JORDAN JACOBSON 2009 CONTENTS Rules

Home , Widows and orphans

JORDAN JACOBSON 2009 CONTENTS Rules...... X – Height...... Typefaces...... Small Caps...... Special Characters...... Hyphenation...... Quotes, Dashes, & Apostrophes...... Bullets...... Numerals...... Alignment...... Justification...... Paragraph Breaks...... Headers & Subheads...... Notes & Captions......

Font Specs......

RULES The following is a compendium of the rules established in this book. You might want to check through them each time you complete a publication. – Use only one space between sentences. – Use real quotation marks. – Use real apostrophes. – Make sure the apostrophes are where they belong. – Hang the punctuation off the aligned edge. – Use en or em dashes, use consistently. – Kern all headlines where necessary. – Never use the spacebar to align text, always set tabs and use the tab key. – Leave no widows or orphans. – Avoid more than 3 hyphenations in a row. – Avoid too many hyphenations in any paragraph. – Avoid hyphenating or line brakes of names and proper nouns. – Leave a least 2 characters on the line and 3 following. – Avoid beginning consecutive lines with the same word. – Avoid ending consecutive lines with the same word. – Avoid ending lines with the words: the, of, at, a. – Never hyphenate a words in a headline and avoid hyphenation in a call out. – Never justify the text on a short line. – Keep the word spacing consistent. – Tighten up the leading in lines with all caps or with few ascenders and descenders. – Use a one-em first-line indent on all indented paragraphs. – Adjust the spacing between paragraphs. – Either indent the first line of paragraphs or add extra space between them – not both. – Use a decimal or right-aligned tab for the numbers in numbered paragraphs. – Never have one line in a paragraph in the column or following. – Never combine two serif fonts on one page. – Rarely combine two sans serif fonts on one page. – Rarely combine more than three typefaces on one page. – Use the special characters whenever necessary, including super- and subscript. – Spend the time to create nice fraction or chose a font that has fractions. – If a correctly spelled word needs an accent mark, use it.

x-height A typeface’s color is determined by stroke width, x-height, character width and serif styles. Readability and legibility are two key elements of printed text that typographer strive to maximize. Readability means that an extended amount of text – such as an article, book, or annual report – is easy to read. Legibility refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable.

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

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

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

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

How will it be read? Quickly. In passing. Focused. Near. Far. A typeface’s color is determined by stroke width, x-height, character width and serif styles Xxhg Xxhg Memphis Univers Rudolph Weiss Adrian Frutiger

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

x- height: average x- height large character width: wide character width: narrow color: dark color: light Xxhg Xxhg Melior Helvetica Neue 55 Hermann Zapf Max Miedinger

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

x- height: large x- height: large character width: average character width: average color: medium color: medium

Xxhg XxhgMrs. Eaves Akzidenz Grotesque Zuzana Licko Gunter Gerhand Lange

Futurism was first announced on February 20, 1909, when the Paris Futurism was first announced on February 20, 1909, when the newspaper Le Figaro published a manifesto by the Italian poet and Paris newspaper Le Figaro published a manifesto by the Italian editor Filippo Tommaso Marinetti. The name Futurism, coined by poet and editor Filippo Tommaso Marinetti. The name Futurism, Marinetti, reflected his emphasis on discarding what he conceived coined by Marinetti, reflected his emphasis on discarding what to be the static and irrelevant art of the past and celebrating change, he conceived to be the static and irrelevant art of the past and originality, and innovation in culture and society. Futurism rejected celebrating change, originality, and innovation in culture and traditions and glorified contemporary life, mainly by emphasizing two society. Futurism rejected traditions and glorified contemporary dominant themes, the machine and motion. The works were charac- life, mainly by emphasizing two dominant themes, the machine terized by the depiction of several successive actions of a subject at the and motion. The works were characterized by the depiction of same time. Marinetti’s manifesto glorified the new technology of the several successive actions of a subject at the same time. Mari- automobile and the beauty of its speed, power, and movement. He netti’s manifesto glorified the new technology of the automobile exalted violence and conflict and called for the sweeping repudiation and the beauty of its speed, power, and movement. He exalted of traditional cultural, social, and political values and the destruction violence and conflict and called for the sweeping repudiation of of such cultural institutions as museums and libraries. x- height: small x- height average-ish character width: average character width: narrower color: light color: dark Xxhg XxhgITC New Baskerville DIN Mittelschrift Hermann Zapf Albert Jan-Pool

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

x- height small, large or average x-height: large character width: wide, narrow, average character width: narrow color: light or dark or.. color: dark Xxhg Xxhg Belizio Trade Gothic David Berlow Jackson Burke

Futurism was first announced on February 20, 1909, when the Paris Futurism was first announced on February 20, 1909, when newspaper Le Figaro published a manifesto by the Italian poet and the Paris newspaper Le Figaro published a manifesto by the editor Filippo Tommaso Marinetti. The name Futurism, coined by Italian poet and editor Filippo Tommaso Marinetti. The name Marinetti, reflected his emphasis on discarding what he conceived to Futurism, coined by Marinetti, reflected his emphasis on be the static and irrelevant art of the past and celebrating change, discarding what he conceived to be the static and irrelevant originality, and innovation in culture and society. Futurism rejected art of the past and celebrating change, originality, and in- traditions and glorified contemporary life, mainly by emphasizing two novation in culture and society. Futurism rejected traditions dominant themes, the machine and motion. The works were charac- and glorified contemporary life, mainly by emphasizing two terized by the depiction of several successive actions of a subject at dominant themes, the machine and motion. The works were the same time. Marinetti’s manifesto glorified the new technology of characterized by the depiction of several successive actions of the automobile and the beauty of its speed, power, and movement. He a subject at the same time. Marinetti’s manifesto glorified the exalted violence and conflict and called for the sweeping repudiation new technology of the automobile and the beauty of its speed, of traditional cultural, social, and political values and the destruction power, and movement. He exalted violence and conflict and of such cultural institutions as museums and libraries. x- height: average x- height large character width: wide character width: narrow color: medium color: light Xxhg XxhgDidot Rotis Sans Serif Firmin Didot Otl Aicher

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

x-height: average x- height: larger character width: average character width: average-ish color: light color: light Xxhg XxhgAdobe Garamond Scala Sans Claude Garamond Martin Majoor

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

x- height: large x- height: average character width: wide, narrow, average character width: average color: light or dark or.. color: medium Xxhg Xxhg Bembo Clicker Stanley Morison Greg Thompson

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

x-height: small x-height: large character width: wide character width: average color: light color: dark Xxhg XxhgFilosofia News Gothic Zuzanna Licko Morris Fuller Benton

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

x- height: small x- height: large character width: narrow character width: narrow color: light color: light Xxhg XxhgRotis Serif Interstate Otl Aicher Tobais Frere–Jones

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

x- height: l x- height: large character width: average character width: narrow color: light color: medium-dark

TYPEFAceS And how to combine them without making your spread look like a ransom note. You can’t go too wrong if you keep the fonts in your document down to two. A good combination is to use a sans serif for headings and a serif for the body text. It’s fine to use different font weights or styles (bold, italic, thin, bold, etc.). One rule to always follow, however is this: Never combine two sans serif typefaces on the same page. Same goes for serif typefaces as well. Example.

Futurism was first announced Futurism was first an- on February 20, 1909, when nounced on February 20, the Paris newspaper Le 1909, when the Paris news- Figaro published a manifesto paper Le Figaro published a by the Italian poet and editor manifesto by the Italian poet

These two sans serif typefaces do not have enough contrast between them to look good together on the page, even though they have subtle differences. Those differences create conflict because they neither create concord, where elements work together, or contrast, where elements strengthen each other.

Contrast: When combining typefaces, don’t be a wimp. The key is to create contrast with strength and power. If one face is light, then contrast it with a dense, solid black one. Also consider size contrast: If one is small, make the other large. If you set one in all caps, set the other lowercase. If one is roman, pair it with a script.

Be sure to avoid weak contrasts, such as a semi-bold type with a bold type. Also, avoid combining a script with an italic, because they have a tendency to look too similar.

Sans Serif in text: When using a sans serif typeface in body text, keep the following in mind.

– Use a shorter line length – Set no more than sever or eight words on the line – Use as few bold, italic, outlined or shadowed words as possible WORDS IN LIBERTY WORDS IN LIBERTY A Prologue to Futurism: Futurism was first A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be his emphasis on discarding what he conceived the static and irrelevant art of the past and celebrat- to be the static and irrelevant art of the past and ing change, originality, and innovation in culture celebrating change, originality, and innovation in and society. Futurism rejected traditions and glori- culture and society. Futurism rejected traditions and fied contemporary life, mainly by emphasizing two glorified contemporary life, mainly by emphasiz- dominant themes, the machine and motion. The ing two dominant themes, the machine and mo- works were characterized by the depiction of sev- tion. The works were characterized by the depic- eral successive actions of a subject at the same time. tion of several successive actions of a subject at the Marinetti’s manifesto glorified the new technology same time. Marinetti’s manifesto glorified the new of the automobile and the beauty of its speed, power, technology of the automobile and the beauty of its aa BB ee GG gg aa BB ee GG gg Frutiger (bold) 16pt : humanist and Garamond 24pt: Old Style Akzidenz Grotesque 16pt : grotesque and Bembo 24pt: Old Style Frutiger and Garamond work well together in this setting mainly be- These fonts also present a nice sense of contrast, with Akzidenz cause of their contrast in stroke width and color. Frutiger had to be Grotesque being set in bold. Bembo's larger x-height offsets the set in a bolder stroke so as to create more visual contrast between boldness of Akzidez Grotesque. the two. Overall, Garamond reflects Frutiger's friendly, light style. WORDS IN LIBERTY WORDS IN LIBERTY A Prologue to Futurism: Futurism was first A Prologue to Futurism: Futurism was first an- announced on February 20, 1909, when the nounced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Paris newspaper Le Figaro published a manifesto Filippo Tommaso Marinetti. The name Futurism, coined by the Italian poet and editor Filippo Tommaso by Marinetti, reflected his emphasis on discarding what he Marinetti. The name Futurism, coined by Mari- conceived to be the static and irrelevant art of the past and netti, reflected his emphasis on discarding what celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contem- he conceived to be the static and irrelevant art porary life, mainly by emphasizing two dominant themes, of the past and celebrating change, originality, the machine and motion. The works were characterized by and innovation in culture and society. Futurism the depiction of several successive actions of a subject at the rejected traditions and glorified contemporary same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and life, mainly by emphasizing two dominant movement. He exalted violence and conflict and called for the themes, the machine and motion. The works sweeping repudiation of traditional cultural, social, and po- were characterized by the depiction of several litical values and the destruction of such cultural institutions successive actions of a subject at the same time. as museums and libraries. Marinetti’s manifesto glorified the new technology aa BB ee GG gg aa BB ee GG gg ITC New Baskerville 16pt: Transitional and Futura 24pt: Geometric Rotis Sans 16pt: grotesque and mrs eaves 24pt: transitional The size of ITC New Baskerville needed to be bumped up a few Mrs. Eaves small, wide transitional characters contrast against Fruti- points so that it really popped against Futura's geometric style. Its ger Bold's taller, narrower letterforms. Mrs. Eaves had to be lowered stroke weight also changed to bold to further contrast it against in size to create a higher contrast between the two typefaces. Futura's lighter quality. WORDS IN LIBERTY WORDS IN LIBERTY A Prologue to Futurism: Futurism was first an- A Prologue to Futurism: Futurism was nounced on February 20, 1909, when the Paris newspaper Le first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Figaro published a manifesto by the Italian poet and editor Filippo Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he Tommaso Marinetti. The name Futurism, coined by Marinetti, reflect- conceived to be the static and irrelevant art of the past and ed his emphasis on discarding what he conceived to be the static celebrating change, originality, and innovation in culture and and irrelevant art of the past and celebrating change, originality, and society. Futurism rejected traditions and glorified contem- innovation in culture and society. Futurism rejected traditions and porary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the glorified contemporary life, mainly by emphasizing two dominant depiction of several successive actions of a subject at the same themes, the machine and motion. The works were characterized time. Marinetti’s manifesto glorified the new technology of the by the depiction of several successive actions of a subject at the automobile and the beauty of its speed, power, and movement. same time. Marinetti’s manifesto glorified the new technology of the He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values automobile and the beauty of its speed, power, and movement. He and the destruction of such cultural institutions as museums exalted violence and conflict and called for the sweeping repudiation and libraries. of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. aa BB ee GG gg aa BB ee GG gg Didot 16pt: Modern and Interstate 24pt: Geometric Sans Filosofia 16pt : Modern and News Gothic 24pt: Grotesque

Didot bold and Interstate Light condensed work together because News Gothic compliments Filosophia nicely. They're both rather tall they compliment each other with their slender form and strokes. and condensed, but are different enough to tell apart. Contrast is Didot's boldness, however, provides enough contrast between itself created with a bold News Gothic. and interstate. WORDS IN LIBERTY WORDS IN LIBERTY A Prologue to Futurism: Futurism was A Prologue to Futurism: Futurism was first an- first announced on February 20, 1909, when nounced on February 20, 1909, when the Paris news- the Paris newspaper Le Figaro published a paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name manifesto by the Italian poet and editor Fil- Futurism, coined by Marinetti, reflected his empha- ippo Tommaso Marinetti. The name Futurism, sis on discarding what he conceived to be the static coined by Marinetti, reflected his emphasis and irrelevant art of the past and celebrating change, on discarding what he conceived to be the originality, and innovation in culture and society. Fu- turism rejected traditions and glorified contemporary static and irrelevant art of the past and cele- life, mainly by emphasizing two dominant themes, the brating change, originality, and innovation in machine and motion. The works were characterized by culture and society. Futurism rejected tradi- the depiction of several successive actions of a subject tions and glorified contemporary life, mainly at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of by emphasizing two dominant themes, the its speed, power, and movement. He exalted violence machine and motion. The works were charac- and conflict and called for the sweeping repudiation of terized by the depiction of several successive traditional cultural, social, and political values and the actions of a subject at the same time. Marinet- destruction of such cultural institutions as museums and libraries. aa BB ee GG gg aa BB ee GG gg Swift 16pt : Transitional and Futura 24pt: Geometric Bookman 16pt : New Transitional and Trade Gothic 24pt: Grotesque

Swift's angular characteristics work well with Futura's geometric Trade Gothic's bold, condensed nature contrast Bookman's tran- forms. Both are heavier in stroke weight, but swift is lighter. sitional bracketed serifs and curved strokes. Bookman has a wide stroke at times and the darkness expressed there goes well with Trade Gothic's black letterforms. WORDS IN LIBERTY WORDS IN LIBERTY A Prologue to Futurism: Futurism was first A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris news- announced on February 20, 1909, when the Paris newspa- paper Le Figaro published a manifesto by the Italian poet per Le Figaro published a manifesto by the Italian poet and and editor Filippo Tommaso Marinetti. The name Futurism, editor Filippo Tommaso Marinetti. The name Futurism, coined coined by Marinetti, reflected his emphasis on discarding by Marinetti, reflected his emphasis on discarding what he what he conceived to be the static and irrelevant art of conceived to be the static and irrelevant art of the past and the past and celebrating change, originality, and innova- celebrating change, originality, and innovation in culture and tion in culture and society. Futurism rejected traditions and society. Futurism rejected traditions and glorified contempo- glorified contemporary life, mainly by emphasizing two rary life, mainly by emphasizing two dominant themes, the dominant themes, the machine and motion. The works machine and motion. The works were characterized by the were characterized by the depiction of several successive depiction of several successive actions of a subject at the actions of a subject at the same time. Marinetti’s manifesto same time. Marinetti’s manifesto glorified the new technology glorified the new technology of the automobile and the of the automobile and the beauty of its speed, power, and beauty of its speed, power, and movement. He exalted vio- movement. He exalted violence and conflict and called for the lence and conflict and called for the sweeping repudiation sweeping repudiation of traditional cultural, social, and politi-

aa BB ee GG gg aa BB ee GG gg Futura 16pt: Geometric and Belizio 24pt: Slab Serif Gill Sans 16pt : Humanist and Volta 24pt: Slab Serif

In this conposition, Belizio's thick, curvelinar forms as well as its The humanist qualities of Gill Sans work with Volta's thick color dark color contrast well with Futura's light geometric shapes. to create a well-balanced composition. Volta is in medium, Gill Sans is in light. “There is no binding recipe for type combinations. It is a matter of typographic sensibility and experience.”

small caps Small caps are uppercase letters that are about the size of normal lowercase letters in any given typeface.

Small caps are uppercase (capital) letters that are about the size of normal lowercase letters in any given typeface. Small caps are less intrusive when all uppercase appears within normal text or can be used for special emphasis. Computer programs can generate small caps for a any typeface, but those are not the same as true small caps.

True small caps have line weights that are proportionally correct for the typeface, which me and that they can be used within a body of copy without looking noticeably wrong.

– Use 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 don't 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 specifically created as small caps.

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

Small Caps: Harriet, an fbi agent turned on cnn to get the dirt on the cia before going to bed at 9:30 p.m.

SPECIAL CHARACTERS I niña you niña , we all ligature for niñas! The following is a list of the most often-used special characters and accent marks, and the following pages provide you with they key combinations for just about every accent you may need.

“ Option + [ ” Option + Shift + [ ‘ Option + ] ’ Option + Shift + ] – Option + Hyphen — Option + Shift + Hyphen … Option + ; • Option + 8 ﬁ Option + Shift + 5 ﬂ Option + Shift + 6 © Option + g ™ Option + 2 ® Option + r ° Option + Shift + 8 ¢ Option + $ ⁄ Option + Shift + 1 ¡ Option + 1 ¿ Option + Shift + ? £ Option + 3 ç Option + c Ç Option + Shift + c

Remember, to set an accent mark over a letter, press the Option Key and the letter, then press the letter you want under it.

´ Option e ` Option ~ ¨ Option u ˜ Option n ˆ Option i

HYPHENATION Rules and guidelines on the appropriate use of hyphenation in body text and headlines. In unjustified text, the text block is set with normal letter and word spacing. Because of the even spacing, the text will have an even texture – no large spaces between words. The lines will naturally vary in length. A ragged text block can integrate with the layout and add a visual interest to the page.

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

Hyphenation rules: – Avoid widows – Avoid hyphenating or line brakes of names and proper nouns – Leave at least two characters on the line and three 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...etc. – Never hyphenate words in a headline and avoid hyphenation in a call out

Headlines: Don’t hyphenate headlines.

Don Quixote de la Man- cha

Watch where the first line of two-line headline ends — does it create a silly or misleading phrase? If it does, fix it.

Professor and The- rapist to Lecture Don’t leave widows in headlines.

wrong: Man Walks Barefoot Across Bay Bridge

right: Man Walks Barefoot Across Bay Bridge

Line Breaks: Look for bad line breaks throughout every line of body copy. Do this only on a final copy after all editing has been done. Examples of what to look for:

– Make sure headline text is justified appropriately – Use line breaks (shift return) to bump text to next line when needed – Use kerning to bring a hyphenated word together if necessary – Never hyphenate people’s names – Try substituting a short or a long word to make text fit.

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

Widow: When a paragraph ends and leave fewer than seven characters on the last line, that line is called a widow. Worse than leaving one word at the end of a line is leaving part of a word, the other part being paraphrased on the one above.

Orphan: When the last line of a paragraph, be it ever so long, won’t fit at the bottom of a column and must end itself at the top of the next column, that is an orphan. Never let this happen.

Rivers: In typography, rivers, or rivers of white, are usually unattractive gaps appearing to run down a paragraph of text. They can occur with any spacing, though they are most noticeable with wide word spaces caused by either full text justification or monospaced fonts. “WIDOWS AND ORPHANS ON A PAGE ARE TACKY.”

QUOTES, DASHES, & APOSTROPHES When, where, and how to use them without looking like a grammatically-challenged third grader. Quotation Marks: Use real quotation marks – never those grotesque, generic marks that actually symbolize ditto, inch or foot marks. Most software applications will convert the typewriter quotes automatically as you type. Check the preferences for your application – you’ll find a check box to tell your application to automatically set smart quotes.

It is necessary to know how to set them yourself:

“ Opening double quote: Option + [ ” Closing double quote: Option + Shift + [ ‘ Opening single quote: Option + ] ’ Closing single quote: Option + ]

Usage Examples:

Bridge Clearance: 16' 7" The young man stood 6' 2"

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

The big exception to this is “its.” “Its” used as a possessive never has a contraction. The word it only has an apostrophe as a contraction – “it’s” always means “it is” or “it has.” Always. It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes – and neither should its.

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

As previously noted, it’s means “it is”; the apostrophe is indicating where the i is left out. Don’t means “do not”; the apostrophe is indicating where the o is left out. For omission of letters: In a phrase such as Rock ’n’ Roll, there should be an apostrophe before and after the n, because the a and the d are both left out. And don’t turn the first apostrophe around – just because it appears in front of the letter does not mean you need to use the opposite single quote. An apostrophe is still the appropriate mark (not ‘n’).

In a phrase such as House o’ Fashion, the apostrophe takes the place of the f. There is not earthly reason for an apostrophe to be set before the o.

In a phrase such as Gone Fishin’ the same pattern is followed – the g is missing. 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.

Dashes: Never use two hyphens instead of a dash. Instead use hyphens, en dashes, and em dashes appropriately.

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

You might have been taught to use a double hyphen to indicate a dash, like so : -- . This is a typewriter convention because typewriters didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hyphen – we have a professional em dash, the long one, such as you see in this sentence. We also have an en dash, which is a little shorter than the em dash.

Hyphen - en dash – em dash —

Hyphen: A hyphen is one third of the em rule and is used to link words. It serves as a compound modifier where two words become one, such as x-height. A hyphen is also used to break works at syllables in text blocks. En dash:

Option + -

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.

Usage Example:

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

Em dash:

Shift + Option + -

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

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

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

BULLETS 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, don’t automatically assume it’s the right size: it might need to be altered in scale or position to make it look balanced next to the text.

Bullets should be centered on either the cap height or x-height, depending on the nature of your copy. If all of your items begin with a cap, center the bullet on the cap, or a bit lower so it balances with the negative spaces created by the lowercase. If your items all begin with lowercase characters, center the bullets on the x-height. Insert some space after the bullet to avoid crowding.

The preferred way to align bullets is with the left margin. You can also have the bullets overhang the margin, and keep all your text aligned with the left margin. Whichever style you choose, your listing will look best if items that run more than one line are indented so that the copy aligns with itself, and not with the bullet on the first line.

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.

Make sure to take advantage of the baseline shift feature when using dingbats or ornaments as bullets. Sometime dinbats or webdings can be too large, so all you have to do is reduce its size. If the character is not aligned, use the baseline shift to move it up to where it ought to be.

Usage Example:

• graphic • design • is • pretty • awesome • if • you • ask • me

NUMERALS Old style figures are a style of numeral which approximate lowercase letterforms by having an x-height and varying ascenders and descenders. These are considerably different from the more common “lining” (or “aligning”) figures which are all-cap height and typically monospaced in text faces so that they line up vertically on charts. Old style figures have more of a traditional, classic look. They are only available for certain typefaces, sometimes as the regular numerals in a font, but more often within a supplementary or expert font. The figures are proportionately spaced, eliminating the white spaces that result from monospaced lining figures, especially around the numeral one.

Old style figures are very useful and quite beautiful when set within text. Unlike lining figures, they blend in without disturbing the color of the body copy. They also work well in headlines since they’re not as intrusive as lining figures. In fact, many people prefer them overall for most uses except charts and tables. It’s well worth the extra effort to track down and obtain typefaces with old style numerals; the fonts that contain them might well become some of your favorites.

Usage Example:

These numerals are large and clunky: Dear John, please call me at 438-9762 at 3:00 to discuss our marriage. You can also write to me at Route 916, zip code 87505

These numerals blend into the text nicely: Dear John, please call me at 438-9762 at 3:00 to discuss our marriage. You can also write to me at Route 916, zip code 87505

ALIGNMENT If someone insists that fully justified text is better than left- algned text, tell them they are wrong. If someone else tells you that left-aligned text is better than justified text, tell them they are wrong. If they are both wrong, then what’s right? Alignment is only a small piece of the puzzle. What works for one design might be totally inappropriate for another layout. As with all layouts, it depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment

Justifed Text: Traditionally, many books, newsletters, and newspapers use full-justification as a means of packing as much information onto the page as possible to cut down on the number of pages needed. While the alignment was chosen out of necessity, it has become so familiar to us that those same types of publications set in left-aligned text would look odd, even unpleasant.

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

Attributes: – Often considered more formal, less friendly than left-aligned text – Usually allows for more characters per line, packing more into the same amount of space – May require extra attention to word and character spacing and hyphenation to avoid unsightly rivers – 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 the text that lines up perfectly on the left and right.

Left-Aligned, Ragged Right: Attributes: – Often considered more informal, friendlier than justified text. – Ragged right edge adds 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 (requires less time, attention, and tweaking from the designer)

JUSTIFICATION Justify text only if the line is long enough to prevent awkward and inconsistent word spacing. The only time you can safely get away with justifying text is if your type is small enough and your line is long enough, is in books where the text goes all they way across the page. If your line is shorter, as in a newsletter, or if you don’t have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You’ve seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or two words on either side of the column with a big gap in the middle. It’s not pretty, but that’s what can happen with justified type.

Here is a general guideline for determining if your line length is long enough for the text to be properly justified: The line length in picas should be about twice the point size of the type (ex: 12 point type should go on a 24 pica line).

Justified text was the style for many years, and many people today grew up seeing it. However, there has been a great deal of research done on readability and it shows that those disruptive, inconsistent gaps between the words inhibit the flow of reading, and look very unprofessional. Keep your eyes open as you look at professionally printed work and you’ll find there’s a very strong trend to align left and keep the right ragged.

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a MIN: 80% manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, DES: 100% reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and MAX: 133% celebrating change, originality, and innovation in culture and society. Futurism was first announced on Febru- Futurism rejected traditions and glo- ary 20, 1909, when the Paris newspaper rified contemporary life, mainly by Le Figaro published a manifesto by the emphasizing two dominant themes, Italian poet and editor Filippo Tommaso the machine and motion. The works Marinetti. The name Futurism, coined were characterized by the depiction by Marinetti, reflected his emphasis on of several successive actions of a discarding what he conceived to be the subject at the same time. Marinetti’s static and irrelevant art of the past and manifesto glorified the new technol- celebrating change, originality, and in- ogy of the automobile and the beauty novation in culture and society. Futurism of its speed, power, and movement. rejected traditions and glorified contem- He exalted violence and conflict and porary life, mainly by emphasizing two called for the sweeping repudiation dominant themes, the machine and mo- of traditional cultural, social, and tion. The works were characterized by the political values and the destruction depiction of several successive actions of such cultural institutions as muse- of a subject at the same time. Marinetti’s ums and libraries. 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.

This setting is O.K. May have a few too many short little rivers. Works better with serif than sans. Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a MIN: 100% manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, DES: 130% reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and MAX: 200% celebrating change, originality, and innovation in culture and society. Futurism was first announced on Febru- Futurism rejected traditions and glo- ary 20, 1909, when the Paris newspaper rified contemporary life, mainly by Le Figaro published a manifesto by the emphasizing two dominant themes, Italian poet and editor Filippo Tommaso the machine and motion. The works Marinetti. The name Futurism, coined were characterized by the depiction by Marinetti, reflected his emphasis on of several successive actions of a discarding what he conceived to be the subject at the same time. Marinetti’s static and irrelevant art of the past and manifesto glorified the new technol- celebrating change, originality, and in- ogy of the automobile and the beauty novation in culture and society. Futur- of its speed, power, and movement. ism rejected traditions and glorified con- He exalted violence and conflict and temporary life, mainly by emphasizing called for the sweeping repudiation two dominant themes, the machine and of traditional cultural, social, and motion. The works were characterized political values and the destruction by the depiction of several successive of such cultural institutions as mu- actions of a subject at the same time. seums and libraries. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Not very successful in the sans serif text. Rivers are pretty prominent but not overly glaring. Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a MIN: 95% manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, DES: 100% reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and MAX: 110% celebrating change, originality, and innovation in culture and society. Futurism was first announced on Febru- Futurism rejected traditions and glo- ary 20, 1909, when the Paris newspaper rified contemporary life, mainly by Le Figaro published a manifesto by the emphasizing two dominant themes, Italian poet and editor Filippo Tommaso the machine and motion. The works Marinetti. The name Futurism, coined were characterized by the depiction by Marinetti, reflected his emphasis on of several successive actions of a discarding what he conceived to be the subject at the same time. Marinetti’s static and irrelevant art of the past and manifesto glorified the new technol- celebrating change, originality, and in- ogy of the automobile and the beauty novation in culture and society. Futurism of its speed, power, and movement. rejected traditions and glorified contem- He exalted violence and conflict and porary life, mainly by emphasizing two called for the sweeping repudiation dominant themes, the machine and mo- of traditional cultural, social, and tion. The works were characterized by political values and the destruction the depiction of several successive ac- of such cultural institutions as muse- tions of a subject at the same time. Mari- ums and libraries. netti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Probably the setting that works the best for both serif and sans serif blocks of text. Minimal white space and text flows very easily. Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a MIN: 85% manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, DES: 85% reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and MAX: 95% celebrating change, originality, and innovation in culture and society. Futurism was first announced on Febru- Futurism rejected traditions and glo- ary 20, 1909, when the Paris newspaper rified contemporary life, mainly by Le Figaro published a manifesto by the emphasizing two dominant themes, Italian poet and editor Filippo Tommaso the machine and motion. The works Marinetti. The name Futurism, coined were characterized by the depiction by Marinetti, reflected his emphasis on of several successive actions of a discarding what he conceived to be the subject at the same time. Marinetti’s static and irrelevant art of the past and manifesto glorified the new technol- celebrating change, originality, and in- ogy of the automobile and the beauty novation in culture and society. Futurism of its speed, power, and movement. rejected traditions and glorified contem- He exalted violence and conflict and porary life, mainly by emphasizing two called for the sweeping repudiation dominant themes, the machine and mo- of traditional cultural, social, and tion. The works were characterized by the political values and the destruction depiction of several successive actions of such cultural institutions as muse- of a subject at the same time. Marinetti’s ums and libraries. 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.

Again, works nicely across the board. Character spacing is closer than before, though. Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a MIN: 80% manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, DES: 100% reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and MAX: 125% celebrating change, originality, and innovation in culture and society. Futurism was first announced on Febru- Futurism rejected traditions and glo- ary 20, 1909, when the Paris newspaper rified contemporary life, mainly by Le Figaro published a manifesto by the emphasizing two dominant themes, Italian poet and editor Filippo Tommaso the machine and motion. The works Marinetti. The name Futurism, coined were characterized by the depiction by Marinetti, reflected his emphasis on of several successive actions of a discarding what he conceived to be the subject at the same time. Marinetti’s static and irrelevant art of the past and manifesto glorified the new technol- celebrating change, originality, and in- ogy of the automobile and the beauty novation in culture and society. Futurism of its speed, power, and movement. rejected traditions and glorified contem- He exalted violence and conflict and porary life, mainly by emphasizing two called for the sweeping repudiation dominant themes, the machine and mo- of traditional cultural, social, and tion. The works were characterized by the political values and the destruction depiction of several successive actions of such cultural institutions as muse- of a subject at the same time. Marinetti’s ums and libraries. 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.

Another one that works well, but not as good as the previous two. Easy to read. “when your work comes out of the printer, turn it upside down and squint at it.”

Paragraph Breaks Paragraph breaks are what sets the rhythm for the reader in a body of text.

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

Defnitions: In typography there are four rules regarding paragraph breaks:

1. first line at the beginning of an article should be flush left (do not indent first paragraph) 2. block paragraphs are flush left and are separated by extra leading not a full return 3. the amount indent is = to the leading (sometimes needs a bit more) 4. never hit two returns between paragraphs Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

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

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later mainfestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): Everything of any value is theatrical.” Futurism was first announced on February 20, 1909, when the Paris new paperLe Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The na Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later mainfestos of Futurist poets & artists offered formal/”technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, morefully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): Everything of any value is theatrical.” Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

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

But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liber- ta2 , by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom- of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that "scurried off the page in all directions at once," as Emmett Williams phrased it for the "language happenings" of a later decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): Everything of any value is theatrical." Futurism was first announced on February 20, 1909, when the Parisnewspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that "scurried off the page in all directions at once," as Emmett Williams phrased it for the "language happenings" of a later decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): Everything of any value is theatrical." Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While 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 & artists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that "scurried off the page in all directions at once," as Emmett Williams phrased it for the "language happenings" of a later decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): Everything of any value is theatrical." Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

Headers & SubHeads Headers are the first things the reader sees in a body of text, so make sure to use them correctly. Header: A line or block of text that appears at the beginning of a page or document.

Subhead: A heading given to a subsection of a piece of writing.

Kerning: Spacing in a header is key to creating appropriate visual hierarchy in a document or page of text. Proper spacing is achieved by kerning. Kerning is the process of removing small amounts of space between letters to create visually consistent letterspacing. The larger the text is, the more attention should be paid to kerning.

WASHINGTON unkerned

WASHINGTON kerned

The key to kerning is visual perception. 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. Words in Liberty

Futurism was first announced on February 20, 1909, when the Paris new paperLe Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The na Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing A Prologue to Futurism two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the- world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that "scurried off the page in all directions at once," as Emmett Williams phrased it for the "language happenings" of a later decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): Everything of any value is theatrical." WordsA Prol oignue L tibo Fuertyturism Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. Radical Mix of Art & Life But it is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While 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 & artists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom- of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that "scurried off the page in all directions at once," as Emmett Williams phrased it for the "language happenings" of a later decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): Everything of any value is theatrical." Words in Liberty A Prologue to Futurism Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

Futurism bristled with a polemical stance in favor of the transformed present (1909), t h e later manifestos of Futurist poets & artists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that "scurried off the page in all directions at once," as Emmett Williams phrased it for the "language happenings" of a later decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): Everything of any value is theatrical." W ords i n Li berty Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro F U T UR I S M A P RO L O G UE T published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

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

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

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later mainfestos of Futurist poets t & L if e & artists offered formal/”technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): Everything of any value is theatrical.”

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

Specifically, a footnote is a text element at the bottom of a page of a book or manuscript that provides additional information about a point made in the main text. The footnote might provide deeper background, offer an alternate interpretation or provide a citation for the source of a quote, idea or statistic. Endnotes serve the same purpose but are grouped together at the end of a chapter, article or book, rather than at the bottom of each page.

These general guidelines will help you design footnotes and endnotes that are readable, legible and economical in space. (Note that academic presses and journals can be sticklers for format: before proceeding, check with your client or publisher to see if they have a specific stylesheet that must be followed.)

Numbers or Symbols: Footnotes are most often indicated by placing a superscript numeral immediately after the text to be referenced. The same superscript numeral then precedes the footnoted text at the bottom of the page. Numbering footnotes is essential when there are many of them, but if footnotes are few they can be marked with a dagger, asterisk, or other symbol instead. Endnotes should always use numerals to facilitate easy referencing.

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

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

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance 1. Philip Meggs, History of Graphic Design, Van in favor of the transformed present (1909), the later mainfestos of Futurist poets & artists Nostrand Reinhold, 1988 offered formal/”technical” approaches to the works then getting under way. The key 2. parole in liberta = words set free (liberty) 2 term—still resonant today—was parole in liberta , by which poetry was to become 3. Selbst = himself “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 Radical mix of art and life resembled other forms of collage and of image juxtaposition, morefully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): Everything of any value is theatrical.” 1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988 Words in Liberty 2. parole in liberta = words set free (liberty) 3. Selbst = himself A Prologue to Futurism

Radical Mix of Art & Life

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 & artists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the- world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that "scurried off the page in all directions at once," as Emmett Williams phrased it for the "language happenings" of a later decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): Everything of any value is theatrical." WordsA Prol oignue L tibo Fuertyturism Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. Radical Mix of Art & Life But it is the movements which 1. Philip Meggs, History survive, oddly, here where we live and work as poets and artists: or, if not the movements, of Graphic Design, Van Nostrand Reinhold, 1988 then their sense of art as an life itself. All of which, as futurism, had come sharply into focus 2. parole in liberta = words by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind set free (liberty) 3. Selbst = himself of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom- of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that "scurried off the page in all directions at once," as Emmett Williams phrased it for the "language happenings" of a later decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): Everything of any value is theatrical." Words in Liberty A Prologue to Futurism Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

Radical Mix of Art & Life But is is the movements which survive, oddly, here where 1. Philip Meggs, History we live and work as poets and artists: or, if not the movements, then their sense of art as an of Graphic Design, Van Nostrand Reinhold, 1988 life itself. All of which, as futurism, had come sharply into focus by the start of the world war: 2. parole in liberta = words a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on set free (liberty) 3. Selbst = himself both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's opening manifesto for Italian.

1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988 2. parole in liberta = words set free (liberty) 3. Selbst = himself Words in Liberty Futurism was first announced on February 20, 1909, when the Paris new paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso A P RO L O G UE T F U UR I S M 3. Selbst = himself (liberty) free set words = liberta in parole 2. 1988 Reinhold, Nostrand Van Design, Graphic of History Meggs, Philip 1. Marinetti. The na Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto’s rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

While Marinetti’s opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later mainfestos of Futurist poets

t & L if e & artists offered formal/”technical” approaches to the works then getting under way. The key term—still resonant today—was parole in liberta 2 , by which poetry was to become “an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena.” This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarmé. But the verbal liberation didn’t end with the page; it moved, rather, toward a new performance art and a poetry that “scurried off the page in all directions at once,” as Emmett Williams phrased it for the “language happenings” of a later decade. Outrageous and aggressive, the Futurists’ performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti Selbst 3 (circa 1915): Everything of any value is theatrical.”

FONT SPECS Let's talk about type, ba-by! classification of type Garamond did not think of himself as an Old Style designer any more than John Baskerville could realize that some day he would be considered a Transitional designer. What happened is this: over the centuries type became more and more refined; that is, the contrast between thick and thin strokes became greater and the serifs became finer. This refinement was possible because of the development of smoother papers, better inks, and more advanced printing methods. The ultimate refinement was attained in the late 1700’s when Bodoni reduced the thin strokes and serifs to fine hairline strokes.

After Bodoni, type design became eclectic. In search of new forms of typographic expression, designers began to borrow features from one period and add them to another. We see a lot of this today. Many of the fonts designed in the 20th Century are difficult to classify.

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 influenced by handwriting, the stress became more vertical as in Baskerville and later totally vertical with Bodoni. In Univers you will find no noticeable stress.

Variations in Thicks and Thins Faces also vary in degree of contrast between thick and thin strokes of the letters. In Garamond you can see a prominent characteristic of little contrast between thick and thin strokes of a letter. In Transitional faces there is a tendency toward refinement and greater contrast between thick and thins. Bodoni has maximum contrast in these strokes (extreme contrast of thick and thins, hairline serifs). With Serifa there is a return to very little contrast (almost 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. serif

Humanist Didone (modern) xoaengdp xoaengdp – little contrast between thick and thin of strokes – extreme contrast between thick and thin strokes – stroke weight has inflections similar to handwriting – hairline (strokes) serifs – strong diagonal stress such as on letter o – horizontal stress – sloping bar on letter e – horizontal bar on e

Jenson, Goudy’s Kennerly, Bruce Rogers’ Centaur Bodoni, Bauer Bodoni, Walbaum

Geralde (Old Style) New Transitional xoaengdp xoeangdp

– contrast between thick and thin strokes is more pronounced – sturdy typefaces hold up under poor printing – horizontal bar on e – little contrast between thick and think strokes – diagonal stress is less prominent – horizontal stress – shorter x-height – horizontal bar on e – scooped serifs, sturdy without being heavy – tall x-height – shorter ascenders, descenders Sabon, Garamond, Bembo, Times, Plantin, Caslon Old Style Bookman, Century Schoolbook, Cheltenham

Transitional Egyptian or Slab-serif xoeangdp xoeangdp

– contrast between thick and thin strokes is pronounced – mono weight – very slight diagonal stress – square ended serifs – bracketed serifs – horizontal stress – horizontal bar on e – horizontal bar on e – tall x-height Memphis, Clarendon, Serifa, Rockwell Baskerville, Caslon, Perpetua, (newer garamonds) sans serif

Grotesque xAag – slight contrast in the stoke weight – slight squareness to the curves – usually a tall x-height : short ascenders and descenders – usually a two story lowercase a – capital R usually has a curled leg – capital G usually has a spur

Helvetica, Univers, Akzidenz Grotesk, Folio

Geometric xAag – vary little contrast in the stoke weight (monoline) – a little wider set – constructed from simple shapes : circle and rectangle – usually a one story lowercase a – upper case A has a pointed apex

Futura, Kabel, Metro

Humanist xAag

– based on the proportions of the Roman capitals – some contrast in the stroke weight – lowercase a and g are usually two story

Syntax, Frutiger, Praxis, Stone Sans Font List

HAMBURGERQ hamburgerq?!& Akzidenz Grotesk Designer: Gunter Gerhard Lange Classification: Gro Characteristics: Spur on "G", tall x-height, short ascenderes HAMBURGERQ hamburgerq !?& Baskerville (new baskerville) Designer: John Baskerville Classification: transitional Characteristics: diagonal stress, bracketed serifs, tall x-height

HAMBURGERQ hamburgerq ?!& Belizio Designer: david berlow Classification: Slab serif Characteristics: mono-weight, square serifs, ball terminals

HAMBURGERQ hamburgerq ?!& Bembo Designer: Stanley Morison Classification: Old style Characteristics: Contrast between thick/thin

HAMBURGERQ hamburgerq !?& Bookman Designer: Alexander Phemister Classification: new transitional Characteristics: horizontal stress, tall x-height

HAMBURGERQ hamburgerq !?& Bodoni (bauer bodoni) Designer: giambattista bodoni Classification: didone (modern) Characteristics: extreme contrast between thick & thin, Unbracketed serifs

HAMBURGERQCaslon (adobe calson hamburgerq !?& Designer: Carol twombly Classification: transitional Characteristics: long tail on q, Slight diagonal stress HAMBURGERQ !? & HAMBURGERQ ?!& cholla Designer: Sibylle Hagmann Classification: N/a Characteristics: squared curves, short ascenders/dec

HAMBURGERQ hamburgerq !?& Clarendon Designer: Robert besley Classification: Egyptian slab Characteristics: large ball terminals, mono weight

: HAMBURGERQ hamburgerq !?& Clicker Designer: Greg Thompson Classification: grid-based sans–serif Characteristics: little stroke contrast, technology based, tall x-height

HAMBURGERQ hamburgerq 1?& DIDOT Designer: Firmm Didot Classification: Modern Characteristics: contrasting stroke weight, tall x-height

HAMBURGERQ hamburgerq !?& Din Designer: Albert jan-pool Classification: grotesque Characteristics: no stroke contrast, tall x-height, short ascenders

HAMBURGERQ HAMBURGERQ !?& disturbance Designer: Jeremy tankard Classification: new transitional serif Characteristics: mix of upper./lower case, weird g, bracketed serif HAMBURGERQ hamburgerq !?& filosofia Designer: zuzana licko Classification: modern Characteristics: bracketless serifs, contrasting stroke weight

HAMBURGERQ hamburgerq !?& frutiger Designer: Adrian frutiger Classification: humanist Characteristics: low contrast, short ascenders/dec

HAMBURGERQ hamburgerq?!& Futura Designer: Paul Renner Classification: geometric Characteristics: circular bowls/counters, mono weight, wide

HAMBURGERQ hamburgerq?!& Garamond (adobe garamond) Designer: claude garamond Classification: old style Characteristics: bracketed serifs, short x-height, weight varies HAMBURGERQ hamburgerq?!& gill sans Designer: eric gill Classification: humanist Characteristics: minimal stroke width, wide char. width

HAMBURGERQ hamburgerq ?!& goudy Designer: frederic w. goudy Classification: old style Characteristics: short x-height, wide character width, stroke var.

HAMBURGERQ hamburgerq ?!& Helvetica Designer: max medinger Classification: grotesque Characteristics: tall x-height, 2 story a, squared leg kicks

HAMBURGERQ hamburgerq ?!& interstate designer: tobias frere-jones Classification: grotesque Characteristics: short ascenders/decenders, strokes cut at angle Hg Ay Bur Ger Eat Rope Que kuenstler script designer: hans bohn Classification: script Characteristics: different line weights, ball terminals, goudy caps

HAMBURGERQ hamburgerq ?!& melior designer: herman zapf Classification: transitional serif Characteristics: contrast b/t thick and thins, sqare serif end

HAMBURGERQ hamburgerq ?!& memphis designer: rudolf weiss Classification: slab serif Characteristics: mono weight, square serifs, horizontal stress

HAMBURGERQ hamburgerq ?!& mrs eaves designer: zuzana licko Classification: transitional Characteristics: vertical stress, g has no open counter, thick/thins

HAMBURGERQ hamburgerq ?!& news gothic designer: morris fuller benton Classification: grotesque Characteristics: tall x-height, shallow descenders, econ. neutral

HAMBURGERQ hamburgerq ?!& platelet designer: Conor mangat Classification: sans serif Characteristics: no stroke variation, half upper/half lower

HAMBURGERQ hamburgerq ?!& rockewell designer: monotype staff Classification: slab-serif Characteristics: mono weight, sqare serif, HAMBURGERQ hamburgerq ?!& rotis sans designer: otl aicher Classification: humanist sans-serif Characteristics: tall x-height, two story a, q tail is above baseline HAMBURGERQ hamburger ?!& rotis serif designer: Otl aicher Classification: humanist serif Characteristics: bracketed serifs, tall x-height, subtle stroke cont.

HAMBURGERQ hamburgerg ?!& sabon designer: jan tschichold Classification: old style Characteristics: thick and thins, short x-height, scooped serifs

HAMBURGERQ hamburgerq ?!& serifa designer: adrian frutiger Classification: Slab serif Characteristics: mono weight, sqare serifs, horizontal stress HAMBUhamburgerq HAMBURGERQ shelly designer: Matthew carter Classification: script Characteristics: all join up, loop is the same

HAMBURGERQ hamburgerq ?!& snell roundhand designer: matthew carter (charles snell) Classification: script Characteristics: calligrapy influenced, strong stroke variation

HAMBURGERQ hamburgerq ?!& swift designer: gerard unger Classification: new transitional/humanist serif Characteristics: tall x-height, short asc/descenders, sturdy

HAMBURGERQ hamburgerq ?!& trade gothic designer: jackson burke Classification: humanist sans serif Characteristics: mono weight, tall x-height, short asc/descenders

HAMBURGERQ hamburger ?!& univers designer: adrian frutiger Classification: grotesque Characteristics: mono weight, heavy

HAMBURGERQ hamburgerq ?!& volta designer: konrad bauer, walter baum Classification: slab serif Characteristics: thick/thin strokes, large square serifs

HAMBURGERQ hamburgerq?!& walbaum designer: justus erich walbaum Classification: mondern Characteristics: extreme contrast, hairline serifs, horiz. stress

DETAILS Akzidenz Grotesk MaxogGdQRst

roman

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

black

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

regular

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

italic

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

regular

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

bold

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

light

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

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

regular

A basic system for classifying typefaces was Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll devised in the nineteenth century, when printers sought to identify a heritage for their own Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww craft analogous to that of art history. Humanist letterforms are closely connected to calligraphy Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! 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. italic Designers in the twentieth and twenty-first centuries have continued to create new type- Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm faces based on historic characteristics. Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *

bold

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

regular

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

bold

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

regular

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

bold

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

regular

alternate c h i k l Ss T t

A basic system for classifying typefaces was devised in the nineteenth century, when swash printers sought to identify a heritage for their own craft analogous to that of art history. Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Humanist letterforms are closely connected to calligraphy and the movement of the Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Z 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 ornament the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics. A a Bb C c D d Ee F f G g H h Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr S s Tt Uu Vv Ww X x y Z z 1 2 3 4 New Century Schoolbook MxanogGdQRt MxaogGdQrRt

regular

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

bold

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

unicase

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

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

light

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

bold

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

regular

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

bold

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

regular

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

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

bold

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

Middelscrift

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

regular

A basic system for classifying typefaces was devised Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo in the nineteenth century, when printers sought to identify a heritage for their own craft analo- Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 gous to that of art history. Humanist letterforms are closely connected to calligraphy and the 9 0 ( ) { } ? ! @ & * 1 2 3 4 5 6 7 8 9 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 italic twentieth and twenty-first centuries have continued to create new typefaces based on historic Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp characteristics. Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *

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

regular

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

bold

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

regular

A basic system for classifying typefaces was Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll devised in the nineteenth century, when printers sought to identify a heritage for their Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx own craft analogous to that of art history. Humanist letterforms are closely connected to Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ calligraphy and the movement of the hand. Transitional and modern typefaces are more & * abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and Idunt aliquam adignim velit utat. Etuer twenty-first centuries have continued to create new typefaces based on historic characteristics. accum dunt ad magniam, vendiat lam verostrud essi tetum illa facipisl utet endre feu faccum dit praessi. Ing ea feuguer aessenim atisi. Delessi. Sectet, sit, ver si. Alit ipit esequis exer adigna adignit aliquat lam dunt utpat aut nisisi. Tate conse deliqui tem ip et laorem zzrilit ulla facipsu stisim veros ad eugait nonsecte ming eu feuis eum dolute molore commy nos nit laor sequamet et wisis nonse velit lor summy nos nisim irilla alit iliquatum zzrit utem euipsustin volummo dolore dolore conullan ullaortis nit nim adionsecte feuis etum dolobore molore verit veniss Filosofia MxnaopQrRtfGg

regular

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

unicase

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

book

A basic system for classifying typefaces Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm was devised in the nineteenth century, when printers sought to identify a heritage Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy for their own craft analogous to that of art history. Humanist letterforms are closely Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * 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 demi Enlightenment periods in art and literature. Designers in the twentieth and twenty-first Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll centuries have continued to create new typefaces based on historic characteristics. Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *

heavy

A basic system for classifying type- Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk faces was devised in the nineteenth century, when printers sought to iden- Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv tify a heritage for their own craft analogous to that of art history. Humanist Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) 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, condensed Baroque, and Enlightenment periods in art and literature. Designers in the Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm twentieth and twenty-first centuries have continued to create new typefac- Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz es based on historic characteristics. 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * Frutiger MaxodQRtfGg

condensed

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

bold

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

book

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

extra bold

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

regular

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

bold

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

regular

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

bold

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

regular

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

black

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

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

black

A basic system for classifying typefaces was Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk devised in the nineteenth century, when printers sought to identify a heritage for their own craft Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu analogous to that of art history. Humanist letterforms are closely connected to calligraphy and the Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( movement of the hand. Transitional and modern typefaces are more abstract and less organic. These ) { } ? ! @ & * three main groups correspond roughly to the Re- naissance, Baroque, and Enlightenment periods in art and literature. Designers in the twentieth and twenty-first centuries have continued to create bold new typefaces based on historic characteristics. AaBbCcDdEeFfG gHhIiJjKkLlMm NnOoPpQqRrSs─ tuvwxyz1238 9 0 Interstate MaoygGdQrRt

regular

A basic system for classifying typefac- Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll es was devised in the nineteenth century, when printers sought to identify Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv a heritage for their own craft analogous to that of art history. Humanist Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) 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 bold roughly to the Renaissance, Baroque, and Enlightenment periods in art and Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk literature. Designers in the twentieth and twenty-first centuries have contin- Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv ued to create new typefaces based on historic characteristics. Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *

black

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

featherweight

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

full heavy

A basic system for classifying type- Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj faces was devised in the nineteenth century, when printers sought to Kk Ll Mm Nn Oo Pp Qq Rr Ss identify a heritage for their own craft analogous to that of art histo- Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 ry. Humanist letterforms are closely connected to calligraphy and the 5 6 7 8 9 0 ( ) { } ? ! @ & * movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly bold no.2 to the Renaissance, Baroque, and Enlightenment periods in art and Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll literature. Designers in the twentieth and twenty-first centuries have Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww continued to create new typefaces based on historic characteristics. Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * Kunstler Script xyogGdQrRst

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

Pat. San ea consectet ad duis dolorem eu facil dit am, summy nisim ipit, quat, velit pratismodo diat. Et lorperi liquat lor sequam zzrilit, velese facin ut verosti nciduis modit, qui erosto odit ut verit nos nos amet iure doluptatisl digna facin hendre ming ea feum incilla ad dunt dunt ipit vulput lor- per sumsand ionsenit num ip erit la feu feumsan henis exerci esto etumsan hent am, velit, quisit nummy nosto dolutat irit veniam zzrilit, qui tincilit wis eum zzriustis ex eraestrud delit lamcon vero exercidunt aliscidui bla facip et veniam eum illan veros dignit alit vullandiat nis nisl dunt aliquam consent alit etuero odionsecte dunt nulla faci et in vulla feugait lore eum zzril ullamco nsequi bla autpatet nummodipisi. Ed etummodit vullamcon utat ulluptat delendit nonsenim in- ciliqui tio odoloreet ver sum velis aliquis del irit aut nosto consequam zzrit aut ipsum diamcon sequam num et wisi tio dolorem Melior MayogGdQrRt

regular

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

bold

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

light

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

extra bold

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

regular

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

black

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

regular

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

bold

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

regular

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

bold

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

regular

A basic system for clas- Aa Bb Cc Dd Ee Ff Gg Hh sifying typefaces was devised in the nineteenth Ii Jj Kk Ll Mm Nn Oo Pp century, when printers sought to identify a her- Qq Rr Ss Tt Uu Vv Ww Xx itage for their own craft analogous to that of art Yy Zz 1 2 3 4 5 6 7 8 9 history. Humanist letterforms are closely con- 0 ( ) { } ? ! @ & * nected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups Officina MaopQRfGg MxaodQRtfGg

sans

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

serif

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

book

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

bold

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

Light

A basic system for classifying typefaces was Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll devised in the nineteenth century, when printers sought to identify a heritage for Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww their own craft analogous to that of art history. Humanist letterforms are closely Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ 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 old style Enlightenment periods in art and literature. Designers in the twentieth and twenty-first Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll centuries have continued to create new typefaces based on historic characteristics. Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & *

Medium

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

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

bold

A basic system for classifying typefaces was Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll devised in the nineteenth century, when printers sought to identify a heritage for Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww their own craft analogous to that of art history. Humanist letterforms are closely con- Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & 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. Design- ers in the twentieth and twenty-first centuries have continued to create new typefaces based on historic characteristics. Platelet MaxbyogGQrRt

thin

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

heavy

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

regular

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

bold

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

regular

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

bold

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

(55) sans

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

serif

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

regular

A basic system for classifying typefaces was Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll devised in the nineteenth century, when printers sought to identify a heritage for Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv their own craft analogous to that of art history. Humanist letterforms are closely Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) 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 small caps Enlightenment periods in art and literature. Designers in the twentieth and twenty-first Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk centuries have continued to create new typefaces based on historic characteristics. Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! & *

bold

A basic system for classifying typefaces was Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll devised in the nineteenth century, when printers sought to identify a heritage for Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv their own craft analogous to that of art history. Humanist letterforms are closely Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) 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. bold italic Designers in the twentieth and twenty-first centuries have continued to create new Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll typefaces based on historic characteristics. Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * Scala Sans MxabyogGdQrR

regular

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

italic

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

regular

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

bold

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

Dolessecte ver sim er aut wismod mincilit loboreet praessed tat. Iquis eu feuis dolore faci ercil eriurer sisi tet, quamconse do odolor amcommodit vulla feugait luptatisl dolorer augait praessi. Lut vel iri- uscil et luptat. Nullandre magna feugiam, quis aute conullu ptatincip ea alit wis et volore dip et, cortin henisi. Quis autet, veros accum ipit vel ute mod ting eumsandreet am, qui te faciniat nummod eu feugiat ex essim vent vendre tat venibh et pratuer ipsum volortio eniat praessed mincilit dolobortie tat. Lam dolut amcommy nos eraessed tin ulput ut vulputat, quat, volobor incip et essi.orper sum quamconsed magniam, quisit accum voloborem alit iuscipit la consequam dit nulput acing eu feum quat. Ut luptat at. Swift MxaoygGdQrR

Bold condensed

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

italic

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

regular

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

black

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

condensed

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

bold

A basic system for classifying typefaces Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm was devised in the nineteenth century, when printers sought to identify a heritage Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy for their own craft analogous to that of art history. Humanist letterforms are Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * closely connected to calligraphy and the movement of the hand. Transitional and modern typefaces are more abstract and less organic. These three main groups correspond roughly to the Renaissance, Baroque, and Enlightenment periods in art bold no.2 and literature. Designers in the twentieth and twenty-frst centuries have continued Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll to create new typefaces based on historic characteristics. Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 ( ) { } ? ! @ & * Walbaum MxyagGdQrR

regular

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

small caps

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

regular

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

medium italic

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

Class project for Professor Wertzberger's Typography 02 at the University of Kansas, Spring 2009. Text for the book was compiled from the following sources: Elements of Typographic Style by Robert Bringhurst, Getting it Right with Type: the Do's and Don'ts of Typography by Victoria Square, Mac is Not A Typewriter by Robin Williams. This book is not to be sold to the public and to only be used by the designer for their student design portfolio.