Workbook jingFINAL PDF

PRINCIPLES OF
TYPOGRAPHY
THE SEARCH FOR ORGANIZATION
AND SIMPLICITY
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.
DESIGNED BY JING JIAN
Class project for Professor Herstowski's Typography 02
at the University of Kansas, Spring 2011.
TEXT FOR THE BOOK WAS COMPILED FROM THE FOLLOWING
SOURCES: ELEMENTS OF TYPOGRAPHIC STYLE BY ROBERT BRING-
HURST GETTING IT RIGHT WITH TYPE: THE DO'S AND DON'TS OF
TYPOGRAPHY BY VICTORIA SQUARE MAC IS NOT A TYPEWRITER BY
ROBIN WILLIAMS.
RULES
X-HEIGHT
HYPHENATION
ALIGNMENTS
JUSTIFICATION
COMBINING FONTS
QUOTES
SPECIAL CHARACTERS
BULLETS
NUMERALS + FIGURES
SMALL CAPS
PARAGRAPH BREAKS
HEADERS
CAPTIONS + NOTES
TYPE CLASSIFICATION
TYPE SPECIMENS
5
6
22
26
30
38
45
50
51
53
54
57
70
78
86
96
THE TABLE OF CONTENTS
3
Y
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C
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C
K

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y
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THE FOLLOWING IS
A

C
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M
P
E
N
D
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M

O
F

T
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R
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L
E
S

[
E
S
T
A
B
L
I
S
H
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D

I
N

T
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B
O
O
K
]
_
Use only one space between sentences.
_
Use real quotation marks.
_
Use real apostrophes.
_
Make sure the apostrophes are where they belong.
_
Hang the punctuation of the aligned edge.
_
Use en or em dashes, use consistently.
_
Kern all headlines where necessary.
_
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.
_
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.
_
Tighten up the leading with few ascenders and descenders.
_
Use a one-em rst-line indent on all indented paragraphs.
_
Adjust the spacing between paragraphs.
_
Indent rst line of paragraph or add extra space between them.
_
Use a decimal for the numbers in numbered paragraphs.
_
Or use right-aligned tab 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.
_
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.
5
X-HEIGHT
There are several factors that determine whether a text is readable.
When deciding what typeface should be used for a job, consid-
eration 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 solu-
tion. Fonts set in the same size, same leading and column width will
produce varying degrees of color.
In typography, color can also describe the balance between black
and white on the page of text. A typefaces color is determined by
stroke width, x-height, character width and serif styles.
R
E
A
D
A
B
I
L
I
T
Y

L
E
G
I
B
I
L
I
T
Y

M
a
x
i
m
i
z
i
n
g

Readability and legibility are two key elements of printed text that
typographer strive to maximize. Readability extended amount of text
such as an article, book, or annual reportis easy to read. Legibility
refers to whether an refers to whether a short burst of textsuch as a
headline catalog listing, or stop signis instantly recognizable.
ON THE TOPIC OF
TYPOGRAPHIC COLOR
L
E
G
I
B
I
L
I
T
Y

X-HEIGHT
6
As a designer, if you are only asked to make the text readable on
the page the following questions should be asked. . . Readability
and legibility are two key elements of printed text that typographer
strive to maximize. Readability extended amount of text such as
an article, book, or annual reportis easy to read. Legibility refers
to whether an refers to whether a short burst of textsuch as a head-
line catalog listing, or stop signis instantly recognizable.
There are several factors that determine whether a text is read-
able. 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 mes-
sage through its texture/color, therefore suiting a particular design
solution. Fonts set in the same size, same leading and column width
will produce varying degrees of color.
In typography, color can also describe the balance between black
and white on the page of text. A typefaces color is determined by
stroke width, x-height, character width and serif styles.
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.
ON THE TOPIC OF
TYPOGRAPHIC COLOR
_
Stroke width
_
X-height
_
Character width
_
Serif styles
As a designer, if you are only asked to make the
text readable on the page the following questions
should be asked
X-HEIGHT
7

Futurism was first announced on February 20, 1909, when the Paris
newspaper Le Figaro published a manifesto by the Italian poet and
editor Filippo Tommaso Marinetti. The name Futurism, coined by
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and celebrating change,
originality, and innovation in culture and society. Futurism rejected
traditions and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were charac-
terized by the depiction of several successive actions of a subject at the
same time. Marinettis manifesto glorified the new technology of the
automobile and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping repudiation of
traditional cultural, social, and political values and the destruction of
such cultural institutions as museums and libraries.
Mrs Eaves
zuzana licko
9/12
x-height: small
character width: average
color: light
Xxhg
L I GHT
[ TYPOGRAPHIC COLOR ]
X-HEIGHT
8

Futurism was first announced on February 20, 1909,
when the Paris newspaper Le Figaro published a mani-
festo by the Italian poet and editor Filippo Tommaso
Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and cel-
ebrating change, originality, and innovation in culture
and society. Futurism rejected traditions and glorified
contemporary life, mainly by emphasizing two dominant
themes, the machine and motion. The works were char-
acterized by the depiction of several successive actions
of a subject at the same time. Marinettis manifesto
glorified the new technology of the automobile and the
beauty of its speed, power, and movement. He exalted
violence and conflict and called for the sweeping repu-
diation of traditional cultural, social, and political val-
ues and the destruction of such cultural institutions as
museums and libraries.
Clarendon
robert besley
9/12
x-height: average
character width: large
color: dark
Xxhg
DA R K
[ TYPOGRAPHIC COLOR ]
X-HEIGHT
9
Futurism was first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a manifesto by the
Italian poet and editor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his emphasis on dis-
carding what he conceived to be the static and irrelevant art
of the past and celebrating change, originality, and innovation
in culture and society. Futurism rejected traditions and glori-
fied contemporary life, mainly by emphasizing two dominant
themes, the machine and motion. The works were characterized
by the depiction of several successive actions of a subject at the
same time. Marinettis manifesto glorified the new technol-
ogy of the automobile and the beauty of its speed, power, and
movement. He exalted violence and conflict and called for the
sweeping repudiation of traditional cultural, social, and political
values and the destruction of such cultural institutions as muse-
ums and libraries.
ITC New Baskerville
hermann zapf
x-height: average
color: average
Xxhg
reflected his emphasis on discarding what he con-
ceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in cul-
ture and society. Futurism rejected traditions and glo-
rified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works
were characterized by the depiction of several succes-
sive actions of a subject at the same time. Marinettis
manifesto glorified the new technology of the auto-
mobile and the beauty of its speed, power, and move-
ment. He exalted violence and conflict and called for
the sweeping repudiation of traditional cultural, social,
and political values and the destruction of such cultural
institutions as museums and libraries.
Volta
konrad bauer & walter baum
x-height: average
character width: large
color: dark
Xxhg
X-HEIGHT
10
Futurism was first announced on February 20, 1909, when the
Paris newspaper Le Figaro published a manifesto by the Italian
poet and editor Filippo Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his emphasis on discarding what he
conceived to be the static and irrelevant art of the past and cel-
ebrating change, originality, and innovation in culture and society.
Futurism rejected traditions and glorified contemporary life, mainly
by emphasizing two dominant themes, the machine and motion.
The works were characterized by the depiction of several succes-
sive actions of a subject at the same time. Marinettis manifesto
glorified the new technology of the automobile and the beauty of
its speed, power, and movement. He exalted violence and conflict
and called for the sweeping repudiation of traditional cultural,
social, and political values and the destruction of such cultural
Akzidenz Grotesque
gunter gerhand lange
x-height: average
character width: narrow
color: dark
Xxhg
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 move-
ment. He exalted violence and conflict and called for the
sweeping repudiation of traditional cultural, social, and
political values and the destruction of such cultural institu-
tions as museums and libraries.
News Gothic
morris fuller benton
x-height: average
color: medium
Xxhg

X-HEIGHT
11
Futurism was first announced on February 20, 1909, when the Paris news-
paper Le Figaro published a manifesto by the Italian poet and editor Filippo
Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived to be the static and irrelevant art
of the past and celebrating change, originality, and innovation in culture
and society. Futurism rejected traditions and glorified contemporary life,
mainly by emphasizing two dominant themes, the machine and motion. The
works were characterized by the depiction of several successive actions of
a subject at the same time. Marinettis manifesto glorified the new technol-
ogy of the automobile and the beauty of its speed, power, and movement.
He exalted violence and conflict and called for the sweeping repudiation of
traditional cultural, social, and political values and the destruction of such
cultural institutions as museums and libraries.
Bodoni
giambattista bodoni
x-height: average
color: light
Xxhg
the Italian poet and editor Filippo Tommaso Marinetti. The
name Futurism, coined by Marinetti, reflected his emphasis
on discarding what he conceived to be the static and irrel-
evant art of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected tradi-
tions and glorified contemporary life, mainly by emphasizing
two dominant themes, the machine and motion. The works
were characterized by the depiction of several successive
actions of a subject at the same time. Marinettis manifesto
glorified the new technology of the automobile and the beau-
ty of its speed, power, and movement. He exalted violence
and conflict and called for the sweeping repudiation of tradi-
tional cultural, social, and political values and the destruc-
tion of such cultural institutions as museums and libraries.
Century
morris fuller benton
x-height: average
character width: wide
color: dark
Xxhg
X-HEIGHT
12
themes, the machine and motion. The works were character-
ized by the depiction of several successive actions of a subject
at the same time. Marinettis manifesto glorified the new tech-
nology of the automobile and the beauty of its speed, power,
and movement. He exalted violence and conflict and called for
the sweeping repudiation of traditional cultural, social, and
political values and the destruction of such cultural institu-
tions as museums and libraries.
Didot
jonathan hoefler
x-height: small
color: light
coined by Marinetti, reflected his emphasis on discarding what
he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and
society. Futurism rejected traditions and glorified contemporary
life, mainly by emphasizing two dominant themes, the machine
and motion. The works were characterized by the depiction
of several successive actions of a subject at the same time.
Marinettis manifesto glorified the new technology of the auto-
mobile and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping repu-
diation of traditional cultural, social, and political values and the
destruction of such cultural institutions as museums
and libraries.
Sabon
jan tschichold
x-height: average
color: dark
Xxhg

Xxhg
X-HEIGHT
13
newspaper Le Figaro published a manifesto by the Italian poet and edi-
tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti,
reflected his emphasis on discarding what he conceived to be the
static and irrelevant art of the past and celebrating change, original-
ity, and innovation in culture and society. Futurism rejected traditions
and glorified contemporary life, mainly by emphasizing two dominant
themes, the machine and motion. The works were characterized by the
depiction of several successive actions of a subject at the same time.
Marinettis manifesto glorified the new technology of the automobile
and the beauty of its speed, power, and movement. He exalted violence
and conflict and called for the sweeping repudiation of traditional cul-
tural, social, and political values and the destruction of such cultural
Rotis Sans Serif 55
adrian frutiger
x-height: tall
color: light
Xxhg
Marinetti, reflected his emphasis on discarding what he conceived to
be the static and irrelevant art of the past and celebrating change,
terized by the depiction of several successive actions of a subject at
the same time. Marinettis manifesto glorified the new technology of
the automobile and the beauty of its speed, power, and movement.
He exalted violence and conflict and called for the sweeping repudia-
tion of traditional cultural, social, and political values and the destruc-
tion of such cultural institutions as museums and libraries.
Gill Sans
eric gill
x-height: tall
color: dark
Xxhg
X-HEIGHT
14
themes, the machine and motion. The works were character-
ized by the depiction of several successive actions of a subject
at the same time. Marinettis manifesto glorified the new tech-
nology of the automobile and the beauty of its speed, power,
and movement. He exalted violence and conflict and called for
the sweeping repudiation of traditional cultural, social, and
political values and the destruction of such cultural institutions
as museums and libraries.
DIN
linotype
x-height: tall
character width: thin
color: light
Xxhg
diation of traditional cultural, social, and political values and
the destruction of such cultural institutions as museums
and libraries.
Trade Gothic
jackson burke
x-height: tall
color: light
Xxhg

X-HEIGHT
15
Marinetti, reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and celebrating change,
terized by the depiction of several successive actions of a subject at
the same time. Marinettis manifesto glorified the new technology of
the automobile and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweeping repudiation
of traditional cultural, social, and political values and the destruction of
Bembo
francesco griffo
x-height: small
color: light
Xxhg
evant art of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected traditions
and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were
characterized by the depiction of several successive actions
of a subject at the same time. Marinettis manifesto glorified
the new technology of the automobile and the beauty of its
speed, power, and movement. He exalted violence and con-
flict and called for the sweeping repudiation of traditional
cultural, social, and political values and the destruction of
Rockwell
frank hinman pierpont
x-height: tall
color: dark
Xxhg
X-HEIGHT
16
diation of traditional cultural, social, and political values and the
destruction of such cultural institutions as museums
and libraries.
Helvetica
max miedinger
x-height: tall
color: light
Xxhg
Futurism, coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and irrelevant
art of the past and celebrating change, originality, and inno-
vation in culture and society. Futurism rejected traditions
and glorified contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The works were
characterized by the depiction of several successive actions
of a subject at the same time. Marinettis manifesto glorified
the new technology of the automobile and the beauty of its
speed, power, and movement. He exalted violence and con-
flict and called for the sweeping repudiation of traditional
cultural, social, and political values and the destruction of
Interstate
tobais frere-jones
x-height: tall
color: dark
Xxhg

X-HEIGHT
17
Marinetti, reflected his emphasis on discarding what he conceived to be
the static and irrelevant art of the past and celebrating change, original-
Adobe Garamond
claude garamond
x-height: average
color: light
Xxhg
Marinetti, reflected his emphasis on discarding what he conceived to be
the static and irrelevant art of the past and celebrating change, original-
Filosofia
zuzana licko
x-height: small
color: light
Xxhg
X-HEIGHT
18
evant art of the past and celebrating change, originality,
and innovation in culture and society. Futurism rejected tra-
ditions and glorified contemporary life, mainly by empha-
sizing two dominant themes, the machine and motion. The
works were characterized by the depiction of several succes-
sive actions of a subject at the same time. Marinettis mani-
festo glorified the new technology of the automobile and
the beauty of its speed, power, and movement. He exalted
violence and conflict and called for the sweeping repudia-
tion of traditional cultural, social, and political values and
the destruction of such cultural institutions as museums
and libraries.
Frutiger
adrian fruitiger
x-height: tall
color: dark
Xxhg
on discarding what he conceived to be the static and irrele-
vant art of the past and celebrating change, originality, and
innovation in culture and society. Futurism rejected tradi-
tions and glorified contemporary life, mainly by emphasiz-
ing two dominant themes, the machine and motion. The
works were characterized by the depiction of several suc-
cessive actions of a subject at the same time. Marinettis
manifesto glorified the new technology of the automobile
and the beauty of its speed, power, and movement. He
exalted violence and conflict and called for the sweep-
ing repudiation of traditional cultural, social, and political
values and the destruction of such cultural institutions as
Univers
adrian frutiger
x-height: tall
color: dark
Xxhg

X-HEIGHT
19
reflected his emphasis on discarding what he conceived
to be the static and irrelevant art of the past and cel-
ebrating change, originality, and innovation in culture
and society. Futurism rejected traditions and glorified
contemporary life, mainly by emphasizing two dominant
themes, the machine and motion. The works were char-
acterized by the depiction of several successive actions
of a subject at the same time. Marinettis manifesto
glorified the new technology of the automobile and the
beauty of its speed, power, and movement. He exalted
violence and conflict and called for the sweeping repu-
diation of traditional cultural, social, and political val-
ues and the destruction of such cultural institutions as
Gotham
tobias frere-jones
x-height: average
color: light
Xxhg
coined by Marinetti, reflected his emphasis on discarding what he
conceived to be the static and irrelevant art of the past and cel-
ebrating change, originality, and innovation in culture and society.
Futurism rejected traditions and glorified contemporary life, mainly
by emphasizing two dominant themes, the machine and motion.
The works were characterized by the depiction of several succes-
sive actions of a subject at the same time. Marinettis manifesto
glorified the new technology of the automobile and the beauty of its
speed, power, and movement. He exalted violence and conflict and
called for the sweeping repudiation of traditional cultural, social,
and political values and the destruction of such cultural institutions
as museums and libraries.
Scala Sans
martin majoor
x-height: average
color: dark
Xxhg
X-HEIGHT
20
HYPHENATION
_
how the text is read avoid widows
_
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
_
avoid hyphenation in a callout
In unjustified text, the text block is set with normal letter and word spacing. Because of the
even word spacing the text will have an even textureno large spaces between words. The
lines will naturally vary in length. A ragged text block can integrate with the layout and
add visual interest to the page. The 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 unjus-
tified 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.
T
H
E

D
I
F
F
I
C
U
L
T
Y

h
a
v
e

a

p
l
e
a
s
i
n
g
s
i
l
h
o
u
e
t
t
e
.

i
s

m
a
k
i
n
g

t
h
e

r
a
g
g
e
d

e
d
g
e
R
U
L
E
S

T
O

K
E
E
P

I
N

M
I
N
D
HYPHENATION
22
A
B
O
U
T

H
E
A
D
L
I
N
E
S
_
Dont hyphenate headlines. Thats a law.
DON QUIXOTE DE LA MAN-
CHA
_
Does the end rst line of a two-line head
line create a silly or misleading phrase?
Fix it.
PROFESSOR AND THE-
RAPIST TO LECTURE
DONT LOSE YOUR SELF
RESPECT
_
Dont leave widows in headlines.
MAN WALKS BAREFOOT ACROSS BAY
BRIDGE
Fix it, or rewrite the headline.
MAN WALKS BAREFOOT
ACROSS BAY BRIDGE
HYPHENATION
23
WHAT ARE
line breaks
A NY WAY ?
BAD
CASING ADDER
BAT
Heresy borsch-boil starry a boarder
borsch boil gam
plate lung, lung a gore in-
ner ladle wan-hearse torn
coiled Mutt-ll.
Mutt-ll worsen mush of-
fter torn, butted hatter putty
gut borsch-boil tame, an of
oiler pliers honor tame, door
moist cerebrated worse Cas-
ing. Casing worsted sickened
basement, any hatter betting or-
phanage of. 526 (fe toe
sex).
Casing worse gut lurking
an furry poplarspatially
wetter gull coiled Any-bally.
Any-bally worse Casings
sweat-hard, any harpy cobble
wandered toe gat merit,
bought Casing worse tow pore toe
becalm Any-ballys
horsebarn. (Boil pliers honor Mutt-
ll tame dint gat mush ofer celery;
infect, day gut nosing atoll.)
Butt less gat earn wetter star-
ry.
CASING ADDER BAT
Heresy borsch-boil starry
a boarder borsch boil gam
plate lung, lung a gore inner ladle
wan-hearse torn
coiled Mutt-ll.
Mutt-ll worsen mush
ofter torn, butted hatter putty
gut borsch-boil tame,
an of oiler pliers honor tame, door
moist cerebrated worse Casing.
Casing worsted sickened
basement, any hatter
betting orphanage of. 526
(fe toe sex).
Casing worse gut lurking
an furry poplarspatially
wetter gull coiled Any-bally.
Any-bally worse Casings
sweat-hard, any harpy cobble
wandered toe gat merit, bought
Casing worse tow pore toe
becalm Any-ballys horsebarn.
(Boil pliers honor Mutt-ll tame dint
gat mush ofer celery;
infect, day gut nosing atoll.)
Butt less gat earn wetter starry.
_
1
_
2
_
3
_
4
_
5
_
6
_
7
_
8
_
9

[CORRECTED]
HYPHENATION
24
N
e
v
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r

l
e
a
v
e

w
i
d
o
w
s

a
n
d

o
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p
h
a
n
s

b
e
r
e
f
t

o
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e

p
a
g
e
.

A
v
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i
d

b
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t
h

o
f

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s
e

s
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.
In typography, rivers, or rivers of white, are visu-
ally 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 justication or
monospaced fonts.
W
I
D
O
W
S

A
N
D

O
R
P
H
A
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S
R
I
V
E
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S
HYPHENATION
25
ALIGNMENTS
If someone insists that fully justied text is better than left
aligned text, TELL THEM THEY ARE WRONG
If someone else tells you that left-aligned text is better than
justied text, TELL THEM THEY ARE WRONG
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 ele-
ments on the page. The most appropriate choice is the alignment
that works for that particular design.
IF THEY ARE BOTH WRONG,
THEN WHATS RIGHT?
26
d
o

n
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t

e
x
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s
t

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g
r
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p
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d
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A
N
D

W
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G

There is only
EFFECTIVE
AND NON-EFFECTIVE COMMUNICATION.
PETER BILAK, ON ILLEGIBILITY
27
_
Often considered more informal, friendlier
than justied 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 tweak-
ing from the designer to make it look good).
LEFT-ALIGNED,
RAGGED RIGHT
ALIGNMENTS
There is nothing inherently wrong with centered text. As with ragged
right or fully-justied 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.
As with all layouts, alignment depends on the purpose of the piece, the
audience and its expectations, the fonts, the margins and white space,
and other elements on the page. The most appropriate choice is the
alignment that works for that particular design.
No matter what alignment you use, remember to pay close attention
to hyphenation and word/character spacing as well to insure that your
text is as readable as possible.
There will undoubtedly be well-meaning friends, business associates,
clients, and others who will question your choices. Be prepared to ex-
plain why you chose the alignment you did and be prepared to change
it (and make necessary adjustments to keep it looking good) if the
person with nal approval still insists on something diferent.
C
E
N
T
E
R
E
D
W
H
E
N

I
N

D
O
U
B
T
,

D
O
N
T

C
E
N
T
E
R

I
T
28
Traditionally many books, newsletters, and newspapers use full-jus-
tication 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 nd that FULLY-JUSTIFIED text is a necessity
either due to space constraints or expectations of the
audience. If possible though, try to break up dense
blocks of texts with ample subheadings, margins,
or graphics.
_
Often considered more formal, less friendly than
left-aligned text.
_
Usually allows for more characters per line, pack-
ing 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.
J
U
S
T
I
F
I
E
D

T
E
X
T
ALIGNMENTS
29
J
U
S
T
I
F
I
C
A
T
I
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N
W
H
A
T

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S

T
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A
L

S
P
A
C
E

B
E
T
W
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E
N

W
O
R
D
S
?
30
JUSTIFICATION
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 them-
selves to accommodate it. It usually looks awkward. Youve seen
newspaper columns where all text is justied, 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 justied type. When you do it, the efect
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.
Try squinting at the example on the bottom of the previous page.
JUSTIFY TEXT ONLY IF THE LINE IS LONG
ENOUGH TO PREVENT AWKWARD AND
INCONSISTENT WORD SPACING.
Here is a general guideline for determining if your line length is long enough to satisfacto-
rily 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.

31
MINIMUM 80 DESIRED 100 MAXIMUM 133
BOOKMAN 9/12 FUTURA 9/12
There are a lot of hyphens in Bookman, we can
do better than this default justifcation setting.
Futurism was frst announced on Febru-
ary 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, refected his emphasis on
discarding what he conceived to be the
static and irrelevant art of the past and
celebrating change, originality, and in-
novation in culture and society. Futurism
rejected traditions and glorifed contem-
porary life, mainly by emphasizing two
dominant themes, the machine andmo-
tion. The manifestos rhetoric was pas-
sionately bombastic; its tone was aggres-
sive and infammatory and was purposely
intended to inspire public anger and
amazement, to arouse controversy, and
to attract widespread attention.
Futurism was frst announced on Feb-
ruary 20, 1909, when the Paris news-
paper Le Figaro published a manifesto
by the Italian poet and editor Filippo
Tommaso Marinetti. The name Futur-
ism, coined by Marinetti, refected his
emphasis on discarding what he con-
ceived to be the static and irrelevant
art of the past and celebrating change,
originality, and innovation in culture
and society. Futurism rejected tradi-
tions and glorifed contemporary life,
mainly by emphasizing two dominant
themes, the machine andmotion. The
manifestos rhetoric was passionately
bombastic; its tone was aggressive
and infammatory and was purposely
amazement, to arouse controversy,
and to attract widespread attention.
JUSTIFICATION
32
ary 20, 1909, when the Paris newspa-
per Le Figaro published a manifesto by
the Italian poet and editor Filippo Tom-
maso Marinetti. The name Futurism,
coined by Marinetti, refected his em-
phasis on discarding what he conceived
to be the static and irrelevant art of the
past and celebrating change, originality,
and innovation in culture and society.
Futurism rejected traditions and glorifed
contemporary life, mainly by emphasiz-
ing two dominant themes, the machine
andmotion. The manifestos rhetoric was
passionately bombastic; its tone was ag-
gressive and infammatory and was pur-
posely intended to inspire public anger
and amazement, to arouse controversy,
Futurism was frst announced on
February 20, 1909, when the Paris
newspaper Le Figaro published a
manifesto by the Italian poet and
editor Filippo Tommaso Marinetti.
The name Futurism, coined by Mari-
netti, refected his emphasis on dis-
carding what he conceived to be the
static and irrelevant art of the past
and celebrating change, originality,
and innovation in culture and soci-
ety. Futurism rejected traditions and
glorifed contemporary life, mainly by
emphasizing two dominant themes,
the machine andmotion. The mani-
festos rhetoric was passionately
JUSTIFICATION
Rivers are larger in both typefaces.
33
Italian poet Filippo Tommaso Marinetti.
The name Futurism, coined by Marinet-
ti, refected 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 tra-
ditions and glorifed contemporary life,
bombastic; its tone was aggressive and
infammatory and was purposely intend-
ed to inspire public anger and amaze-
ment, to arouse controversy, and to at-
tract widespread attention.
Futurism was frst announced on
February 20, 1909, when the Paris
newspaper Le Figaro published a
manifesto by the Italian poet and
editor Filippo Tommaso Marinetti.
The name Futurism, coined by Mari-
netti, refected his emphasis on dis-
carding what he conceived to be the
static and irrelevant art of the past
and innovation in culture and soci-
ety. Futurism rejected traditions and
glorifed contemporary life, mainly by
the machine andmotion. The mani-
festos rhetoric was passionately
JUSTIFICATION
Rivers are more pronounced in this setting, and
hyphenation of words becomes distracting
34
Marinetti. The name Futurism, coined by
Marinetti, refected his emphasis on dis-
carding what he conceived to be the static
and irrelevant art of the past and celebrat-
ing change, originality, and innovation
in culture and society. Futurism rejected
traditions and glorifed contemporary
life, mainly by emphasizing two domi-
nant themes, the machine andmotion.
The manifestos rhetoric was passionately
bombastic; its tone was aggressive and in-
fammatory and was purposely intended
to inspire public anger and amazement,
to arouse controversy, and to attract wide-
spread attention.
paper Le Figaro published a mani-
festo by the Italian poet and editor
Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, refect-
ed his emphasis on discarding what
he conceived to be the static and ir-
relevant art of the past and celebrat-
ing change, originality, and innova-
tion in culture and society. Futurism
rejected traditions and glorifed con-
temporary life, mainly by emphasizing
two dominant themes, the machine
andmotion. The manifestos rheto-
ric was passionately bombastic; its
tone was aggressive and infamma-
tory and was purposely intended to
inspire public anger and amazement,
to arouse controversy, and to attract
widespread attention.
JUSTIFICATION
Rivers are less pronounced because the minimum
space between words has been decreased,
however there are still too many hyphens. We can
still do better.
35
by Marinetti, refected his emphasis on
discarding what he conceived to be the
static and irrelevant art of the past and
celebrating change, originality, and in-
novation in culture and society. Futurism
rejected traditions and glorifed con-
temporary life, mainly by emphasizing
two dominant themes, the machine an-
dmotion. The manifestos rhetoric was
passionately bombastic; its tone was
aggressive and infammatory and was
purposely intended to inspire public an-
ger and amazement, to arouse controver-
sy, and to attract widespread attention.
paper Le Figaro published a manifesto
by the Italian poet and editor Filippo
Tommaso Marinetti. The name Futur-
ism, coined by Marinetti, refected his
emphasis on discarding what he con-
ceived to be the static and irrelevant
originality, and innovation in culture
and society. Futurism rejected tradi-
tions and glorifed contemporary life,
JUSTIFICATION
This is the most successful of the justication
settings, rivers are signifcantly reduced in
both typefaces.
36
COMBINING
Typefaces
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 diferent type-
faces or four diferent type variations such as type size and bold or italic style.
[Using 2 diferent serif fonts or 2 diferent sans serifs fonts in the same composition is
never a good idea]
When combining serif and sans serif
text fonts, one should try and match
the characteristics of form and type
color, proportion, x-heights.
38
When combining
typefaces, dont be
a wimp.
the key is contrast
39
OLD STYLE / GERALD +
HUMANIST SANS SERIF
OLD STYLE Calisto, Goudy Old Style, Janson, Palatino, Perpetua,
Plantino, Sabon, Adobe Caslon, Monotype Bembo, Stempel Garamond
HUMANIST SAN SERIF Frutiger, Calibri, Gill Sans
GROTESQUE SAN SERIF Franklin Gothic, News Gothic, Haettenschweiler, Akzidenz Grotesk
OLD STYLE / GERALD +
GROTESQUE SANS SERIF
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first
announced on February 20, 1909, when the
Paris newspaper Le Figaro published a mani-
festo by the Italian poet and editor Filippo
Tommaso Marinetti. The name Futurism,
coined by Marinetti, reflected his empha-
sis on discarding what he conceived to be
the static and irrelevant art of the past and
celebrating change, originality, and innova-
tion in culture and society. Futurism rejected
traditions and glorified contemporary life,
mainly by emphasizing two dominant themes,
the machine and motion. The works were
characterized by the depiction of several suc-
cessive actions of a subject at the same time.
Marinettis manifesto glorified the new tech-
nology of the automobile and the beauty of
its speed, power, and movement.
aa BB ee GG gg
Goudy Old Style Old Style [9/12]
Frutiger Humanist san serif [9/12]
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was
first announced on February 20, 1909, when
the Paris newspaper Le Figaro published
a manifesto by the Italian poet and edi-
tor Filippo Tommaso Marinetti. The name
Futurism, coined by Marinetti, reflected his
emphasis on discarding what he conceived to
be the static and irrelevant art of the past and
celebrating change, originality, and innova-
tion in culture and society. Futurism rejected
traditions and glorified contemporary life,
themes, the machine and motion. The works
were characterized by the depiction of several
successive actions of a subject at the same
time. Marinettis manifesto glorified the new
technology of the automobile and the beauty
of its speed, power, and movement.
aa BB ee GG gg
Adobe Caslon Old Style [9/12]
Franklin Gothic Grotesque san serif [9/12]
COMBINING TYPEFACES
40
TRANSITIONAL +
GEOMETRIC SANS SERIF
TRANSITONAL Bookman Old Style, Baskerville, Mrs Eaves
GEOMETRIC SAN SERIF Futura, ITC Avant Garde Gothic, Bauhaus, Avenir
GROTESQUE SAN SERIF Franklin Gothic, News Gothic, Haettenschweiler, Akzidenz Grotesk
TRANSITIONAL +
HUMANIST SANS SERIF
WORDS IN LIBERTY
A Prologue to Futurism: Futurism was first
announced on February 20, 1909, when the
Paris newspaper Le Figaro published a mani-
festo by the Italian poet and editor Filippo
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 empha-
sizing two dominant themes, the machine and
motion. The works were characterized by the
depiction of several successive actions of a
subject at the same time. Marinettis manifesto
glorified the new technology of the automo-
bile and the beauty of its speed, power, and
movement.
aa BB ee GG gg
Mrs Eaves Transitional [9/12]
Futura Geometric san serif [9/12]
WORDS IN LIBERTY
A Prologue to Futurism: Futurism
was first announced on February
20, 1909, when the Paris newspa-
per Le Figaro published a mani-
Filippo Tommaso Marinetti. The
name Futurism, coined by Marinetti,
reflected his emphasis on discarding
what he conceived to be the static
and irrelevant art of the past and
celebrating change, originality, and
innovation in culture and society.
Futurism rejected traditions and glo-
rified contemporary life, mainly by
the machine and motion. The works
were characterized by the depiction
of several successive actions of a
subject at the same time.
aa BB ee GG gg
Bookman Transitional [9/12]
Gill Sans Humanist san serif [12/12]
COMBINING TYPEFACES
41
MODERN + GEOMETRIC SANS SERIF
MODERN Bodoni, Didot, Bauer Bodoni, Aster, Bell, Ellington
GROTESQUE SAN SERIF Franklin Gothic, News Gothic, Haettenschweiler, Helvetica
MODERN + GROTESQUE SANS SERIF
WORDS IN LIBERTY
first announced on February 20, 1909,
when the Paris newspaper Le Figaro
published a manifesto by the Italian poet
and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti,
irrelevant art of the past and celebrat-
traditions and glorified contemporary
nant themes, the machine and motion.
The works were characterized by the
depiction of several successive actions
of a subject at the same time. Marinettis
manifesto glorified the new technology
of the automobile and the beauty of its
speed, power, and movement.
WORDS IN LIBERTY
first announced on February 20, 1909, when
the Paris newspaper Le Figaro published a
manifesto by the Italian poet and editor Filippo
coined by Marinetti, reflected his emphasis on
discarding what he conceived to be the static and
irrelevant art of the past and celebrating change,
originality, and innovation in culture and soci-
ety. Futurism rejected traditions and glorified
contemporary life, mainly by emphasizing two
dominant themes, the machine and motion. The
works were characterized by the depiction of
several successive actions of a subject at the same
time. Marinettis manifesto glorified the new
technology of the automobile and the beauty of
its speed, power, and movement.
aa BB ee GG gg
Didot Modern [9/12]
Avenir Geometric san serif [10/12]
aa BB ee GG gg
Bodoni Modern [9/12]
Akzidenz Grotesk Grotesque san serif [11/12]
COMBINING TYPEFACES
42
NEW TRANSITIONAL +
NEW TRANSITONAL Clarendon, Mrs Eaves
TRANSTIONAL Bookman Old Style, Baskerville, Mrs Eaves
NEW TRANSITIONAL +
GROTESQUE SANS SERIF
WORDS IN LIBERTY
aa BB ee GG gg
Clarendon New transitional [8/12]
WORDS IN LIBERTY
was first announced on February
20, 1909, when the Paris newspa-
per Le Figaro published a mani-
Filippo Tommaso Marinetti. The
name Futurism, coined by Marinetti,
what he conceived to be the static
and irrelevant art of the past and
celebrating change, originality, and
innovation in culture and society.
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 technolo-
gy of the automobile and the beauty
of its speed, power, and movement.
aa BB ee GG gg
Bookman Transitional [9/12]
Gill Sans Humanist san serif [12/12]
COMBINING TYPEFACES
43
SLAB SERIF +
SLAB SERIF Cholla Slab, Claredon, Archer, Rockwell
SLAB SERIF +
HUMANIST SANS SERIF
WORDS IN LIBERTY
was first announced on February 20,
1909, when the Paris newspaper Le
Figaro published a manifesto by the
by Marinetti, reflected his emphasis
on discarding what he conceived to be
the static and irrelevant art of the past
and innovation in culture and society.
emphasizing two dominant themes, the
machine and motion. The works were
characterized by the depiction of sev-
eral successive actions of a subject at
the same time.
aa BB ee GG gg
Rockwell Slab serif [9/12]
WORDS IN LIBERTY
aa BB ee GG gg
Claredon Slab serif [8/12]
Frutiger Humanist san serif [9/12]
COMBINING TYPEFACES
44
Q
U
O
T
E
S
,

A
P
O
S
T
R
O
P
H
E
S
,

D
A
S
H
E
S
Use real quotation marksnever those grotesque generic marks

that actually symbolize ditto/inch or foot marks: use andnot
and. Most software applications will convert the typewriter quotes
to the real quotes for you automatically as you type. Check the
preferences for your applicationyoull nd 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.
_
Opening double quote: Type: Option [
_
Closing double quote: Type: Option Shift [
_
Opening single quote: Type: Option ]
_
Closing single quote: Type: Option Shift ]
[Examples]
Bridge Clearance: 16' 7"
The young man stood 6'2"
The length of the wall is 153' 9"
Q
U
O
T
A
T
I
O
N

M
A
R
K
S
QUOTES + ETC
46
APOSTROPHE: OPTION SHIFT ]
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 contractionits always means it is or it
has. Always.
_
It may be easier to remember if you recall that yours, hers, and his dont use apostro-
pheand neither should its.
_
For contractions: The apostrophe replaces the missing letter. For example: yourre
always means you are; the apostrophe is replacing the a from are. Thats an easy way to
distinguish it from your as in your house and to make sure you dont say: Your going to
the store.
_
As previously noted, its means it is; the apostrophe is indicating where the i is left out.
Dont means do not; the apostrophe is indicating where the o is left out.
_
For omission of letters: In a phrase such as Rock n Roll, there should be an apostrophe
before and after the n, because the a and the d are both left out. And dont turn the rst
apostrophe aroundjust because it appears in front of the letter does not mean you
need to use the opposite single quote. An apostrophe is still the appropriate mark
(not n).
_
In a phrase such as House o Fashion, the apostrophe takes the place of the f. There is
not earthly reason for an apostrophe to be set before the o.
_
In a phrase such as Gone Fishin the same pattern is followedthe 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.)
APOSTROPHE
QUOTES + ETC
47
NEVER USE TWO HYPHENS INSTEAD
OF A DASH. USE HYPHENS, EN DASHES,
AND EM DASHES APPROPRIATELY.
Everyone knows what a hyphens isthat tiny
little dash that belongs in some words, like
mother-in-law, or in phone numbers. Its also
used to break a word at the end of a line,
of course.
You might have been taught to use a double
hyphen to indicate a dash, like so : -- . This is
a typewriter convention because typewriters
didnt have the real dash used in professional
typesetting. On a Mac, no one needs to use
the double hyphenwe have a professional
em dash, the long one, such as you see in this
sentence. We also have an en dash, which is a
little shorter than the em dash.
HYPHEN - EN DASH EM DASH
D
A
S
H
E
S
QUOTES + ETC
48
HYPHEN A hyphen is one third of the em
rule and is used to link words. It serves as
a compound modier where two words
become one, such as x-height. A hyphen is
also used to break works at syllables in
text blocks.
EM DASH To type an 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 anno space is used on
either side.
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
DASHES
QUOTES + ETC
49
T
H
E

F
O
L
L
O
W
I
N
G

I
S

A

L
I
S
T

O
F

T
H
E

M
O
S
T

O
F
T
E
N

U
S
E
D

S
P
E
C
I
A
L

C
H
A
R
A
C
T
E
R
S

A
N
D

A
C
C
E
N
T

M
A
R
K
S
_
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
_
Option + 8 bullet
_
Option + Shift + 5 ligature of f and i
_
Option + Shift + 6 ligature of f and l
_
Option + g copyright
_
Option + 2 trademark
_
Option + r registered trademark
_
Option + Shift + 8 degree symbol
_
Option + $ euro symbol
_
Option Shift 2 euro symbol
_
Option + Shift + 1 fraction bar
_
Option + 1 upside down !
_
Option + Shift + ? upside down ?
_
Option + 3 pound symbol
_
Option c cedilla
_
Option + Shift + c capital cedilla

_
Option + e =
_
` Option + ~ =
_
Option + u
_
Option + n
_
Option + i
SPECIAL CHARACTERS
50
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 rst 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.
BULLETS
BULLETS
51
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 rst line.
pick any three adjectives
that describe yourself:
lovely
surly
ghastly
womanly
saintly
ungodly
stately
sprightly

alovely
d surly
c ghastly
x womanly
r saintly
hungodly
sstately
z sprightly

slovely
ssurly
s ghastly
swomanly
s saintly
sungodly
sstately
ssprightly

slovely
ssurly
s ghastly
swomanly
s saintly
sungodly
sstately
ssprightly

BULLETS
52
OLDSTYLE FIGURES are a style of numeral which ap-
proximate lowercase letterforms by having an x-height and varying
ascenders and descenders. They are considerably diferent from the
more common lining (or aligning) gures which are all-cap height
and typically monospaced in text faces so that they line up vertically
on charts. Oldstyle gures 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 gures are proportionately spaced, eliminating the white
spaces that result from monospaced lining gures, especially around
the numeral one.
Oldstyle gures are very useful and quite beautiful when set within
text. Unlike lining gures, they blend in without disturbing the color
of the body copy. They also work well in headlines since theyre not as
intrusive as lining gures. In fact, many people prefer them overall for
most uses except charts and tables. Its well worth the extra efort to
track down and obtain typefaces with oldstyle numerals; the fonts that
contain them might well become some of your favorites.
Dear John, Please call me at 438-9762 at 3:30
to discuss marriage. Or write me at Route
916, zip code 87505.
Dear John, Please call me at 438-9762 at
3:30 to discuss marriage. Or write me at
Route 916, zip code 87505.
NOTICE HOW LARGE AND CLUNKY
THESE NUMBERS APPEAR
NOTICE HOW BEAUTIFULLY THESE
NUMBERS BLEND INTO THE TEXT
A
B
O
U
T

N
U
M
E
R
A
L
S

+

F
I
G
U
R
E
S

NUMBERALS + FIGURES
53
S
m
a
l
l

c
a
p
s

a
r
e

u
p
p
e
r
c
a
s
e

(
c
a
p
i
t
a
l
)

l
e
t
t
e
r
s

t
h
a
t

a
r
e

a
b
o
u
t

t
h
e

s
i
z
e

o
f

n
o
r
m
a
l

l
o
w
e
r
c
a
s
e

l
e
t
t
e
r
s

i
n

a
n
y

g
i
v
e
n

t
y
p
e
f
a
c
e
.

S
m
a
l
l

c
a
p
s

a
r
e

l
e
s
s

i
n
t
r
u
s
i
v
e

w
h
e
n

a
l
l

u
p
p
e
r
c
a
s
e

a
p
p
e
a
r
s

w
i
t
h
i
n

n
o
r
m
a
l

t
e
x
t

o
r

c
a
n

b
e

u
s
e
d

f
o
r

s
p
e
c
i
a
l

e
m
p
h
a
-
s
i
s
.

C
o
m
p
u
t
e
r

p
r
o
g
r
a
m
s

c
a
n

g
e
n
e
r
a
t
e

s
m
a
l
l

c
a
p
s

f
o
r

a

a
n
y

t
y
p
e
f
a
c
e
,

b
u
t

t
h
o
s
e

a
r
e

n
o
t

t
h
e

s
a
m
e

a
s

t
r
u
e

s
m
a
l
l

c
a
p
s
.

T
r
u
e

s
m
a
l
l

c
a
p
s

h
a
v
e

l
i
n
e

w
e
i
g
h
t
s

t
h
a
t

a
r
e

p
r
o
p
o
r
t
i
o
n
a
l
l
y

c
o
r
r
e
c
t

f
o
r

t
h
e

t
y
p
e
f
a
c
e
,

w
h
i
c
h

m
e

a
n
d

t
h
a
t

t
h
e
y

c
a
n

b
e

u
s
e
d

w
i
t
h
i
n

a

b
o
d
y

o
f

c
o
p
y

w
i
t
h
o
u
t

l
o
o
k
i
n
g

n
o
t
i
c
e
a
b
l
y

w
r
o
n
g
.
S
M
A
L
L

C
A
P
S
_
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 accom-
panying 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)
_
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 specically created as small caps.
SMALL CAPS
54
[CAPS] Harriet, an FBI agent, turned on
CNN to get the dirt on the CIA before
going to bed at 9:30 PM.
[SMALL CAPS] Harriet, an fbi agent,
turned on cnn to get the dirt on the cia
before going to bed at 9:30 pm.
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.
_
Set small caps for acronyms, especially 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).
_
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 specically created as
small caps.
SMALL CAPS
55
T
R
U
E
-
D
R
A
W
N

S
M
A
L
L

C
A
P
S
There are quite a few font families that
include true-drawn small capsletterforms
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, undisturbing tone
throughout the text.
T
r
u
e

d
r
a
w
n

s
m
a
l
l

c
a
p
s

a
r
e

s
p
e
c
i
a
l
l
y

d
r
a
w
n

t
o
m
a
t
c
h

t
h
e

w
e
i
g
h
t

o
f

t
h
e

c
a
p
i
t
a
l

l
e
t
t
e
r
s

i
n

t
h
e

s
a
m
e

f
a
c
e
.
T H E R E I S NO R E S T F O R T H E WI C K E D .
Th e r e I s No Re s t Fo r
Th e Wi c k e d.
The weight of the computer-drawn small caps is thinner than
the weight of the rst letter caps.
SMALL CAPS
56
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 inuenced by your choice.
PARAGRAPH
BREAKS
/ / / / / / / / / /
ITS ABOUT RHYTHM
PARAGRAPH BREAKS
57
1. Do not indent the rst paragraph
2. Block paragraphs are ush left and are separated by extra leading not a full return
3. The amount indent is equal to the leading (sometimes needs a bit more)
4. Never hit two returns between paragraphs
THE RULES
PARAGRAPH BREAKS
58
Futurism was rst 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, reected his emphasis on discarding what he conceived to
be the static and irrelevant art of the past and celebrating change, originality, and innova-
tion in culture and society.1 Futurism rejected traditions and gloried contemporary life,
mainly by emphasizing two dominant themes: the machine and motion. The manifesto's
rhetoric was passionately bombastic; its tone was aggressive and inammatory and was
purposely intended to inspire public anger and amazement, to arouse controversy, and to
attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets and
artists: or, if not the movements, then their sense of art as an life itself. All of which, as futur-
ism, had come sharply into focus by the start of the world war: a rst 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 rst great art movement led by poets; and if its means now sometimes seem
exaggerated or unripe in retrospect, they carry within them the seed of all that we were later
to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance
in favor of the transformed present (1909), the later manifestos of Futurist poets and artists
ofered formal, technical approaches to the works then getting under way. The key term
still resonant todaywas parole in libert2, by which poetry was to become an uninter-
rupted sequence of new images (a) strict bet of images or analogies, to be cast into the
mysterious sea of phenomena. This freedom-of-the-world, while it resembled other forms
of collage and of image juxtaposition, more fully explored the use of innovative and expres-
sive typography in the visual presentation of language, as set in motion by forerunners like
Mallarm. Outrageous and aggressive, the Futurists' performances mixed declamation and
gesture, events and surroundings, indiference and engagement, to break the barriers be-
tween themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa
1915), Everything of any value is theatrical.
PARAGRAPH BREAKS
59
published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The
name Futurism, coined by Marinetti, reected his emphasis on discarding what he con-
ceived to be the static and irrelevant art of the past and celebrating change, originality,
and innovation in culture and society.1 Futurism rejected traditions and gloried contem-
porary life, mainly by emphasizing two dominant themes: the machine and motion. The
manifesto's rhetoric was passionately bombastic; its tone was aggressive and inam-
matory and was purposely intended to inspire public anger and amazement, to arouse
controversy, and to attract widespread attention.
But it is the movements which survive, oddly, here where we live and work as poets
and artists: or, if not the movements, then their sense of art as an life itself. All of which, as
futurism, had come sharply into focus by the start of the world war: a rst 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 rst great art movement led by poets; and if its means now sometimes
seem exaggerated or unripe in retrospect, they carry within them the seed of all that we
were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical
stance in favor of the transformed present (1909), the later manifestos of Futurist poets
and artists ofered formal, technical approaches to the works then getting under way.
The key termstill resonant todaywas parole in libert2, by which poetry was to become
an uninterrupted sequence of new images (a) strict bet of images or analogies, to be
cast into the mysterious sea of phenomena. This freedom-of-the-world, while it resembled
other forms of collage and of image juxtaposition, more fully explored the use of innova-
tive and expressive typography in the visual presentation of language, as set in motion by
forerunners like Mallarm. Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indiference and engagement, to
break the barriers between themselves and those who came to jeer or cheer them. Wrote
Marinetti Selbst3 (circa 1915), Everything of any value is theatrical.
PARAGRAPH BREAKS
60
attract widespread attention. But it is the movements which survive, oddly,
here where we live and work as poets and artists: or, if not the movements, then their sense
of art as an life itself. All of which, as futurism, had come sharply into focus by the start of
the world war: a rst 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 rst great art movement led by poets;
and if its means now sometimes seem exaggerated or unripe in retrospect, they carry
within them the seed of all that we were later to become. While Marinetti's open-
ing manifesto for Italian Futurism bristled with a polemical stance in favor of the
transformed present (1909), the later manifestos of Futurist poets and artists ofered formal,
technical approaches to the works then getting under way. The key termstill resonant
todaywas parole in libert2, 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 Mallarm.
Outrageous and aggressive, the Futurists' performances mixed declamation and gesture,
events and surroundings, indiference and engagement, to break the barriers between
themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915),
Everything of any value is theatrical.
PARAGRAPH BREAKS
61
published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti.
The name Futurism, coined by Marinetti, reected his emphasis on discarding
what he conceived to be the static and irrelevant art of the past and celebrating
change, originality, and innovation in culture and society.1 Futurism rejected
traditions and gloried contemporary life, mainly by emphasizing two dominant
themes: the machine and motion. The manifesto's rhetoric was passionately
bombastic; its tone was aggressive and inammatory and was purposely intended
to inspire public anger and amazement, to arouse controversy, and to attract
But it is the movements which survive, oddly, here where we live and work as poets and art-
ists: or, if not the movements, then their sense of art as an life itself. All of which,
as futurism, had come sharply into focus by the start of the world war: a rst radi-
cal mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on
both its Russian & Italian sides, the rst great art movement led by poets; and
if its means now sometimes seem exaggerated or unripe in retrospect, they carry
within them the seed of all that we were later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in
favor of the transformed present (1909), the later manifestos of Futurist poets and
artists ofered formal, technical approaches to the works then getting under way.
The key termstill resonant todaywas parole in libert2, 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 Mallarm. Outra-
geous and aggressive, the Futurists' performances mixed declamation and ges-
ture, events and surroundings, indiference and engagement, to break the barriers
between themselves and those who came to jeer or cheer them. Wrote Marinetti
Selbst3 (circa 1915), Everything of any value is theatrical.
PARAGRAPH BREAKS
62
attract widespread attention. But i t i s t he movement s whi ch survi ve, oddl y, here
where we l i ve and work as poet s and art i st s: or, i f not t he movement s, t hen
t hei r sense of art as an l i fe i t sel f. All of which, as futurism, had come sharply into fo-
cus by the start of the world war: a rst 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 rst great art move-
ment led by poets; and if its means now sometimes seem exaggerated or unripe in retro-
spect, they carry within them the seed of all that we were later to become. Whi l e Mari net -
t i ' s openi ng mani fest o for I t al i an Fut uri sm bri stl ed wi t h a pol emi cal st ance
i n f avor of t he t ransformed present ( 1909) , t he l at er mani fest os of Fut uri st
poet s and art i st s of fered formal , t echni cal approaches t o t he works t hen
get t i ng under way. The key termstill resonant todaywas parole in libert2, 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 Mallarm. Outrageous and aggressive, the Futurists'
performances mixed declamation and gesture, events and surroundings, indiference and
engagement, to break the barriers between themselves and those who came to jeer or cheer
them. Wrote Marinetti Selbst3 (circa 1915), Everything of any value is theatrical.
PARAGRAPH BREAKS
63
Futurism was rst announced on
February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Ital-
ian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti,
reected his emphasis on discarding what he conceived to be the static and irrelevant art of
the past and celebrating change, originality, and innovation in culture and society.1 Futur-
ism rejected traditions and gloried contemporary life, mainly by emphasizing two domi-
nant themes: the machine and motion. The manifesto's rhetoric was passionately bombas-
tic; its tone was aggressive and inammatory and was purposely intended to inspire public
anger and amazement, to arouse controversy, and to attract widespread attention.
But it is the movements which
survive, oddly, here where we live and work as poets and artists: or, if not the movements,
then their sense of art as an life itself. All of which, as futurism, had come sharply into focus
by the start of the world war: a rst 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 rst great art
movement led by poets; and if its means now sometimes seem exaggerated or unripe in
retrospect, they carry within them the seed of all that we were later to become.
While Marinetti's opening
manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed
present (1909), the later manifestos of Futurist poets and artists ofered formal, technical
approaches to the works then getting under way. The key termstill resonant todaywas
parole in libert2, by which poetry was to become an uninterrupted sequence of new
images (a) strict bet of images or analogies, to be cast into the mysterious sea of phenom-
ena. This freedom-of-the-world, while it resembled other forms of collage and of image
juxtaposition, more fully explored the use of innovative and expressive typography in the
visual presentation of language, as set in motion by forerunners like Mallarm. Outrageous
and aggressive, the Futurists' performances mixed declamation and gesture, events and
surroundings, indiference and engagement, to break the barriers between themselves and
those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), Everything of
any value is theatrical.
PARAGRAPH BREAKS
64
attract widespread attention.
artists: or, if not the movements, then their sense of art as an life itself. All of which, as futur-
ism, had come sharply into focus by the start of the world war: a rst 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 rst great art movement led by poets; and if its means now sometimes seem
exaggerated or unripe in retrospect, they carry within them the seed of all that we were
later to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance
in favor of the transformed present (1909), the later manifestos of Futurist poets and artists
ofered formal, technical approaches to the works then getting under way. The key term
still resonant todaywas parole in libert2, by which poetry was to become an uninter-
rupted sequence of new images (a) strict bet of images or analogies, to be cast into the
mysterious sea of phenomena. This freedom-of-the-world, while it resembled other forms
of collage and of image juxtaposition, more fully explored the use of innovative and expres-
sive typography in the visual presentation of language, as set in motion by forerunners like
Mallarm. Outrageous and aggressive, the Futurists' performances mixed declamation and
gesture, events and surroundings, indiference and engagement, to break the barriers be-
tween themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa
1915), Everything of any value is theatrical.
PARAGRAPH BREAKS
65
Fu t u r i s m was rst 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, reected his emphasis on discarding what he
conceived to be the static and irrelevant art of the past and celebrating change, originality,
and innovation in culture and society.1 Futurism rejected traditions and gloried contem-
porary life, mainly by emphasizing two dominant themes: the machine and motion. The
manifesto's rhetoric was passionately bombastic; its tone was aggressive and inammatory
and was purposely intended to inspire public anger and amazement, to arouse controversy,
But i t i s the movements which survive, oddly, here where we live and work as poets
futurism, had come sharply into focus by the start of the world war: a rst radical mix of art
and life, the epitome in the poplar mind of an avant-garde. It was, on bo th its Russian &
Italian sides, the rst great art movement led by poets; and if its means now sometimes
Whi l e Mari netti ' s openi ng mani festo for Italian Futurism bristled with a polemi-
cal stance in favor of the transformed present (1909), the later manifestos of Futurist poets
and artists ofered formal, technical approaches to the works then getting under way. The
key termstill resonant todaywas parole in libert2, 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 forerun-
ners like Mallarm. Outrageous and aggressive, the Futurists' performances mixed decla-
mation and gesture, events and surroundings, indiference and engagement, to break the
barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti
Selbst3 (circa 1915), Everything of any value is theatrical.
PARAGRAPH BREAKS
66
Futurism, coined by Marinetti, reected his emphasis on discarding what he conceived to be
the static and irrelevant art of the past and celebrating change, originality, and innovation
in culture and society.1 Futurism rejected traditions and gloried contemporary life, mainly
by emphasizing two dominant themes: the machine and motion. The manifesto's rhetoric
was passionately bombastic; its tone was aggressive and inammatory and was purposely
intended to inspire public anger and amazement, to arouse controversy, and to attract wide-
spread attention.
But it is the movements which survive, oddly, here where we live and work as poets and art-
ists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism,
had come sharply into focus by the start of the world war: a rst 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 rst great art movement led by poets; and if its means now sometimes seem exagger-
ated or unripe in retrospect, they carry within them the seed of all that we were later
to become.
While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in
favor of the transformed present (1909), the later manifestos of Futurist poets and artists of-
fered formal, technical approaches to the works then getting under way. The key termstill
resonant todaywas parole in libert2, 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 Mallarm. Outra-
geous and aggressive, the Futurists' performances mixed declamation and gesture, events
and surroundings, indiference and engagement, to break the barriers between themselves
and those who came to jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), Everything
of any value is theatrical.
PARAGRAPH BREAKS
67
FUTURISM was rst 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, reected his empha-
sis on discarding what he conceived to be the static and irrelevant art of
the past and celebrating change, originality, and innovation in culture
and society.1 Futurism rejected traditions and gloried contemporary
life, mainly by emphasizing two dominant themes: the machine and
motion. The manifesto's rhetoric was passionately bombastic; its tone
was aggressive and inammatory and was purposely intended to inspire
public anger and amazement, to arouse controversy, and to attract wide-
spread attention.
BUT it is the movements which survive, oddly, here where we live and work as poets and
artists: or, if not the movements, then their sense of art as an life itself.
All of which, as futurism, had come sharply into focus by the start of the
world war: a rst radical mix of art and life, the epitome in the poplar
mind of an avant-garde. It was, on bo th its Russian & Italian sides, the
rst great art movement led by poets; and if its means now sometimes
seem exaggerated or unripe in retrospect, they carry within them the
seed of all that we were later to become.
WHILE Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance
in favor of the transformed present (1909), the later manifestos of Futur-
ist poets and artists ofered formal, technical approaches to the works
then getting under way. The key termstill resonant todaywas parole
in libert2, 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 Mallarm.
Outrageous and aggressive, the Futurists' performances mixed declama-
tion and gesture, events and surroundings, indiference and engage-
ment, to break the barriers between themselves and those who came to
jeer or cheer them. Wrote Marinetti Selbst3 (circa 1915), Everything of
PARAGRAPH BREAKS
68
69
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HEADERS
70
The more white space that surrounds an object or letter, the smaller
it seems, even if it is next to an object of equal size, but with less
white space around it. The key to kerning is to keep it visually
consistent. The spacing between letters may not all be the exact
same, but it will appear that way with the proper kerning.
KERNING
THE KEY TO KERNING IS
VISUAL PERCEPTION.
TYPOGRAPHY

TYPOGRAPHY

_
[HL] vertical characters next to each other need the most amount of space
_
[HO] a vertical next to a curve needs less space
_
[OC] a curve next to a curve needs very little space
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[OT] a curve can actually overlap white space
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[AT] the closest kerning is done where both letters have a lot of white space around them
HEADERS
71
name Futurism, coined by Marinetti, reected his emphasis on discarding what he
conceived to be the static and irrelevant art of the past and celebrating change, original-
ity, and innovation in culture and society.
1
Futurism rejected traditions and gloried
contemporary life, mainly by emphasizing two dominant themes: the machine and mo-
tion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and
inammatory and was purposely intended to inspire public anger and amazement, to
arouse controversy, and to attract widespread attention.
artists: or, if not the movements, then their sense of art as an life itself. All of which, as
art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian
& Italian sides, the rst great art movement led by poets; and if its means now some-
times seem exaggerated or unripe in retrospect, they carry within them the seed of all
that we were later to become.
and artists ofered formal, technical approaches to the works then getting under
way. The key termstill resonant todaywas parole in libert
2
, by which poetry was to
become an uninterrupted sequence of new images (a) strict bet of images or analo-
gies, to be cast into the mysterious sea of phenomena. This freedom-of-the-world, while
it resembled other forms of collage and of image juxtaposition, more fully explored the
use of innovative and expressive typography in the visual presentation of language, as
set in motion by forerunners like Mallarm. Outrageous and aggressive, the Futurists'
performances mixed declamation and gesture, events and surroundings, indiference
and engagement, to break the barriers between themselves and those who came to jeer
or cheer them. Wrote Marinetti Selbst
3
(circa 1915), Everything of any value
is theatrical.
A Prologue
to Futurism
WORDS IN LIBERTY
Radical mix
of art and life
HEADERS
72
Futurism was rst 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, reected his emphasis on
discarding what he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and society.
1
Futur-
ism rejected traditions and gloried contemporary life, mainly by emphasizing
two dominant themes: the machine and motion. The manifesto's rhetoric was
passionately bombastic; its tone was aggressive and inammatory and was
purposely intended to inspire public anger and amazement, to arouse contro-
versy, and to attract widespread attention.
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
rst 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 rst great art movement
led by poets; and if its means now sometimes seem exaggerated or unripe in
stance in favor of the transformed present (1909), the later manifestos of
Futurist poets and artists ofered formal, technical approaches to the works
then getting under way. The key termstill resonant todaywas parole in
libert
2
, by which poetry was to become an uninterrupted sequence of new
images (a) strict bet of images or analogies, to be cast into the mysterious
sea of phenomena. This freedom-of-the-world, while it resembled other forms
of collage and of image juxtaposition, more fully explored the use of innova-
tive and expressive typography in the visual presentation of language, as
set in motion by forerunners like Mallarm. Outrageous and aggressive, the
Futurists' performances mixed declamation and gesture, events and surround-
ings, indiference and engagement, to break the barriers between themselves
and those who came to jeer or cheer them. Wrote Marinetti Selbst
3
(circa 1915),
A

P
R
O
L
O
G
U
E

T
O

F
U
T
U
R
I
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M
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A
D
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C
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L

M
I
X

O
F

A
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T

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N
D

L
I
F
E
WORDS IN
LIBERTY
HEADERS
73
1
Futurism rejected traditions and gloried con-
temporary life, mainly by emphasizing two dominant themes: the machine and motion.
The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inam-
art and life, the epitome in the poplar mind of an avant-garde. It was, on bo th its Russian
& Italian sides, the rst great art movement led by poets; and if its means now sometimes
Whi l e Mari netti ' s openi ng mani festo for Italian Futurism bristled with a po-
lemical stance in favor of the transformed present (1909), the later manifestos of Futur-
ist poets and artists ofered formal, technical approaches to the works then getting
under way. The key termstill resonant todaywas parole in libert
2
, by which poetry
was to become an uninterrupted sequence of new images (a) strict bet of images or
analogies, to be cast into the mysterious sea of phenomena. This freedom-of-the-
world, while it resembled other forms of collage and of image juxtaposition, more fully
explored the use of innovative and expressive typography in the visual presentation of
language, as set in motion by forerunners like Mallarm. Outrageous and aggressive,
the Futurists' performances mixed declamation and gesture, events and surroundings,
indiference and engagement, to break the barriers between themselves and those who
came to jeer or cheer them. Wrote Marinetti Selbst
3
is theatrical.
A Prologue to Futurism
Radical mix of art and life
WORDS IN LI BERTY
HEADERS
74
WORDS I N L I BERTY / /
A PROLOGUE TO FUTURISM / Futurism was rst 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, reected his emphasis
on discarding what he conceived to be the static and irrelevant art of the past and celebrating
change, originality, and innovation in culture and society.
1
Futurism rejected traditions and
gloried contemporary life, mainly by emphasizing two dominant themes: the machine and
motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and
inammatory 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 i t i s t he movement s whi ch survi ve, oddl y, here where we l i ve and work as
poet s and art i st s: or, i f not t he movement s, t hen t hei r sense of art as an l i fe
i t sel f. All of which, as futurism, had come sharply into focus by the start of the world war: a
rst 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 rst 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. Whi l e Mari net t i ' s openi ng mani fest o for I t al i an
Fut uri sm bri stl ed wi t h a pol emi cal st ance i n f avor of t he t ransformed pres-
ent ( 1909) , t he l at er mani fest os of Fut uri st poet s and art i st s of fered formal ,
t echni cal approaches t o t he works t hen get t i ng under way. The key termstill
resonant todaywas parole in libert
2
, by which poetry was to become an uninterrupted se-
quence of new images (a) strict bet of images or analogies, to be cast into the mysterious
3
(circa 1915), Everything of
HEADERS
75
Futurism was rst announced on Febru-
ary 20, 1909, when the Paris newspaper Le
Figaro published a manifesto by the Italian
poet and editor Filippo Tommaso Marinetti.
reected his emphasis on discarding what
he conceived to be the static and irrelevant
art of the past and celebrating change, origi-
nality, and innovation in culture and society.
1
contemporary life, mainly by emphasizing
two dominant themes: the machine and mo-
tion. The manifesto's rhetoric was passion-
ately bombastic; its tone was aggressive and
inammatory and was purposely intended
to inspire public anger and amazement, to
arouse controversy, and to attract wide-
spread attention.
A PROLOGUE TO FUTURISM
RADICAL MIX OF ART AND LIFE
But it is the movements which survive, oddly, here where we live
and work as poets and artists: or, if not the movements, then their
sense of art as an life itself. All of which, as futurism, had come
sharply into focus by the start of the world war: a rst 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 rst great art move-
ment led by poets; and if its means now sometimes seem exagger-
ated or unripe in retrospect, they carry within them the seed of all
While Marinetti's opening manifesto for Italian Futurism bristled
with a polemical stance in favor of the transformed present (1909),
the later manifestos of Futurist poets and artists ofered formal,
technical approaches to the works then getting under way. The
key termstill resonant todaywas parole in libert
2
, by which po-
etry was to become an uninterrupted sequence of new images (a)
strict bet of images or analogies, to be cast into the mysterious sea
of phenomena. This freedom-of-the-world, while it resembled other
forms of collage and of image juxtaposition, more fully explored the
use of innovative and expressive typography in the visual presen-
tation of language, as set in motion by forerunners like Mallarm.
Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indiference and
engagement, to break the barriers between themselves and those
who came to jeer or cheer them. Wrote Marinetti Selbst
3
(circa 1915),
HEADERS
76
Futurism was rst 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, reected his emphasis on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change, originality, and innovation in culture
and society.
1
Futurism rejected traditions and gloried contemporary life, mainly by em-
phasizing two dominant themes: the machine and motion. The manifesto's rhetoric was
passionately bombastic; its tone was aggressive and inammatory and was purposely
intended to inspire public anger and amazement, to arouse controversy, and to attract
A PROLOGUE TO
FUTURI SM
RADI CAL MI X OF ART
AND LI FE
But it is the move-
ments which survive, oddly, here where we live and work as poets and artists:
or, if not the movements, then their sense of art as an life itself. All of which,
as futurism, had come sharply into focus by the start of the world war: a rst
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 rst great art movement led
by poets; and if its means now sometimes seem exaggerated or unripe in
While Marinetti' s
opening manifesto for Italian Futurism bristled with a polemical stance in fa-
vor of the transformed present (1909), the later manifestos of Futurist poets and
artists ofered formal, technical approaches to the works then getting under
2
, by which poet-
ry was to become an uninterrupted sequence of new images (a) strict bet of
images or analogies, to be cast into the mysterious sea of phenomena. This
freedom-of-the-world, while it resembled other forms of collage and of image
juxtaposition, more fully explored the use of innovative and expressive typog-
raphy in the visual presentation of language, as set in motion by forerunners
like Mallarm. Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indiference and engage-
ment, to break the barriers between themselves and those who came to jeer
3
is theatrical.
W
O
R
D
S

I
N

L
I
B
E
R
T
Y

HEADERS
77
CAPTIONS AND NOTES
FOOTNOTES AND ENDNOTES
Footnotes and endnotes are necessary components of scholarly and technical writing.
Theyre also frequently used by writers of ction, from Herman Melville (Moby-Dick) to
contemporary novelists. Whether their intent is academic or artistic, footnotes present
special typographic challenges.
78
Specically, 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, ofer 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 end-
notes 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
specic stylesheet that must be followed.)
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.
N
U
M
B
E
R
S
/

S
Y
M
B
O
L
S

Footnotes and endnotes are set smaller than body text. The diference 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.
S
I
Z
E
CAPTIONS + NOTES
79
A Prologue
to Futurism
WORDS IN LIBERTY
Radical mix
of art and life

name Futurism, coined by Marinetti, reected his emphasis on discarding what he
1
contemporary life, mainly by emphasizing two dominant themes: the machine and mo-
tion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and
inammatory and was purposely intended to inspire public anger and amazement, to
artists: or, if not the movements, then their sense of art as an life itself. All of which, as
art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian
& Italian sides, the rst great art movement led by poets; and if its means now some-
times seem exaggerated or unripe in retrospect, they carry within them the seed of all
and artists ofered formal, technical approaches to the works then getting under
2
, by which poetry was to
become an uninterrupted sequence of new images (a) strict bet of images or analo-
gies, to be cast into the mysterious sea of phenomena. This freedom-of-the-world, while
it resembled other forms of collage and of image juxtaposition, more fully explored the
use of innovative and expressive typography in the visual presentation of language, as
set in motion by forerunners like Mallarm. Outrageous and aggressive, the Futurists'
performances mixed declamation and gesture, events and surroundings, indiference
and engagement, to break the barriers between themselves and those who came to jeer
3
is theatrical.
CAPTIONS + NOTES
80
Futurism was rst 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, reected his emphasis on
discarding what he conceived to be the static and irrelevant art of the past and
celebrating change, originality, and innovation in culture and society.
1
Futurism rejected traditions and gloried contemporary life, mainly by
emphasizing two dominant themes: the machine and motion. The manifesto's
rhetoric was passionately bombastic; its tone was aggressive and inamma-
tory and was purposely intended to inspire public anger and amazement, to
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
rst 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 rst great art movement
led by poets; and if its means now sometimes seem exaggerated or unripe in
stance in favor of the transformed present (1909), the later manifestos of
Futurist poets and artists ofered formal, technical approaches to the works
then getting under way. The key termstill resonant todaywas parole in
libert
2
, by which poetry was to become an uninterrupted sequence of new
images (a) strict bet of images or analogies, to be cast into the mysterious
sea of phenomena. This freedom-of-the-world, while it resembled other forms
of collage and of image juxtaposition, more fully explored the use of innova-
tive and expressive typography in the visual presentation of language, as
set in motion by forerunners like Mallarm. Outrageous and aggressive, the
Futurists' performances mixed declamation and gesture, events and surround-
ings, indiference and engagement, to break the barriers between themselves
3
(circa 1915),
A

P
R
O
L
O
G
U
E

T
O

F
U
T
U
R
I
S
M
R
A
D
I
C
A
L

M
I
X

O
F

A
R
T

A
N
D

L
I
F
E
WORDS IN
LIBERTY

CAPTIONS + NOTES
81
1
Futurism rejected traditions and gloried con-
temporary life, mainly by emphasizing two dominant themes: the machine and motion.
The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inam-
art and life, the epitome in the poplar mind of an avant-garde. It was, on bo th its Russian
& Italian sides, the rst great art movement led by poets; and if its means now sometimes
Whi l e Mari netti ' s openi ng mani festo for Italian Futurism bristled with a po-
lemical stance in favor of the transformed present (1909), the later manifestos of Futur-
ist poets and artists ofered formal, technical approaches to the works then getting
under way. The key termstill resonant todaywas parole in libert
2
, by which poetry
was to become an uninterrupted sequence of new images (a) strict bet of images or
analogies, to be cast into the mysterious sea of phenomena. This freedom-of-the-
world, while it resembled other forms of collage and of image juxtaposition, more fully
explored the use of innovative and expressive typography in the visual presentation of
language, as set in motion by forerunners like Mallarm. Outrageous and aggressive,
the Futurists' performances mixed declamation and gesture, events and surroundings,
indiference and engagement, to break the barriers between themselves and those who
came to jeer or cheer them. Wrote Marinetti Selbst
3
is theatrical.
A Prologue to Futurism
Radical mix of art and life
WORDS IN LI BERTY

CAPTIONS + NOTES
82
WORDS I N L I BERTY / /
A PROLOGUE TO FUTURISM / Futurism was rst 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, reected his emphasis
on discarding what he conceived to be the static and irrelevant art of the past and celebrating
change, originality, and innovation in culture and society.
1
Futurism rejected traditions and
gloried contemporary life, mainly by emphasizing two dominant themes: the machine and
motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and
inammatory 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 i t i s t he movement s whi ch survi ve, oddl y, here where we l i ve and work as
poet s and art i st s: or, i f not t he movement s, t hen t hei r sense of art as an l i fe
i t sel f. All of which, as futurism, had come sharply into focus by the start of the world war: a
rst 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 rst 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. Whi l e Mari net t i ' s openi ng mani fest o for I t al i an
Fut uri sm bri stl ed wi t h a pol emi cal st ance i n f avor of t he t ransformed pres-
ent ( 1909) , t he l at er mani fest os of Fut uri st poet s and art i st s of fered formal ,
t echni cal approaches t o t he works t hen get t i ng under way. The key termstill
resonant todaywas parole in libert
2
, by which poetry was to become an uninterrupted se-
quence of new images (a) strict bet of images or analogies, to be cast into the mysterious
3
(circa 1915), Everything of
3. selbst = himself
1. Philip Meggs, History
of Graphic Design, Van
Nostrand Reinhold, 1988
2. parole in liberta =
words set free
(liberty)
CAPTIONS + NOTES
83
Futurism was rst announced on Febru-
ary 20, 1909, when the Paris newspaper Le
Figaro published a manifesto by the Italian
poet and editor Filippo Tommaso Marinetti.
reected his emphasis on discarding what
he conceived to be the static and irrelevant
originality, and innovation in culture and
society.
1

Futurism rejected tradi-
tions and gloried contemporary life, mainly
by emphasizing two dominant themes: the
machine and motion. The manifesto's rheto-
ric was passionately bombastic; its tone
was aggressive and inammatory and was
purposely intended to inspire public anger
and amazement, to arouse controversy, and
to attract widespread attention.
A PROLOGUE TO FUTURISM
RADICAL MIX OF ART AND LIFE
But it is the movements which survive, oddly, here where we live
and work as poets and artists: or, if not the movements, then their
sense of art as an life itself. All of which, as futurism, had come
sharply into focus by the start of the world war: a rst 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 rst great art move-
ment led by poets; and if its means now sometimes seem exagger-
ated or unripe in retrospect, they carry within them the seed of all
While Marinetti's opening manifesto for Italian Futurism bristled
with a polemical stance in favor of the transformed present (1909),
the later manifestos of Futurist poets and artists ofered formal,
technical approaches to the works then getting under way. The
key termstill resonant todaywas parole in libert

2
, by which poetry was to become an uninterrupted sequence
of new images (a) strict bet of images or analogies, to be cast
into the mysterious sea of phenomena. This freedom-of-the-world,
while it resembled other forms of collage and of image juxtaposi-
tion, more fully explored the use of innovative and expressive
typography in the visual presentation of language, as set in motion
by forerunners like Mallarm. Outrageous and aggressive, the
Futurists' performances mixed declamation and gesture, events and
surroundings, indiference and engagement, to break the barriers
between themselves and those who came to jeer or cheer them.
Wrote Marinetti Selbst
3
is theatrical.
CAPTIONS + NOTES
84
Futurism was rst 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, reected his emphasis on discarding what he conceived to be the static and
irrelevant art of the past and celebrating change, originality, and innovation in culture
and society.
1
Futurism rejected traditions and gloried contemporary life, mainly by em-
phasizing two dominant themes: the machine and motion. The manifesto's rhetoric was
passionately bombastic; its tone was aggressive and inammatory and was purposely
intended to inspire public anger and amazement, to arouse controversy, and to attract
A PROLOGUE TO
FUTURI SM
RADI CAL MI X OF ART
AND LI FE
But it is the move-
ments which survive, oddly, here where we live and work as poets and artists:
or, if not the movements, then their sense of art as an life itself. All of which,
as futurism, had come sharply into focus by the start of the world war: a rst
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 rst great art movement led
by poets; and if its means now sometimes seem exaggerated or unripe in
While Marinetti' s
opening manifesto for Italian Futurism bristled with a polemical stance in fa-
vor of the transformed present (1909), the later manifestos of Futurist poets and
artists ofered formal, technical approaches to the works then getting under
2
, by which poet-
ry was to become an uninterrupted sequence of new images (a) strict bet of
images or analogies, to be cast into the mysterious sea of phenomena. This
freedom-of-the-world, while it resembled other forms of collage and of image
juxtaposition, more fully explored the use of innovative and expressive typog-
raphy in the visual presentation of language, as set in motion by forerunners
like Mallarm. Outrageous and aggressive, the Futurists' performances mixed
declamation and gesture, events and surroundings, indiference and engage-
ment, to break the barriers between themselves and those who came to jeer
3
is theatrical.
W
O
R
D
S

I
N

L
I
B
E
R
T
Y

1

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f
CAPTIONS + NOTES
85
A

b
a
s
i
c

s
y
s
t
e
m

f
o
r

c
l
a
s
s
i
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86
VARIATIONS IN STRESS
As early typefaces were based on the written letterforms the
scribes, it was important that the type designer tries to capture
as much as 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 this
characteristic that the early typefaces tried to imitate. This is quite
clear in Garamond. As type evolved and the designer was no longer
inuenced by handwriting, the stress became more vertical as
in Baskerville and later totally vertical with Bodoni. In Univers you
will nd no noticeable stress.
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 renement
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 mono-weight. In Univers the is an absence of any
noticeable thick and thin strokes; there is a uniformity of strokes
(mono-weight).
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 Bodoni this
was followed by the return of the heavy serif in Serifa and the
elimination of the serif in Univers.
TYPE CLASSIFCATION
87
HUMANIST OR OLD STYLE
The roman typefaces of the fteenth and sixteenth centuries emulated
classical calligraphy. Sabon was designed by Jan Tschichold in 1966,
based on the sixteenth-century typefaces of Claude Garamond.
TRANSITIONAL
These typefaces have sharper serifs and a more vertical axis than
humanist letters. When the fonts of John Baskerville were intro-
duced in the mid-eighteenth century, their sharp forms and high
contrast were considered shocking.
MODERN
The typefaces designed by Giambattista Bodoni in the late eigh-
teenth and early nineteenth centuries are radically abstract. Note
the thin, straight serifs; vertical axis; and sharp contrast from thick
to thin strokes.
_
little contrast between thick and thin of strokes
_
stroke weight has inections similar to handwriting
_
strong diagonal stress such as on letter o
_
sloping bar on letter e
_
contrast between thick and thin strokes
is pronounced
_
very slight diagonal stress
_
bracketed serifs
_
horizontal bar on e
_
tall x-height
_
extreme contrast between thick and thin strokes
_
hairline (strokes) serifs
_
horizontal stress
_
horizontal bar on e
Aa Ee
Aa Ee
Aa Ee
Sabon
Baskerville
Bodoni
TYPE CLASSIFCATION
88
Aa Ee
Aa Ee
Aa Ee
_
mono weight
_
square ended serifs
_
horizontal stress
_
horizontal bar on e
EGYPTIAN OR SLAB SERIF
Numerous bold and decorative typefaces were introduced in the
nineteenth century for use in advertising. Egyptian fonts have
heavy, slab-like serifs.
_
based on the proportions of the Roman capitals
_
some contrast in the stroke weight
_
lowercase a and g are usually two story
HUMANIST SANS SERIF
Sans-serif typefaces became common in the twentieth century. Gill
Sans, designed by Eric Gill in 1928, has humanist characteristics.
Note the small, lilting counter in the letter a , and the calligraphic
variations in line weight.
_
uniform stroke
_
upright axis
TRANSITIONAL SANS SERIF
Helvetica, designed by Max Miedinger in 1957, is one of the world's
most widely used typefaces. Its uniform, upright character makes it
similar to transitional serif letters. These fonts are also referred to
as "anonymous sans serif."
Some sans-serif types are built around geometric forms.
In Futura, designed by Paul Renner in 1927, the Os are perfect
circles, and the peaks of the A and M are sharp triangles.
_
very little contrast in the stoke weight
_
a little wider set
_
constructed from simple shapes : circle
and rectangle
_
usually a one story lowercase a
_
upper case A has a pointed apex
Memphis
Gill Sans
Gill Sans
Aa Ee
Futura
TYPE CLASSIFCATION
89
HAMBURGERQ hamburgerq?!&
AKZIDENZ GROTESK
DESIGNER gunter gerhard lange CLASSIFICATION grotesque CHARACTERISTICS spur on g, tall x-
height, short ascenders and descenders,
short tail on q
BASKERVILLE
DESIGNER john baskerville CLASSIFICATION transitional CHARACTERISTICS diagonal stress,
bracketed serifs , tall x-height
BELIZIO
DESIGNER david berlow CLASSIFICATION slab serif CHARACTERISTICS monoweight, square
serifs, ball terminals
BEMBO
DESIGNER stanley morison CLASSIFICATION old style CHARACTERISTICS high contrast
between thick and thin strokes
BOOKMAN
DESIGNER alexander phemister CLASSIFICATION new transitional CHARACTERISTICS horizontal stress,
tall x-height
BODONI (BAUER BODONI)
DESIGNER giambattista bodoni CLASSIFICATION didone (modern) CHARACTERISTICS extreme contrast
between thick and thin strokes
CASLON (ADOBE CASLON)
DESIGNER carol twombly CLASSIFICATION transitional CHARACTERISTICS long tail on q, slight
diagonal stress
CHOLLA
DESIGNER sibylle hagmann CLASSIFICATION n/a CHARACTERISTICS squared curves, short
ascenders and descenders
TYPE CLASSIFCATION
90
CLARENDON
DESIGNER robert besley CLASSIFICATION slab serif CHARACTERISTICS monoweight, large
ball terminals
CLICKER
DESIGNER greg thompson CLASSIFICATION grid based san-serif CHARACTERISTICS little stroke contrast,
technology based, tall x-height
DIDOT
DESIGNER rmin didot CLASSIFICATION modern CHARACTERISTICS high contrast stroke
weight, tall x-height
DIN
DESIGNER albert jan-pool CLASSIFICATION grotesque CHARACTERISTICS no stroke contrast, tall
x-height, short ascenders and descenders
DISTURBANCE
DESIGNER jeremy tankard CLASSIFICATION new transitional CHARACTERISTICS mix of upper and
lowercase, unique g and q, bracketed serif
FILOSOFIA
designer: zuzana licko classication: modern characteristics: bracketless serif,
contrasting stroke
FRUTIGER
designer: adrian frutiger classication: humanist characteristics: low contrast, short
ascenders and descenders
TYPE CLASSIFCATION
91
GARAMOND (ADOBE GARAMOND)
DESIGNER claude garamond CLASSIFICATION old style characteristics bracketed serifs, short
x-height, variable weight
GILL SANS
DESIGNER eric gill CLASSIFICATION humanist CHARACTERISTICS minimal stroke width,
wide character width
GOUDY
DESIGNER frederic w. goudy CLASSIFICATION old style CHARACTERISTICS short x-height, diago-
nal stress, stroke variation
HELVETICA
DESIGNER max medinger CLASSIFICATION grotesque CHARACTERISTICS tall x-heights, two-
story a, squared leg kicks
INTERSTATE
DESIGNER tobias frere-jones CLASSIFICATION grotesque CHARACTERISTICS short ascenders/
descenders, angled nials
KNSTLER SCRIPT
DESIGNER hans bohn CLASSIFICATION script CHARACTERISTICS different line weights,
ball terminals, goudy caps
MELIOR
DESIGNER herman zapf CLASSIFICATION transitional aserif CHARACTERISTICS high stroke contrast,
square serif ending
FUTURA
DESIGNER paul renner CLASSIFICATION geometric CHARACTERISTICS circular bowls/
counters, monoweight, wide
TYPE CLASSIFCATION
92
MRS EAVES
DESIGNER zuzana licko CLASSIFICATION transitional CHARACTERISTICS vertical stress, g has
no open counter, thick and thin strokes
NEWS GOTHIC
DESIGNER morris fuller benton CLASSIFICATION grotesque CHARACTERISTICS tall x-height,
shallow descenders
PLATELET
designer conor mangat classication geometric characteristics no stroke variation, half
upper/half lower
ROCKWELL
DESIGNER monotype corporation CLASSIFICATION slab serif CHARACTERISTICS mono weight,
square serifs
ROTIS SANS SERIF
DESIGNER otl aicher CLASSIFICATION humanist sans serif CHARACTERISTICS tall x-height, two story
a, Q tail is above baseline
ROTIS SERIF
DESIGNER otl aicher CLASSIFICATION humanist serif CHARACTERISTICS bracketed serifs, tall
x-height, subtle stroke contrast
SABON
DESIGNER jan tschichold CLASSIFICATION old style CHARACTERISTICS thicks and thins, short
x-height, scooped serifs
MEMPHIS
DESIGNER emil rudolf weiss CLASSIFICATION slab serif CHARACTERISTICS mono weight, square
serifs, horizontal stress
TYPE CLASSIFCATION
93
SHELLEY
DESIGNER matthew carter CLASSIFICATION script CHARACTERISTICS all characters
connect, consistent loop
SNELL ROUNDHAND
DESIGNER matthew carter (charles snell) CLASSIFICATION script CHARACTERISTICS calligraphy inuenced,
strong stroke variation
SWIFT
designer: gerard unger classication: new transitional/humanist characteristics: sturdy, tall x-height, short
ascenders/descenders
TRADE GOTHIC
DESIGNER jackson burke CLASSIFICATION humanist san serif CHARACTERISTICS tall x-height, short
ascenders/descenders
UNIVERS
DESIGNER adrian frutiger CLASSIFICATION grotesque CHARACTERISTICS monoweight, heavy,
short ascenders/descenders
VOLTA
DESIGNER konrad bauer, walter baum CLASSIFICATION slab serif CHARACTERISTICS thick/thin strokes,
large square serifs
WALBAUM
DESIGNER justus erich walbaum CLASSIFICATION modern CHARACTERISTICS extreme contrast,
hairline serifs, horizontal stress
MEMPHIS
DESIGNER emil rudolf weiss CLASSIFICATION slab serif CHARACTERISTICS mono weight, square
serifs, horizontal stress
TYPE CLASSIFCATION
94
T
Y
P
E

S
P
E
C
I
M
E
N
S
95
BOOK
HAIRLINE
SEMI-BOLD
BOLD ITALIC
ARCHER
MaxogGdQRst
A basic system for classifying typefaces was
devised in the nineteenth century, when
printers sought to identify a heritage for their
own craft analogous to that of art 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-rst centuries have
continued to create new typefaces based on
historic characteristics.
A basic system for classifying typefaces
was devised in the nineteenth century,
when printers sought to identify a heritage
for their own craft analogous to that of art
history. Humanist letterforms are closely
connected to calligraphy and the move-
ment of the hand. Transitional and modern
typefaces are more abstract and less or-
ganic. These three main groups correspond
roughly to the Renaissance, Baroque, and
Enlightenment periods in art and literature.
Designers in the twentieth and twenty-rst
centuries have continued to create new
typefaces based on historic characteristics.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm
Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { } ? ! @ & *
CLASSIFICATION SLAB SERIF
TYPE SPECIMENS
96
ROMAN
BOLD
BLACK
AKZIDENZ GROTESK
MaxogGdQRst
was devised in the nineteenth century, when
when printers sought to identify a heri-
tage for their own craft analogous to
that of art history. Humanist letterforms
are closely connected to calligraphy and
the movement of the hand. Transitional
and modern typefaces are more abstract
and less organic. These three main
groups correspond roughly to the Re-
naissance, Baroque, and Enlightenment
periods in art and literature. Designers
in the twentieth and twenty-rst centu-
ries have continued to create new type-
faces based on historic characteristics.
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk
Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
CLASSIFICATION GROTESQUE
TYPE SPECIMENS
97
REGULAR
SMALL CAPS
ITALIC
BOLD
BASKERVILLE
MxaogGdQRt
printers sought to identify a heritage for
their own craft analogous to that of art his-
tory. Humanist letterforms are closely con-
nected to calligraphy and the movement of
the hand. Transitional and modern typefaces
are more abstract and less organic. These
three main groups correspond roughly to
the Renaissance, Baroque, and Enlighten-
ment periods in art and literature. Designers
in the twentieth and twenty-rst centuries
have continued to create new typefaces
based on historic characteristics.
three main groups correspond roughly to the
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
& *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
CLASSIFICATION TRANSITIONAL
TYPE SPECIMENS
98
REGULAR
ITALIC
BOLD
BLACK ITALIC
BELIZIO
MxagGdQrR
A basic system for classifying type-
faces was devised in the nineteenth
century, when printers sought to
identify a heritage for their own
craft analogous to that of art history.
Humanist letterforms are closely
connected to calligraphy and the
movement of the hand. Transitional
and modern typefaces are more ab-
stract and less organic. These three
main groups correspond roughly
to the Renaissance, Baroque, and
Enlightenment periods in art and
literature. Designers in the twentieth
and twenty-rst centuries have con-
tinued to create new typefaces based
on historic characteristics.
when printers sought to identify a
heritage for their own craft analogous
to that of art history. Humanist letter-
forms are closely connected to callig-
raphy and the movement of the hand.
Transitional and modern typefaces are
more abstract and less organic. These
three main groups correspond roughly
and twenty-rst centuries have contin-
ued to create new typefaces based on
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj
Kk Ll Mm Nn Oo Pp Qq Rr Ss
Tt Uu Vv Ww Xx Yy Zz 1 2 3 4
5 6 7 8 9 0 ( ) { } ? ! @ & *
Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt
Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg Hh Ii
Jj Kk Ll Mm Nn Oo Pp Qq Rr
Ss Tt Uu Vv Ww Xx Yy Zz 1 2
3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Jj Kk Ll Mm Nn Oo Pp Qq
Rr Ss Tt Uu Vv Ww Xx Yy
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
TYPE SPECIMENS
99
LIGHT
BOLD
BLACK
BELL GOTHIC
MxagGdQrRI
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
Designers in the twentieth and twenty-rst cen-
turies have continued to create new typefaces
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
devised in the nineteenth century, when print-
ers sought to identify a heritage for
their own craft analogous to that of art
connected to calligraphy and the movement of
TYPE SPECIMENS
100
REGULAR
ITALIC
BOLD
EXTRA BOLD
BEMBO
MxnogGdQrRst
ers sought to identify a heritage for their own
craft analogous to that of art history. Humanist
roughly to the Renaissance, Baroque, and En-
lightenment periods in art and literature. Design-
ers in the twentieth and twenty-rst centuries
have continued to create new typefaces based on
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
CLASSIFICATION MODERN
TYPE SPECIMENS
101
REGULAR
ITALIC
BOLD
BOLD ITALIC
BOOKMAN
MxaogGdQrR
century, when printers sought to iden-
tify a heritage for their own craft analo-
gous to that of art history. Humanist
letterforms are closely connected
to calligraphy and the movement of
the hand. Transitional and modern
typefaces are more abstract and less
organic. These three main groups cor-
respond roughly to the Renaissance,
Baroque, and Enlightenment periods
in art and literature. Designers in the
twentieth and twenty-rst centuries
have continued to create new typefac-
es based on historic characteristics.
craft analogous to that of art histo-
ry. Humanist letterforms are closely
literature. Designers in the twenti-
eth and twenty-rst centuries have
continued to create new typefaces
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
5 6 7 8 9 0 ( ) { } ? ! @ & *
5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION NEW TRANSITIONAL
TYPE SPECIMENS
102
REGULAR
ITALIC
BOLD
ORNAMENTS
BODONI
MxaogGdQrRst
to calligraphy and the movement of the
hand. Transitional and modern typefaces
Humanist letterforms are closely connected to
calligraphy and the movement of the hand.
groups correspond roughly to the Renais-
sance, Baroque, and Enlightenment periods
twentieth and twenty-rst centuries have
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & * 1 2 3 4 5 6 7 8 9
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
Ss Tt Uu Vv Ww Xx Yy Zz 1
2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
MxaogGdQrR
TYPE SPECIMENS
103
REGULAR
ITALIC
SWASH
ORNAMENT
ALTERNATE
CASLON
MxanogGdQRt
and the movement of the hand. Transitional
and modern typefaces are more abstract and
less organic. These three main groups cor-
respond roughly to the Renaissance, Baroque,
and Enlightenment periods in art and literature.
centuries have continued to create new typefaces
groups correspond roughly to the Renaissance,
Baroque, and Enlightenment periods in art
and literature. Designers in the twentieth and
twenty-rst centuries have continued to create
new typefaces based on historic characteristics.
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
& *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
A B C D E F G H I J K L M
N O P Q R S T U V W X Y Z
A a Bb C c D d Ee F f G g
H h Ii Jj Kk Ll Mm Nn
o Pp Qq r S s t Uu Vv
Ww X x y Z z 1 2 3 4
c h i k l S T t
TYPE SPECIMENS
104
MxanogGdQRt
REGULAR
ITALIC
BOLD
BOLD ITALIC
CENTURY SCHOOLBOOK
MxaogGdQrRt
tage for their own craft analogous to that
of art history. Humanist letterforms are
closely connected to calligraphy and the
movement of the hand. Transitional and
modern typefaces are more abstract and
less organic. These three main groups
correspond roughly to the Renaissance,
twentieth and twenty-frst centuries have
continued to create new typefaces based
for their own craft analogous to that of
art history. Humanist letterforms are
twentieth and twenty-frst centuries have
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (
) { } ? ! @ & *
Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7
8 9 0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
( ) { } ? ! @ & *
TYPE SPECIMENS
105
REGULAR
ITALIC
BOLD
BOLD ITALIC
CHELTENHAM
MaxogGdQrRs
Baroque, and Enlightenment periods in
art and literature. Designers in the
centuries have continued to create new type-
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
CLASSIFICATION OLD STYLE
TYPE SPECIMENS
106
MaxogGdQrRs
UNICASE
REGULAR
CHOLLA
MaxnogGdQrRst
Baroque, and Enlightenment periods in art and
literature. Designers in the twentieth and twen-
ty-rst centuries have continued to create new
Renaissance, Baroque, and Enlightenment pe-
riods 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 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
TYPE SPECIMENS
107
LIGHT
REGULAR
BOLD
CLARENDON
MxagGdQrRt
identify a heritage for their own craft
analogous to that of art history. Hu-
manist letterforms are closely connect-
ed to calligraphy and the movement
of the hand. Transitional and modern
Humanist letterforms are closely con-
nected to calligraphy and the move-
ment of the hand. Transitional and
modern typefaces are more abstract
Renaissance, Baroque, and Enlight-
enment periods in art and literature.
Designers in the twentieth and
twenty-rst centuries have contin-
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
TYPE SPECIMENS
108
REGULAR
CLICKER
MaxnogGdQRs
analogous to that of art history.
enment periods in art and litera-
ture. Designers in the twentieth and
twenty-rst centuries have continued
to create new typefaces based on
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
CLASSIFICATION GRID BASED SAN SERIF
TYPE SPECIMENS
109
REGULAR
ITALIC
BOLD
DIDOT
MxaogGdQrRt
and literature. Designers in the twentieth
and twenty-frst centuries have continued
ers sought to identify a heritage for their
calligraphy and the movement of the hand.
and literature. Designers in the twentieth and
twenty-frst centuries have continued to create
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & * 1 2 3 4 5 6 7 8 9
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
& *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (
) { } ? ! @ & *
TYPE SPECIMENS
110
MxaogGdQrRt
DIN
MaxnogGdQrRt
LIGHT
REGULAR
MEDIUM
BLACK
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ &
* 1 2 3 4 5 6 7 8 9
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 { ? ! @ & *
TYPE SPECIMENS
111
DIN (CONDENSED)
MaxngdQHAMBURG
LIGHT CONDENSED
REGULAR CONDENSED
BOLD CONDENSED
BLACK CONDENSED
A basic system for classifying typefaces was devised in the
nineteenth century, when printers sought to identify a heritage
for their own craft analogous to that of art history. Humanist
letterforms are closely connected to calligraphy and the move-
ment of the hand. Transitional and modern typefaces are more
abstract and less organic. These three main groups correspond
roughly to the Renaissance, Baroque, and Enlightenment periods
in art and literature. Designers in the twentieth and twenty-rst
centuries have continued to create new typefaces based on
A basic system for classifying typefaces was devised in
the nineteenth century, when printers sought to identify
a heritage for their own craft 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-rst
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 4 5 6 7 8 9 0 ( ) { } ? ! @ &
* 1 2 3 4 5 6 7 8 9
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr
Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
& *
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp
Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (
) { } ? ! @ & *
Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
( ) { } ? ! @ & *
TYPE SPECIMENS
112
REGULAR
ITALIC
BOLD
DISTURBANCE
MxnatQbWFGdR
A basic system for classifying typefaces was devised
in the nineteenth century, when printers sought
to identify a heritage for their own craft analo-
gous to that of art history. Humanist letterforms
are closely connected to calligraphy and the
movement of the hand. Transitional and modern
typefaces are more abstract and less organic. These
three main groups correspond roughly to the Re-
naissance, Baroque, and Enlightenment periods in
art and literature. Designers in the twentieth and
twenty-rst 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 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9
( ) { } ? ! @ & *
Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7
8 9 0 ( ) { } ? ! @ & *
the nineteenth century, when printers sought to iden-
tify a heritage for their own craft analogous to that
of art history. Humanist letterforms are closely con-
nected to calligraphy and the movement of the hand.
Transitional and modern typefaces are more abstract
and less organic. These three main groups correspond
roughly to the Renaissance, Baroque, and Enlighten-
ment periods in art and literature. Designers in the
twentieth and twenty-rst centuries have continued to
create new typefaces based on historic characteristics.
TYPE SPECIMENS
113
REGULAR
FETTE FRAKTUR
MxnaopQRtfg
in the nineteenth century, when printers sought to
identify a heritage for their own craft analogous
to that of art history. Humanist letterforms
typefaces are more abstract and less organic. These
Renaissance, Baroque, and Enlightenment periods
in art and literature. Designers in the twentieth
and twenty-rst 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 ( ) { }
? ! @ & *
Idunt aliquam adignim velit utat.
Etuer accum dunt ad magniam, ven-
diat lam verostrud essi tetum illa
facipisl utet endre feu faccum dit
praessi. Ing ea feuguer aessenim
atisi.Delessi. Sectet, sit, ver si.
Alit ipit esequis exer adigna adignit
aliquat lam dunt utpat aut nisisi.
Tate conse nim adionsecte feuis etum
dolobore molore verit veniss
CLASSIFICATION BLACKLETTER
TYPE SPECIMENS
114
MxnaopQRtfg
REGULAR
FRACTIONS
UNICASE
FILOSOFIA
MxnaopQrRtfGg
analogous to that of art history. Humanist letter-
forms are closely connected to calligraphy and the
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-rst centuries have con-
tinued to create new typefaces based on historic
characteristics.
A basic system for classifying
typefaces was devised in the nine-
teenth century, when printers
sought to identify a heritage for
their own craft analogous to that
of art history. Humanist letter-
forms are closely connected to
calligraphy and the movement of
the hand. Transitional and mod-
ern typefaces are more abstract
ture. Designers in the twentieth
and twenty-rst centuries have
continued to create new typefaces
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3
4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx
Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
! @ & *
TYPE SPECIMENS
115
BOOK
DEMI
HEAVY
CONDENSED
FRANKLIN GOTHIC
MaxodQRtfGg
groups correspond roughly to the Renais-
sance, Baroque, and Enlightenment periods
analogous to that of art history. Human-
ist letterforms are closely connected
hand. Transitional and modern typefac-
es are more abstract and less organic.
These three main groups correspond
roughly to the Renaissance, Baroque,
and Enlightenment periods in art and
and twenty-rst centuries have contin-
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
TYPE SPECIMENS
116
CONDENSED
REGULAR
BOLD
ULTRA BLACK
FRUTIGER
MaxodQRtfGg
tage for their own craft analogous to
and less organic. These three main groups
heritage for their own craft analogous to
stract and less organic. These three main
the twentieth and twenty-rst centuries
4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Tt Uu Vv Ww Xx Yy Zz 1 2 3
4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION HUMANIST
TYPE SPECIMENS
117
BOOK
BOLD
EXTRA BOLD
FUTURA
MxaopQRstGg
ture. Designers in the twentieth and
twenty-rst centuries have continued
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (
) { } ? ! @ & *
Uu Vv Ww Xx Yy Zz 1 2 3 4 5
6 7 8 9 0 ( ) { } ? ! @ & *
Ss Tt Uu Vv Ww Xx Yy Zz 1
2 3 4 5 6 7 8 9 0 ( ) { } ?
! @ & *
CLASSIFICATION GEOMETRIC
TYPE SPECIMENS
118
REGULAR
ITALIC
BOLD
GILL SANS
MaxnbyogGQRt
Designers in the twentieth and twenty-frst cen-
turies have continued to create new typefaces
A basic system for classifying typefac-
es was devised in the nineteenth cen-
tury, when printers sought to identify
a heritage for their own craft analo-
gous to that of art history. Human-
ist letterforms are closely connected
twentieth and twenty-frst centuries
have continued to create new type-
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
TYPE SPECIMENS
119
BOOK
BOLD
ITALIC
LIGHT
GOTHAM
MayogGdQRt
letterforms are closely connected to
calligraphy and the movement of the
hand. Transitional and modern typefac-
es are more abstract and less organic.
These three main groups correspond
roughly to the Renaissance, Baroque,
and Enlightenment periods in art and
and twenty-first centuries have contin-
twentieth and twenty-first centuries
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
TYPE SPECIMENS
120
REGULAR
BOLD
BLACK EXTENDED
ULTRA LIGHT
HELVETICA
MaoygGdQrRt
Designers in the twentieth and twenty-frst
Enlightenment periods in art and literature. De-
signers in the twentieth and twenty-rst centuries
have continued to create new typefaces based
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
Aa Bb Cc Dd Ee Ff Gg
Hh Ii Jj Kk Ll Mm Nn Oo
Pp Qq Rr Ss Tt Uu Vv
Ww Xx Yy Zz 1 2 3 4 5 6
7 8 9 0 ( ) { } ? ! @ & *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
TYPE SPECIMENS
121
REGULAR
BOLD
BLACK
BOLD CONDENSED
INTERSTATE
MaoygGdQrRt
heritage for their own craft analogous to
the twentieth and twenty-rst centuries
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 (
) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION NEO-GROTESQUE
TYPE SPECIMENS
122
REGULAR
KUNSTLER SCRIPT
MxyogGdQrRt
Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
in the nineteenth century, when printers sought to iden-
tify a heritage for their own craft analogous to that
of art history. Humanist letterforms are closely con-
nected to calligraphy and the movement of the hand.
Transitional and modern typefaces are more abstract
and less organic. These three main groups correspond
roughly to the Renaissance, Baroque, and Enlight-
enment periods in art and literature. Designers in the
twentieth and twenty-rst centuries have continued to
create new typefaces based on historic characteristics.
BOLD
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
BLACK
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
A basic system for classifying typefaces was devised in the nineteenth
century, when printers sought to identify a heritage for their own craft
analogous to that of art history. Humanist letterforms are closely connected
to calligraphy and the movement of the hand. Transitional and modern
typefaces are more abstract and less organic. These three main groups cor-
respond roughly to the Renaissance, Baroque, and Enlightenment periods
in art and literature. Designers in the twentieth and twenty-rst centuries
have continued to create new typefaces based on historic characteristics.
CLASSIFICATION SCRIPT
TYPE SPECIMENS
123
REGULAR
ITALIC
BOLD
MELIOR
MayogGdQrRt
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
CLASSIFICATION TRANSITIONAL SERIF
TYPE SPECIMENS
124
LIGHT
MEDIUM
EXTRA BOLD
MEMPHIS
MxagGdQrRt
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
TYPE SPECIMENS
125
REGULAR
CAPS
BLACK
ITALIC
META
MaxogGdQrRst
calligraphy and the movement of the
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
TYPE SPECIMENS
126
MaxogGdQrRst
REGULAR
ITALIC
BOLD
FRACTIONS
MRS EAVES
MaxogGdQrRst
in the nineteenth century, when printers sought
to identify a heritage for their own craft analo-
gous to that of art history. Humanist letterforms
typefaces are more abstract and less organic.
nineteenth century, when printers sought to identify a heritage
for their own craft analogous to that of art history. Humanist
letterforms are closely connected to calligraphy and the move-
ment of the hand. Transitional and modern typefaces are more
abstract and less organic. These three main groups correspond
roughly to the Renaissance, Baroque, and Enlightenment periods
in art and literature. Designers in the twentieth and twenty-rst
centuries have continued to create new typefaces based on
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 1 2 3
4 5 6 7 8 9
( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ &
*
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
TYPE SPECIMENS
127
REGULAR
ITALIC
BOLD
NEWS GOTHIC
MaxogGdQrRst
abstract and less organic. These three
main groups correspond roughly to the
abstract and less organic. These three
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
1 2 3 4 5 6 7 8 9
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
TYPE SPECIMENS
128
MaxogGdQrRst
REGULAR
OCR A
MaopQRfGg
A basic system for classi-
fying typefaces was formed
in the nineteenth century,
when printers sought to
identify a heritage for
their own craft analogous
to that of art history. Hu-
manist letterforms are
connected to calligra-
phy and the movement of
the hand. Transitional and
modern typefaces are more
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 ( ) { } ? ! @ & *
CLASSIFICATION SAN SERIF MONOSPACED
TYPE SPECIMENS
129
BOOK
ITALIC
BOLD
OPTIMA
MxaopQRstGg
hand. Transitional and modern typefaces are
more abstract and less organic. These three
three main groups correspond roughly to
the Renaissance, Baroque, and Enlighten-
ment periods in art and literature. Designers
in the twentieth and twenty-frst centuries
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
CLASSIFICATION SAN SERIF
TYPE SPECIMENS
130
LIGHT
OLD STYLE
MEDIUM
BLACK
PALATINO
MxaopQRstGg
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
& *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
TYPE SPECIMENS
131
REGULAR
ITALIC
BOLD
PERPETUA
MxaopQRstGgq
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
Designers in the twentieth and twenty-first centuries
nineteenth century, when printers sought to identify a
heritage for their own craft analogous to that of art history.
Humanist letterforms are closely connected to calligraphy
and the movement of the hand. Transitional and modern
typefaces are more abstract and less organic. These three main
groups correspond roughly to the Renaissance, Baroque, and
Enlightenment periods in art and literature. Designers in the
twentieth and twenty-frst centuries have continued to create
4 5 6 7 8 9 0 ( ) { } ? ! @ & *
8 9 0 ( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ &
*
TYPE SPECIMENS
132
THIN
REGULAR
HEAVY
PLATELET
MaxbyogGQrRt
correspond roughly to the Renaissance, Ba-
roque, and Enlightenment periods in
correspond roughly to the Renaissance, Ba-
roque, and Enlightenment periods in
Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! & *
Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
TYPE SPECIMENS
133
REGULAR
ALTERNATE
BOLD
PRIORI SANS
MxanopdrRtSfGg
the nineteenth century, when printers sought to identify
a heritage for their own craft analogous to that of art
history. Humanist letterforms are closely connected to
calligraphy and the movement of the hand. Transi-
tional and modern typefaces are more abstract and less
organic. These three main groups correspond roughly to
the Renaissance, Baroque, and Enlightenment periods in
art and literature. Designers in the twentieth and twenty-
rst centuries have continued to create new typefaces
the nineteenth century, when printers sought to iden-
tify a heritage for their own craft analogous to that of
art history. Humanist letterforms are closely connected
to calligraphy and the movement of the hand. Transi-
tional and modern typefaces are more abstract and less
organic. These three main groups correspond roughly
to the Renaissance, Baroque, and Enlightenment
periods in art and literature. Designers in the twentieth
and twenty-rst centuries have continued to create new
( ) { } ? ! @ & *
Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6
7 8 9 0 ( ) { } ? ! @ & *
TYPE SPECIMENS
134
REGULAR
ALTERNATE
BOLD
PRIORI SERIF
MxanodQrRtSfg
correspond roughly to the Renaissance, Baroque,
and Enlightenment periods in art and literature. De-
signers in the twentieth and twenty-rst centuries
analogous to that of art history. Humanist let-
terforms are closely connected to calligraphy and
the movement of the hand. Transitional and mod-
ern typefaces are more abstract and less organic.
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4
5 6 7 8 9 0 ( ) { } ? ! @ & *
Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4
5 6 7 8 9 0 ( ) { } ? ! @ & *
1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
CLASSIFICATION NEW TRANSITIONAL
TYPE SPECIMENS
135
(55) SANS
ITALIC
SERIF
ITALIC
ROTIS
MxanopQrRtGg
analogous to that of art history. Humanist let-
terforms are closely connected to calligraphy and
the movement of the hand. Transitional and mod-
ern typefaces are more abstract and less organic.
3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6
7 8 9 0 ( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { }
? ! @ & *
TYPE SPECIMENS
136
REGULAR
SMALL CAPS
BOLD
BOLD ITALIC
SABON
MxayogGQfR
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
( ) { } ? ! & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
TYPE SPECIMENS
137
REGULAR
CAPS
ITALIC
BOLD
SCALA SANS
MxabyogGdQrR
and Enlightenment periods in art and litera-
ture. Designers in the twentieth and twenty-
rst centuries have continued to create new
and Enlightenment periods in art and litera-
ture. Designers in the twentieth and twenty-
rst centuries have continued to create new
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! & *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
TYPE SPECIMENS
138
REGULAR
ITALIC
BOLD
BLACK
SERIFA
MxaoygGdQR
art and literature. Designers in the twen-
tieth and twenty-rst centuries have
letterforms are closely connected to
calligraphy and the movement of
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
( ) { } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( )
{ } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9
0 ( ) { } ? ! @ & *
TYPE SPECIMENS
139
REGULAR
SNELL ROUNDHAND
MaxogbGdQrRt
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? !
@ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7
8 9 0 ( ) { } ? ! @ & *
BOLD
BLACK
correspond roughly to the Renaissance, Baroque,
Designers in the twentieth and twenty-frst centuries
Designers in the twentieth and twenty-frst
centuries have continued to create new type-
CLASSIFICATION SCRIPT
TYPE SPECIMENS
140
BOLD CONDENSED
REGULAR
ITALIC
BOLD
SWIFT
MxaoygGdQrR
analogous to that of art history. Humanist
less organic. These three main groups corre-
spond roughly to the Renaissance, Baroque, and
Designers in the twentieth and twenty-rst centu-
ries have continued to create new typefaces based
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
& *
1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @
& *
CLASSIFICATION NEW TRANSTIONAL/ HUMANIST SERIF
TYPE SPECIMENS
141
REGULAR
BOLD
BLACK
BLACK
SYNTAX
MxaoygGdQrR
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8
9 0 ( ) { } ? ! @ & *
TYPE SPECIMENS
142
MxaoygGdQrR
CONDENSED
MEDIUM
BOLD
BOLD NO.2
TRADE GOTHIC
MxanyogGdQrR
8 9 0 ( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
! @ & *
Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ?
! @ & *
TYPE SPECIMENS
143
REGULAR
ITALIC
SMALL CAPS
BOLD
WALBAUM
MxyagGdQrR
art and literature. Designers in the twen-
tieth and twenty-rst centuries have
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
( ) { } ? ! @ & *
Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0
( ) { } ? ! @ & *
Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) {
} ? ! @ & *
Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7
8 9 0 ( ) { } ? ! @ & *
TYPE SPECIMENS
144
REGULAR
MEDIUM
MEDIUM ITALIC
BOLD
VOLTA
MyogGdQrR
analogous to that of art history. Hu-
manist letterforms are closely connect-
ed to calligraphy and the movement
of the hand. Transitional and modern
Humanist letterforms are closely
and twenty-rst centuries have con-
tinued to create new typefaces based
Tt Uu Vv Ww Xx Yy Zz 1 2 3
4 5 6 7 8 9 0 ( ) { } ? ! @ & *
3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *
Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5
6 7 8 9 0 ( ) { } ? ! @ & *
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 ( )
{ } ? ! @ & *
TYPE SPECIMENS
145

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