BREANNEREVISED!!

DETAILS
a typography workbook
TABLE OF CONTENTS
Rules 4
X-Height 6
Hyphenation Rules 18
Alignments 24
Justification 28
Combining Typefaces 42
Quotes, Apostrophes, Dashes
52
Special Characters 58
Bullets 60
Numerals/Figures 64
Small Caps 66
Paragraph Breaks 70
Header, Subheads & Crossheads 82
Captions and Endnotes 90
Font Specs 100
R
RULES
The following is a compendium of the rules established in this book. You

might want to check through them each time you complete a publication.
s
s
ssss
s s
s
ssss
s
s ss
ss s
s
s
s
s
s s
Use only one space between sentences.

Use real quotation marks.
Use real apostrophes.
Make sure the apostrophes are where
they belong.
Hang the punctuation off the aligned edge.
Use en or em dashes, use consistently.
Kern all headlines where necessary.
Never use the spacebar to align text,
always set tabs and use the tab key.
Leave no widows or orphans.
Avoid more than 3 hyphenations in a row.
Avoid too many hyphenations in
any paragraph.
Avoid hyphenating or line brakes of
names and proper nouns.
Leave a least 2 characters on the line and
3 following.
Avoid beginning consecutive lines with
the same word.
Avoid ending consecutive lines with the
same word.
Avoid ending lines with the words: the,
of, at, a, by.
Never hyphenate a words in a headline
and avoid hyphenation in a callout.
Never justify the text on a short line.
Keep the word spacing consistent.
Tighten up the leading in lines with

all caps or with few ascenders and descenders.
Use a one-em first-line indent on all
indented paragraphs.
Adjust the spacing between paragraphs.
Either indent the first line of paragraphs or
add extra space between them not both.
Use a decimal or right-aligned tab for the
numbers in numbered paragraphs.
Never have one line in a paragraph in the
column or following.
Never combine two serif fonts on one page.
Rarely combine two sans serif fonts on one page.
Rarely combine more than three typefaces
on one page.
Use the special characters whenever necessary,
including super and subscript.
Spend the time to create nice fraction or
chose a font that has fractions.
If a correctly spelled word needs an accent
mark, use it.
X-HEIGHT
Readability and legibility are two key

elements of printed text that typographer
strive to maximize.
In typography, color can also describe the

balance between black and white on the
page of text.
Readability means an extended amount of

text such as an article, book, or annual
report is easy to read.
A typefaces color is determined by stroke width,

x-height, character width and serif styles.
Legibility refers to whether an refers to

whether a short burst of text such as a
headline catalog listing, or stop sign is
instantly recognizable.
As a designer, if you are only asked to make
the text readable on the page the following
questions should be asked ...
There are several factors that determine

whether a text is readable. When deciding
what typeface should be used for a job,
consideration should be given to the
typeface and its x-height. It is important to
understand how a block of text can express a
message through its texture/color, therefore
suiting a particular design solution. Fonts set
in the same size, same leading and column
width will produce varying degrees of color.
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.
Xxhg
X xhg
72 point
AKZIDENZ GROTESK
berthold type foundry
BASKERVILLE
john baskerville
Futurism was first announced on February 20, 1909, when the

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

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

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

the Paris newspaper Le Figaro published a manifesto by
the Italian poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived to be the static
and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism
rejected traditions and glorified contemporary life, mainly
by emphasizing two dominant themes, the machine and
motion. The works were characterized by the depiction of
several successive actions of a subject at the same time.
Marinettis manifesto glorified the new technology of the
automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the
sweeping repudiation of traditional cultural, social, and
political values and the destruction of such cultural institutions as museums and libraries.
average x-height
wide width
medium in color
average x-height
average width
light in color
Xx h g
Xxhg
72 point
DIN
d stempel ag foundry
FRUTIGER
adrian frutiger

themes, the machine and motion. The works were characterized by the depiction of several successive actions of a
subject at the same time. Marinettis manifesto glorified the
new technology of the automobile and the beauty of its speed,
power, and movement. He exalted violence and conflict and
called for the sweeping repudiation of traditional cultural,
social, and political values and the destruction of such cultural institutions as museums and libraries.

the Italian poet and editor Filippo Tommaso Marinetti. The
name Futurism, coined by Marinetti, reflected his emphasis
on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected traditions
and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were
characterized by the depiction of several successive actions
of a subject at the same time. Marinettis manifesto glorified
the new technology of the automobile and the beauty of its
speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional
cultural, social, and political values and the destruction of
such cultural institutions as museums and libraries.
average x-height
narrow width
medium in color
large x-height
wide width
medium in color
10
X xh g
Xx h g

celebrating change, originality, and innovation in culture and
society. Futurism rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant themes, the machine
and motion. The works were characterized by the depiction
of several successive actions of a subject at the same time.
Marinettis manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the
destruction of such cultural institutions as museums and libraries.
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
motion. The works were characterized by the depiction of several successive actions of a subject at the
same time. Marinettis manifesto glorified the new
technology of the automobile and the beauty of its
speed, power, and movement.
average x-height
wide width
medium in color
large x-height
wide width
light in color
FUTURA
paul renner
GOTHAM
tobias frere-jones
11
X xhg
X x hg
72 point
HELVETICA NEUE 55
max miedinger
INTERSTATE
tobias frere-jones

themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinettis manifesto glorified the new
technology of the automobile and the beauty of its speed,
called for the sweeping repudiation of traditional cultural,
social, and political values and the destruction of such cultural institutions as museums and libraries.

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
characterized by the depiction of several successive actions
of a subject at the same time. Marinettis manifesto glorified
the new technology of the automobile and the beauty of its
speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional
large x-height
wide width
medium in color
large x-height
narrow width
dark in color
12
X xh g Xx hg
MELIOR
herman zapf
MEMPHIS
rudolf wolf
Futurism was first announced on February 20, 1909, when Futurism was first announced on February 20, 1909,
the Paris newspaper Le Figaro published a manifesto by the when the Paris newspaper Le Figaro published a maniItalian poet and editor Filippo Tommaso Marinetti. The namefesto by the Italian poet and editor Filippo Tommaso
Futurism, coined by Marinetti, reflected his emphasis on
Marinetti. The name Futurism, coined by Marinetti,
discarding what he conceived to be the static and irrelevant reflected his emphasis on discarding what he conceived
art of the past and celebrating change, originality, and inno- to be the static and irrelevant art of the past and celvation in culture and society. Futurism rejected traditions
ebrating change, originality, and innovation in culture
and glorified contemporary life, mainly by emphasizing two and society. Futurism rejected traditions and glorified
dominant themes, the machine and motion. The works were contemporary life, mainly by emphasizing two domicharacterized by the depiction of several successive actions nant themes, the machine and motion. The works were
of a subject at the same time. Marinettis manifesto glorified characterized by the depiction of several successive
the new technology of the automobile and the beauty of its actions of a subject at the same time. Marinettis manispeed, power, and movement. He exalted violence and con- festo glorified the new technology of the automobile
flict and called for the sweeping repudiation of traditional
and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweepsuch cultural institutions as museums and libraries.
ing repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.
average x-height
average width
light in color
average x-height
average width
medium in color
13
Xx hg
X xhg
72 point
META
erik spiekermann
MRS. EAVES
zuzana licko

and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinettis
manifesto glorified the new technology of the automobile and the
beauty of its speed, power, and movement. He exalted violence
and conflict and called for the sweeping repudiation of traditional
Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism rejected
traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the
same time. Marinettis manifesto glorified the new technology of the
automobile and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping repudiation of
traditional cultural, social, and political values and the destruction of
large x-height
average width
medium in color
small x-height
average width
light in color
14
Xxh g X xhg
PALATINO
hermann zapf
PERPETUA
eric gill
the Paris newspaper Le Figaro published a manifesto by the newspaper Le Figaro published a manifesto by the Italian poet and editor
Italian poet and editor Filippo Tommaso Marinetti. The name Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti,
Futurism, coined by Marinetti, reflected his emphasis on dis- reflected his emphasis on discarding what he conceived to be the static
carding what he conceived to be the static and irrelevant art and irrelevant art of the past and celebrating change, originality, and
of the past and celebrating change, originality, and innovation innovation in culture and society. Futurism rejected traditions and gloriin culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the
fied contemporary life, mainly by emphasizing two dominant machine and motion. The works were characterized by the depiction of
themes, the machine and motion. The works were character- several successive actions of a subject at the same time. Marinettis maniized by the depiction of several successive actions of a subject festo glorified the new technology of the automobile and the beauty of its
at the same time. Marinettis manifesto glorified the new tech-speed, power, and movement. He exalted violence and conflict and called
nology of the automobile and the beauty of its speed, power, for the sweeping repudiation of traditional cultural, social, and political
values and the destruction of such cultural institutions as museums and
and movement. He exalted violence and conflict and called
libraries.
for the sweeping repudiation of traditional cultural, social,
and political values and the destruction of such cultural institutions as museums and libraries.
average x-height
wide width
medium in color
small x-height
average width
light in color
15
Xx h g
Xxhg
72 point
ROTIS
otl aicher
SERIFA
adrian frutiger
Marinetti, reflected his emphasis on discarding what he conceived to
be the static and irrelevant art of the past and celebrating change,
dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at
the same time. Marinettis manifesto glorified the new technology of
the automobile and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping repudiation
of traditional cultural, social, and political values and the destruction
of such cultural institutions as museums and libraries.

the Italian poet and editor Filippo Tommaso Marinetti. The
name Futurism, coined by Marinetti, reflected his emphasis
on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The
works were characterized by the depiction of several successive actions of a subject at the same time. Marinettis
manifesto glorified the new technology of the automobile
and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political
values and the destruction of such cultural institutions as
museums and libraries.
average x-height
narrow width
medium in color
small x-height
wide width
medium in color
16
X xh g Xx hg
UNIVERS
adrian frutiger
WALBAUM
erich walbaum
Futurism was first announced on February 20, 1909, when Futurism was first announced on February 20, 1909,
when the Paris newspaper Le Figaro published a manithe Italian poet and editor Filippo Tommaso Marinetti. The festo by the Italian poet and editor Filippo Tommaso
name Futurism, coined by Marinetti, reflected his emphasis Marinetti. The name Futurism, coined by Marinetti,
on discarding what he conceived to be the static and irrel- reflected his emphasis on discarding what he conceived
evant art of the past and celebrating change, originality,
to be the static and irrelevant art of the past and celand innovation in culture and society. Futurism rejected tra- ebrating change, originality, and innovation in culture
ditions and glorified contemporary life, mainly by empha- and society. Futurism rejected traditions and glorified
sizing two dominant themes, the machine and motion.
contemporary life, mainly by emphasizing two domiThe works were characterized by the depiction of several nant themes, the machine and motion. The works were
successive actions of a subject at the same time. Marinettischaracterized by the depiction of several successive
manifesto glorified the new technology of the automobile actions of a subject at the same time. Marinettis maniand the beauty of its speed, power, and movement. He
festo glorified the new technology of the automobile
exalted violence and conflict and called for the sweepand the beauty of its speed, power, and movement. He
ing repudiation of traditional cultural, social, and political exalted violence and conflict and called for the sweepvalues and the destruction of such cultural institutions as ing repudiation of traditional cultural, social, and politimuseums and libraries.
cal values and the destruction of such cultural institutions as museums and libraries.
large x-height
narrow width
light in color
large x-height
average width
light in color
17
HYPHENATION RULES
Hyphenate words with at least 6 letters

Hyphenate after the first 3 letters
Hyphenate before the last 2 letters
A 0 hyphen limit
A 0 inch hyphenation zone
Hyphenate last word
Hyphenate across column
Hyphenation rules pay attention to:

s
s
s
The difficulty is making the ragged edge

have a pleasing silhouette. When the first
line in the text is longer than the second, it
becomes separate from the layout and creates
a box-like shape. This destroys one of the
advantages of unjustified text. The ragged
edge needs to have a life, but a narrow column
can be less active. Another advantage to
ragged text is less hyphenation is needed.
Therefore, names, dates or words which are
normally read together can stay together.
Hyphenation Settings
s s s s s s s
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.
s
s
s
s
19
How the text is read avoid widows (one

word on the last line of a paragraph)
Avoid hyphenating or line brakes of
names and proper nouns
Leave a least 2 characters on the line
and 3 following
Avoid beginning consecutive lines with
the same word
Avoid ending consecutive lines with
the same word
Avoid ending lines with the words: the,
of, at, a, by.
Never hyphenate a words in a headline
and avoid hyphenation in a callout
HEADLINES
Dont hyphenate headlines. Thats a law.
Don Quixote de la Mancha
Dont laughI have actually

seen this as a printed headline.
Someone did it.
Also, watch where the first line of a two-line headline Dont leave widows (very short last lines) in headlines.
Man Walks Barefoot Across Bay
endsdoes it create a silly or misleading phrase?
Bridge
Fix it.
Professor and Therapist to Lecture
Dont Lose Your Self

Respect
Fix it either way, or rewrite!
Man Walks Barefoot Across Bay Bridge

Man Walks Barefoot
Across Bay Bridge
LINE BREAKS
What are bad line breaks anyway?
Look for bad line breaks throughout every line of body copy. Of
course, do this only on the final copy, after all editing has been done!
Here are several examples of the sorts of things to look for:
20
s
s s
Casing
Adder Bat
Heresey borsch-boil starry
a boarder borsch boil gam

plate lung, lung a gore inner
ladle wan-hearse torn couled
Mutt-fill.
Mutt-fill worsen mush
offer torn, butted hatter putty
gut borsch-boil tame, an
off oiler pilers honor tame,
door moist cerebrated worse
Casing. Casing worsted
sickened basement, any hatter
betting orphanage off .526
(fife toe sex).
Casing worse gut lurking
an furry piplarspatially
wetter gull coiled Any-bally.
Any-bally worse Casings
sweat-hard, any harpy cobble
wandered toe gat merit, bought
Casing worse toe pore toe
becalm Any-ballys horsebarn.
(Boil pliers honor Mutt-fill
tame dint gat mush offer
celery; infect, day gut nosing
atoll.)
But less gat earn wetter
starry.
s s
Heresey borsch-boil starry a

boarder borsch boil gam
plate lung, lung a gore inner ladle wan-hearse torn
couled Mutt-fill.
Mutt-fill worsen mush offer 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
sex).
Casing worse gut lurking
an furry piplarspatially
wetter gull coiled Any-bally.
Any-bally worse Casings
sweat-hard, any harpy cobble
wandered toe gat merit,
bought Casing worse toe
pore toe becalm Any-ballys
horsebarn. (Boil pliers honor
Mutt-fill tame dint gat mush
offer celery; infect, day gut
nosing atoll.)
But less gat earn wetter starry.
7
8
Casing Adder
Bat
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 bump it down 5 Never hyphenate a persons
name. I had to go up a few lines, bump off down, which bumped the other line endings
down. This also took care of the inappropriate widow in 6. 7 There is plenty of room to squeeze
bought on this line, perhaps by kerning the line a tiny bit. 8 Horsebarn is a good long word
that could be hyphenated; type a dischy. Better yet. when bought moved up, it gave enough
room to move horsebarn up. If not, try opening the text block or text box a wee bit. 9 Edit: to
get rid of that terrible widow, exchange a short word for a long word.
21
WIDOWS AND ORPHANS

Never leave widows and orphans bereft on the page. Avoid both
of these situations. If you have editing privileges, rewrite the
copy, or at least add or delete a word or two. Sometimes you can
remove spacing from the letters, words, or lines, depending on
which program youre 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, the other part being paraphrased on the line above.
Orphan
When the last line of a paragraph, be it ever so long, wont 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.
22
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.
23
ALIGNMENTS
If someone insists that fully justified text is

better than left-aligned text, tell them they
are wrong. If someone else tells you that leftaligned text is better than justified text, tell
them they are wrong.
If they are both wrong, then whats right?
Alignment is only a small piece of the
puzzle. What works for one design might be
totally inappropriate for another layout. As
with all layouts, it depends on the purpose of
the piece, the audience and its expectations,
the fonts, the margins and white space,
and other elements on the page. The most
appropriate choice is the alignment that
works for that particular design.
Right and wrong do not exist in graphic

design. There is only effective and non-effective
communication. Peter Bilak - Illegibility
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 explain why you chose
the alignment you did and be prepared to
change it (and make necessary adjustments
to keep it looking good) if the person with
final approval still insists on something different.
25
JUSTIFIED TEXT
Traditionally many books, newsletters, and newspapers use fulljustification 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.
s s
s
s
s
26
Often considered more formal, less friendly than left-aligned text.

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

s
s
s
Often considered more informal, friendlier than justified text.

The ragged right edge adds an element of white space.
May require extra attention to hyphenation to keep right margin
from being too ragged.
Generally type set left-aligned is easier to work with (i.e.
requires less time, attention, and tweaking from the designer to
make it look good).
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, dont center it.
27
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 dont have many
words on the line, than as the type aligns to
the margins the words space themselves to
accommodate it. It usually looks awkward.
Youve seen newspaper columns where all
text is justified, often with a word stretching
all the way across the column, or a little
word on either side of the column with a big
gap in the middle. Gross. But thats 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.
29
Here is a general guideline for determining if your

line length is long enough to satisfactorily justify
the text:
The line length in picas should be about twice the point size of the
type; that is, if the type you are using is 12 point, the line length
should be at least 24 picas (24 picas is 4 inches-simply divide the
number of picas by 6, as there are 6 picas per inch). Thus 9-point
type should be on an 18-pica line (3 inches) before you try to justify
it, and 18-point type should be on a 36-pica line (6 inches). The
rulers in most programs can be changed to picas, if you like.
Justified text was the style for many years-we grew up on it. But
there has been a great deal of research done on readability (how easy
something is to read) and it shoes that those disruptive, inconsistent
gaps between the words inhibit the flow of reading. Besides, they
look dumb. Keep your eyes open as you look at professionally
printed work (magazines, newsletters, annual reports, journals) and
youll find theres a very strong trend to align type on the left and
leave the right ragged.
30
JUSTIFICATION
examples...
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 dont have many words on the line,
than as the type aligns to the margins the
words space themselves to accommodate it.
It usually looks awkward. Youve seen newspaper columns where all text is justified, often with a word stretching all the way across
the column, or a little word on either side
of the column with a big gap in the middle.
Gross. But thats 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.
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 yearswe grew up on it. But there has been a great
deal of research done on readability (how
easy something is to read) and it shoes that
those disruptive, inconsistent gaps between
the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open
as you look at professionally printed work
(magazines, newsletters, annual reports,
journals) and youll find theres a very strong
trend to align type on the left and leave the
right ragged.
When your work comes out of the printer,

turn it upside down and squint at it. The rivers will be very easy to spot. Get rid of them.
Try squinting at the example on the bottom
of the previous page.
Adobe Caslon
Here is a general guideline for determining

if your line length is long enough to satisfactorily justify the text: the line length in picas
should be about twice the point size of the
type; that is, if the type you are using is 12
point, the line length should be at least 24
picas (24 picas is 4 inches-simply divide the
number of picas by 6, as there are 6 picas per
inch). Thus 9-point type should be on an 18-
Spacing
minimum: 80
maximum: 100
desired: 133
This is the default justification set by
InDesign. It works relatively well, there are a
few large spaces nuy overall it works well.
31

where the text goes all the way across the page.
If your line is shorter, as in newsletter, or if
you dont have many words on the line, than
as the type aligns to the margins the words
space themselves to accommodate it. It usually looks awkward. Youve seen newspaper
columns where all text is justified, often with a
word stretching all the way across the column,
or a little word on either side of the column
with a big gap in the middle. Gross. But thats
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
with uncomfortable gaps in some lines, while
other lines will be all squished together.
should be on a 36-pica line (6 inches). The

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

turn it upside down and squint at it. The rivers
will be very easy to spot. Get rid of them. Try
squinting at the example on the bottom of the
previous page.
Adobe Caslon
Here is a general guideline for determining if

your line length is long enough to satisfactorily
justify the text: the line length in picas should
be about twice the point size of the type; that
is, if the type you are using is 12 point, the line
length should be at least 24 picas (24 picas is 4
inches-simply divide the number of picas by
6, as there are 6 picas per inch). Thus 9-point
type should be on an 18-pica line (3 inches)
before you try to justify it, and 18-point type
Spacing
minimum: 50
maximum: 70
desired: 60
These settings also work well. There are
few awkward windows ans the text flows
nicely although it has left a widow on the last
paragraph. The spacing between words has
gotten tighter.
32

page. If your line is shorter, as in newsletter, or if you dont have many words on the
line, than as the type aligns to the margins
the words space themselves to accommodate it. It usually looks awkward. Youve
seen newspaper columns where all text is
justified, often with a word stretching all
the way across the column, or a little word
on either side of the column with a big
gap in the middle. Gross. But thats 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.
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 yearswe grew up on it. But there has been a
great deal of research done on readability
(how easy something is to read) and it
shoes that those disruptive, inconsistent
gaps between the words inhibit the flow
of reading. Besides, they look dumb. Keep
your eyes open as you look at professionally
printed work (magazines, newsletters, annual
reports, journals) and youll find theres a
very strong trend to align type on the left
and leave the right ragged.

turn it upside down and squint at it. The
rivers will be very easy to spot. Get rid of
them. Try squinting at the example on the
bottom of the previous page.
Adobe Caslon

number of picas by 6, as there are 6 picas
per inch). Thus 9-point type should be on
Spacing
minimum: 30
maximum: 200
desired: 160
The word spacing has gotten much wider.
There are more rivers and the spacing makes
the paragraphs look disconnected.
33
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 dont have
many words on the line, than as the type aligns
to the margins the words space themselves to
accommodate it. It usually looks awkward.
Youve seen newspaper columns where all text
is justified, often with a word stretching all the
way across the column, or a little word on either
side of the column with a big gap in the middle.
Gross. But thats 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
upwithuncomfortablegapsinsomelines,while
otherlineswillbeallsquishedtogether.
canbechangedtopicas,ifyoulike.
Justified text was the style for many years-we
grew up on it. But there has been a great deal of
research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words
inhibit the flow of reading. Besides, they look
dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and youll find
theres a very strong trend to align type on the
leftandleavetherightragged.
When your work comes out of the printer, turn

it upside down and squint at it. The rivers will be
very easy to spot. Get rid of them. Try squinting
at the example on the bottom of the previous
page.
Adobe Caslon
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 inchessimply 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 36pica line (6 inches). The rulers in most programs
Spacing
minimum: 10
maximum: 10
desired: 10
These settings leave an orphan at the end of
the third paragraph. They have also made
many words run together, making it very
difficult to read.
34

page. If your line is shorter, as in newsletter,
or if you dont have many words on the line,
than as the type aligns to the margins the
words space themselves to accommodate it.
It usually looks awkward. Youve seen newspaper columns where all text is justified, often with a word stretching all the way across
the column, or a little word on either side
of the column with a big gap in the middle.
Gross. But thats 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
squished together.

on a 36-pica line (6 inches). The rulers in
most programs can be changed to picas, if
you like.
those disruptive, inconsistent gaps between
the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes
open as you look at professionally printed
work (magazines, newsletters, annual reports, journals) and youll find theres a very
strong trend to align type on the left and

of the previous page.
Adobe Caslon

if your line length is long enough to satisfactorily justify the text: the line length in
picas should be about twice the point size of
the type; that is, if the type you are using is
12 point, the line length should be at least
24 picas (24 picas is 4 inches-simply divide
the number of picas by 6, as there are 6 picas
per inch). Thus 9-point type should be on
Spacing
minimum: 85
maximum: 250
desired: 110
These are the proper justification settings.
The paragraphs now have room to breathe but
there are a few rivers in the last paragraph.
35

across the page. If your line is shorter,
as in newsletter, or if you dont have
many words on the line, than as the type
aligns to the margins the words space
themselves to accommodate it. It usually
looks awkward. Youve seen newspaper
columns where all text is justified, often
with a word stretching all the way across
the column, or a little word on either
side of the column with a big gap in the
middle. Gross. But thats 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
with uncomfortable gaps in some lines,
while other lines will be all squished together.
inches-simply divide the number of picas

by 6, as there are 6 picas per inch). Thus
9-point type should be on an 18-pica line
(3 inches) before you try to justify it, and
18-point type should be on a 36-pica line
(6 inches). The rulers in most programs
Justified text was the style for many
years-we grew up on it. But there has
been a great deal of research done on
readability (how easy something is to
read) and it shoes that those disruptive,
inconsistent gaps between the words inhibit the flow of reading. Besides, they
look dumb. Keep your eyes open as
you look at professionally printed work
(magazines, newsletters, annual reports, journals) and youll find theres a
very strong trend to align type on the left
When your work comes out of the printer, turn it upside down and squint at it.
The rivers will be very easy to spot. Get
rid of them. Try squinting at the example
on the bottom of the previous page.
Helvetica
Spacing
minimum: 80
maximum: 100
desired: 133
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
This is the default justification set by

InDesign. They allow for paragraphs to be
justified evenly but some of the word spacing
feels awkward
36

across the page. If your line is shorter, as
in newsletter, or if you dont have many
words on the line, than as the type aligns to
the margins the words space themselves
to accommodate it. It usually looks awkward. Youve seen newspaper columns
where all text is justified, often with a word
stretching all the way across the column,
or a little word on either side of the column
with a big gap in the middle. Gross. But
thats 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
squished together.
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.
inconsistent gaps between the words
inhibit the flow of reading. Besides, they
look dumb. Keep your eyes open as you
look at professionally printed work (magazines, newsletters, annual reports,
journals) and youll find theres a very
strong trend to align type on the left and

rivers will be very easy to spot. Get rid of
them. Try squinting at the example on the
bottom of the previous page.
Helvetica
Spacing
Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in
picas should be about twice the point size
of the type; that is, if the type you are using is 12 point, the line length should be at
least 24 picas (24 picas is 4 inches-simply
divide the number of picas by 6, as there
minimum: 50
maximum: 70
desired: 60
These settings also work well. There are few
awkward windows ans the text flows nicely
although it split up the parentheses in the
third paragraph. The spacing between words
has gotten tighter.
37

across the page. If your line is shorter,
as in newsletter, or if you dont have
many words on the line, than as the type
aligns to the margins the words space
themselves to accommodate it. It usually
looks awkward. Youve seen newspaper
columns where all text is justified, often
with a word stretching all the way across
the column, or a little word on either
side of the column with a big gap in
the middle. Gross. But thats 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.
(24 picas is 4 inches-simply divide the

number of picas by 6, as there are 6
picas per inch). Thus 9-point type should
be on an 18-pica line (3 inches) before
you try to justify it, and 18-point type
should be on a 36-pica line (6 inches).
The rulers in most programs can be
changed to picas, if you like.
inconsistent gaps between the words inhibit the flow of reading. Besides, they
look dumb. Keep your eyes open as
you look at professionally printed work
(magazines, newsletters, annual reports,
journals) and youll find theres a very
strong trend to align type on the left

rivers will be very easy to spot. Get rid
of them. Try squinting at the example on
the bottom of the previous page.
Helvetica
Spacing
minimum: 30
maximum: 200
desired: 160
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
The word spacing works reletavly well.

There are a few awkward spaces in the last
paragraph especially.
38

page. If your line is shorter, as in newsletter, or if you dont have many words on the
line, than as the type aligns to the margins
the words space themselves to accommodate it. It usually looks awkward. Youve
seen newspaper columns where all text is
justified, often with a word stretching all the
way across the column, or a little word on either side of the column with a big gap in the
middle. Gross. But thats 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
willbeallsquishedtogether.
18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36pica line (6 inches). The rulers in most programscanbechangedtopicas,ifyoulike.
those disruptive, inconsistent gaps between the words inhibit the flow of reading.
Besides, they look dumb. Keep your eyes
open as you look at professionally printed
work (magazines, newsletters, annual
reports, journals) and youll find theres a
very strong trend to align type on the left and
leavetherightragged.

ofthepreviouspage.
Helvetica

number of picas by 6, as there are 6 picas
per inch). Thus 9-point type should be on an
Spacing
minimum: 10
maximum: 10
desired: 10
These settings make the type feel over
crowded and make the paragraphs look like a
block rather than a readable excerpt.
39
10

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 dont
have many words on the line, than as
the type aligns to the margins the words
space themselves to accommodate it.
It usually looks awkward. Youve seen
newspaper columns where all text is
justified, often with a word stretching
all the way across the column, or a little
word on either side of the column with a
big gap in the middle. Gross. But thats
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.
picas is 4 inches-simply divide the

number of picas by 6, as there are 6
picas per inch). Thus 9-point type
should be on an 18-pica line (3 inches)
before you try to justify it, and 18-point
type should be on a 36-pica line (6
inches). The rulers in most programs
read) and it shoes that those disruptive, inconsistent gaps between the
words inhibit the flow of reading. Besides, they look dumb. Keep your eyes
open as you look at professionally
printed work (magazines, newsletters,
annual reports, journals) and youll find
theres a very strong trend to align type
on the left and leave the right ragged.
rid of them. Try squinting at the example on the bottom of the previous page.
Helvedica
Spacing
minimum: 100
maximum: 100
desired: 100
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
This is a uniform spacing but it leaves lots

of rivers and makes the paragraphs look
disconnected and not pleasing to read.
40
11

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 dont
have many words on the line, than as
the type aligns to the margins the words
space themselves to accommodate it.
It usually looks awkward. Youve seen
newspaper columns where all text is
justified, often with a word stretching all
the way across the column, or a little
word on either side of the column with a
big gap in the middle. Gross. But thats
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.
4 inches-simply divide the number of

picas by 6, as there are 6 picas per
inch). Thus 9-point type should be on
on a 36-pica line (6 inches). The rulers
in most programs can be changed to
picas, if you like.
inconsistent gaps between the words
inhibit the flow of reading. Besides,
they look dumb. Keep your eyes open
as you look at professionally printed
work (magazines, newsletters, annual
reports, journals) and youll find theres
a very strong trend to align type on the
left and leave the right ragged.
rid of them. Try squinting at the example
on the bottom of the previous page.
Helvedica
Spacing
minimum: 85
maximum: 250
desired: 110
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
These are the proper justification settings.

Although the paragraphs seem more connected there are rivers and windows in all
the paragraphs.
41
COMBINING TYPEFACES
When combining serif and sans serif

text fonts, one shroud try and match the
characteristics of form and type color:
proportion, x-heights.
There is not binding recipe for type

combinations. It is a matter of typographic
sensitivity and experience. Expert typographers,
as well as careless amateurs permit
themselves combinations that would horrify
colleagues with more traditional sympathies.
Although there is not recipe there is a place

to start: keep an eye on the characteristic
shapes of the letterform. A well designed
page contains no more than two different
typefaces or four different type variations
such as type size and bold or italic style. (Using 2 different serif fonts or 2 different sans
serifs fonts in the same composition is never
a good idea)
43
FONT COMBINATIONS
examples...
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first announced on February
20, 1909, when the Paris newspaper Le Figaro published a manifesto
by the Italian poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on discarding
what he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and society.
Futurism rejected traditions and glorified contemporary life, mainly
by emphasizing two dominant themes, the machine and motion.
The works were characterized by the depiction of several successive
actions of a subject at the same time. Marinettis manifesto glorified the new technology of the automobile and the beauty of its
speed, power, and movement. He exalted violence and conflict and
called for the sweeping repudiation of traditional cultural, social, and
political values and the destruction of such cultural institutions as
museums and libraries.
aa BB ee GG gg
bembo | 16pt | humanist | & gill sans | 24pt | old style

These two fonts work together not only because they provide good contrast,
but also similarities. They have similar proportions but the monoweight Gill
Sans contrasts well with the varied weight of Bembo.
44
C
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published
a manifesto by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected traditions
characterized by the depiction of several successive actions of
a subject at the same time. Marinettis manifesto glorified the
new technology of the automobile and the beauty of its speed,
called for the sweeping repudiation of traditional cultural, social,
and political values and the destruction of such cultural institutions as museums and libraries.
aa BB ee GG gg
franklin gothic | 16pt | grotesque | & garamond | 24pt | old style

Garamond has a smaller x-height so a larger, bold header is required for
ample contrast. The contrast between the italic Garamond and the monoweight Franklin Gothic is nice.
45
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
innovation in culture and society. Futurism rejected traditions and
glorified contemporary life, mainly by emphasizing two dominant
themes, the machine and motion. The works were characterized by
the depiction of several successive actions of a subject at the same
time. Marinettis manifesto glorified the new technology of the
automobile and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the
aa BB ee GG gg
baskerville | 16pt | transitional | & futura | 24pt | geometric

Futuras condensed nature contrasts nicely with Baskervilles wider letters.
The bold set of Futura adds to this contrast.
46
WORDS IN LIBERTY
WORDS IN LIBERTY

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

manifesto by the Italian poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant art of the
past and celebrating change, originality, and innovation in culture
and society. Futurism rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant themes, the machine and
motion. The works were characterized by the depiction of several
successive actions of a subject at the same time. Marinettis manifesto
glorified the new technology of the automobile and the beauty of its
and political values and the destruction of such cultural institutions
as museums and libraries.
aa BB ee GG gg
mrs. eaves | 16pt | transitional | & frutiger | 24pt | humanist

Mrs. Eaves has such a small x-height it is easy for Frutiger to take priority
and provide contrast. Fruitgers tall characteristics sand tall to Mrs. Eaves
stout nature.
aa BB ee GG gg
futura | 16pt | geometric | & walbaum | 24pt | modern

Italic Walbaum stands up to the roman Futura. The Walbaum header must
be bold to provide more contrast to the mono-weight Futura body.
47
WORDS IN LIBERTY
February 20, 1909, when the Paris newspaper Le Figaro
published a manifesto by the Italian poet and editor Filippo
Tommaso Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he conceived to be
the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The
works were characterized by the depiction of several successive
actions of a subject at the same time. Marinettis manifesto
glorified the new technology of the automobile and the beauty
of its speed, power, and movement. He exalted violence and
conflict and called for the sweeping repudiation of traditional
aa BB ee GG gg
bodoni | 16pt | modern | & interstate | 24pt | grotesque

These two fonts work relatively well together. The relationship between
them is confusing. Both typefaces are sharp and dont blend well.
48
WORDS IN LIBERTY
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first announced

on February 20, 1909, when the Paris newspaper Le
Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant
art of the past and celebrating change, originality, and
motion. The works were characterized by the depiction
of several successive actions of a subject at the same
time. Marinettis manifesto glorified the new technology
of the automobile and the beauty of its speed, power,
and movement. He exalted violence and conflict and
called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of
A Prologue to Futurism: Futurism was first announced

on February 20, 1909, when the Paris newspaper Le
Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant
art of the past and celebrating change, originality, and
motion. The works were characterized by the depiction
of several successive actions of a subject at the same
time. Marinettis manifesto glorified the new technology
of the automobile and the beauty of its speed, power,
and movement. He exalted violence and conflict and
called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of
aa BB ee GG gg
aa BB ee GG gg
bookman | 16pt | new transitional | & univers | 24pt | grotesque

These fonts are very compatible. Their similar x-heights allow them to
blend well together.
bookman | 16pt | new transitional | & eurostile | 24pt | geometric

The angular Eurostile contrasts with Bookmans wide characters. Eurostile
has to be in bold to have enough contrast to Bookman.
49
WORDS IN LIBERTY
February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso
innovation in culture and society. Futurism rejected traditions and
glorified contemporary life, mainly by emphasizing two dominant
themes, the machine and motion. The works were characterized
by the depiction of several successive actions of a subject at the
same time. Marinettis manifesto glorified the new technology
of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping
repudiation of traditional cultural, social, and political values and the
aa BB ee GG gg
eurostile | 16pt | geometric | & clarendon | 24pt | slab serif

Because Clarendon is such a strong slab serif it can stand as a header in
contrast to the thin Eurostile.
50
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first announced on February
20, 1909, when the Paris newspaper Le Figaro published a manifesto
by the Italian poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on discarding
what he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life,
mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinettis manifesto
glorified the new technology of the automobile and the beauty of its
and political values and the destruction of such cultural institutions
as museums and libraries.
aa BB ee GG gg
rockwell | 16pt | slab serif | & fruitger | 24pt | humanist

Fruitger and Rockwell have very similar x-heights making them very compatable. Fruitger is bold to create more contrast.
51
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 youll
find a check box to tell your application
to automatically set something like
typographers quotes, smart quotes, or
curly quotes. Then as you type using the
standard ditto key ("), the software will set
the correct quotation marks for you.
But it is necessary to know how to set them
yourself because sometimes the software
doesnt do it or does it wrong.
But it is necessary to know how to set them
yourself because sometimes the software
doesnt do it or does it wrong.
Opening double quote: Type: Option [

Closing double quote: Type: Option Shift ]
Opening single quote: Type: Option [
Closing single quote: Type: Option Shift ]
Bridge Clearance: 16 7
The young man stood 6 2
The length of the wall is 1539
53
APOSTROPHE
Apostrophe: option shift ]
As an aside, people often are confused about where the apostrophe

belongs. There are a couple of rules that work very well:
For Possessives:
Turn the phrase around. The apostrophe will be placed after
whatever word you end up with. For example, in the phrase the
boys camp, to know where to place the apostrophe say to yourself,
The camp belongs to the boys. The phrase the boys camp says
The camp belongs to the boy.
The big exception to this is its. Its used as a possessive never has
an apostrophe! The word it only has an apostrophe as a contraction
its always means it is or it has. Always.
It may be easier to remember if you recall that yours, hers, and his
dont use apostrophes and neither should its
For Omission of Letters

In a phrase such as Rock n Roll, there should be an apostrophe
before and after the n, because the a and the d are both left out. And
dont turn the 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 not earthly reason for an apostrophe to be
set before the o.
For Contractions:
The apostrophe replaces the missing letter. For example: yourre
always means you are; the apostrophe is replacing the a from are.
Thats an easy way to distinguish it from your as in your house and to
make sure you dont say: Your going to the store.
As previously noted, its means it is; the apostrophe is indicating
where the i is left out. Dont means do not; the apostrophe is
indicating where the o is left out.
In a phrase such as Gone Fishin the same pattern is followed the

g is missing.
In a date when part of the year is left out, an apostrophe needs to
indicate the missing year. In the 80s would mean the temperature;
In the 80s would mean the decade. (Notice there is no apostrophe
before the s! Why would there be? It is not possessive, nor is it a
contraction it is simply plural.
54
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.
Its also used to break a word at the end of a line, of course.
You might have been taught to use a double hyphen to indicate a
dash, like so : -- . This is a typewriter convention because typewriters
didnt have the real dash used in professional typesetting. On a Mac,
no one needs to use the double hyphenwe have a professional em
dash, the long one, such as you see in this sentence. We also have an
en dash, which is a little shorter than the em dash.
Hyphen En dash
Em dash
55
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
To type an en dash:
Option + Hyphen
An en dash is half of the em rule (the width of a capital N) and is used
between words that indicate a duration, such as time or months or years.
Use it where you might otherwise use the word to.
In a page layout application, the en dash can be used with a thin space on
either side of it. If you want you can kern it so it is not a full space.
October December
6:30 8:45 A.M.
4 6 years of age
56
EM DASH
To type an em dash
em dash Shift Option Hyphen
The em dash is twice as long as the en dashits about the size of
a capital letter M in whatever size and typeface youre using at the
moment. This dash is often used in place of a colon or parentheses,
or it might indicate an abrupt change in thought, or its used in a
spot where a period is too strong and a comma is too weak.
Our equivalent on the typewriter was the double hyphen, but now
we have a real em dash. Using two hyphens(or worse, one) where
there should be an em dash makes your look very unprofessional.
When using an em dash, no space is used on either side.
57
SPECIAL CHARACTERS
The following is a list of the most often-used special characters and accent
marks. On the following pages are the key combinations for just about
every accent you might need.

Option [
Opening double quote

Option Shift [
Closing double quote

Option ]
Opening single quote

Option Shift ]
Closing single quote; apostrophe

Option Hyphen
En dash

Option Shift Hyphen
Em dash

Option ;
Ellipsis (this character cant be separated at the end

of a line as three periods can)

Option 8

Bullet (easy way to remember as its the asterisk key)

Option Shift 5

Ligature of f and i

Option Shift 6

Ligature of f and l

Option g
Copyright symbol

Option 2
Trademark symbol

Option r
Rights reserved symbol

Option Shift 8

Degree symbol (e.g., 102F)

Option $
Cent sign

Option Shift 2

Euro symbol

Option Shift 1 (one)
Fraction bar (this doesnt descend below the line
like the slash does)

Option 1 (one)
Inverted exclamation mark

Option Shift ?
Inverted question mark
Remember, to set an accent mark

Option 3
Pound sign
over a letter, press the Option key

Option c
Lowercase c cedilla
and the letter, then press the letter

Option Shift c
Upper case C cedilla
you want under it.

`

59
Option e
Option ~
Option u
Option n
Option i
BULLETS
Bullets, of course! This very useful

typographic element can add emphasis,
clarity and visual interest to all kinds of copy.
Simply put, a bullet is a large dot used to
draw attention to each item in a list or series.
The items can be single words, phrases,
sentences or paragraphs. Even if you use
the bullet that is part of your font, dont
automatically assume its the right size: it
might need to be altered in scale or position
to make it look balanced next to the text.
Bullets should be centered on either the cap
height or x-height, depending on the nature
of your copy. If all of your items begin with
a cap, center the bullet on the cap, or a bit
lower so it balances with the negative spaces
created by the lowercase. If your items all
begin with lowercase characters, center the
bullets on the x-height. Insert some space
after the bullet to avoid crowding.
The preferred way to align bullets is with the

left margin. You can also have the bullets
overhang the margin, and keep all your text
aligned with the left margin. Whichever
style you choose, your listing will look best
if items that run more than one line are
indented so that the copy aligns with itself,
and not with the bullet on the first line.
To be more creative, substitute symbols or
dingbats for the actual bullets. Try squares,
triangles or check marks (just not all at
once, as shown in the illustration!). Keep
these simple and in proportion with the rest
of your text.
61
DINGBATS AS BULLETS
Another occasion to take advantage of the baseline shift feature is
when using dingbats or ornaments. Suppose you have a list of items
and you really want to use a fancy dingbat from the Zapf Dingbats
font, instead of the boring ol round bullet (orheaven forbida
hyphen). But the Zapf Dingbat character is too big. If you reduce its
size, the dingbat is too low because the character is still sitting on the
baseline. So select the character and shift it up above the baseline.
62
Pick any three adjectives that

describe yourself:

describe yourself:
lovely
surly
ghastly
womanly
saintly
ungodly
stately
sprightly
t
O
_
3
=
v
n
o
Choose a dingbat instead of the dumb ol bullet
You have lots of dingbats to choose from, but

they are too big. (Choose one dingbat.)

describe yourself:

describe yourself:
t
t
t
t
t
t
t
t
lovely
surly
ghastly
womanly
saintly
ungodly
stately
sprightly
tt
tt
tt
tt
tt
tt
tt
tt
You can decrease the point size of the bullet, but

then it sits too low.
63
lovely
surly
ghastly
womanly
saintly
ungodly
stately
sprightly
lovely
surly
ghastly
womanly
saintly
ungodly
stately
sprightly
Raise the dingbat higher off the baseline.
N
NUMERALS/FIGURES
Oldstyle figures are a style of numeral

which approximate lowercase letterforms by
having an x-height and varying ascenders
and descenders. They are considerably
different from the more common lining (or
aligning) figures which are all-cap height
and typically monospaced in text faces so
that they line up vertically on charts. Oldstyle
figures have more of a traditional, classic look.
They are only available for certain typefaces,
sometimes as the regular numerals in a font,
but more often within a supplementary or
expert font. The figures are proportionately
spaced, eliminating the white spaces that
result from monospaced lining figures,
especially around the numeral one.
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 theyre not as intrusive as
lining figures. In fact, many people prefer
them overall for most uses except charts and
tables. Its well worth the extra effort to track
down and obtain typefaces with oldstyle
numerals; the fonts that contain them might
well become some of your favorites.
Notice how large and clunky these numbers appear:

Dear John, please call me at 438-9762 at 3:00 to discuss marriage.
Or write to me at Route 916, zip code 87505.
Notice how these numbers blend into the text:

Dear John, please call me at 438-9762 at 3:00 to discuss marriage.
Or write to me at Route 916, zip code 87505.
65
SMALL CAPS
Use small caps for acronyms. Set acronyms

such as NASA or NASDAQ in small
caps when they appear in body text or
headlines.
Use small caps for common abbreviations.

Set common abbreviations such as AM or
PM in small caps so they dont overpower
the accompanying text. Use small caps
for A.M. and P.M.; space once after the
number, and use periods. (if the font does
not have small caps reduce the font size
slightly)
Small caps are uppercase (capital) letters

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

resizing capital letters or using the small
caps feature in some programs. Instead
use typefaces that have been specifically
created as small caps.
67
WHERE TO USE SMALL CAPS

If you set acronyms in regular all caps, their visual presence is
unnecessarily overwhelming. One standard and practical place to use
small caps is in acronyms such as fbi, nrc, cbs, or simm.
Traditionally, a.m. or p.m. are set with small caps. If you were
taught to type on a typewriter (or you were taught on a keyboard by
someone who was taught on a typewriter), you probably learned to
set those abbreviations in all caps because there were no small caps
on typewriters. But now that you have the capability, you can and
should set these properly.
Harriet, an FBI agent, turned on CNN to get the

dirt on the CIA before going to bed at 9:30 P.M.
Harriet, an fbi agent, turned on cnn to get the dirt
on the cia before going to bed at 9:30 p.m.
The capital letters in the middle of the sentence call too much attention to
themselves. Notice how the small caps blend in with the text. The capital
letters for p.m. are much too largethe abbreviation is not that important.
THE WICKED ARE VERY WEARY.

The weight of the computer-drawn small caps is thinner than the weight of
the rest of the regular initial (first letter) caps.
Typeface is Eurostile.
68
TRUE-DRAWN SMALL CAPS

There are quite a few font families that include true-drawn
small capsletter forms that have been redesigned to match the
proportions and thickness of the uppercase. These families are
often called expert sets or perhaps small cap sets. The result is a
smooth, uniform, undisturbed tone throughout the text.
There Is No Rest For

The Wicked.
True-drawn small caps are specially drawn to match the weight of the
capital letters in the same face.
Typeface is Palatino.
69
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:

s
s
s
s
First line at the beginning of an

article should be flush left (do not
indent first paragraph)
Block paragraphs are flush left and are
separated by extra leading not a full return
The amount indent is equal to the
leading (sometimes needs a bit more)
Never hit two returns between paragraphs
71

and motion. The manifestos rhetoric was passionately bombastic;
its tone was aggressive and inflammatory and was purposely
intended to inspire public anger and amazement, to arouse
controversy, and to attract widespread attention.
But is is the movements which survive, oddly, here where we live and
work as poets and artists: or, if not the movements, then their sense
of art as an life itself. All of which, as futurism, had come sharply
into focus by the start of the world war: a first radical mix of art and
life, the epitome in the poplar mind of an avant-garde. It was, on
both its Russian & Italian sides, the first great art movement led by
poets; and if its means now sometimes seem exaggerated or unripe in
retrospect, they carry within them the seed of all that we were later
to become.
While Marinettis opening manifesto for Italian Futurism bristled
with a polemical stance in favor of the transformed present (1909),
the later manifestos of Futurist poets and artists offered formal,
technical approaches to the works then getting under way. The key
term--still resonant today--was parole in liberta, by which poetry
was to become an uninterrupted sequence of new images (a)
strict bet of images or analogies, to be cast into the mysterious sea
of phenomena. This freedom-of-the-world, while it resembled
other forms of collage and of image juxtaposition, more fully
explored the use of innovative and expressive typography in the
visual presentation of language, as set in motion by forerunners like
Mallarme. Outrageous and aggressive, the Futurists performances
mixed declamation and gesture, events and surroundings,
indifference and engagement, to break the barriers between
themselves and those who came to jeer or cheer them. Wrote
Marinetti selbst (circa 1915), Everything of any value is theatrical.
72
Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro
published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to
be the static and irrelevant art of the past and celebrating change, originality, and innovation
in culture and society. Futurism rejected traditions and glorified contemporary life, mainly
by emphasizing two dominant themes, the machine and motion. The manifestos rhetoric
was passionately bombastic; its tone was aggressive and inflammatory and was purposely
intended to inspire public anger and amazement, to arouse controversy, and to attract
widespread attention. But is the movements which survive, oddly, here where we live and
work as poets and artists: or, if not the movements, then their sense of art as an life itself.
All of which, as futurism, had come sharply into focus by the start of the world war: a
first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was,
on both its Russian & Italian sides, the first great art movement led by poets; and if its
means now sometimes seem exaggerated or unripe in retrospect, they carry within them
the seed of all that we were later to become. While Marinettis opening manifesto for Italian
Futurism bristled with a polemical stance in favor of the transformed present (1909), the later
manifestos of Futurist poets and artists offered formal, technical approaches to the works
then getting under way. The key term--still resonant today--was parole in liberta, by which
poetry was to become an uninterrupted sequence of new images (a) strict bet of images
or analogies, to be cast into the mysterious sea of phenomena. This freedom-of-the-world,
while it resembled other forms of collage and of image juxtaposition, more fully explored
the use of innovative and expressive typography in the visual presentation of language,
as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists
performances mixed declamation and gesture, events and surroundings, indifference and
engagement, to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti selbst (circa 1915), Everything of any value is theatrical.
PARAGRAPH BREAK EXERCISES

73
Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the
static and irrelevant art of the past and celebrating change, originality, and innovation in culture
and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The manifestos rhetoric was passionately
bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire
public anger and amazement, to arouse controversy, and to attract widespread attention.
But is is the movements which survive, oddly,
here where we live and work as poets and
artists: or, if not the movements, then their
sense of art as an life itself. All of which, as
futurism, had come sharply into focus by the
start of the world war: a first radical mix of
art and life, the epitome in the poplar mind
of an avant-garde. It was, on both its Russian
& Italian sides, the first great art movement
led by poets; and if its means now sometimes
seem exaggerated or unripe in retrospect,
they carry within them the seed of all that we
were later to become.
While Marinettis opening manifesto for Italian Futurism bristled with a polemical stance
in favor of the transformed present (1909), the later manifestos of Futurist poets and artists
offered formal, technical approaches to the works then getting under way. The key term-still resonant today--was parole in liberta, by which poetry was to become an uninterrupted
sequence of new images (a) strict bet of images or analogies, to be cast into the mysterious
sea of phenomena. This freedom-of-the-world, while it resembled other forms of collage
and of image juxtaposition, more fully explored the use of innovative and expressive
typography in the visual presentation of language, as set in motion by forerunners like
Mallarme. Outrageous and aggressive, the Futurists performances mixed declamation and
gesture, events and surroundings, indifference and engagement, to break the barriers between
themselves and those who came to jeer or cheer them. Wrote Marinetti selbst (circa 1915),
Everything of any value is theatrical.
74
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 manifestos rhetoric
was passionately bombastic; its tone was aggressive and
inflammatory and was purposely intended to inspire public
anger and amazement, to arouse controversy, and to attract
widespread attention.
But is 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.
with a polemical stance in favor of the transformed present
(1909), the later manifestos of Futurist poets and artists
offered formal, technical approaches to the works then
getting under way. The key term--still resonant today-was parole in liberta, by which poetry was to become an
uninterrupted sequence of new images (a) strict bet of
images or analogies, to be cast into the mysterious sea of
phenomena. This freedom-of-the-world, while it resembled
explored the use of innovative and expressive typography
in the visual presentation of language, as set in motion by
forerunners like Mallarme. Outrageous and aggressive, the
Futurists performances mixed declamation and gesture, events
and surroundings, indifference and engagement, to break the
barriers between themselves and those who came to jeer or
cheer them. Wrote Marinetti selbst (circa 1915), Everything
of any value is theatrical.

75

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
dominant themes, the machine and motion. The manifestos rhetoric
was passionately bombastic; its tone was aggressive and inflammatory
and was purposely intended to inspire public anger and amazement, to
arouse controversy, and to attract widespread attention.
But is the movements which survive, oddly, here where we live
and work as poets and artists: or, if not the movements, then their
sense of art as an life itself. All of which, as futurism, had come
sharply into focus by the start of the world war: a first radical mix of
art and life, the epitome in the poplar mind of an avant-garde. It was, on
both its Russian & Italian sides, the first great art movement led by poets;
and if its means now sometimes seem exaggerated or unripe in retrospect,
they carry within them the seed of all that we were later to become.
While Marinettis opening manifesto for Italian Futurism
bristled with a polemical stance in favor of the transformed present
(1909), the later manifestos of Futurist poets and artists offered
formal, technical approaches to the works then getting under
way. The key term--still resonant today--was parole in liberta, by
which poetry was to become an uninterrupted sequence of new
images (a) strict bet of images or analogies, to be cast into the
mysterious sea of phenomena. This freedom-of-the-world, while it
resembled other forms of collage and of image juxtaposition, more
fully explored the use of innovative and expressive typography in the
76
was passionately bombastic; its tone was But is is the movements which survive, oddly,
aggressive and inflammatory and was here where we live and work as poets and
purposely intended to inspire public anger artists: or, if not the movements, then their
and amazement, to arouse controversy, and sense of art as an life itself. All of which, as
to attract widespread attention.

77
But is is the movements which survive, oddly, here where we live and work as poets and
artists: or, if not the movements, then their sense of art as an life itself. All of which, as
futurism, had come sharply into focus by the start of the world war: a first radical mix of
art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian
& Italian sides, the first great art movement led by poets; and if its means now sometimes
seem exaggerated or unripe in retrospect, they carry within them the seed of all that we
78
to become.

79
Futurism was first announced on February

20, 1909, when the Paris newspaper Le
Figaro published a manifesto by the Italian
poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what
he conceived to be the static and irrelevant
art of the past and celebrating change,
originality, and innovation in culture and
society. Futurism rejected traditions and
glorified contemporary life, mainly by
emphasizing two dominant themes, the
machine and motion. The manifestos
rhetoric was passionately bombastic; its tone
was aggressive and inflammatory and was
purposely intended to inspire public anger
and amazement, to arouse controversy, and
But is is the movements which survive,
oddly, here where we live and work as
poets and artists: or, if not the movements,
then their sense of art as an life itself. All of
which, as futurism, had come sharply into
focus by the start of the world war: a first
radical mix of art and life, the epitome in
the poplar mind of an avant-garde. It was,
on both its Russian & Italian sides, the first
great art movement led by poets; and if its
means now sometimes seem exaggerated or
unripe in retrospect, they carry within them
the seed of all that we were later to become.
80
While Marinettis opening manifesto for

Italian Futurism bristled with a polemical
stance in favor of the transformed present
(1909), the later manifestos of Futurist
poets and artists offered formal, technical
approaches to the works then getting under
way. The key term--still resonant today-was parole in liberta, by which poetry was
to become an uninterrupted sequence of
new images (a) strict bet of images or
analogies, to be cast into the mysterious sea
of phenomena. This freedom-of-the-world,
while it resembled other forms of collage
and of image juxtaposition, more fully
explored the use of innovative and expressive
typography in the visual presentation of
language, as set in motion by forerunners
like Mallarme. Outrageous and aggressive, the
Futurists performances mixed declamation and
gesture, events and surroundings, indifference
and engagement, to break the barriers between
themselves and those who came to jeer or cheer
them. Wrote Marinetti selbst (circa 1915),
to become.
2
3


81
HEADERS, SUBHEADS
& CROSSHEADS
A header is a line of text serving as the

indicator of what the passage below is about.
A subhead is a heading of a subdivision, as in
a chapter, essay, or newspaper article.
Consider the following rules when applying headers

and subheads
s
s
Choose a predominantly symmetrical

or asymmetrical form for subheads.
Mixing the two haphazardly leads to
stylistic as well as logical confusion.
Never hyphenate words in a header.
83
WORDS IN LIBERTY
A Prologue to Futurism

Radical mix of art and life
But is is the movements which survive, oddly, here where we

live and work as poets and artists: or, if not the movements, then
their sense of art as an life itself. All of which, as futurism, had come
way. The key term--still resonant today--was parole in liberta, by
mysterious sea of phenomena. This freedom-of-the-world, while it
resembled other forms of collage and of image juxtaposition, more
84
WORDS IN LIBERTY
to become.
HEADER & SUBHEAD EXERCISES

85
WORDS IN LIBERTY
A Prologue to Futurism Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro
and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing
bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire
public anger and amazement, to arouse controversy, and to attract widespread attention.
Radical mix of art and life But is is the movements which survive, oddly,

86
WORDS IN LIBERTY

87
WORDS IN LIBERTY
A Prologue to Futurism Futurism was first announced on February 20, 1909, when the Paris
Radical mix of art and life But is is the movements which survive, oddly, here where we live and
to become.
88
WORDS IN LIBERTY
culture and society. Futurism rejected traditions and glorified
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 avantgarde. 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.
getting under way. The key term--still resonant today-was parole in liberta, by which poetry was to become an
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.

89
CAPTIONS AND ENDNOTES
Footnotes and Endnotes

Footnotes and endnotes are necessary
components of scholarly and technical writing.
Theyre 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 purpose but are grouped
together at the end of a chapter, article or
book, rather than at the bottom of each page.
These general guidelines will help you design
footnotes and endnotes that are readable,
legible and economical in space. (Note that
academic presses and journals can be sticklers
for format: before proceeding, check with
your client or publisher to see if they have a
specific stylesheet that must be followed.)
91
NUMBERS OR SYMBOLS
Footnotes are most often indicated by placing a superscript numeral
immediately after the text to be referenced. The same superscript
numeral then precedes the footnoted text at the bottom of the page.
Numbering footnotes is essential when there are many of them,
but if footnotes are few they can be marked with a dagger, asterisk,
or other symbol instead. Endnotes should always use numerals to
facilitate easy referencing.
SIZE
Footnotes and endnotes are set smaller than body text. The
difference in size is usually about two points, but this can vary
depending on the size, style and legibility of the main text. Even
though theyre smaller, footnotes and endnotes should still remain at
a readable size.
92
1
WORDS IN LIBERTY
1. Philip Meggs, History of Graphic Design, Van Nostrand

Reinhold, 1988
2. parole in liberta = words set free (liberty)
3. selbst = himself
in culture and society1. Futurism rejected traditions and glorified contemporary life, mainly
offered formal, technical approaches to the works then getting under way. The key term-still resonant today--was parole in liberta2, by which poetry was to become an uninterrupted
themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915),
CAPTION EXERCISES
93
WORDS IN LIBERTY

originality, and innovation in culture and society1. Futurism rejected
But is is the movements which survive, oddly, here where we

live and work as poets and artists: or, if not the movements, then
their sense of art as an life itself. All of which, as futurism, had come
way. The key term--still resonant today--was parole in liberta2, by
mysterious sea of phenomena. This freedom-of-the-world, while
it resembled other forms of collage and of image juxtaposition,
more fully explored the use of innovative and expressive
typography in the visual presentation of language, as set in motion
by forerunners like Mallarme. Outrageous and aggressive, the
Futurists performances mixed declamation and gesture, events and
surroundings, indifference and engagement, to break the barriers
between themselves and those who came to jeer or cheer them.
Wrote Marinetti selbst3 (circa 1915), Everything of any value is
theatrical.
94
1. Philip Meggs, History

of Graphic Design, Van
Nostrand Reinhold, 1988
2. parole in liberta = words set
free (liberty)
3. selbst = himself
WORDS IN LIBERTY
to become.
way. The key term--still resonant today--was parole in liberta2, by
mysterious sea of phenomena. This freedom-of-the-world, while
it resembled other forms of collage and of image juxtaposition, more
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),
1. Philip Meggs, History of Graphic Design, Van

3. selbst = himself
CAPTION EXERCISES
95
WORDS IN LIBERTY

3. selbst = himself
A Prologue to Futurism Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro
and society1. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing
bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public
anger and amazement, to arouse controversy, and to attract widespread attention.
Radical mix of art and life But is is the movements which survive, oddly,

While Marinettis opening manifesto for Italian Futurism bristled with a polemical stance in
favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered
formal, technical approaches to the works then getting under way. The key term--still resonant
today--was parole in liberta2, by which poetry was to become an uninterrupted sequence of new
images (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.
This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition,
more fully explored the use of innovative and expressive typography in the visual presentation
of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the
Futurists performances mixed declamation and gesture, events and surroundings, indifference and
engagement, to break the barriers between themselves and those who came to jeer or cheer them.
Wrote Marinetti selbst3 (circa 1915), Everything of any value is theatrical.
96
WORDS IN LIBERTY
A Prologue to Futurism Futurism was first announced on February 20, 1909, when the Paris

Radical mix of art and life But is is the movements which survive, oddly, here where we live and
to become.
3. selbst = himself

with a polemical stance in favor of the transformed present (1909), the
later manifestos of Futurist poets and artists offered formal, technical
approaches to the works then getting under way. The key term--still
resonant today--was parole in liberta2, by which poetry was to become
an uninterrupted sequence of new images (a) strict bet of images
or analogies, to be cast into the mysterious sea of phenomena. This
freedom-of-the-world, while it resembled other forms of collage and
of image juxtaposition, more fully explored the use of innovative and
expressive typography in the visual presentation of language, as set
in motion by forerunners like Mallarme. Outrageous and aggressive,
the Futurists performances mixed declamation and gesture, events
and surroundings, indifference and engagement, to break the barriers
between themselves and those who came to jeer or cheer them. Wrote
Marinetti selbst3 (circa 1915), Everything of any value is theatrical.
CAPTION EXERCISES
97
WORDS IN LIBERTY
culture and society1. Futurism rejected traditions and glorified
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 avantgarde. 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.
getting under way. The key term--still resonant today-2. parole in liberta = words set free (liberty)
was parole in liberta2, by which poetry was to become an
Futurists performances mixed declamation and gesture,
events and surroundings, indifference and engagement, to
break the barriers between themselves and those who came
3. selbst = himself
to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915),
98
WORDS IN LIBERTY
in culture and society1. Futurism rejected traditions and glorified contemporary life, mainly
1. Philip Meggs, History of Graphic Design, Van Nostrand

Reinhold, 1988
3. selbst = himself
offered formal, technical approaches to the works then getting under way. The key term-still resonant today--was parole in liberta2, by which poetry was to become an uninterrupted
themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915),
CAPTION EXERCISES
99
FONT SPECS
Variations in Stress
As early typefaces were based on the written
letterforms of the scribes, it was important
that the type designer tries to capture
as much of the written form as possible.
The letter O is a good example to study
the distribution of weight which creates a
vertical stress through the thinnest part of
the letterform. It was a characteristic that
the early typefaces tried to imitate. This is
quite clear in Garamond. As type evolved
and the designer was no longer influenced by
handwriting, the stress became more vertical
as in Baskerville and later totally vertical
with Bodoni. In Univers you will find no
noticeable stress.
Variations in Serifs
Serifs also vary from one face to the next in
their weight and in the way they are bracketed;
that is the way in which the serif meets the
vertical stroke of the letter. Once again, you
can see the evolution of type from Garamond
to Baskerville, to Bodini. This was followed my
the return of the heavy serif in Serifa and the
elimination of the serif in Univers.
Variations in Thicks and Thins

Faces also vary in degree of contrast
between thick and thin strokes of the letters.
In Garamond you can see a prominent
characteristic of little contrast between thick
and thin strokes of a letter. In Transitional
faces there is a tendency toward refinement
and greater contrast between thick and
thins. Bodoni has maximum contrast in
these strokes (extreme contrast of thick and
thins, hairline serifs). With Serifa there is a
return to very little contrast (almost monoweight). In Univers, there is an absence of
any noticeable thick and thin strokes; there
is a uniformity of strokes (mono-weight).
101
AKZIDENZ GROTESK
CLASSIFICATION: GROTESQUE
MaxogGdQRst
ROMAN
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
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 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
90(){}?!@&*
102
ARCHER
CLASSIFICATION: SLAB SERIF
MaxogGdQRst
BOOK
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
continued to create new typefaces based on
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ &
*
HAIRLINE
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 ( ) { } ? ! @ & *
SEMI-BOLD
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.
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { } ? ! @ & *
BOLD ITALIC
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { } ? ! @ & *
103
BASKERVILLE
CLASSIFICATION: TRANSITIONAL
MxaogGdQRt
REGULAR
when printers sought to identify a heritage
for their own craft analogous to that of
art history. Humanist letterforms are
less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art
characteristics.
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
&*
SMALL CAPS
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
}?!@&*
ITALIC

characteristics.
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
BOLD
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
?!@&*
104
BELIZIO
MxagGdQrR
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
567890(){}?!@&*
ITALIC
Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt
Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
90(){}?!@&*
BOLD
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.
and twenty-first centuries have continued to create new typefaces based
Aa Bb Cc Dd Ee Ff Gg Hh Ii
Jj Kk Ll Mm Nn Oo Pp Qq Rr
Ss Tt Uu Vv Ww Xx Yy Zz 1 2
3 4567890(){}?!@&*
BLACK ITALIC
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 ( ) { }
?!@&*
105
BELL GOTHIC
MxagGdQrRI
LIGHT
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
characteristics.
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@&*
BOLD
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@&*
BLACK
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@&*
106
BEMBO
CLASSIFICATION: OLD STYLE
MxnogGdQrRst
REGULAR
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.
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@&*
ITALIC
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
BOLD
Baroque, and Enlightenment periods
in art and literature. Designers in the
twentieth and twenty-first centuries have
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0(){}?!@&*
EXTRA BOLD
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0(){}?!@&*
107
BODONI
CLASSIFICATION: MODERN
MxaogGdQrRst
REGULAR
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.
centuries have continued to create new
typefaces based on historic characteristics.
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@&*123456789
ITALIC
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@&*
BOLD

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 ( ) {
}?!@&*
ORNAMENTS
Ss Tt Uu Vv Ww Xx Yy Zz 1
23 4567890(){}?!
@&*
108
BOOKMAN
CLASSIFICATION: NEW TRANSITIONAL
MxaogGdQrR
REGULAR
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
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0(){}?!@&*
ITALIC
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0(){}?!@&*
BOLD

craft analogous to that of art history. Humanist letterforms are
closely connected to calligraphy
and the movement of the hand.
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.
567890(){}?!@&*
BOLD ITALIC
567890(){}?!@&*
109
CASLON
MxanogGdQRt
REGULAR
groups correspond roughly to the Renaissance,
and literature. Designers in the twentieth and
twenty-first centuries have continued to create
new typefaces based on historic characteristics.
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
&*
ITALIC
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
ALTERNATE
c h i k l Ss T t
hand. Transitional and modern typefaces
SWASH
Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Z
ORNAMENT
A a Bb C c D d Ee F f G g
H h Ii Jj Kk Ll Mm Nn
Oo Pp Qq Rr S s Tt Uu Vv
Ww X x y Z z 1 2 3 4
110
CENTURY SCHOOLBOOK
MxaogGdQrRt
REGULAR
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 twentyfirst centuries have continued to create
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
(){}?!@&*123456789
ITALIC
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (
){}?!@&*
BOLD

Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7
890(){}?!@&*
BOLD ITALIC
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
(){}?!@&*
111
CHELTENHAM
MaxogGdQrRs
REGULAR
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
?!@&*
ITALIC
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@&*
BOLD

characteristics.
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{}?!@&*
BOLD ITALIC
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{}?!@&*
112
CHOLLA
MaxnogGdQrRst
UNICASE
periods in art and literature. Designers in the
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(){}?!@&*
REGULAR
3 4567890(){}?!@&*

characteristics.
113
CLARENDON
MxagGdQrRt
LIGHT
craft analogous to that of art history.
Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and
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.
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
90(){}?!@&*
REGULAR
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
90(){}?!@&*
BOLD

Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
90(){}?!@&*
114
CLICKER
CLASSIFICATION: GRID-BASED SANS SERIF
MaxnogGdQRs
REGULAR
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
115
DIDOT
MxaogGdQrRt
REGULAR

Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
?!@&*123456789
ITALIC
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
&*
BOLD

Humanist letterforms are closely connected to
calligraphy and the movement of the hand.
groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods
in art and literature. Designers in the twentieth and twenty-first centuries have continued
characteristics.
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (
){}?!@&*
116
DIN
MaxnogGdQrRt
LIGHT
characteristics.
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ &
*123456789
REGULAR
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { } ? ! @ & *
MEDIUM
the twentieth and twenty-first centuries
have continued to create new typefaces
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { ? ! @ & *
BLACK
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { ? ! @ & *
117
DIN
MaxngdQHAMBURG
LIGHT CONDENSED
A basic system for classifying typefaces was devised in the
nineteenth century, when printers sought to identify a heritage
for their own craft analogous to that of art history. Humanist
letterforms are closely connected to calligraphy and the
movement of the hand. Transitional and modern typefaces
are more abstract and less organic. These three main groups
correspond roughly to the Renaissance, Baroque, and
Enlightenment periods in art and literature. Designers in the
twentieth and twenty-first centuries have continued to create
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 ( ) { } ? ! @ &
*123456789
REGULAR 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 ( ) { } ? ! @
&*
BOLD CONDENSED
A basic system for classifying typefaces was devised in
the nineteenth century, when printers sought to identify
a heritage for their own craft analogous to that of art
history. Humanist letterforms are closely connected to
calligraphy and the movement of the hand. Transitional
and modern typefaces are more abstract and less
organic. These three main groups correspond roughly to
the Renaissance, Baroque, and Enlightenment periods
in art and literature. Designers in the twentieth and
twenty-first centuries have continued to create new
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 CONDENSED
Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
(){}?!@&*
118
DISTURBANCE
CLASSIFICATION: N/A
MxnatQbWFGdR
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
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
90(){}?!@&*123456789
ITALIC
(){}?!@&*
BOLD
Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7
890(){}?!@&*
119
FETTE FRAKTUR
CLASSIFICATION: N/A
MxnaopQrRtfg
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
4567890(){}
?!@&*
Idunt aliquam adignim velit utat.
Etuer accum dunt ad magniam, vendiat 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
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3
4567890(){}?!@&*
FRACTIONS
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
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
Enlightenment periods in art
and literature. Designers in the
twentieth and twenty-first centuries have continued to create
characteristics.
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
!@&*
121
FRANKLIN GOTHIC
MaxodQRtfGg
BOOK
for their own craft analogous to that of art
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
DEMI
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
!@&*
HEAVY

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,
twentieth and twenty-first centuries
have continued to create new typefaces based on historic characteristics.
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{}?!@&*
CONDENSED
Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
123 4567890(){}?!@&*
122
FRUTIGER
CLASSIFICATION: HUMANIST
MaxodQRtfGg
CONDENSED
4567890(){}?!@&*
REGULAR
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
}?!@&*
BOLD

heritage for their own craft analogous to that of art history. Humanist
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{}?!@&*
ULTRA BLACK
Tt Uu Vv Ww Xx Yy Zz 1 2 3
4567890(){}?!@&*
123
FUTURA
CLASSIFICATION: GEOMETRIC
MxaopQRstGg
BOOK

for their own craft analogous to that
characteristics.
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (
){}?!@&*
BOLD
Uu Vv Ww Xx Yy Zz 1 2 3 4 5
67890(){}?!@&*
EXTRA BOLD
A basic system for classifying

typefaces was devised in the
nineteenth century, when printers
sought to identify a heritage for
their own craft analogous to that
of art history. Humanist letterforms
are closely connected to calligraphy
and the movement of the hand.
These three main groups 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
characteristics.
Ss Tt Uu Vv Ww Xx Yy Zz 1
2 3 4 5 6 7 8 9 0 ( ) { } ?
! @ & *
124
GILL SANS
MaxnbyogGQRt
REGULAR
characteristics.
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
ITALIC
123 4567890(){}?!&*
BOLD
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
characteristics.
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{}?!@&*
125
GOTHAM
MayogGdQRt
BOOK
Humanist letterforms are closely connected to calligraphy and the movement of the hand. Transitional and
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
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0(){}?!@&*
BOLD
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
90(){}?!@&*
ITALIC

Humanist letterforms are closely
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0(){}?!@&*
LIGHT
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0(){}?!@&*
126
HELVETICA
MaoygGdQrRt
REGULAR

Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
}?!@&*
BOLD
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
}?!@&*
BLACK EXTENDED

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
Aa Bb Cc Dd Ee Ff Gg
Hh Ii Jj Kk Ll Mm Nn Oo
Pp Qq Rr Ss Tt Uu Vv
Ww Xx Yy Zz 1 2 3 4 5 6
7 8 9 0 ( ) { } ? ! @ & *
ULTRA LIGHT
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
127
INTERSTATE
CLASSIFICATION: NEO-GROTESQUE
MaoygGdQrRt
REGULAR
that of art history. Humanist letterforms
and the movement of the hand. Transitional and modern typefaces are more
abstract and less organic. These three
Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{}?!@&*
BOLD
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (
){}?!@&*
BLACK
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
90(){}?!@&*
BOLD CONDENSED
4567890(){}?!@&*
128
KUNSTLER SCRIPT
CLASSIFICATION: SCRIPT
xyogGdQrRst
REGULAR
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
&*
Pat. San ea consectet ad duis dolorem eu facil dit am, summy
nisim ipit, quat, velit pratismodo diat.
Et lorperi liquat lor sequam zzrilit, velese facin ut verosti nciduis
modit, qui erosto odit ut verit nos nos amet iure doluptatisl digna
facin hendre ming ea feum incilla ad dunt dunt ipit vulput lorper sumsand ionsenit num ip erit la feu feumsan henis exerci esto
etumsan hent am, velit, quisit nummy nosto dolutat irit veniam
zzrilit, qui tincilit wis eum zzriustis ex eraestrud delit lamcon vero
exercidunt aliscidui bla facip et veniam eum illan veros dignit alit
vullandiat nis nisl dunt aliquam consent alit etuero odionsecte
dunt nulla faci et in vulla feugait lore eum zzril ullamco nsequi
bla autpatet nummodipisi.
Ed etummodit vullamcon utat ulluptat delendit nonsenim inciliqui tio odoloreet ver sum velis aliquis del irit aut nosto consequam zzrit aut ipsum diamcon sequam num et wisi tio dolorem
elesto dolobor iuscilisci et, quis endre te dolobor sum volenibh
exerit utpat. Uptat, vel dolese molorem eraessis nit niamcorperos
autat, venit in etum erilissit irit eui bla feum iurem nonsequi e
129
MELIOR
MayogGdQrRt
REGULAR
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{}?!@&*
ITALIC
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{}?!@&*
BOLD

that of art history. Humanist letterforms
and the movement of the hand. Transitional and modern typefaces are more
abstract and less organic. These three
Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first
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(){}?!@&*
130
MEMPHIS
MxagGdQrRt
LIGHT
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
?!@&*
MEDIUM
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
?!@&*
EXTRA BOLD
A basic system for classifying typefaces was devised in the nineteenth century, when printers sought to identify a
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
characteristics.
3 4567890(){}?!@&*
131
META
MaxogGdQrRst
REGULAR
the hand. Transitional and modern typefaces are more abstract and less organic. These
the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers
in the twentieth and twenty-first centuries
have continued to create new typefaces
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CAPS
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
BLACK
characteristics.
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
ITALIC
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
132
MRS EAVES
MaxogGdQrRst
REGULAR
organic. These three main groups correspond
Designers in the twentieth and twenty-first centuries have continued to create new typefaces
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3
456789
ITALIC
(){}?!@&*
BOLD
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
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ &
*
FRACTIONS
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
?!@&*
133
NEWS GOTHIC
MaxogGdQrRst
REGULAR
devised in the nineteenth century, when printers sought to identify a heritage for their
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
123456789
ITALIC
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
BOLD

devised in the nineteenth century, when printers sought to identify a heritage for their
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{}?!@&*
134
OCR A
CLASSIFICATION: SANS SERIF MONOSPACED
MaopQRfGg
REGULAR
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 historic characteristics.
Aa Bb
Ii Jj
Qq Rr
Yy Zz
9 0 (
Cc Dd
Kk Ll
Ss Tt
1 2 3
) { }
135
Ee Ff Gg Hh
Mm Nn Oo Pp
Uu Vv Ww Xx
4 5 6 7 8
? ! @ & *
OPTIMA
MxaopQRstGg
BOOK
characteristics.
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
}?!@&*
ITALIC
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
}?!@&*
BOLD

characteristics.
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
}?!@&*
136
PALATINO
MxaopQRstGg
LIGHT
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
&*
OLD STYLE
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
?!@&*
MEDIUM

Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
?!@&*
BLACK
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0(){}?!@&*
137
PERPETUA
MxaopQRstGgq
in the nineteenth century, when printers sought
to identify a heritage for their own craft analogous
to that of art history. Humanist letterforms are
closely connected to calligraphy and the movement
of the hand. Transitional and modern typefaces are
more abstract and less organic. These three main
groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first
centuries have continued to create new typefaces
REGULAR
4567890(){}?!@&*
ITALIC
Pp Qq Rr Ss Tt UuVvWw XxYy Zz 1 2 3 4 5 6 7
890(){}?!@&*
BOLD
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.
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ &
*
138
PLATELET
MaxbyogGQrRt
THIN
when printers sought to identify a heritage for their own craft analogous to
Aa Bb
Mm Nn
Yy Zz
? ! @
Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx
1 2 3 4 5 6 7 8 9 0 ( ) { }
& *
REGULAR
Aa Bb
Mm Nn
Yy Zz
? ! &
1 2 3 4 5 6 7 8 9 0 ( ) { }
*
HEAVY

when printers sought to identify a heritage for their own craft analogous to
Aa Bb
Mm Nn
Yy Zz
? ! @
1 2 3 4 5 6 7 8 9 0 ( ) { }
& *
139
PRIORI SANS
MxanopdrRtSfGg
REGULAR
history. Humanist letterforms are closely connected to
calligraphy and the movement of the hand. Transitional
organic. These three main groups correspond roughly to
the Renaissance, Baroque, and Enlightenment periods
in art and literature. Designers in the twentieth and
twenty-first centuries have continued to create new
(){}?!@&*
ALTERNATE
Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
90(){}?!@&*
BOLD
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.
Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6
7890(){}?!@&*
140
PRIORI SERIF
MxanodQrRtSfg
REGULAR
devised in the nineteenth century, when printers
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
twentieth and twenty-first centuries have continued to create new typefaces based on historic
characteristics.
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4
567890(){}?!@&*
ALTERNATE
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4
567890(){}?!@&*
BOLD
A basic system for classifying typefaces was devised in the nineteenth century, when printers
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
centuries have continued to create new typefaces based on historic characteristics.
123 4567890(){}?!@&*
141
ROTIS
MxanopQrRtGg
(55) SANS
characteristics.
3 4567890(){}?!@&*
ITALIC
Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6
7890(){}?!@&*
SERIF
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
!@&*
ITALIC
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
?!@&*
142
SABON
MxayogGQfR
REGULAR
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{}?!@&*
SMALL CAPS
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
(){}?!&*
BOLD

Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{}?!@&*
BOLD ITALIC
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
}?!@&*
143
SCALA SANS
MxabyogGdQrR
REGULAR
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CAPS
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! &
*
ITALIC

Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
BOLD
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
144
SERIFA
MxaoygGdQR
REGULAR
was devised in the nineteenth century, when printers sought to identify
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
(){}?!@&*
ITALIC
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{}?!@&*
BOLD

Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0(){}?!@&*
BLACK
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0(){}?!@&*
145
SNELL ROUNDHAND
CLASSIFICATION: SCRIPT
axogbGdQrRst
REGULAR
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 amcommodit 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 nummod 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, volobor incip et essi.orper sum quamconsed
magniam, quisit accum voloborem alit iuscipit la
consequam dit nulput acing eu feum quat. Ut luptat at.
146
SWIFT
MxaoygGdQrR
BOLD CONDENSED
less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art
characteristics.
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
REGULAR
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
&*
ITALIC

123 4567890(){}?!@&*
BOLD
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
&*
147
SYNTAX
MxaoygGdQrR
REGULAR
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
}?!@&*
BOLD
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
}?!@&*
BLACK

for their own craft analogous to that of art
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
90(){}?!@&*
BLACK
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
90(){}?!@&*
148
TRADE GOTHIC
MxanyogGdQrR
CONDENSED
characteristics.
Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7
890(){}?!@&*
MEDIUM
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
!@&*
BOLD

characteristics.
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
BOLD NO.2
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
!@&*
149
WALBAUM
MxyagGdQrR
REGULAR
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
(){}?!@&*
ITALIC
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
(){}?!@&*
SMALL CAPS

Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
(){}?!@&*
BOLD
Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7
890(){}?!@&*
150
VOLTA
MyogGdQrR
REGULAR
Tt Uu Vv Ww Xx Yy Zz 1 2 3
4567890(){}?!@&*
MEDIUM
3 4567890(){}?!@&*
MEDIUM ITALIC

craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the
Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5
67890(){}?!@&*
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(){}?!@&*
151
Designed by Breanne Fencl

Class project for Professor Selbys Typographic Systems
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 Dos and Donts of Typography by Victoria Square, and
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.
152

BREANNEREVISED!!

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DETAILS

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

Use only one space between sentences.

Tighten up the leading in lines with

Readability and legibility are two key

In typography, color can also describe the

Readability means an extended amount of

A typefaces color is determined by stroke width,

Legibility refers to whether an refers to

There are several factors that determine

Who is to read it?

How will it be read?

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

Futurism was first announced on February 20, 1909, when

Futurism was first announced on February 20, 1909,

Futurism was first announced on February 20, 1909, when

Futurism was first announced on February 20, 1909, when

Futurism was first announced on February 20, 1909, when

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

Futurism was first announced on February 20, 1909,

Futurism was first announced on February 20, 1909, when

Futurism was first announced on February 20, 1909, when

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

Futurism was first announced on February 20, 1909, when

Hyphenate words with at least 6 letters

Hyphenation rules pay attention to:

The difficulty is making the ragged edge

In unjustified text, the text block is set with

How the text is read avoid widows (one

Don Quixote de la Mancha

Dont laughI have actually

Dont Lose Your Self

Fix it either way, or rewrite!

Man Walks Barefoot Across Bay Bridge

What are bad line breaks anyway?

a boarder borsch boil gam

Heresey borsch-boil starry a

WIDOWS AND ORPHANS

When a paragraph ends and leaves fewer than seven characters

When the last line of a paragraph, be it ever so long, wont fit at

If someone insists that fully justified text is

Right and wrong do not exist in graphic

Often considered more formal, less friendly than left-aligned text.

LEFT ALIGNED TEXT

Often considered more informal, friendlier than justified text.

Justify text only if the line is long enough to

When your work comes out of the printer, turn it

Here is a general guideline for determining if your

The only time you can safely get away with

pica line (3 inches) before you try to justify

When your work comes out of the printer,

Here is a general guideline for determining

The only time you can safely get away with

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

When your work comes out of the printer,

Here is a general guideline for determining if

The only time you can safely get away with

an 18-pica line (3 inches) before you try

When your work comes out of the printer,

Here is a general guideline for determining

When your work comes out of the printer, turn

Here is a general guideline for determining if

The only time you can safely get away with