometimes seem exaggerated or
unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a
polemical stance 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 libertà, by which poetry was to become “an uninterrupted
sequence of new images…a strict bet of images or analogies, to be cast into the mysterious sea of
phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image
juxtaposition, more fully explored the use of innovative and expressive typography in the visual
presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and aggres-
sive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indif-
ference 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.”
74
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he conceived to be the
static and irrelevant art of the past and celebrating change, originality, and innovation
in culture and society. Futurism rejected traditions and glorified contemporary life—
mainly by emphasizing two dominant themes—the machine and motion. The manifes-
to’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and
was purposely intended to inspire public anger and amazement, to arouse controversy,
and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets and artists: or,
if not the movements, then their sense of art as an life itself. All of which, as futurism, had come
sharply into focus by the start of the world war: a first radical mix of art and life, the
epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides,
the first great “art” movement led by poets; and if its means now sometimes seem exag-
gerated or unripe in retrospect, they carry within them the seed of all that we were later
to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in fa
vor 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 libertà, 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 Mal-
larmé. Outrageous and aggressive, the Futurists’ performances mixed declamation and
gesture, events and surroundings, indifference and engagement, to break the barriers
between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst
circa 1915, “Everything of any value is theatrical.”
75
 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, re-
flected his emphasis on discarding what he conceived to be the static and irrelevant art of the
past and celebrating change, originality, and innovation in culture and society. Futurism rejected
traditions and glorified contemporary life—mainly by emphasizing two dominant themes—the
machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was aggres-
sive and inflammatory and was purposely intended to inspire public anger and amazement, to
arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and
work as poets and artists: or, if not the movements, then their sense
of art as an life itself. All of which, as futurism, had come sharply into focus by the start of
the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde.
It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and if its
means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed
of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled
with a polemical stance 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 libertà, by which poetry was to become “an uninterrupted sequence
of new images…a strict bet of images or analogies, to be cast into the mysterious sea of phenom-
ena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposi-
tion, more fully explored the use of innovative and expressive typography in the visual presenta-
tion of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the
Futurists’ performances mixed declamation and gesture, events and surroundings, indifference
and engagement, to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti Selbst circa 1915, “Everything of any value is theatrical.”
76
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change, originality, and innovation in culture and society.
Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two domi-
nant themes—the machine and motion. The manifesto’s rhetoric was passionately bombastic; its
tone was aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention. But it is the movements
which survive, oddly, here where we live and work as poets and artists: or, if not the movements,
then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the
start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-
garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and
if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the
seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism
bristled with a polemical stance 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 libertà, by which poetry was to become “an
uninterrupted sequence of new images…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 forerunners like Mallarmé. Outrageous
and aggressive, the Futurists’ performances mixed declamation and gesture, events and surround-
ings, indifference and engagement, to break the barriers between themselves and those who came
to jeer or cheer them. Wrote Marinetti Selbst circa 1915, “Everything of any value is theatrical.”
77
 Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro
published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to
be the static and irrelevant art of the past and celebrating change, originality, and innova-
tion in culture and society. Futurism rejected traditions and glorified contemporary life—
mainly by emphasizing two dominant themes—the machine and motion. The manifesto’s
rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was
purposely intended to inspire public anger and amazement, to arouse controversy, and to
attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets
and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futur-
ism, had come sharply into focus by the start of the world war: a first radical mix of art and life,
the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the
first great “art” movement led by poets; and if its means now sometimes seem exaggerated or
unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical
stance in favor of the transformed present (1909), the later manifestos of Futurist poets and art-
ists offered formal, “technical” approaches to the works then getting under way. The key term—
still resonant today—was parole in libertà, by which poetry was to become “an uninterrupted
sequence of new images…a strict bet of images or analogies, to be cast into the mysterious sea of
phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image
juxtaposition, more fully explored the use of innovative and expressive typography in the visual
presentation of language, as set in motion by forerunners like Mallarmé. Outrageous and ag-
gressive, 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.”
78
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change, originality, and innovation in culture and society.
Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two domi-
nant themes—the machine and motion. The manifesto’s rhetoric was passionately bombastic; its
tone was aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets and artists: or,
if not the movements, then their sense of art as an life itself. All of which, as futurism, had come
sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the
poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” move-
ment led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they
carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in fa-
vor 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 libertà, by which poetry was to become “an uninterrupted sequence of new
images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”
This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition,
more fully explored the use of innovative and expressive typography in the visual presentation of
language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futur-
ists’ 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.”
79
 Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change, originality, and innovation in culture and society.
Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two domi-
nant themes—the machine and motion. The manifesto’s rhetoric was passionately bombastic; its
tone was aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention. But it is the movements
which survive, oddly, here where we live and work as poets and artists: or, if not the movements,
then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the
start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-
garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and
if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the
seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism
bristled with a polemical stance 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 libertà, by which poetry was to become “an
uninterrupted sequence of new images…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 forerunners like Mallarmé. Outrageous
and aggressive, the Futurists’ performances mixed declamation and gesture, events and surround-
ings, indifference and engagement, to break the barriers between themselves and those who came
to jeer or cheer them. Wrote Marinetti Selbst circa 1915, “Everything of any value is theatrical.”
80
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change, originality, and innovation in culture and society.
Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two domi-
nant themes—the machine and motion. The manifesto’s rhetoric was passionately bombastic; its
tone was aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as
poets and artists: or, if not the movements, then their sense of art as an life itself.
All of which, as futurism, had come sharply into focus by the start of the world
war: a first radical mix of art and life, the epitome in the poplar mind of an avant-
garde. It was, on both its Russian & Italian sides, the first great “art” movement
led by poets; and if its means now sometimes seem exaggerated or unripe in
retrospect, they carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in fa-
vor 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 libertà, by which poetry was to become “an uninterrupted sequence of new
images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”
This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition,
more fully explored the use of innovative and expressive typography in the visual presentation of
language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futur-
ists’ 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.”
81
 Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change, originality, and innovation in culture and society.
Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two domi-
nant themes—the machine and motion. The manifesto’s rhetoric was passionately bombastic; its
tone was aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention. But it is the movements
which survive, oddly, here where we live and work as poets and artists: or, if not the movements,
then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the
start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-
garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and
if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the
seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism
bristled with a polemical stance 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 libertà, by which poetry was to become “an
uninterrupted sequence of new images…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 forerunners like Mallarmé. Outrageous
and aggressive, the Futurists’ performances mixed declamation and gesture, events and surround-
ings, indifference and engagement, to break the barriers between themselves and those who came
to jeer or cheer them. Wrote Marinetti Selbst circa 1915, “Everything of any value is theatrical.”
82
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change, originality, and innovation in culture and society.
Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two domi-
nant themes—the machine and motion. The manifesto’s rhetoric was passionately bombastic; its
tone was aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets and artists: or,
if not the movements, then their sense of art as an life itself. All of which, as futurism, had come
sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the
poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” move-
ment led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they
carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in fa-
vor 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 libertà, by which poetry was to become “an uninterrupted sequence of new
images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”
This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition,
more fully explored the use of innovative and expressive typography in the visual presentation of
language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futur-
ists’ 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.”
83
HEADERS,
subheads & crossheads
Header: text, or other visual information, used to mark off a
quantity of text, often titling or summarizing it.

Subhead: smaller than a headline and larger than body copy.

Subheads are useful for breaking up long articles, identifying spe-
cific content for the reader and giving the reader a break from long
passages of copy.

Crossheader: a heading of a subsection printed within the

body of the text.

l Never hyphenate words in a header.

l It is important to pay attention to kerning in headers. Kerning is
the process of adjusting the spacing between characters in a pro-
portional font, to achieve a visually pleasing result. In a well kerned
font, the two-dimensional blank spaces between each pair of charac-
ters all have similar area.

84 85

A Prologue to Futurism
Radical mix of art and life
86
Words in Liberty
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-
ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change, originality, and innovation in culture and
society. Futurism rejected traditions and glorified contemporary life—mainly by emphasizing
two dominant themes—the machine and motion. The manifesto’s rhetoric was passionately bom-
bastic; its tone was aggressive and inflammatory and was purposely intended to inspire public
anger and amazement, to arouse controversy, and to attract widespread attention.
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 exagger-
ated or unripe in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a po-
lemical 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 libertà, by which poetry was to become “an uninter-
rupted sequence of new images…a strict bet of images or analogies, to be cast into the mysteri-
ous sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage
and of image juxtaposition, more fully explored the use of innovative and expressive typography
in the visual presentation of language, as set in motion by forerunners like Mallarmé. Outra-
geous and aggressive, the Futurists’ performances mixed declamation and gesture, events and
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.”
Words in Liberty:
A Prologue to Futurism
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-
ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change, originality, and innovation in culture and
society. Futurism rejected traditions and glorified contemporary life—mainly by emphasizing
two dominant themes—the machine and motion. The manifesto’s rhetoric was passionately bom-
bastic; its tone was aggressive and inflammatory and was purposely intended to inspire public
anger and amazement, to arouse controversy, and to attract widespread attention.
Radical Mix of Art and Life
But it is the movements which survive, oddly, here where we live and work as poets and art-
ists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism,
had come sharply into focus by the start of the world war: a first radical mix of art and life, the
epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first
great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe
in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in
favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered
formal, “technical” approaches to the works then getting under way. The key term—still resonant
today—was parole in libertà, by which poetry was to become “an uninterrupted sequence of new
images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”
This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition,
more fully explored the use of innovative and expressive typography in the visual presentation
of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the
Futurists’ performances mixed declamation and gesture, events and surroundings, indifference
and engagement, to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti Selbst circa 1915, “Everything of any value is theatrical.”
87
 Words in Liberty
A Prologue to Futurism
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change, originality, and innovation in culture and society.
Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two domi-
nant themes—the machine and motion. The manifesto’s rhetoric was passionately bombastic; its
tone was aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention. But it is the movements
Radical mix of art and life
which survive, oddly, here where we live and work as poets and artists: or, if not the movements,
then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the
start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-
garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and
if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the
seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism
bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of
Futurist poets and artists offered formal, “technical” approaches to the works then getting under
way. The key term—still resonant today—was parole in libertà, by which poetry was to become “an
uninterrupted sequence of new images…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 forerunners like Mallarmé. Outrageous
and aggressive, the Futurists’ performances mixed declamation and gesture, events and surround-
ings, indifference and engagement, to break the barriers between themselves and those who came
to jeer or cheer them. Wrote Marinetti Selbst circa 1915, “Everything of any value is theatrical.”
88
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and
A Prologue to Futurism
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 domi-
nant themes—the machine and motion. The manifesto’s rhetoric was passionately bombastic; its
tone was aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as Radical mix of art and life
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
Words
retrospect, they carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in fa-
vor 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
in
today—was parole in libertà, 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
Liberty
language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futur-
ists’ 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.”
89
 Words in Liberty

Words in Liberty
A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris A Prologue to Futurism:
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
newspaper Le Figaro published a manifesto by the Italian poet and edi-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-
tor Filippo Tommaso Marinetti. The name Futurism, coined by Mari-
ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static
netti, reflected his emphasis on discarding what he conceived to be the
and irrelevant art of the past and celebrating change, originality, and innovation in culture and
static and irrelevant art of the past and celebrating change, original-
society. Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two
ity, and innovation in culture and society. Futurism rejected traditions
dominant themes—the machine and motion. The manifesto’s rhetoric was passionately bombas-
and glorified contemporary life—mainly by emphasizing two dominant
tic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger
themes—the machine and motion. The manifesto’s rhetoric was pas-
and amazement, to arouse controversy, and to attract widespread attention.
sionately bombastic; its tone was aggressive and inflammatory and was
Radical mix of art and life: purposely intended to inspire public anger and amazement, to arouse
But it is the movements which survive, oddly, here where we live and work as poets and artists: or, Radical mix of art and life :
controversy, and to attract widespread attention. But it is the move-
if not the movements, then their sense of art as an life itself. All of which, as futurism, had come
ments which survive, oddly, here where we live and work as poets and
sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the
artists: or, if not the movements, then their sense of art as an life itself.
poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great “art” move-
All of which, as futurism, had come sharply into focus by the start of the
ment led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they
world war: a first radical mix of art and life, the epitome in the poplar
carry within them the seed of all that we were later to become.
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-
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in fa-
times seem exaggerated or unripe in retrospect, they carry within them
vor of the transformed present (1909), the later manifestos of Futurist poets and artists offered
the seed of all that we were later to become. While Marinetti’s opening
formal, “technical” approaches to the works then getting under way. The key term—still resonant
manifesto for Italian Futurism bristled with a polemical stance in favor
today—was parole in libertà, by which poetry was to become “an uninterrupted sequence of new
of the transformed present (1909), the later manifestos of Futurist poets
images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”
and artists offered formal, “technical” approaches to the works then get-
This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition,
ting under way. The key term—still resonant today—was parole in lib-
more fully explored the use of innovative and expressive typography in the visual presentation of
ertà, by which poetry was to become “an uninterrupted sequence of new
language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futur-
images…a strict bet of images or analogies, to be cast into the mysteri-
ists’ performances mixed declamation and gesture, events and surroundings, indifference and
ous sea of phenomena.” This freedom-of-the-world, while it resembled
engagement, to break the barriers between themselves and those who came to jeer or cheer them.
other forms of collage and of image juxtaposition, more fully explored
Wrote Marinetti Selbst circa 1915, “Everything of any value is theatrical.”
the use of innovative and expressive typography in the visual presenta-
tion of language, as set in motion by forerunners like Mallarmé. Outra-
geous 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.”

90 91
 CAPTIONS
& notes
Footnotes and Endnotes: Footnotes and endnotes are nec-
essary components of scholarly and technical writing. They’re also
frequently used by writers of fiction, from Herman Melville (Moby-
Dick) to contemporary novelists. Whether their intent is academic or
artistic, footnotes present special typographic challenges.

Specifically, a footnote is a text element at the bottom of a page of

a book or manuscript that provides additional information about
a point made in the main text. The footnote might provide deeper
background, offer an alternate interpretation or provide a citation for
the source of a quote, idea or statistic. Endnotes serve the same pur-
pose 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 end-
notes that are readable, legible and economical in space. (Note that
academic presses and journals can be sticklers for format: before pro-
ceeding, check with your client or publisher to see if they have a spe-
cific stylesheet that must be followed.)

Numbers or Symbols: Footnotes are most often indicated by

placing a superscript numeral immediately after the text to be ref-
erenced. The same superscript numeral then precedes the footnot-
ed text at the bottom of the page. Numbering footnotes is essential
when there are many of them, but if footnotes are few they can be
marked with a dagger, asterisk, or other symbol instead. Endnotes
should always use numerals to facilitate easy referencing.

Size: Footnotes and endnotes are set smaller than body text. The
difference in size is usually about two points, but this can vary de-
pending on the size, style and legibility of the main text. Even though
they’re smaller, footnotes and endnotes should still remain at a read-
able size.

92 93

A Prologue to Futurism
Radical mix of art and life
1. Philip Meggs, History of
Graphic Design, Van Nostrand
Reinhold, 1988
2. parole in liberta = words set
free (liberty)
3. selbst = himself
94
Words in Liberty
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. 1Futurism
rejected traditions and glorified contemporary life—mainly by emphasizing two dominant themes—
the machine and motion. The manifesto’s rhetoric was passionately bombastic; its tone was ag-
gressive and inflammatory and was purposely intended to inspire public anger and amazement, to
arouse controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as
poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as
futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life,
the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first
great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe in 1. Philip Meggs,
retrospect, they carry within them the seed of all that we were later to become. History of Graphic
Design, Van Nostrand
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemi- Reinhold, 1988
cal stance in favor of the transformed present (1909), the later manifestos of Futurist poets and art-
ists offered formal, “technical” approaches to the works then getting under way. The key term—still 2. parole in liberta =
resonant today—was parole in libertà 2, by which poetry was to become “an uninterrupted sequence words set free (lib-
of new images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” erty)
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 3. selbst = himself
language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futurists’
performances mixed declamation and gesture, events and surroundings, indifference and engage-
ment, to break the barriers between themselves and those who came to jeer or cheer them. Wrote
Marinetti Selbst 3 circa 1915, “Everything of any value is theatrical.”
Words in Liberty:
A Prologue to Futurism
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-
ism, 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. 1Futurism rejected traditions and glorified contemporary life—mainly by emphasizing
two dominant themes—the machine and motion. The manifesto’s rhetoric was passionately bom-
bastic; its tone was aggressive and inflammatory and was purposely intended to inspire public
anger and amazement, to arouse controversy, and to attract widespread attention.
Radical mix of art and life
But it is the movements which survive, oddly, here where we live and work as poets and art-
ists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism,
had come sharply into focus by the start of the world war: a first radical mix of art and life, the
epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first
great “art” movement led by poets; and if its means now sometimes seem exaggerated or unripe
in retrospect, they carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in
favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered
formal, “technical” approaches to the works then getting under way. The key term—still resonant
today—was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new
images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”
This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition,
more fully explored the use of innovative and expressive typography in the visual presentation
of language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the
Futurists’ performances mixed declamation and gesture, events and surroundings, indifference
and engagement, to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti Selbst3 circa 1915, “Everything of any value is theatrical.”
95
 Words in Liberty
A Prologue to Futurism
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change, originality, and innovation in culture and society.
1Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two domi-
nant themes—the machine and motion. The manifesto’s rhetoric was passionately bombastic; its
tone was aggressive and inflammatory and was purposely intended to inspire public anger and
Radical mix of art and life amazement, to arouse controversy, and to attract widespread attention. But it is the movements
which survive, oddly, here where we live and work as poets and artists: or, if not the movements,
then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the
start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-
garde. It was, on both its Russian & Italian sides, the first great “art” movement led by poets; and
1. Philip Meggs, if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the
seed of all that we were later to become. While Marinetti’s opening manifesto for Italian Futurism
History of Graphic bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of
Design, Van Nostrand Futurist poets and artists offered formal, “technical” approaches to the works then getting under
Reinhold, 1988 way. The key term—still resonant today—was parole in libertà2, by which poetry was to become
“an uninterrupted sequence of new images…a strict bet of images or analogies, to be cast into
the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms
2. parole in liberta = of collage and of image juxtaposition, more fully explored the use of innovative and expressive
words set free (liberty) typography in the visual presentation of language, as set in motion by forerunners like Mallarmé.
Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events
and surroundings, indifference and engagement, to break the barriers between themselves and
3. selbst = himself those who came to jeer or cheer them. Wrote Marinetti Selbst3 circa 1915, “Everything of any value
is theatrical.”
96
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and
A Prologue to Futurism
irrelevant art of the past and celebrating change, originality, and innovation in culture and society.
1Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two domi-
nant themes—the machine and motion. The manifesto’s rhetoric was passionately bombastic; its
tone was aggressive and inflammatory and was purposely intended to inspire public anger and
amazement, to arouse controversy, and to attract widespread attention.
1. Philip Meggs,
But it is the movements which survive, oddly, here where we live and work as Radical mix of art and life
History of Graphic poets and artists: or, if not the movements, then their sense of art as an life itself.
Design, Van Nostrand
All of which, as futurism, had come sharply into focus by the start of the world
Reinhold, 1988
war: a first radical mix of art and life, the epitome in the poplar mind of an avant-
2. parole in liberta =
garde. It was, on both its Russian & Italian sides, the first great “art” movement
words set free (liberty)
led by poets; and if its means now sometimes seem exaggerated or unripe in
Words
3. selbst = himself
retrospect, they carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in fa-
vor 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
in
today—was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new
images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”
This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition,
more fully explored the use of innovative and expressive typography in the visual presentation of
Liberty
language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futur-
ists’ performances mixed declamation and gesture, events and surroundings, indifference and
engagement, to break the barriers between themselves and those who came to jeer or cheer them.
Wrote Marinetti Selbst3 circa 1915, “Everything of any value is theatrical.”
97
 Words in Liberty
Words in Liberty
A Prologue to Futurism:
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-
lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change, originality, and innovation in culture and soci-
ety. 1Futurism rejected traditions and glorified contemporary life—mainly by emphasizing two
dominant themes—the machine and motion. The manifesto’s rhetoric was passionately bombas-
tic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger
and amazement, to arouse controversy, and to attract widespread attention.
Radical mix of art and 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” move-
ment led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they
carry within them the seed of all that we were later to become.
While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in fa-
vor of the transformed present (1909), the later manifestos of Futurist poets and artists offered
1. Philip Meggs, formal, “technical” approaches to the works then getting under way. The key term—still resonant
History of Graphic today—was parole in libertà2, by which poetry was to become “an uninterrupted sequence of new
images…a strict bet of images or analogies, to be cast into the mysterious sea of phenomena.”
Design, Van Nostrand This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition,
Reinhold, 1988 more fully explored the use of innovative and expressive typography in the visual presentation of
2. parole in liberta = language, as set in motion by forerunners like Mallarmé. Outrageous and aggressive, the Futur-
ists’ performances mixed declamation and gesture, events and surroundings, indifference and
words set free (liberty) engagement, to break the barriers between themselves and those who came to jeer or cheer them.
3. selbst = himself Wrote Marinetti Selbst3 circa 1915, “Everything of any value is theatrical.”
98
Futurism was first announced on February 20, 1909, when the Paris A Prologue to Futurism:
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. 1Futurism rejected 1. Philip Meggs,
traditions and glorified contemporary life—mainly by emphasizing two History of Graphic
dominant themes—the machine and motion. The manifesto’s rhetoric Design, Van Nostrand Reinhold, 1988
was passionately bombastic; its tone was aggressive and inflammatory
and was purposely intended to inspire public anger and amazement,
to arouse controversy, and to attract widespread attention. But it is the Radical mix of art and life :
movements which survive, oddly, here where we live and work as po-
ets and artists: or, if not the movements, then their sense of art as an
life itself. All of which, as futurism, had come sharply into focus by the
start of the world war: a first radical mix of art and life, the epitome in
the poplar mind of an avant-garde. It was, on both its Russian & Italian
sides, the first great “art” movement led by poets; and if its means now
sometimes seem exaggerated or unripe in retrospect, they carry within
them the seed of all that we were later to become. While Marinetti’s
opening manifesto for Italian Futurism bristled with a polemical stance
in favor of the transformed present (1909), the later manifestos of Fu-
turist poets and artists offered formal, “technical” approaches to the
works then getting under way. The key term—still resonant today—was
parole in libertà2, by which poetry was to become “an uninterrupted 2. parole in liberta = words set free (liberty)
sequence of new images…a strict bet of images or analogies, to be cast
into the mysterious sea of phenomena.” This freedom-of-the-world,
while it resembled other forms of collage and of image juxtaposition,
more fully explored the use of innovative and expressive typography
in the visual presentation of language, as set in motion by forerunners
like Mallarmé. Outrageous and aggressive, the Futurists’ performances
mixed declamation and gesture, events and surroundings, indifference
and engagement, to break the barriers between themselves and those
who came to jeer or cheer them. Wrote Marinetti Selbst3 circa 1915, “Ev- 3. selbst = himself
erything of any value is theatrical.”
99
 FONT
spec book

100 101

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-first centuries have
continued to create new typefaces based on
historic characteristics.
A basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a heri-
tage for their own craft analogous to that
of art history. Humanist letterforms are
closely connected to calligraphy and the
movement of the hand. Transitional and
modern typefaces are more abstract and
less organic. These three main groups
correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art
and literature. Designers in the twentieth
and twenty-first centuries have continued
to create new typefaces based on historic
characteristics.
102
Archer
BOOK
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 ( ) { } ? ! @ &
*
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MaxogGdQRst
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printers sought to identify a heritage for their
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hand. Transitional and modern typefaces are
more abstract and less organic. These three
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periods in art and literature. Designers in
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ued to create new typefaces based on
historic characteristics.
103

MxaogGdQRt
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 cor-
respond roughly to the Renaissance, Ba-
roque, and Enlightenment periods in art
and literature. Designers in the twentieth
and twenty-first centuries have continued
to create new typefaces based on historic
characteristics.
A basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a heritage
for their own craft analogous to that of
art history. Humanist letterforms are
closely connected to calligraphy and the
movement of the hand. Transitional and
modern typefaces are more abstract and
less organic. These three main groups
correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art
and literature. Designers in the twentieth
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to create new typefaces based on historic
characteristics.
104
Baskerville
regular
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small caps
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italic
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bold
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Belizio
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regular
A basic system for classifying type-
faces was devised in the nineteenth
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj
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literature. Designers in the twenti-
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bold
A basic system for classifying typefac- Aa Bb Cc Dd Ee Ff Gg Hh Ii
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tury, when printers sought to identify a
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Aa Bb Cc Dd Ee Ff Gg Hh Ii
and Enlightenment periods in art and
literature. Designers in the twentieth
Jj Kk Ll Mm Nn Oo Pp Qq
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A basic system for classifying typefaces
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groups correspond roughly to the Renais-
sance, Baroque, and Enlightenment periods in
art and literature. Designers in the twentieth
and twenty-first centuries have continued
to create new typefaces based on historic
characteristics.
106
Bell Gothic
light
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Bembo
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ers sought to identify a heritage for their own
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and modern typefaces are more abstract and
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centuries have continued to create new type-
faces based on historic characteristics.
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bold
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was devised in the nineteenth century,
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tage for their own craft analogous to that
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continued to create new typefaces based
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107

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A basic system for classifying type-
faces was devised in the nineteenth
century, when printers sought to
identify a heritage for their own craft
analogous to that of art history. 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.
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twenty-first centuries have continued
to create new typefaces based on
historic characteristics.
A basic system for classifying type-
faces was devised in the nineteenth
century, when printers sought to
identify a heritage for their own
craft analogous to that of art his-
tory. Humanist letterforms are
closely connected to calligraphy
and the movement of the hand.
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are more abstract and less organic.
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spond roughly to the Renaissance,
Baroque, and Enlightenment peri-
ods in art and literature. Designers
in the twentieth and twenty-first
centuries have continued to create
new typefaces based on historic
characteristics.
108
Bookman
regular
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Bodoni
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A basic system for classifying typefaces was
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printers sought to identify a heritage for
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ment of the hand. Transitional and modern
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ganic. These three main groups correspond
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devised in the nineteenth century, when
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abstract and less organic. These three main
groups correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art
and literature. Designers in the twentieth and
twenty-first centuries have continued to create
new typefaces based on historic characteristics.
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devised in the nineteenth century, when
printers sought to identify a heritage for their
own craft analogous to that of art history.
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to calligraphy and the movement of the
hand. Transitional and modern typefaces
are more abstract and less organic. These
three main groups correspond roughly to the
Renaissance, Baroque, and Enlightenment
periods in art and literature. Designers in
the twentieth and twenty-first centuries have
continued to create new typefaces based on
historic characteristics.
110
Caslon Century Schoolbook
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regular regular
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was devised in the nineteenth century, Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
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Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy first centuries have continued to create
new typefaces based on historic charac- Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu
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tage for their own craft analogous to that
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continued to create new typefaces based
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111

MaxogGdQrRs
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
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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
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on historic characteristics.
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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
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and literature. Designers in the twentieth
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112
Cheltenham
regular
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tory. Humanist letterforms are closely con-
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the hand. Transitional and modern typefaces
are more abstract and less organic. These
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Renaissance, Baroque, and Enlightenment regular
periods in art and literature. Designers in the
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continued to create new typefaces based on
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historic characteristics. Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2
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tage for their own craft analogous to that
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less organic. These three main groups
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and literature. Designers in the twentieth
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113
 Clarendon Clicker

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MaxnogGdQRs regular

A basic system for classifying type-

faces was devised in the nineteenth
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk A basic system for classifying type-
faces was devised in the nineteenth
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century, when printers sought to
identify a heritage for their own
Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu century, when printers sought to
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craft analogous to that of art history.
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ry. Humanist letterforms are closely
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nected to calligraphy and the move-
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114 115

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tage for their own craft analogous to that
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calligraphy and the movement of the hand.
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116
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117
 DIN Disturbance

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history. Humanist letterforms are closely connected to
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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
black condensed
twenty-first centuries have continued to create new
typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp
Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
(){}?!@&*

118 119
 Fette Fraktur
MxnaopQrRtfg regular
Aa Bb Cc Dd Ee Ff
A basic system for classifying typefaces was
devised in the nineteenth century, when
printers sought to identify a heritage for their
Gg Hh Ii Jj Kk Ll
own craft analogous to that of art history.
Humanist letterforms are closely connected to
calligraphy and the movement of the hand.
Mm Nn Oo Pp Qq
Transitional and modern typefaces are more
abstract and less organic. These three main
groups correspond roughly to the Renaissance,
Rr Ss Tt Uu Vv
Baroque, and Enlightenment periods in art
and literature. Designers in the twentieth and
twenty-first centuries have continued to create
Ww Xx Yy Zz 1 2 3
new typefaces based on historic characteristics.
4567890(){}
?!@&*
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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
120
Filosofia
MxnaopQrRtfGg regular
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn
A basic system for classifying typefaces was
devised in the nineteenth century, when
printers sought to identify a heritage for their
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3
own craft analogous to that of art history.
Humanist letterforms are closely connected
to calligraphy and the movement of the hand. 4567890(){}?!@&*
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abstract and less organic. These three main
groups correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art fractions
and literature. Designers in the twentieth and
twenty-first centuries have continued to create
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
new typefaces based on historic characteristics.
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx
Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
unicase
A basic system for classifying Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
typefaces was devised in the nine-
teenth century, when printers Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
sought to identify a heritage for
their own craft analogous to that Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
of art history. Humanist letter-
forms are closely connected to !@&*
calligraphy and the movement of
the hand. Transitional and mod-
ern typefaces are more abstract
and less organic. These three
main groups correspond roughly
to the Renaissance, Baroque, and
Enlightenment periods in art
and literature. Designers in the
twentieth and twenty-first cen-
turies have continued to create
new typefaces based on historic
characteristics.
121

MaxodQRtfGg
A basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a heritage
for their own craft analogous to that of art
history. Humanist letterforms are closely
connected to calligraphy and the move-
ment of the hand. Transitional and modern
typefaces are more abstract and less or-
ganic. These three main groups correspond
roughly to the Renaissance, Baroque, and
Enlightenment periods in art and literature.
Designers in the twentieth and twenty-first
centuries have continued to create new
typefaces based on historic characteristics.
A basic system for classifying type-
faces was devised in the nineteenth
century, when printers sought to iden-
tify a heritage for their own craft anal-
ogous to that of art history. Humanist
letterforms are closely connected
to calligraphy and the movement of
the hand. Transitional and modern
typefaces are more abstract and less
organic. These three main groups cor-
respond roughly to the Renaissance,
Baroque, and Enlightenment periods
in art and literature. Designers in the
twentieth and twenty-first centuries
have continued to create new typefac-
es based on historic characteristics.
122
Franklin Gothic
book
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 ( ) { } ? ! @ & *
demi
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 ( ) { } ?
!@&*
heavy
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 ( )
{}?!@&*
condensed
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
123 4567890(){}?!@&*
Frutiger
MaxodQRtfGg condensed
A basic system for classifying typefaces
was devised in the nineteenth century,
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn
when printers sought to identify a
heritage for their own craft analogous
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3
to that of art history. Humanist letter-
forms are closely connected to callig-
4567890(){}?!@&*
raphy and the movement of the hand.
Transitional and modern typefaces
are more abstract and less organic.
These three main groups correspond regular
roughly to the Renaissance, Baroque,
and Enlightenment periods in art and
literature. Designers in the twentieth
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
and twenty-first centuries have contin-
ued to create new typefaces based on
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
historic characteristics. Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
}?!@&*
bold
A basic system for classifying typefaces Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
was devised in the nineteenth century,
when printers sought to identify a Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
heritage for their own craft analo-
gous to that of art history. Humanist Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
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, ultra black
and Enlightenment periods in art and
literature. Designers in the twentieth
and twenty-first centuries have contin-
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj
ued to create new typefaces based on
historic characteristics.
Kk Ll Mm Nn Oo Pp Qq Rr Ss
Tt Uu Vv Ww Xx Yy Zz 1 2 3
4567890(){}?!@&*
123

MxaopQRstGg
A basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a heritage
for their own craft analogous to that
of art history. Humanist letterforms are
closely connected to calligraphy and the
movement of the hand. Transitional and
modern typefaces are more abstract and
less organic. These three main groups
correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art
and literature. Designers in the twentieth
and twenty-first centuries have continued
to create new typefaces based on historic
characteristics.
A basic system for classifying
typefaces was devised in the
nineteenth century, when printers
sought to identify a heritage for
their own craft analogous to that
of art history. Humanist letterforms
are closely connected to calligraphy
and the movement of the hand.
Transitional and modern typefaces
are more abstract and less organic.
These three main groups corre-
spond roughly to the Renaissance,
Baroque, and Enlightenment peri-
ods in art and literature. Designers
in the twentieth and twenty-first
centuries have continued to create
new typefaces based on historic
characteristics.
124
Futura
book
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 (
){}?!@&*
bold
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
67890(){}?!@&*
extra bold
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 ( ) { } ?
! @ & *
Helvetica
MaoygGdQrRt regular
A basic system for classifying typefaces
was devised in the nineteenth century,
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
when printers sought to identify a heritage
for their own craft analogous to that
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
of art history. Humanist letterforms are
closely connected to calligraphy and the
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
movement of the hand. Transitional and
modern typefaces are more abstract and
}?!@&*
less organic. These three main groups
correspond roughly to the Renaissance, bold
Baroque, and Enlightenment periods
in art and literature. Designers in the
twentieth and twenty-first centuries have Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
continued to create new typefaces based
on historic characteristics. 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 ( ) {
}?!@&*
black extended
A basic system for classifying typefaces was Aa Bb Cc Dd Ee Ff Gg
Hh Ii Jj Kk Ll Mm Nn Oo
devised in the nineteenth century, when print-
ers sought to identify a heritage for their own
Pp Qq Rr Ss Tt Uu Vv
craft analogous to that of art history. Humanist
letterforms are closely connected to calligraphy
Ww Xx Yy Zz 1 2 3 4 5 6
and the movement of the hand. Transitional
and modern typefaces are more abstract and
7 8 9 0 ( ) { } ? ! @ & *
less organic. These three main groups cor-
respond roughly to the Renaissance, Baroque,
and Enlightenment periods in art and literature.
Designers in the twentieth and twenty-first cen-
turies have continued to create new typefaces
Ultra light
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 ( ) { } ? ! @ & *
125

MaxnbyogGQRt
A basic system for classifying typefaces was
devised in the nineteenth century, when
printers sought to identify a heritage for their
own craft analogous to that of art history.
Humanist letterforms are closely connected
to calligraphy and the movement of the hand.
Transitional and modern typefaces are more
abstract and less organic. These three main
groups correspond roughly to the Renais-
sance, Baroque, and Enlightenment periods in
art and literature. Designers in the twentieth
and twenty-first centuries have continued
to create new typefaces based on historic
characteristics.
A basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a
heritage for their own craft analogous
to that of art history. Humanist letter-
forms are closely connected to callig-
raphy and the movement of the hand.
Transitional and modern typefaces are
more abstract and less organic.These
three main groups correspond roughly
to the Renaissance, Baroque, and En-
lightenment periods in art and litera-
ture. Designers in the twentieth and
twenty-first centuries have continued to
create new typefaces based on historic
characteristics.
126
Gill Sans
regular
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 ( ) { } ? ! @ & *
italic
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
123 4567890(){}?!&*
bold
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 ( )
{}?!@&*
Gotham
MayogGdQRt BOOK
A basic system for classifying type-
faces was devised in the nineteenth Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
century, when printers sought to
identify a heritage for their own Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu
craft analogous to that of art history.
Humanist letterforms are closely con- Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
nected to calligraphy and the move-
ment of the hand. Transitional and 0(){}?!@&*
modern typefaces are more abstract
and less organic. These three main BOLD
groups correspond roughly to the
Renaissance, Baroque, and Enlight-
enment periods in art and litera- Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
ture. Designers in the twentieth and
twenty-first centuries have continued Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu
to create new typefaces based on
historic characteristics. Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
90(){}?!@&*
italic
A basic system for classifying type- Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
faces was devised in the nineteenth
century, when printers sought to Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu
identify a heritage for their own
craft analogous to that of art history. Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
Humanist letterforms are closely
connected to calligraphy and the 0(){}?!@&*
movement of the hand. Transitional
and modern typefaces are more ab-
stract and less organic. These three
main groups correspond roughly LIGHT
to the Renaissance, Baroque, and
Enlightenment periods in art and Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
literature. Designers in the twenti-
eth and twenty-first centuries have Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu
continued to create new typefaces
based on historic characteristics. Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0(){}?!@&*
127
 Helvetica Interstate

MaoygGdQrRt regular
MaoygGdQrRt regular

A basic system for classifying typefaces

was devised in the nineteenth century,
when printers sought to identify a heritage
for their own craft analogous to that
of art history. Humanist letterforms are
closely connected to calligraphy and the
movement of the hand. Transitional and
modern typefaces are more abstract and
less organic. These three main groups
correspond roughly to the Renaissance,
Baroque, and Enlightenment periods
in art and literature. Designers in the
twentieth and twenty-first centuries have
continued to create new typefaces based
on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
}?!@&*
bold
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
}?!@&*
A basic system for classifying typefaces
was devised in the nineteenth century,
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
when printers sought to identify a
heritage for their own craft analogous to
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
that of art history. Humanist letterforms
are closely connected to calligraphy
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
and the movement of the hand. Transi-
tional and modern typefaces are more
{}?!@&*
abstract and less organic. These three
main groups correspond roughly to the bold
Renaissance, Baroque, and Enlighten-
ment periods in art and literature. De-
signers in the twentieth and twenty-first
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
centuries have continued to create new
typefaces based on historic character-
Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
istics. Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (
){}?!@&*

black extended black

A basic system for classifying typefaces was
devised in the nineteenth century, when print-
ers sought to identify a heritage for their own
craft analogous to that of art history. Humanist
letterforms are closely connected to calligraphy
and the movement of the hand. Transitional
and modern typefaces are more abstract and
less organic. These three main groups cor-
respond roughly to the Renaissance, Baroque,
and Enlightenment periods in art and literature.
Designers in the twentieth and twenty-first cen-
turies have continued to create new typefaces
based on historic characteristics.
128
Aa Bb Cc Dd Ee Ff Gg A basic system for classifying typefac- Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
Hh Ii Jj Kk Ll Mm Nn Oo
es was devised in the nineteenth cen-
tury, when printers sought to identify Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu
Pp Qq Rr Ss Tt Uu Vv
a heritage for their own craft analo-
gous to that of art history. Humanist Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
Ww Xx Yy Zz 1 2 3 4 5
letterforms are closely connected to
calligraphy and the movement of the 90(){}?!@&*
6 7 8 9 0 ( ) { } ? ! @ & *
hand. Transitional and modern typefac-
es are more abstract and less organic.
These three main groups correspond
roughly to the Renaissance, Baroque, bold condensed
and Enlightenment periods in art and
Ultra light literature. Designers in the twentieth Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn
and twenty-first centuries have contin-
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm ued to create new typefaces based on Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3
historic characteristics.
Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy 4567890(){}?!@&*
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
129
 Kunstler Script Melior

xyogGdQrRst regular
MayogGdQrRt regular

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll A basic system for classifying typefaces

Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
&*
Pat. San ea consectet ad duis dolorem eu facil dit am, summy
was devised in the nineteenth century,
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
when printers sought to identify a heri-
tage for their own craft analogous to that
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
of art history. Humanist letterforms are
closely connected to calligraphy and the
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
movement of the hand. Transitional and
modern typefaces are more abstract and
{}?!@&*
less organic. These three main groups
correspond roughly to the Renaissance, italic
Baroque, and Enlightenment periods in

nisim ipit, quat, velit pratismodo diat.

art and literature. Designers in the twen-
tieth and twenty-first centuries have
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
Et lorperi liquat lor sequam zzrilit, velese facin ut verosti nciduis continued to create new typefaces based
on historic characteristics.
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
modit, qui erosto odit ut verit nos nos amet iure doluptatisl digna Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
facin hendre ming ea feum incilla ad dunt dunt ipit vulput lor-
{}?!@&*
per sumsand ionsenit num ip erit la feu feumsan henis exerci esto
etumsan hent am, velit, quisit nummy nosto dolutat irit veniam
bold
zzrilit, qui tincilit wis eum zzriustis ex eraestrud delit lamcon vero
exercidunt aliscidui bla facip et veniam eum illan veros dignit alit A basic system for classifying typefaces Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
was devised in the nineteenth century,
vullandiat nis nisl dunt aliquam consent alit etuero odionsecte when printers sought to identify a Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
heritage for their own craft analogous to
dunt nulla faci et in vulla feugait lore eum zzril ullamco nsequi that of art history. Humanist letterforms Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
bla autpatet nummodipisi. are closely connected to calligraphy
and the movement of the hand. Transi- {}?!@&*
Ed etummodit vullamcon utat ulluptat delendit nonsenim in- tional and modern typefaces are more
abstract and less organic. These three
ciliqui tio odoloreet ver sum velis aliquis del irit aut nosto conse- main groups correspond roughly to the
quam zzrit aut ipsum diamcon sequam num et wisi tio dolorem Renaissance, Baroque, and Enlighten- bold
ment periods in art and literature. De-
elesto dolobor iuscilisci et, quis endre te dolobor sum volenibh signers in the twentieth and twenty-first Aa Bb Cc Dd Ee Ff Gg Hh
centuries have continued to create new
exerit utpat. Uptat, vel dolese molorem eraessis nit niamcorperos typefaces based on historic character- Ii Jj Kk Ll Mm Nn Oo Pp
autat, venit in etum erilissit irit eui bla feum iurem nonsequi e istics.
Qq Rr Ss Tt Uu Vv Ww
Xx Yy Zz 1 2 3 4 5 6 7 8 9
130 0(){}?!@&* 131

MxagGdQrRt
A basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a heri-
tage for their own craft analogous to that
of art history. Humanist letterforms are
closely connected to calligraphy and the
movement of the hand. Transitional and
modern typefaces are more abstract and
less organic. These three main groups
correspond roughly to the Renaissance,
Baroque, and Enlightenment periods
in art and literature. Designers in the
twentieth and twenty-first centuries have
continued to create new typefaces based
on historic characteristics.
A basic system for classifying typefac-
es was devised in the nineteenth cen-
tury, when printers sought to identify a
heritage for their own craft analogous
to that of art history. Humanist letter-
forms are closely connected to callig-
raphy and the movement of the hand.
Transitional and modern typefaces are
more abstract and less organic. These
three main groups correspond roughly
to the Renaissance, Baroque, and En-
lightenment periods in art and litera-
ture. Designers in the twentieth and
twenty-first centuries have continued to
create new typefaces based on historic
characteristics.
132
Memphis
light
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 ( ) { }
?!@&*
medium
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 ( ) { }
?!@&*
extra bold
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 4567890(){}?!@&*
Meta
MaxogGdQrRst regular
A basic system for classifying typefaces was
devised in the nineteenth century, when
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm
printers sought to identify a heritage for
their own craft analogous to that of art his-
Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy
tory. Humanist letterforms are closely con-
nected to calligraphy and the movement of
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
the hand. Transitional and modern typefac-
es are more abstract and less organic. These
three main groups correspond roughly to
the Renaissance, Baroque, and Enlighten- caps
ment periods in art and literature. Designers
in the twentieth and twenty-first centuries
have continued to create new typefaces
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm
based on historic characteristics. Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
black
A basic system for classifying typefaces Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm
was devised in the nineteenth century,
when printers sought to identify a heri- Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy
tage for their own craft analogous to that
of art history. Humanist letterforms are Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
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 italic
and literature. Designers in the twentieth
and twenty-first centuries have continued Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm
to create new typefaces based on historic
characteristics. Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
133

MaxogGdQrRst
A basic system for classifying typefaces was
devised in the nineteenth century, when print-
ers sought to identify a heritage for their own
craft analogous to that of art history. Humanist
letterforms are closely connected to calligraphy
and the movement of the hand. Transitional
and modern typefaces are more abstract and less
organic. These three main groups correspond
roughly to the Renaissance, Baroque, and
Enlightenment periods in art and literature.
Designers in the twentieth and twenty-first cen-
turies have continued to create new typefaces
based on historic characteristics.
A basic system for classifying typefaces was devised in the
nineteenth century, when printers sought to identify a heritage
for their own craft analogous to that of art history. Humanist
letterforms are closely connected to calligraphy and the move-
ment of the hand. Transitional and modern typefaces are more
abstract and less organic. These three main groups correspond
roughly to the Renaissance, Baroque, and Enlightenment
periods in art and literature. Designers in the twentieth and
twenty-first centuries have continued to create new typefaces
based on historic characteristics.
134
Mrs Eaves
regular
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
456789
italic
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
(){}?!@&*
bold
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 ( ) { } ? ! @ &
* hand. Transitional and modern typefaces
fractions
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 ( ) { }
?!@&*
News Gothic
MaxogGdQrRst regular
A basic system for classifying typefaces was
devised in the nineteenth century, when print-
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm
ers sought to identify a heritage for their
own craft analogous to that of art history.
Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy
Humanist letterforms are closely connected
to calligraphy and the movement of the
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
hand. Transitional and modern typefaces
are more abstract and less organic. These
123456789
three main groups correspond roughly to the
Renaissance, Baroque, and Enlightenment italic
periods in art and literature. Designers in
the twentieth and twenty-first centuries have
continued to create new typefaces based on
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm
historic characteristics. Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
bold
A basic system for classifying typefaces was Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
devised in the nineteenth century, when print-
ers sought to identify a heritage for their
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
own craft analogous to that of art history.
Humanist letterforms are closely connected
{}?!@&*
to calligraphy and the movement of the
are more abstract and less organic. These
three main groups correspond roughly to the
Renaissance, Baroque, and Enlightenment
periods in art and literature. Designers in
the twentieth and twenty-first centuries have
continued to create new typefaces based on
historic characteristics.
135

MaopQRfGg
A basic system for clas-
sifying typefaces was
Aa Bb
devised in the nineteenth
century, when printers
Ii Jj
sought to identify a heri-
tage for their own craft
Qq Rr
analogous to that of art
history. Humanist let-
Yy Zz
terforms are closely con-
nected to calligraphy and
9 0 (
the movement of the hand.
Transitional and modern
typefaces are more histor-
ic characteristics.
136
OCR A Optima
MxaopQRstGg
regular book
Cc Dd Ee Ff Gg Hh A basic system for classifying typefaces
was devised in the nineteenth century, Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
Kk Ll Mm Nn Oo Pp when printers sought to identify a heritage
for their own craft analogous to that Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
Ss Tt Uu Vv Ww Xx of art history. Humanist letterforms are
closely connected to calligraphy and the Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
1 2 3 4 5 6 7 8 movement of the hand. Transitional and
modern typefaces are more abstract and }?!@&*
) { } ? ! @ & * less organic. These three main groups
correspond roughly to the Renaissance, italic
Baroque, and Enlightenment periods in art
and literature. Designers in the twentieth
and twenty-first centuries have continued Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
to create new typefaces based on historic
characteristics. Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
}?!@&*
bold
A basic system for classifying typefaces Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
was devised in the nineteenth century,
when printers sought to identify a heritage Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
for their own craft analogous to that of
art history. Humanist letterforms are Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
closely connected to calligraphy and the
movement of the hand. Transitional and }?!@&*
modern typefaces are more abstract and
less organic. These three main groups
correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art
and literature. Designers in the twentieth
and twenty-first centuries have continued
to create new typefaces based on historic
characteristics.
137

MxaopQRstGg
A basic system for classifying typefaces was
devised in the nineteenth century, when
printers sought to identify a heritage for
their own craft analogous to that of art
history. Humanist letterforms are closely
connected to calligraphy and the move-
ment of the hand. Transitional and modern
typefaces are more abstract and less or-
ganic. These three main groups correspond
roughly to the Renaissance, Baroque, and
Enlightenment periods in art and literature.
Designers in the twentieth and twenty-first
centuries have continued to create new
typefaces based on historic characteristics.
A basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a heri-
tage for their own craft analogous to that
of art history. Humanist letterforms are
closely connected to calligraphy and the
movement of the hand. Transitional and
modern typefaces are more abstract and
less organic. These three main groups
correspond roughly to the Renaissance,
Baroque, and Enlightenment periods
in art and literature. Designers in the
twentieth and twenty-first centuries have
continued to create new typefaces based
on historic characteristics.
138
Palatino
Light
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 ( ) { } ? ! @
&*
old style
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 ( ) { }
?!@&*
Medium
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 ( ) { }
?!@&*
black
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(){}?!@&*
Perpetua
MxaopQRstGgq regular
A basic system for classifying typefaces was devised
in the nineteenth century, when printers sought
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn
to identify a heritage for their own craft analogous
to that of art history. Humanist letterforms are
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3
closely connected to calligraphy and the movement
of the hand. Transitional and modern typefaces are
4567890(){}?!@&*
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 italic
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 UuVvWw XxYy Zz 1 2 3 4 5 6 7
890(){}?!@&*
bold
A basic system for classifying typefaces was devised in Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
the nineteenth century, when printers sought to identify
a heritage for their own craft analogous to that of art Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww
history. Humanist letterforms are closely connected to cal-
ligraphy and the movement of the hand.Transitional and Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ &
modern typefaces are more abstract and less organic.These
three main groups correspond roughly to the Renaissance, *
Baroque, and Enlightenment periods in art and literature.
Designers in the twentieth and twenty-first centuries
have continued to create new typefaces based on historic
characteristics.
 Platelet Priori Sans

MaxbyogGQrRt thin
MxanopdrRtSfGg regular

A basic system for classifying typefaces

was devised in the nineteenth century,
when printers sought to identify a heri-
tage for their own craft analogous to
that of art history. Humanist letter-
forms are closely connected to cal-
ligraphy and the movement of the hand.
Transitional and modern typefaces are
more abstract and less organic. These
three main groups correspond roughly to
the Renaissance, Baroque, and Enlight-
enment periods in art and literature.
Designers in the twentieth and twenty-
first centuries have continued to create
new typefaces based on historic charac-
teristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll A basic system for classifying typefaces was devised in
the nineteenth century, when printers sought to identify Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx a heritage for their own craft analogous to that of art
history. Humanist letterforms are closely connected to Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } 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
regular twenty-first centuries have continued to create new alternate
typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } 90(){}?!@&*
? ! & *

heavy bold

A basic system for classifying typefaces

was devised in the nineteenth century,
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll A basic system for classifying typefaces was devised Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo
in the nineteenth century, when printers sought to
when printers sought to identify a heri-
tage for their own craft analogous to
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx identify a heritage for their own craft analogous to Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6
that of art history. Humanist letterforms are closely
that of art history. Humanist letter-
forms are closely connected to cal-
Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } connected to calligraphy and the movement of the 7890(){}?!@&*
hand. Transitional and modern typefaces are more
ligraphy and the movement of the hand.
Transitional and modern typefaces are
? ! @ & * abstract and less organic. These three main groups
correspond roughly to the Renaissance, Baroque, and
more abstract and less organic. These Enlightenment periods in art and literature. Design-
three main groups correspond roughly to ers in the twentieth and twenty-first centuries have
the Renaissance, Baroque, and Enlight- continued to create new typefaces based on historic
enment periods in art and literature. characteristics.
Designers in the twentieth and twenty-
first centuries have continued to create
new typefaces based on historic charac-
teristics.

141
 Priori Serif Rotis

MxanodQrRtSfg regular
MxanopQrRtGg (55) sans

A basic system for classifying typefaces was

devised in the nineteenth century, when printers
sought to identify a heritage for their own craft
analogous to that of art history. Humanist letter-
forms are closely connected to calligraphy and the
movement of the hand. Transitional and modern
typefaces are more abstract and less organic.
These three main groups correspond roughly to
the Renaissance, Baroque, and Enlightenment
periods in art and literature. Designers in the
twentieth and twenty-first centuries have con-
tinued to create new typefaces based on historic
characteristics.
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
567890(){}?!@&*
alternate
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
567890(){}?!@&*
A basic system for classifying typefaces was
devised in the nineteenth century, when
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn
printers sought to identify a heritage for their
own craft analogous to that of art history.
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2
Humanist letterforms are closely connected
to calligraphy and the movement of the hand.
3 4567890(){}?!@&*
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 italic
art and literature. Designers in the twentieth
and twenty-first centuries have continued
to create new typefaces based on historic
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo
characteristics. Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6
7890(){}?!@&*

bold serif

A basic system for classifying typefaces was de-
vised in the nineteenth century, when printers
sought to identify a heritage for their own craft
analogous to that of art history. Humanist let-
terforms are closely connected to calligraphy
and the movement of the hand. Transitional and
modern typefaces are more abstract and less
organic. These three main groups correspond
roughly to the Renaissance, Baroque, and
Enlightenment periods in art and literature.
Designers in the twentieth and twenty-first
centuries have continued to create new type-
faces based on historic characteristics.
142
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
123 4567890(){}?!@&*
A basic system for classifying typefaces was
devised in the nineteenth century, when
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
printers sought to identify a heritage for
their own craft analogous to that of art his-
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww
tory. Humanist letterforms are closely con-
nected to calligraphy and the movement of
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
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 italic
twentieth and twenty-first centuries have
continued to create new typefaces based on
historic characteristics. Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
?!@&*
143

MxayogGQfR
A basic system for classifying typefaces was
devised in the nineteenth century, when
printers sought to identify a heritage for
their own craft analogous to that of art
history. Humanist letterforms are closely
connected to calligraphy and the move-
ment of the hand. Transitional and modern
typefaces are more abstract and less or-
ganic. These three main groups correspond
roughly to the Renaissance, Baroque, and
Enlightenment periods in art and literature.
Designers in the twentieth and twenty-first
centuries have continued to create new
typefaces based on historic characteristics.
A basic system for classifying typefaces was
devised in the nineteenth century, when
printers sought to identify a heritage for
their own craft analogous to that of art
history. Humanist letterforms are closely
connected to calligraphy and the move-
ment of the hand. Transitional and modern
typefaces are more abstract and less or-
ganic. These three main groups correspond
roughly to the Renaissance, Baroque, and
Enlightenment periods in art and literature.
Designers in the twentieth and twenty-first
centuries have continued to create new
typefaces based on historic characteristics.
144
Sabon
regular
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 ( )
{}?!@&*
small caps
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
(){}?!&*
bold
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 ( )
{}?!@&*
bold italic
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 ( ) {
}?!@&*
Scala Sans
MxabyogGdQrR regular
A basic system for classifying typefaces was
devised in the nineteenth century, when Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm
printers sought to identify a heritage for their
own craft analogous to that of art history. Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy
Humanist letterforms are closely connected
to calligraphy and the movement of the Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
hand. Transitional and modern typefaces
are more abstract and less organic. These
three main groups correspond roughly to the
Renaissance, Baroque, and Enlightenment caps
periods in art and literature. Designers in
the twentieth and twenty-first centuries have
continued to create new typefaces based on Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
historic characteristics.
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! &
*
italic
A basic system for classifying typefaces was Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm
devised in the nineteenth century, when
printers sought to identify a heritage for their Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy
own craft analogous to that of art history.
Humanist letterforms are closely connected Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
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 bold
the twentieth and twenty-first centuries have
continued to create new typefaces based on Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm
historic characteristics.
Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
145

MxaoygGdQR
A basic system for classifying typefaces
was devised in the nineteenth cen-
tury, when printers sought to identify
a heritage for their own craft analo-
gous to that of art history. Humanist
letterforms are closely connected to
calligraphy and the movement of the
hand. Transitional and modern typefac-
es are more abstract and less organic.
These three main groups correspond
roughly to the Renaissance, Baroque,
and Enlightenment periods in art and
literature. Designers in the twentieth
and twenty-first centuries have contin-
ued to create new typefaces based on
historic characteristics.
A basic system for classifying type-
faces was devised in the nineteenth
century, when printers sought to
identify a heritage for their own
craft analogous to that of art histo-
ry. Humanist letterforms are closely
connected to calligraphy and the
movement of the hand. Transitional
and modern typefaces are more ab-
stract and less organic. These three
main groups correspond roughly
to the Renaissance, Baroque, and
Enlightenment periods in art and
literature. Designers in the twenti-
eth and twenty-first centuries have
continued to create new typefaces
based on historic characteristics.
146
Serifa
axogbGdQrRst
regular
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
(){}?!@&*
italic
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 ( )
{}?!@&*
bold
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(){}?!@&*
black
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(){}?!@&*
Snell Roundhand
regular
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 ( ) { } ? !
@&*
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, vo-
lobor incip et essi.orper sum quamconsed
magniam, quisit accum voloborem alit iuscipit
la consequam dit nulput acing eu feum quat. Ut
luptat at.
147

MxaoygGdQrR
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 cor-
respond roughly to the Renaissance, Ba-
roque, and Enlightenment periods in art
and literature. Designers in the twentieth
and twenty-first centuries have continued
to create new typefaces based on historic
characteristics.
A basic system for classifying typefaces was
devised in the nineteenth century, when
printers sought to identify a heritage for their
own craft analogous to that of art history.
Humanist letterforms are closely connected to
calligraphy and the movement of the hand.
Transitional and modern typefaces are more
abstract and less organic. These three main
groups correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art
and literature. Designers in the twentieth and
twenty-first centuries have continued to create
new typefaces based on historic characteristics.
148
Swift
Bold condensed
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 ( ) { } ? ! @ & *
regular
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 ( ) { } ? ! @
&*
italic
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
123 4567890(){}?!@&*
bold
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 ( ) { } ? ! @
&*
Syntax
MxaoygGdQrR regular
A basic system for classifying typefaces was
devised in the nineteenth century, when
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
printers sought to identify a heritage for
their own craft analogous to that of art
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
history. Humanist letterforms are closely
connected to calligraphy and the move-
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
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 bold
Enlightenment periods in art and literature.
Designers in the twentieth and twenty-first
centuries have continued to create new
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
typefaces based on historic characteristics. Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
}?!@&*
black
A basic system for classifying typefaces Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
was devised in the nineteenth century,
when printers sought to identify a heritage Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu
for their own craft analogous to that of art
history. Humanist letterforms are closely Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
connected to calligraphy and the move-
ment of the hand. Transitional and modern 90(){}?!@&*
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. black
Designers in the twentieth and twenty-first
centuries have continued to create new Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
typefaces based on historic characteristics.
Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
90(){}?!@&*
149

MxanyogGdQrR
A basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a heritage
for their own craft analogous to that of
art history. Humanist letterforms are
closely connected to calligraphy and the
movement of the hand. Transitional and
modern typefaces are more abstract and
less organic. These three main groups
correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art
and literature. Designers in the twentieth
and twenty-first centuries have continued
to create new typefaces based on historic
characteristics.
A basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a heritage
for their own craft analogous to that of
art history. Humanist letterforms are
closely connected to calligraphy and the
movement of the hand. Transitional and
modern typefaces are more abstract and
less organic. These three main groups
correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art
and literature. Designers in the twentieth
and twenty-first centuries have continued
to create new typefaces based on historic
characteristics.
150
Trade Gothic
condensed
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
890(){}?!@&*
medium
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 ( ) { } ?
!@&*
bold
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 ( ) { } ? ! @ & *
bold no.2
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 ( ) { } ?
!@&*
Walbaum
MxyagGdQrR regular
A basic system for classifying typefaces
was devised in the nineteenth century,
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
when printers sought to identify a
heritage for their own craft analogous
Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu
to that of art history. Humanist letter-
forms are closely connected to callig-
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
raphy and the movement of the hand.
Transitional and modern typefaces
(){}?!@&*
are more abstract and less organic.
These three main groups correspond italic
roughly to the Renaissance, Baroque,
and Enlightenment periods in art and
literature. Designers in the twentieth
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
and twenty-first centuries have contin-
ued to create new typefaces based on
Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu
historic characteristics. Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
(){}?!@&*
small caps
A basic system for classifying type- Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
faces was devised in the nineteenth
century, when printers sought to Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu
identify a heritage for their own
craft analogous to that of art history. Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
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 bold
to the Renaissance, Baroque, and
Enlightenment periods in art and Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj
literature. Designers in the twentieth
and twenty-first centuries have con- Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt
tinued to create new typefaces based
on historic characteristics. Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7
890(){}?!@&*
151
 Volta

MyogGdQrR regular

A basic system for classifying type-

faces was devised in the nineteenth
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj
century, when printers sought to
identify a heritage for their own
Kk Ll Mm Nn Oo Pp Qq Rr Ss
craft analogous to that of art history.
Humanist letterforms are closely
Tt Uu Vv Ww Xx Yy Zz 1 2 3
connected to calligraphy and the
movement of the hand. Transitional
4567890(){}?!@&*
and modern typefaces are more ab-
stract and less organic. These three medium
main groups correspond roughly
to the Renaissance, Baroque, and
Enlightenment periods in art and
Aa Bb Cc Dd Ee Ff Gg Hh Ii
literature. Designers in the twentieth
and twenty-first centuries have con-
Jj Kk Ll Mm Nn Oo Pp Qq Rr
tinued to create new typefaces based
on historic characteristics.
Ss Tt Uu Vv Ww Xx Yy Zz 1 2
3 4567890(){}?!@&*

medium italic

A basic system for classifying type- Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj

faces was devised in the nineteenth
century, when printers sought to Kk Ll Mm Nn Oo Pp Qq Rr Ss
identify a heritage for their own
craft analogous to that of art histo- Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5
ry. Humanist letterforms are close-
ly connected to calligraphy and the 67890(){}?!@&*
movement of the hand. Transitional
and modern typefaces are more ab-
stract and less organic. These three
main groups correspond roughly bold
to the Renaissance, Baroque, and
Enlightenment periods in art and Aa Bb Cc Dd Ee Ff Gg Hh
literature. Designers in the twenti-
eth and twenty-first centuries have Ii Jj Kk Ll Mm Nn Oo Pp
continued to create new typefaces
based on historic characteristics. Qq Rr Ss Tt Uu Vv Ww
Xx Yy Zz 1 2 3 4 5 6 7 8 9
152 0(){}?!@&*
Designed by Déla Breyne. Class project for Professor Herstowski's
Typography 02 at the University of Kansas, Spring 2011. Text for
the book was compiled from the following sources: Elements of
Typographic Style by Robert Bringhurst, Getting it Right with Type:
the Do's and Don'ts of Typography by Victoria Square, Mac is Not
A Typewriter by Robin Williams. This book is not to be sold to the
public and to only be used by the designer for their reference and
student design portfolio.