typographic treats workbook

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The GreatBig Book of Typographic Treats

Aliaa El Kalyoubi

University of KansasSpring 2013

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Rules Check Sheet 4

Special Characters 6

Typographic Rules 12

Grids 24

Quotes, Apostrophes 40

Dashes 46

Small Caps 52

Numerals/Figures 58

X-Height 62

Column Width 76

Kerning 80

TABLE OFCONTENTS

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Alignments 84

Hyphenation 90

Justification 94

Combining Typefaces 104

Paragraph Breaks 118

Heads and Subheads 132

Captions and Notes 142

4

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.

RULES CHECK SHEET

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.

5

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

Never hyphenate a words in a headline and avoid hyphenation in a callout.

Never justify the text on a short line.

Keep the word spacing consistent.

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

and descenders.

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

Adjust the spacing between paragraphs.

Either indent the first line of paragraphs or add extra space between them –

not both.

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

numbered paragraphs.

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

Never combine two serif fonts on one page.

Rarely combine two sans serif fonts on one page.

Rarely combine more than three typefaces on one page.

Use the special characters whenever necessary, including

super- and subscript.

Spend the time to create nice fraction or chose a font that has fractions.

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

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SPECIALCHARACTERS

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The following is a list of the most often-used special

characters and accent marks.

On the following pages are the key combinations

for just about every accent you might need.

“

”

‘

’

–

—

…

•

fi

fl

©

Option [

Option Shift [

Option ]

Option Shift ]

Option Hyphen

Option Shift Hyphen

Option ;

Option 8

Option Shift 5

Option Shift 6

Option g

Opening double quote

Closing double quote

Opening single quote

Closing single quote; apostrophe

En dash

Em dash

Ellipsis

Bullet

Ligature of ‘f’ and ‘i’

Ligature of ‘f’ and ‘l’

Copyright symbol

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™

®

°

¢

€

⁄

¡

¿

£

ç

Ç

Option 2

Option r

Option Shift 8

Option $

Option Shift 2

Option Shift 1 (one)

Option 1 (one)

Option Shift ?

Option 3

Option c

Option Shift c

Trademark

Registered symbol

Degree symbol (e.g., 102°F)

Cent symbol

Euro symbol

Fraction bar

Upside down !

Upside down ?

Lira symbol

French c cedilla

Capital French c cedilla

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The copyright, register, and trademark characters need to be reduced to

work with body text. At times, depending on the typeface, you may need

to reduce the mark between 50% and 70%. The goal is to match the

x-height. The copyright mark should be approximately 70% of the

surrounding text.

Unlike the ™ symbol, the © should NOT be superscripted and should

remain on the baseline.™ is usually superscripted for the chosen font.

™ and ® are normally set higher then other marks. If you choose to

superscript ®, reduce it to about 60% of the size.

Use copyright, register, and trademark

marks properly

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Ellipsis Character

Use the ellipsis character and NOT three periods.

You can access the ellipsis by typing Option + : (colon).

Allow a small amount of space before and after. However if it is not crowd-

ing the text, leave no space at all.

Accent Marks

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 ~ (upper-left or next to the Spacebar)

¨ Option u

˜ Option n

ˆ Option i

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TYPOGRAPHIC RULES

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Inserting two spaces after a period was common when using a typewriter.

Monospace typefaces were designed to occupy the same amount of space

no matter the width of the character. Therefore, two spaces were needed

to identify the end of a sentence and the beginning of another sentence.

With the introduction of the Mac and digital type, characters are designed

proportionately, which allows for the correct practice of using one space

after all punctuation.

An em is a unit of measure equal to the point size that you are using.

An em dash is a type of punctuation used to offset clauses in a sentence

or to indicate an abrupt change in thought. An en dash is equal to half the

length of an em dash. En dashes are used to denote duration (time.)

2 Use proper ‘em’ dashes, ‘en’ dashes, and hyphens

Insert only a single

space after punctuation1

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3 Use proper quote

and apostrophe marks

Use true quotation marks and apostrophes instead of using inch marks

and feet marks. Place all punctuations inside the quotation marks.

Use True Small Caps

When setting text that contains acronyms, select a typeface with small

caps as a family. Selecting small caps from the style menus is a poor choice

because the compute reduces the overall size of the type by 80%. This

changes the stroke weight and the feel of the font. Expert sets in the Adobe

Type Library have small caps options.

4

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Letterspacing is the amount of space between characters in a word. Some

software programs caller letterspacing tracking. Use positive number val-

ues (to about 2 or 3) to open up letterspacing to capitalized text and small

caps, except when periods are used between characters.

5

Old style figures, also known as non-lining figures do not line up on the

baseline as regular or lining numerals do. They can be found in various

fonts. If the body text has a significant amount of numbers, research a font

family where they are included. If non-lining numerals are not available, use

a slightly smaller point size for the lining numbers.

Think of lining numbers as upper case numbers and non-lining numbers as

lower case numbers.

6

Add letter spacing to

capitalized text and small caps

Use old style figures when appropriate

With options given to you by almost any type family (bold, point size, etc)

you will seldom need to use all caps to draw attention to your text. Not all

typefaces are legible when set in all caps; esp. true for script and decora-

tive typefaces. Short headlines may be the once exception to this rule.

7 Use caps properly

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The copyright, register, and trademark characters need to be reduced to

work with body text. At times, depending on the typeface, you may need

to reduce the mark between 50% and 70%. The goal is to match the x-

height. The copyright mark should be approximately 70% of the surround-

ing text. Unlike the ™ symbol, the © should NOT be superscripted and

should remain on the baseline. ™ is usually superscripted for the chosen

font. ™ and ® are normally set higher then other marks. If you choose to

superscript ®, reduce it to about 60% of the size.

8

Use the ellipsis character and NOT three periods. You can access the ellip-

sis by typing Option + : (colon). Allow a small amount of space before and

after. However if it is not crowding the text, leave no space at all.

9

Use copyright, register, and trademark marks properly

Ellipsis Character

10 Avoid underlined text

This was useful back in the days of the typewriter to draw attention to the

text. With digital type and their families, you should not need to use under-

lined text.

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Line spacing (aka leading) refers to the space between lines of text. It

is important for readability and appearance. Leading is measured from

baseline to baseline. As a rule of thumb, allow leading that is 120% of the

point size. For sans serif, you may need 130% or more. When setting head-

lines, solid leading (leading = point size, 12/12) or negative leading

(leading =< point size, 12/10) may be appropriate.

Body text is set anywhere from 9-12 points. When you print text, it is usu-

ally larger than what it looked like on the screen. So, print out your text

before finalizing your layout. Type studies will help you determine the

proper size before you proceed with your layout.

Increase line spacing to

improve readability in body text

Body copy size

Don’t alter the original typeface by stretching or condensing the letters

improperly. Certain type families provide you with a lot of flexibility, so

you should not need to destroy/alter text.

Altering fonts

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Sans serif typefaces work well for headlines and to set text that is aligned

to vertical/horizontal lines. Certain sans serif typefaces which are not very

geometrical work well for body copy (i.e. Frutiger, Meta, Scala Sans, etc.)

Line length is a measure of text on one line. Any measure between 45 and

75 characters is comfortable for single column widths. The ideal measure

for body text length is 66 characters (counting both letters, punctuation,

and spaces.) For multiple columns, a measure between 40 and 50 charac-

ters is ideal.

Legibility of fonts

Decrease line length and increase margins

Avoid letterspacing

lowercase body copy

Don’t letterspace body copy as it really hampers legibility. Use letterspacing

when working with caps. small caps, numbers and display text where looser

type spacing may increase legibility.

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For text meant for extended reading, the amount of space between words

in a paragraph should be fairly close–about the width of a lowercase “i.” If

the word spacing is too close, it appears as one giant word and legibility

is decreased. Keep the spaces between words fairly thin, consistent

and even!

For single-column pages, 4.25 inches is ideal. For two-column width,

columns can be as narrow as 2 inches. Turning on the hyphenation feature

can improve word spacing.

Word spacing should be fairly close

Ideal column width

Justification can be appropriate in certain places. However, it can create

certain problems such as rivers and word spacing. Adjusting size of mar-

gins, decreasing body copy size, turning on auto hyphenatation and manu-

ally hyphenating the text are all examples of possible solutions.

Justification of text

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Make sure the alignment chosen for all areas of text are legible and consis-

tent with the design and guidelines. Left-aligned text is easier to read and

set. Justified text is harder to set w/o inevitable word spacing problems.

Right-aligned and centered are generally not used for body copy.

Don’t rely on the software to judge where hyphens should be placed. At

the end of lines, leave at least two characters behind and take at least

three forward. For example, “ele-gantly” is acceptable, but “elegant-ly” is

not because it takes too little of the word to the next line. Avoid leaving

the stub end of a hyphenated word or any word shorter then four letters

as the last line of a paragraph. Avoid more then 3 consecutive hyphenated

lines. Avoid hyphenating or breaking proper names and titles. Creating a

non-breaking space before and after the name will ensure that the name

will not break.

Choose the alignment that fits

Rules of hyphenation

Avoid beginning three consecutive

lines with the same word

Since software programs deal with line breaks automatically based upon

a number of variables, it is possible to have paragraphs with consecutive

lines beginning with the same word. When this happens simply adjust the

text to avoid/fix the problem.

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Once you are finished with your design, spell check the text using

both of the following:

a. Use spell=check option that comes with the software you are using for

the project.

b. Print the document and read it. The monitor and design of the docu-

ment will make text look perfect when it may not be. Even if text is given

to you by a client, check it. Never ever assume that it is correct. Keep a

dictionary close as well.

Widows are either single words alone on a line or single sentences

alone on a new page. Orphans are single lines of copy alone at the end

of a page.

Always spell check!

Avoid widows and orphans

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25Adjust the space between two particular letters to allow for more consis-

tent negative space.

In continuous text, mark all paragraphs after the first with an indent of at

least one “em” (3 spaces). Do NOT use three spaces but rather use the

tabs or indents option in your software.

Items in a series do not use a comma before the word “and.” (i.e., ‘peaches,

apples and oranges.’)

Kerning in headlines

Indents

Items in a series

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GRID STRUCTURES

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When designing a layout and working with text and/or images the use of

a grid is essential, as it is the basis on which information is organized and

clarified, ensuring legibility. The grid provides a framework were text, im-

age and space can be combined into a cohesive manner.

A grid subdivides a page vertically and horizontally into margins, columns,

inter-column spaces, lines of type, and spaces between blocks of type and

images. These subdivisions form the basis of a modular and systematic

approach to the layout, particularly for multi-page documents, making the

design process quicker, and ensuring visual consistency between pages.

At its most basic, the sizes of a grid’s component parts are determined by

ease of reading and handling. From the sizes of type to the overall page

or sheet size, decision-making is derived from physiology and the psy-

chology of perception as much as by aesthetics. Type sizes are generally

determined by hierarchy—captions smaller than body text and so on—col-

umn widths by optimum word counts of eight to ten words to the line, and

overall layout by the need to group related items. This all sounds rather

formulaic, and easy. But designers whose grids produce dynamic or very

subtle results take these rules as a starting point only, developing flexible

structures in which their sensibility can flourish.

Grids often need to be designed to give more flexibility than the single

column of text per page (Jan Tschichold's grid). This is due to to a change

in our reading patterns. Grid structures have to accommodate a greater

variety of material such as photographs, illustrations, headings, captions,

references, charts; they need to be more complicated than a grid using

only text and may utilize more modules. The design of the grid had to be

relevant to the purpose.

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“The grid system is an aid, not a guarantee. It permits a number of pos-

sible uses and each designer can look for a solution appropriate to his

personal style. But one must learn how to use the grid; it is an art that

requires practice.” —Josef Müller-Brockmann

1) Tschichold's grid / symmetrical grid

2) Fibonacci's sequence: The golden section

3) Column grid

4) Modular grid

5) Asymmetrical grid

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1) Tschichold's grid / symmetrical grid

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Symmetric grids sit centrally on a single page (folio) so that the left and

right margins are equal. The term can also be applied to a grid system

used across facing pages where the position of the margins and text

areas are symmetrically reflected or mirrored. Margins are not necessar-

ily equal but run both left and right of the text area on single pages and

are mirrored across the spread.

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2) Fibonacci's sequence:

The golden section

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The golden section, a ratio (relationship between two numbers) that has

been used in Western art and architecture for more than two thousand

years. The formula for the golden section is a : b = b : (a+b). This means

that the smaller of two elements (such as the shorter side of a rect-

angle) relates to the larger element in the same way that the larger ele-

ment relates to the two parts combined. In other words, side a is to side

b as side b is to the sum of both sides. Expressed numerically, the ratio

for the golden section is 1 : 1.618.

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3) Column grid

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These may consist simply of a number of vertical columns used to

position text and image matter, and may include the space between

columns -- the gutters -- and the margins of the page, which must be

given consideration. It may be necessary to produce grids with nar-

rower subcolumns to enable a greater degree of flexibility in the design

and layout of pages. Text widths can be set to multiples of the narrower

columns, allowing the design to accommodate different matter thus al-

lowing for a change of pace, rhythm and style from one page or section

to the next, while still relating the content.

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4) Modular grid

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Modular grids are associated with Swiss typography or the 'Interna-

tional Style' of the 1950s and 60s. As well as a vertical division of space,

modular grids divide space horizontally too, creating units or cells. The

depth of the cell may depend upon the size of the text type and leading

being used. Multiples of the line depth (leading size) form a good basis

on which to construct the cells.

For example, ten lines of 10pt type type on 12pt leading could allow for

a cell height of 120pt within the grid. Again, each cell division is spaced

by the equivalent of a gutter both vertically and horizontally. Vertical

columns still appear, but further rationalization as to the position of text

and image in relation to the depth of the page can be made via the grid.

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5) Asymmetrical grid

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These grids may have an off-centre appearance either as single pages

or combined in spreads. If used in spreads, the grid is not mirrored from

one page to the next as in symmetrical grids, but is more likely to ap-

pear repeated in a single position from page to page.

Again, as with all grid systems, attention to the relationship of the

margins is important. It can be this element alone that determines the

success of the eventual layout.

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Modular grids are created by positioning horizontal guidelines in rela-

tion to a baseline grid that governs the whole document. Baseline grids

serve to anchor all (or nearly all) layout elements to a common rhythm.

Create a baseline grid by choosing the type size and leading of your

text, such as 10-pt Scala Pro with 12 pts leading (10/12). Avoid auto lead-

ing so that you can work with whole numbers that multiply and divide

cleanly. Use this line space increment to set the baseline grid in your

document preferences.

Adjust the top or bottom page margin to absorb any space left over

by the baseline grid. Determine the number of horizontal page units in

relation to the number of lines in your baseline grid. Count how many

lines fit in a full column of text and then choose a number that divides

evenly into the line count to create horizontal page divisions. A column

with forty-two lines of text divides neatly into seven horizontal modules

with six lines each. If your line count is not neatly divisible, adjust the

top and/or bottom page margins to absorb the leftover lines. Illustrate a

baseline grid.

Baseline grid

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Use true quotation marks and apostrophes instead

of using inch marks and feet marks.

Place all punctuations inside the quotation marks.

Use real quotation marks – never those grotesque generic marks that

actually symbolize ditto/inch or foot marks: use "and" – not “and”. Most

software applications will convert the typewriter quotes to the real quotes

for you automatically as you type. Check the preferences for your applica-

tion – you’ll find a check box to tell your application to automatically set

something like “typographer’s quotes,” “smart quotes,” or “curly quotes.”

Then as you type using the standard ditto key (“), the software will set the

correct quotation marks for you. It is necessary to know how to set smart

quotes/real quotes yourself because sometimes the software doesn't do it

or does it wrong.

Opening double quote: “ Type: Option [

Closing double quote: ” Type: Option Shift [

Opening single quote: ‘ Type: Option ]

Closing single quote: ’ Type: Option Shift ]

Bridge Clearance: 16'7"

The young man stood 6'2"

The length of the wall is 153'9".

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Apostrophe: ’ option shift ]

As as aside, people often are confused about where the apostrophe be-

longs. There are a couple of rules that work very well.

For possessives:

Turn the phrase around. The apostrophe will be placed after whatever

word you end up with. For example, in the phrase the boys’ camp, to know

where to place the apostrophe say to yourself, “The camp belongs to the

boys.” The phrase the boy’s camp says “The camp belongs to the boy.”

“The big exception to this is “its.” “Its” used as a possessive never has an

apostrophe! The word it only has an apostrophe as a contraction — “it’s”

always means “it is” or “it has.” Always.

It may be easier to remember if you recall that yours, hers, and his don’t

use apostrophes — and neither should its.

For contractions:

The apostrophe replaces the missing letter. For example: your’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.

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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 indi-

cate the missing year. In the 80s would mean the temperature; In the ’80s

would mean the decade.

Notice there is no apostrophe before the s! Why would there be? It is not

possessive, nor is it a contraction—it is simply plural.

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Use proper ‘em’ dashes, ‘en’ dashes, and

hyphens. Never use two hyphens instead

of a dash.

Everyone knows what a hyphens is—that tiny little dash that belongs in

some words, like mother-in-law, or in phone numbers. It’s also used to

break a word at the end of a line, of course.

You might have been taught to use or given text that uses a double hy-

phen—to indicate a dash. This is a typewriter convention because typewrit-

ers 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.

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An em is a unit of measure equal to the point size that you are using.

An em dash is a type of

punctuation used to offset clauses

in a sentence or to indicate an

abrupt change in thought.

An en dash is equal to half

the length of an em dash.

En dashes are used to denote

duration (time.)

Hyphen -

En dash –

Em dash —

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Hyphen -

A hyphen is one third of the em rule and is used to link words. It serves as

a compound modifier where two words become one, such as x-height. A

hyphen is also used to break works at syllables in text blocks.

En dash –

To type an en dash

en dash – Option Hyphen

hold the Option key down, then tap the hyphen key

An en dash is half of the em rule (the width of a capital N) and is used

between words that indicate a duration, such as time or months or years.

Use it where you might otherwise use the word “to.”

In a page layout application, the en dash can be used with a thin space

on either side of it. If you want you can kern it so it is not a full space.

October – December6:30 – 8:45 A.M.4 – 6 years of age

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Em dash —

To type an em dash

em dash — Shift Option Hyphen

Hold the Shift and Option keys down, then tap the hyphen key.

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 mo-

ment. This dash is often used in place of a colon or parentheses, or it

might indicate an abrupt change in thought, or it’s used in a spot where

a period is too strong and a comma is too weak.

It is also used for attribution of text. —Mac is not a Typewriter

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—no space is used on either side.

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Small caps are uppercase (capital) letters that are about the size of nor-

mal 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.

When setting text that contains acronyms, select a typeface with small

caps as a family. Selecting small caps from the style menus is a poor

choice because the compute reduces the overall size of the type by 80%.

This changes the stroke weight and the feel of the font. Expert sets in the

Adobe Type Library have small caps options.

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 peri-

ods. (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.

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Harriet, and FBI agent, turned on CNN to get the

dirt on the CIA before going to bed at 9:30 P.M.

Harriet, and fbi agent, turned on cnn to get the

dirt on the cia before going to bed at 9:30 p.m.

The capital letters in the middle of the sentence call too much attention

to themselves. Notice how the small caps blend in with the text.

The capital letters for ‘P.M.’ are much too large—the abbreviation is not

that important.

.

Where to use small caps:

If you set acronyms in regular all caps, their visual presence is unneces-

sarily overwhelming. One standard and practical place to use caps is in

acronyms such as fbi, nrc, cbs, or simm.

Traditionally, “a.m.” and “p.m.” are set with small caps. If you were taught to

type on a typewriter (or if you were taught on a keyboard by someone

who was taught on a typewriter), you probably learned to set these abbre-

viations in all caps because there were no small caps on typewriters. But

now that you have the capability, you can and should set them properly.

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Fonts that have small caps

3 Sans Serif Helvetica cnn

FUTURA cnn

CLICKER Cnn

6 SerifMrsEaves cnn

Baskerville cnn

Caslon cnn

Swift cnn

Bembo cnn

Clarendon cnn

The Wicked ARe VeRy WeARy.The weight of the computer-drawn small caps is thin-

ner than the weight of the regular initial first letter

caps. Typeface is Futura.

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True-drawn small caps:

There are quite a few font families that include “true-drawn” small

caps—letterforms that have been redesigned to match the proportions

and thickness of the uppercase. These families are often called “expert”

sets or perhaps “small cap” sets. The result is a smooth, uniform, undis-

turbing tone throughout the text.

There Is No Rest For The Wicked.

The Wicked Are Very Weary.

True-drawn small caps are specially drawn to match the weight of the

capital letters in the same face. Typefaces are Adobe Caslon Pro regular

and semibold.

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NUMERALS/FIGURES

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Oldstyle figures, also known as non-lining figures do not line up on the

baseline as regular or lining numerals do.

They can be found in various fonts.

Oldstyle figures are a style of numeral which approximate lowercase let-

terforms by having an x-height and varying ascenders and descenders.

They are considerably different from the more common “lining” (or

“aligning”) figures which are all-cap height and typically monospaced in

text faces so that they line up vertically on charts. Oldstyle figures have

more of a traditional, classic look and are very useful and quite beauti-

ful when set within text. 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.

Unlike lining figures, Oldstyle figures blend in without disturbing the

color of the body copy. They also work well in headlines since they’re

not as intrusive as lining figures. In fact, many people prefer them overall

for most uses except charts and tables. It’s well worth the extra effort

to track down and obtain typefaces with oldstyle figures; the fonts that

contain them might well become some of your favorites. If the body

text has a significant amount of numbers, research a font family where

they are included. If non-lining numerals are not available, use a slightly

smaller point size for the lining numbers. Think of lining numbers as up-

per case numbers and non-lining numbers as lower case numbers.

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Fonts that have old style numbers

3 Sans Serif Meta 1234567890

Platelet 1234567890

Bodoni 1234567890

3 SerifMrsEaves 1234567890

swift 1234567890

Big caslon 1234567890

12 12.5 Rockwell134 134.0 17 17.81023 1023.4323 323.0

Aligning numerals

Notice how large and chunky these

numbers appear:Dear John, please call me at 438-9762 at 3:00 to discuss

marriage. Or write to me at Route 916, zip code 87505.

Notice how these numbers blend beautifully right

into the text:Dear John, please call me at 438-9762 at 3:00 to discuss mar-

riage. Or write to me at Route 916, zip code 87505.

64

ag ag ag agag ag ag ag

ag ag ag agag ag ag agag ag ag ag

65

Readability and legibility are two key elements of printed text that

typographer strive to maximize. Readability extended amount of text

– such as an article, book, or annual report – is easy to read. Legibility

refers to whether an refers to whether a short burst of text – such as a

headline catalog listing, or stop sign – is instantly recognizable.

There are several factors that determine whether a text is readable.

When deciding what typeface should be used for a job, consideration

should be given to the typeface and its x-height. It is important to

understand how a block of text can express a message through its

texture/color, therefore suiting a particular design solution. Fonts set

in the same size, same leading and column width will produce varying

degrees of “color”.

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.

66

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified con-temporary life, mainly by emphasizing two domi-nant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technol-ogy of the automobile and the beauty of its speed, power, 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.

BelizioDavid Berlow

9/12 x-height: average character width: widecolor: dark

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Mari-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.

9/12x-height: small character width: narrowcolor: light

XxhgXxhgAdobe CaslonWilliam Caslon and Carol Twombly

67

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 Futur-ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The 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.

Mrs Eaves Zuzana Licko

9/12 x-height: small character width: narrowcolor: dark

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasiz-ing 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.

Adobe Garamond ProClaude Garamond and Robert Slimbach

9/12 x-height: average character width: average color: dark

Xxhg Xxhg72 point

68

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

FuturaPaul Renner

9/12 x-height: large character width: average color: dark

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. 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 muse-ums and libraries.

GothamTobias Frere-Jones

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Xxhg Xxhg

69

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Mari-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.

Gill SansEric Gill

9/12 x-height: average character width: average color: dark

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

FrutigerAdrian Frutiger

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Xxhg Xxhg

70

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 Futur-ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contem-porary 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.

Goudy Old StyleFrederic W. Goudy

9/12 x-height: average character width: narrowcolor: light

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his em-phasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and 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 institu-tions as museums and libraries.

Helvetica NeueMax Miedinger and Linotype staff

9/12 x-height: large character width: average color: dark.

Xxhg Xxhg

71

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 empha-sis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by empha-sizing two dominant themes, the machine and motion. The works were characterized by the depiction of several suc-cessive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweep-ing repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

TradeGothic

9/12 x-height: large character width: narrow color: light

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a mani-festo by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, re-flected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and soci-ety. Futurism rejected traditions and glorified contempo-rary 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.

MeliorHermann Zapf

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Xxhg Xxhg

72

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The 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.

Berthold Akzidenz-GroteskGünter Gerhard Lange

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InterstateTobias Frere-Jones

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Xxhg Xxhg

73

Futurism was first announced on February 20, 1909, when

the Paris newspaper Le Figaro published a manifesto by

the Italian poet and editor Filippo Tommaso Marinetti.

The name Futurism, coined by Marinetti, reflected his em-

phasis on discarding what he conceived to be static and

irrelevant art of the past and celebrating change, origi-

nality, and innovation in culture and society. Futur-

ism rejected traditions and glorified contemporary life,

mainly by emphasizing dominant themes, the machine and

motion. The works were characterized by the depiction of

several successive actions of a subject at the same time.

Marinetti’s manifesto glorified the new technology of the

automobile and the beauty of its speed, power, and move-

ment. He exalted violence and conflict and called for the

sweeping repudiation of traditional cultural, social, and

political values and the destruction of such cultural in-

stitutions as museums and libraries.

PlateletConor Mangat

9/12 x-height: average character width: narrow color: dark

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

DINAlbert-Jan Pool

9/12x-height: average character width: narrow color: light

Xxhg Xxhg

74

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tom-maso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and cel-ebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were char-acterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the 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.

MemphisRudolf Wolf

9/12x-height: average character width: average color: light

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

MetaErik Spiekermann

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Xxhg Xxhg

75

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contem-porary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several succes-sive actions of a subject at the same time. Mari-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 tradi-tional cultural, social, and political values and the destruction of such cultural institutions as muse-ums and libraries.

ClickerGreg Thompson

9/12x-height: large character width: narrow color: dark

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

News GothicMorris Fuller Benton

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Xxhg Xxhg

78

Determining Line Length

A general guideline for determining if your line length is long enough to

satisfactorily justify the text: the line length in picas should be about

twice the point size of the type; that is, if the type you are using is 12

point, the line length should be at least 24 picas (24 picas is 4 inches-

simply divide the number of picas by 6, as there are 6 picas per inch).

Thus 9-point type should be on an 18-pica line (3 inches) before you try

to justify it, and 18-point type should be on a 36-pica line (6 inches). The

rulers in most programs can be changed to picas, if you like.

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

Type size: 12pt Line length: 26 picas

79

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

newspaper Le Figaro published a manifesto by the Italian poet and edi-

tor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti,

reflected his emphasis on discarding what he conceived to be the static

and irrelevant art of the past and celebrating change, originality, and

innovation in culture and society. Futurism rejected traditions and glori-

fied contemporary life, mainly by emphasizing two dominant themes,

the machine and motion. The works were characterized by the depic-

tion of several successive actions of a subject at the same time. Mari-

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 institu-

tions as museums and libraries.

Type size: 9pt Line length: 19 picas

80

K E R N I N G

K E R N I N G

81

K E R N I N GKERNING

K E R N I N G

82

Kerning is an adjustment of the space between two letters. The charac-

ters of the Latin alphabet emerged over time; they were never designed

with mechanical or automated spacing in mind. Thus some letter combi-

nations look awkward without special spacing considerations.

Gaps occur, for example, around letters whose forms angle outward or

frame an open space (W, Y, V, T). In metal type, a kerned letter extends

past the lead slug that supports it, allowing two letters to fit more close-

ly together. In digital fonts, the space between letter pairs is controlled

by a kerning table created by the type designer, which specifies spaces

between problematic letter combinations.

Working in a page layout program, a designer can choose to use metric

kerning or optical kerning as well as adjusting the space between letters

manually where desired. A well-designed typeface requires little or no

additional kerning, especially at text sizes.

83

Metric kerning

uses the kerning tables that are built into the typeface. When you select

metric kerning in your page layout program, you are using the spacing

that was intended by the type designer. Metric kerning usually looks

good, especially at small sizes. Cheap novelty fonts often have little or

no built-in kerning and will need to be optically kerned.

Optical kerning

is executed automatically by the page layout program. Rather than

using the pairs addressed in the font's kerning table, optical kerning

assesses the shapes of all characters and adjusts the spacing wherever

needed. Some graphic designers apply optical kerning to headlines

and metric kerning to text. You can make this process efficient and

consistent by setting kerning as part of your character styles.

86

In unjustified text, the text block is set with

normal letter and word spacing.

Because of the even word spacing the text will have an even texture –

no large spaces between words. The lines will naturally vary in length. a

ragged text block can integrate with the layout and add visual interest

to the page. The difficulty is making the ragged edge have a pleasing

silhouette. When the first line in the text is longer than the second, it

becomes separate from the layout and creates a box-like shape. This de-

stroys one of the advantages of unjustified text. The ragged edge needs

to have a life, but a narrow column can be less active. Another advan-

tage to ragged text is less hyphenation is needed. Therefore, names,

dates or words which are normally read together can stay together.

If someone insists that fully justified text is better than left-aligned text,

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

is 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 inap-

propriate for another layout. As with all layouts, it depends on the

purpose of the piece, the audience and its expectations, the fonts, the

margins and white space, and other elements on the page. The most

appropriate choice is the alignment that works for that particular design.

"Right and wrong do not exist in graphic design.

There is only effective and non-effective commu-

nication." — Peter Bilak - Illegibility

87

Justified Text

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

Usually allows for more characters per line, packing more into the same

amount of space (than the same text set left-aligned).

May require extra attention to word and character spacing and

hyphenation to avoid unsightly rivers of white space running through

the text.

May be more familiar to readers in some types of publications, such as

books and newspapers.

Some people are naturally drawn to the "neatness" of text that lines up

perfectly on the left and right.

Left-Aligned, Ragged Right

Often considered more informal, friendlier than justified text.

The ragged right edge adds an element of white space.

May require extra attention to hyphenation to keep right margin from

being too ragged.

Generally type set left-aligned is easier to work with (i.e. requires less

time, attention, and tweaking from the designer to make it look good)

88

Centered

There is nothing inherently wrong with centered text. As with ragged

right or fully-justified text alignment, what works for one design might

be totally inappropriate for another layout. There are simply fewer situa-

tions where centered text is appropriate. When in doubt, don't center it.

As with all layouts, alignment depends on the purpose of the piece, the

audience and its expectations, the fonts, the margins and white space,

and other elements on the page. The most appropriate choice is the

alignment that works for that particular design.

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

hyphenation and word/character spacing as well to insure that your text

is as readable as possible.

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

ents, and others who will question your choices. Be prepared to explain

why you chose the alignment you did and be prepared to change it

(and make necessary adjustments to keep it looking good) if the person

with final approval still insists on something different.

92

Don’t rely on the software to judge where hyphens should be placed. At

the end of lines, leave at least two characters behind and take at least

three forward. For example, “ele-gantly” is acceptable, but “elegant-ly” is

not because it takes too little of the word to the next line. Avoid leaving

the stub end of a hyphenated word or any word shorter then four let-

ters as the last line of a paragraph.

Avoid more then 3 consecutive hyphenated lines. Avoid hyphenating or

breaking proper names and titles. Creating a non-breaking space be-

fore and after the name will ensure that the name will not break. Avoid

beginning three consecutive lines with the same word. Since software

programs deal with line breaks automatically based upon a number of

variables, it is possible to have paragraphs with consecutive lines begin-

ning with the same word. When this happens simply adjust the text to

avoid/fix the problem.

93

Hyphenation rules pay attention to:

How the text is read avoid widows (one word on the last line of a paragraph).

Avoid hyphenating or line brakes of names and proper nouns.

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

Avoid beginning consecutive lines with the same word.

Avoid ending consecutive lines with the same word.

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

Never hyphenate a words in a headline and avoid hyphenation in a callout.

96

Justify text only if the line is long enough to prevent awkward and inconsistent

word spacing. The only time you can safely justify text is if your type is small

enough and your line is long enough, as in books where the text goes all the

way across the page. If your line is shorter, as in newsletter, or if you don't have

many words on the line, than as the type aligns to the margins the words space

themselves to accommodate it. It usually looks awkward. You've seen newspa-

per columns where all text is justified, often with a word stretching all the way

across the column, or a little word on either side of the column with a big gap

in the middle. Gross. But that's what can happen with justified type. When you

do it, the effect might not be as radical as the newspaper column, but if your

lines are relatively short, you will inevitably end up with uncomfortable gaps in

some lines, while other lines will be all squished together.

When your work comes out of the printer, turn it upside down and squint at

it. The rivers will be very easy to spot. Get rid of them. Try squinting at the ex-

ample on the bottom of the previous page.

Reminder

A general guideline for determining if your line length is long enough to sat-

isfactorily justify the text: the line length in picas should be about twice the

point size of the type; that is, if the type you are using is 12 point, the line length

should be at least 24 picas (24 picas is 4 inches-simply divide the number of

picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an

18-pica line (3 inches) before you try to justify it, and 18-point type should be

on a 36-pica line (6 inches). The rulers in most programs can be changed to

picas, if you like.

97

Rivers

In typography, rivers, or rivers of white, are visually unattractive gaps appear-

ing 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 jus-

tification or monospaced fonts.

Widows and Orphans

Never leave widows and orphans bereft on the page. Avoid both of these situ-

ations. If you have editing privileges, rewrite the copy, or at least add or delete

a word or two. Sometimes you can remove spacing from the letters, words, or

lines, depending on which program you’re working in. Sometimes widening

a margin just a hair will do it. But it must be done. Widows and orphans on a

page are wrong.

Widow

When a paragraph ends and leaves fewer than seven characters (not words,

characters) on the last line, that line is called a widow. Worse than leaving one

word at the end of a line is leaving part of a word, the other part being para-

phrased on the line 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.

ALWAYS correct this.

98

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

Minimum

Desired

Maximum

75%

60%

140%

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 Mari-netti. The name Futurism, coined by Marinetti, reflected his emphasis on discard-ing what he conceived to be the static and irrelevant art of the past and celebrat-ing change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glori-fied the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudia-tion of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Minimum

Desired

Maximum

40%

50%

150%

Akzidenz Grotesk 9/12

Didot 9/12

Problems:This is a demonstration of the standard justification

that indesign applied on default. It’s clean but the

first line of the third paragraph is awkward.

Problems:

The wordspacing seems kind of tight and heavy.

99

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Fi-garo published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he con-ceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contem-porary life, mainly by emphasizing two dominant themes, the machine and motion. The 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.

Minimum

Desired

Maximum

75%

60%

140%

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futur-ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The 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.

Minimum

Desired

Maximum

40%

50%

150%

Helvetica Neue 9/12

Mrs Eaves 9/12

Problems:

The wordspacing is seems to be still too tight

with this setting.

Problems:

In this example, the justification seems

to be more tight than it is normal.

100

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

Minimum

Desired

Maximum

75%

60%

140%

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and in-novation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works 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 destruc-tion of such cultural institutions as museums and libraries.

Minimum

Desired

Maximum

10%

50%

70%

Bembo 9/12

Frutiger 9/12

Problems:

The lines look properly spaced out as the words

are not too tight together.

Problems:

The line spacing is way too tight and hard to

read because the words seem squished.

101


Minimum

Desired

Maximum

75%

60%

130%


newspaper Le Figaro published a manifesto by the Italian poet and

editor Filippo Tommaso Marinetti. The name Futurism, coined by

Marinetti, reflected his emphasis on discarding what he conceived to

be the static and irrelevant art of the past and celebrating change,

originality, and innovation in culture and society. Futurism rejected

traditions and glorified contemporary life, mainly by emphasizing two

dominant themes, the machine and motion. The works were charac-

terized by the depiction of several successive actions of a subject

at the same time. Marinetti’s manifesto glorified the new technology

of the automobile and the beauty of its speed, power, and move-

ment. He exalted violence and conflict and called for the sweeping

repudiation of traditional cultural, social, and political values and the

destruction of such cultural institutions as museums and libraries.

Minimum

Desired

Maximum

100%

200%

300%

Interstate 9/12

Gotham 9/12

Problems:

This is better though the paragraph’s entirety

seems somewhat loose and uneven.

Problems:The excessive amount of spaing between words

makes the paragraph very loose and interrupts

its flow.

102

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

Minimum

Desired

Maximum

55%

175%

200%

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Mari-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.

Minimum

Desired

Maximum

50%

50%

150%

Belizio 9/12

Melior 9/12

Problems:

The spacing still appears too frequently and

interrupts the flow of the text.

Problems:This probably is my most successful attempt

among all. The spacing between the words

have some decent consistency and flow quite

well together.

106

When combining serif and sans serif text fonts, one shroud try and match

the characteristics of form and type color: proportion, x-heights.

“There is not binding recipe for type combinations. It is a matter of typo-

graphic sensitivity and experience. Expert typographers, as well as careless

amateurs permit themselves combinations that would horrify colleagues

with more traditional sympathies.”

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

characteristic shapes of the letterform. A well designed page contains no

more than two different typefaces or four different type variations such as

type size and bold or italic style. {Using 2 different serif fonts or 2 different

sans serifs fonts in the same composition is never a good idea}

107

1. Meta and Bembo

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two 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 re-pudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

These two fonts work very well toghether though they are both

very odd. Meta’s bold form works very well with Bembo’s severely

contrasting strokes. Meta also has a much higher x-height so it

works perfect for subheaders, while its very bold/rectangular all-

caps is perfect for a headline with astonishing hierarchy!

Meta 18pt : humanist and Bembo 9pt: old style

WORDS IN LIBERTY

108

2. Palatino and Franklin Gothic

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

Both of these work pretty well together because they are

both very narrow and fine tuned fonts. Palatino has very

smooth contrasting stroke weights that contrast well with

Franklin Gothic’s solid structure with minor stroke weight

changes. Gothic has a higher x-height so I decided to use

Palatino as the header/subhead.

WORDS IN LIBERTY

Palatino 9pt : old style and Franklin Gothic 18pt: grotesque

109

3. Gotham and Melior

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

These are both just too odd to work well together.

Gotham’s odd descenders and stroke weight differs too

much from Melior’s regular stroke weights.

Gotham 18pt :geometric sans and Melior 9pt: transitional

WORDS IN LIBERTY

110

4. Mrs Eaves and Frutiger

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two 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 repudia-tion of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Mrs. Eaves is a solid serif body text that goes really well with

frutigers bold and defined header/subhead text. Frutiger is simple,

but effective because of its short descenders while Mrs. Eaves short

x-height allows for a wonderful heirarchy to be drawn.

WORDS IN LIBERTY

aa BB ee GG gg

Mrs eaves 9pt : transitional and Frutiger 18pt: humanist sans

111

5. Futura and Didot

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

Again the serif and sans serif combination is a perfect

match. Futura’s very structural/geometric form contrasts

wonderfully with Didot’s severely contrasting stroke

weights and odd form all together. It’s like mixing cookies

and cream.

WORDS IN LIBERTY

aa BB ee GG ggFutura 18pt : geometric sans and Didot 9pt: modern

112

6. News Gothic and Walbaum

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 Futur-ism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Fu-turism 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.

News Gothic is another very defining header that com-

pliments the Walbaum content text.

News gothic 18pt : modern and Walbaum 9pt: grotesque

WORDS IN LIBERTY

aa BB ee GG gg

113

7. Mrs Eaves and Futura

A Prologue to Futurism: Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro pub-lished a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two 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 repudia-tion of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Futura worked great for a header, but Mrs. Eaves doesn’t work well

with it as a serif. Futura should be placed with another sans serif in

my opinion. The small x-height of each creates a very unstable and

unappealing paragraph that seems too suffocated.

Mrs eaves 9pt : transitional and Futura 18pt: humanist

WORDS IN LIBERTY

aa BB ee GG gg

114

8. Clarendon and Interstate

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 discard-ing what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. 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 cul-tural, social, and political values and the destruction of such cultural institutions as museums and libraries.

Interstate creates a bold headline demonstrating

great hierarchy to the elegant Clarendon.

Clarendon 9pt : new transitional and Interstate 18pt: geometric sans

WORDS IN LIBERTY

aa BB ee GG gg

115

9. Futura and Memphis

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

Honestly, I think that these two combined make a weird

match. Memphis’ bold and thick brackets create a very

firm headline that is very different from Futura’s geomet-

ric and bold form.

Futura 18pt : geometric sans and Memphis 9pt: slab

WORDS IN LIBERTY

aa BB ee GG gg

116

10. Belizio and Helvetica

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

Like Memphis, Belizio creates a very bold and interesting head-

line while Helvetica’s clean and plain form makes for a great body

text. Reversing these two would make it unsuccessful because

belizio’s thick slabs would create a body text too sporadic and

complicated to read.

Belizio 18pt : slab and Helvetica 9pt: humanist sans

WORDS IN LIBERTY

aa BB ee GG gg

120

Paragraph breaks set a rhythm for the reader. The breaks have a rela-

tionship with the column of text as well as the page margins. A break

may be introduced as an indentation, as a space or both. The over all

page feel will be influenced by your choice.

In typography there are 4 rules regarding

paragraph breaks:

1. 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

121




reflected his emphasis on discarding what he conceived to be the static

and irrelevant art of the past and celebrating change, originality, and


fied contemporary life, mainly by emphasizing two dominant themes,

the machine and motion. The manifesto's rhetoric was aggressive and

inflammatory and was purposely intended to inspire public anger and

amazement, to arouse controversy, and to attract widespread attention.

But 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 & Ital-

ian sides, the first great "art" movement led by poets; and if its means

now sometimes seem exaggerated or unripe in retrospect, they carry

within them the seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a

polemical stance in favor of the transformed present (1909), the later

manifestos of Futurist poets and artists offered formal, "technical" ap-

proaches to the works then getting under way. The key term--still reso-

nant today--was parole in liberta, by which poetry was to become "an

uninterrupted sequence of new images… strict bet of images or analo-

gies, to be cast into the mysterious sea of phenomena." This freedom-

of-the-world, while it resembled other forms of collage and of image

juxtaposition, more fully explored the use of innovative and expressive

typography in the visual presentation of language, as set in motion by

forerunners like Mallarme. Outrageous and aggressive, the Futurists'

performances mixed declamation and gesture, events and surroundings,

indifference and engagement, to break the barriers between themselves

and those who came to jeer or cheer them. Wrote Marinetti selbst (circa

1915), "Everything of any value is theatrical."

122

Futurism was first announced on February 20, 1909, when the Paris newspaper Le

Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti.

The name Futurism, coined by Marinetti, reflected his emphasis on discarding what

he conceived to be the static and irrelevant art of the past and celebrating change,

originality, and innovation in culture and society. Futurism rejected traditions and glori-

fied contemporary life, mainly by emphasizing two dominant themes, the machine and

motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive

and inflammatory and was purposely intended to inspire public anger and amaze-

ment, to arouse controversy, and to attract widespread attention.

But it is the movements which survive, oddly, here where we live and work as poets

and artists: or, if not the movements, then their sense of art as an life itself. All of

which, as futurism, had come sharply into focus by the start of the world war: a first

radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on

both its Russian & Italian sides, the first great "art" movement led by poets; and if its

means now sometimes seem exaggerated or unripe in retrospect, they carry within

them the seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical

stance in favor of the transformed present (1909), the later manifestos of Futurist

poets and artists offered formal, "technical" approaches to the works then getting

under way. The key term--still resonant today--was parole in liberta, by which poetry

was to become "an uninterrupted sequence of new images… strict bet of images or

analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-

world, while it resembled other forms of collage and of image juxtaposition, more fully

explored the use of innovative and expressive typography in the visual presentation of

language, as set in motion by forerunners like Mallarme. Outrageous and aggressive,

the Futurists' performances mixed declamation and gesture, events and surround-

ings, indifference and engagement, to break the barriers between themselves and

those who came to jeer or cheer them. Wrote Marinetti selbst (circa 1915), "Every-

thing of any value is theatrical."

123

FUTURISM WAS FIRST ANNOUNCED ON FEBRUARY 20, 1909, WHEN THE

paris newspaper Le Figaro published a manifesto by the Italian poet and editor

Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his

emphasis on discarding what he conceived to be the static and irrelevant art of the

past and celebrating change, originality, and innovation in culture and society. Futur-

ism rejected traditions and glorified contemporary life, mainly by emphasizing two

dominant themes, the machine and motion. The manifesto's rhetoric was passionately

bombastic; its tone was aggressive and inflammatory and was purposely intended to

inspire public anger and amazement, to arouse controversy, and to attract wide-

spread attention.

BUT IT IS THE MOVEMENTS WHICH SURVIVE, ODDLY, HERE WHERE WE LIVE

and work as poets and artists: or, if not the movements, then their sense of art as an

life itself. All of which, as futurism, had come sharply into focus by the start of the

world war: a first radical mix of art and life, the epitome in the poplar mind of an

avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement

led by poets; and if its means now sometimes seem exaggerated or unripe in retro-

spect, they carry within them the seed of all that we were later to become.

WHILE MARINETTI'S OPENING MANIFESTO FOR ITALIAN FUTURISM BRISTLED

with a polemical stance in favor of the transformed present (1909), the later manifes-

tos of Futurist poets and artists offered formal, "technical" approaches to the works

then getting under way. The key term--still resonant today--was parole in liberta, by

which poetry was to become "an uninterrupted sequence of new images… strict bet

of images or analogies, to be cast into the mysterious sea of phenomena." This free-

dom-of-the-world, while it resembled other forms of collage and of image juxtaposi-

tion, more fully explored the use of innovative and expressive typography in the visual

presentation of language, as set in motion by forerunners like Mallarme. Outrageous

and aggressive, the Futurists' performances mixed declamation and gesture, events

and surroundings, indifference and engagement, to break the barriers between

themselves and those who came to jeer or cheer them. Wrote Marinetti selbst (circa


124




reflected his emphasis on discarding what he conceived to be the

static and irrelevant art of the past and celebrating change, original-

ity, and innovation in culture and society. Futurism rejected traditions

and glorified contemporary life, mainly by emphasizing two dominant

themes, the machine and motion. The manifesto's rhetoric was pas-

sionately 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 polemi-

cal stance in favor of the transformed present (1909), the later manifes-

tos of Futurist poets and artists offered formal, "technical" approaches

to the works then getting under way. The key term--still resonant

today--was parole in liberta, by which poetry was to become "an







performances mixed declamation and gesture, events and surround-

ings, indifference and engagement, to break the barriers between

themselves and those who came to jeer or cheer them. Wrote Marinetti

selbst (circa 1915), "Everything of any value is theatrical."

125

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, original-







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 and artists offered formal, "technical"

approaches to the works then getting under way. The key term--still res-

onant today--was parole in liberta, by which poetry was to become "an











126



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, original-







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 Rus-

sian & Italian sides, the first great "art" movement led by poets; and if its

means now sometimes seem exaggerated or unripe in retrospect, they

carry within them the seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with

a polemical stance in favor of the transformed present (1909), the later

manifestos of Futurist poets and artists offered formal, "technical" ap-

proaches to the works then getting under way. The key term--still reso-

nant today--was parole in liberta, by which poetry was to become "an











127

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 celebrat-

ing change, originality, and innovation in culture and society. Futurism rejected

traditions and glorified contemporary life, mainly by emphasizing two dominant

themes, the machine and motion. The manifesto's rhetoric was passionately bom-

bastic; its tone was aggressive and inflammatory and was purposely intended

to inspire public anger and amazement, to arouse controversy, and to attract

widespread attention.

But is is the movements which survive, oddly, here where we live and work as po-

ets and artists: or, if not the movements, then their sense of art as an life itself. All

of which, as futurism, had come sharply into focus by the start of the world war: a

first radical mix of art and life, the epitome in the poplar mind of an avant-garde.

It was, on both its Russian & Italian sides, the first great "art" movement led by

poets; and if its means now sometimes seem exaggerated or unripe in retrospect,

they carry within them the seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a polemical

stance in favor of the transformed present (1909), the later manifestos of Futurist

poets and artists offered formal, "technical" approaches to the works then getting

under way. The key term--still resonant today--was parole in liberta, by which

poetry was to become "an uninterrupted sequence of new images… 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 typogra-

phy in the visual presentation of language, as set in motion by forerunners like

Mallarme. Outrageous and aggressive, the Futurists' performances mixed dec-

lamation and gesture, events and surroundings, indifference and engagement,

to break the barriers between themselves and those who came to jeer or cheer

them. Wrote Marinetti selbst (circa 1915), "Everything of any value is theatrical."

128


newspaper Le Figaro published a manifesto by the Italian poet and editor

Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflect-

ed his emphasis on discarding what he conceived to be the static and ir-

relevant art of the past and celebrating change, originality, and innovation in

culture and society. Futurism rejected traditions and glorified contemporary

life, mainly by emphasizing two dominant themes, the machine and motion.

The manifesto's rhetoric was passionately original; its tone was aggressive

and inflammatory and was purposely intended to inspire public anger and


But is is the movements which survive, oddly, here where we live and

work as poets and artists: or, if not the movements, then their sense of art

as an life itself. All of which, as futurism, had come sharply into focus by the

start of the world war: a first radical mix of art and life, the epitome in the

poplar mind of an avant-garde. It was, on both its Russian & Italian sides,

the first great "art" movement led by poets; and if its means now sometimes

seem exaggerated or unripe in retrospect, they carry within them the seed

of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a

polemical stance in favor of the transformed present (1909), the later mani-

festos of Futurist poets and artists offered formal, "technical" approaches to

the works then getting under way. The key term--still resonant today--was

parole in liberta, by which poetry was to become "an uninterrupted se-

quence of new images… strict bet of images or analogies, to be cast into the

mysterious sea of phenomena." This freedom-of-the-world, while it resem-

bled other forms of collage and of image juxtaposition, more fully explored

the use of innovative and expressive typography in the visual presentation

of language, as set in motion by forerunners like Mallarme. Outrageous and

aggressive, the Futurists' performances mixed declamation and gesture,

events and surroundings, indifference and engagement, to break the barri-

ers between themselves and those who came to jeer or cheer them. Wrote

Marinetti selbst (circa 1915), "Everything of any value is theatrical."

129

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Itali

an poet and editor Filippo Tommaso Marinetti. The name Futurism,

coined by Marinetti, reflected his emphasis on discarding what

he conceived to be the static and irrelevant art of the past and celebrat-

ing change, originality, and innovation in culture and society. Futurism rejected

traditions and glorified contemporary life, mainly by emphasizing two dominant

themes, the machine and motion. The manifesto's rhetoric was passionately

bombastic; its tone was aggressive and inflammatory and was purposely intended

to inspire public anger and amazement, to arouse controversy, and to attract wide-

spread attention.

But it is the movements which survive, oddly, here where w

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 Rus-

sian & Italian sides, the great "art" movement led by poets; and if its means now

sometimes seem exaggerated or unripe in retrospect, they carry within them the

seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism

bristled with a polemical stance in favor of the transformed present

(1909), the later manifestos of Futurist poets and artists offered formal,

"technical" approaches to the works then getting under way. The key

term--still resonant today--was parole in liberta, by which poetry was to

become "an uninterrupted sequence of new images… strict bet of images or analo-

gies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world,

while it resembled other forms of collage and of image juxtaposition, more fully

explored the use of innovative and expressive typography in the visual presenta-

tion of language, as set in motion by forerunners like Mallarme. Outrageous and

aggressive, the Futurists' performances mixed declamation and gesture, events

and surroundings, indifference and engagement, to break the barriers between

themselves and those who came to jeer or cheer them. Wrote Marinetti selbst

(circa 1915), "Everything of any value is theatrical."

130

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


fied contemporary life, mainly by emphasizing two dominant themes, the

machine and motion. The manifesto's rhetoric was passionately bombastic;

its tone was aggressive and inflammatory and was purposely intended to

inspire public anger and amazement, to arouse controversy, and to attract

widespread attention.

BUT IT IS THE MOVEMENTS WHICH SURVIVE, oddly,

here where we live and work as poets and artists: or, if not the movements,

then their sense of art as an life itself. All of which, as 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 pres-

ent (1909), the later manifestos of Futurist poets and artists offered formal,

"technical" approaches to the works then getting under way. The key term-

-still resonant today--was parole in liberta, by which poetry was to become

"an uninterrupted sequence of new images… strict bet of images or analo-

gies, to be cast into the mysterious sea of phenomena." This freedom-of-

the-world, while it resembled other forms of collage and of image juxtaposi-

tion, more fully explored the use of innovative and expressive typography

in the visual presentation of language, as set in motion by forerunners like

Mallarme. Outrageous and aggressive, the Futurists' performances mixed

declamation and gesture, events and surroundings, indifference and engage-

ment, to break the barriers between themselves and those who came to jeer

or cheer them. Wrote Marinetti selbst (circa 1915), "Everything of any value is

theatrical."

131

F u t u r i s m w a s f i r s t a n n o u n c e d on February 20, 1909, when the

Paris newspaper Le Figaro published a manifesto by the Italian poet and editor

Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected

his emphasis on discarding what he conceived to be the static and irrelevant

art of the past and celebrating change, originality, and innovation in culture and

society. Futurism rejected traditions and glorified contemporary life, mainly by

emphasizing two dominant themes, the machine and motion. The manifesto's

rhetoric was passionately bombastic; its tone was aggressive and inflammatory

and was purposely intended to inspire public anger and amazement, to arouse


B u t i s i s t h e m o v e m e n t s w h i c h s u r v i v e , oddly, here where we

live and work as poets and artists: or, if not the movements, then their sense of

art as an life itself. All of which, as futurism, had come sharply into focus by the

start of the world war: a first radical mix of art and life, the epitome in the poplar

mind of an avant-garde. It was, on both its Russian & Italian sides, the first great

"art" movement led by poets; and if its means now sometimes seem exagger-

ated or unripe in retrospect, they carry within them the seed of all that we were

later to become.

W h i l e M a r i n e t t i ' s o p e n i n g m a n i f e s t o for Italian Futurism bristled

with a polemical stance in favor of the transformed present (1909), the later

manifestos of Futurist poets and artists offered formal, "technical" approaches

to the works then getting under way. The key term--still resonant today--was

parole in liberta, by which poetry was to become "an uninterrupted sequence

of new images… strict bet of images or analogies, to be cast into the mysterious

sea of phenomena." This freedom-of-the-world, while it resembled other forms

of collage and of image juxtaposition, more fully explored the use of innova-

tive and expressive typography in the visual presentation of language, as set in

motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists'

performances mixed declamation and gesture, events and surroundings, indif-

ference and engagement, to break the barriers between themselves and those

who came to jeer or cheer them. Wrote Marinetti selbst (circa 1915), "Everything

of any value is theatrical."

134

Header:

The material which is separated from the main body of text and appears

at the top of a printed page.

Subheader:

A phrase, sentence, or several sentences near the title of the article

or story.

The main header or “headline” is essential to be bold and leap out as the

main title of the page or chapter start. If it does not, the reader may be

confused as to where the document actually starts. So I always think its

a good rule to ensure the reader knows where a section starts and make

it quite plain. The main header should also look like it belongs to the first

sentence. This can be achieved by ensuring that its paragraph spacing

(the space after a hard return) is smaller than the paragraph spacing

of the first sentence. Paragraph spacing is not commonly used - even

amongst designers, but it is an extremely useful tool.

Many people add spacing by hitting return but this does not give much

control and cannot be styled from style sheets. Introduction paragraphs

are a useful way to entice the reader to continue on reading. They also

help not to waste a readers time if they are not interested in reading

further. Typographically speaking these into paragraphs need to be easy

to read but moredistant than the body text below.

They are not the main article and need to be distinguished from it. The

purpose of a subheader is to split up body text so that a reader can find

their way around the document with ease. it also makes the document

more readable because the viewer is not faced with a page of block

text. Each subheader needs to be linked with the corresponding body

text underneath it. This should be achieved by using correct spacing

after and before the subheader (You find these settings in most “Para-

graph” tool pallets and the example below demonstrates how it looks

when executed.)

135

WORDS IN LIBERTYA Prologue to FuturismFuturism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innova-tion in culture and society.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 sweep-ing 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 bom-bastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.

Radical mix of art and lifeBut 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 either and 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 polemi-cal 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 un-interrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expres-sive typography in the visual presentation of language, as set in motion by forerunners like 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 decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indiffer-ence 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."

136

WORDS IN LIBERTYA Prologue to Futurism

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Fi garo 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 depic-tion 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 insti-tutions 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 and life

But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: 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 works then getting . 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 analo-gies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. 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 happen-ings" 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."

137

Words in LibertyF u t u r i s m w a s f i r s t a n n o u n c e d on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.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.

B u t i s i s t h e m o v e m e n t s w h i c h s u r v i v e , 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.

W h i l e M a r i n e t t i ' s o p e n i n g m a n i f e s t o for Italian Futurism bristled with a polemi-cal 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 forerun-ners 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."

A

PROLOGUE

TO

FUTURISM

RADICAL

MIX OF

ART AND

LIFE

138

A prologue to Futurism



and editor Filippo Tommaso Marinetti. The name Futurism, coined

by Marinetti, reflected his emphasis on discarding what he con-

ceived to be the static and irrelevant art of the past and celebrating

change, originality, and innovation in culture and society.1 Futur-

ism 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 ac-

tions 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 pur-

posely intended to inspire public anger and amazement, to arouse



But is is the movements which survive, oddly, here where we live

and work as poets and artists: or, if not the movements, then their

sense of art as an life itself. All of which, as futurism, had come

sharply into focus by the start of the world war: a first radical mix

of art and life, the epitome in the poplar mind of an avant-garde. It

was, on both its Russian & Italian sides, the first great "art" move-

ment led by poets; and if its means now sometimes seem exagger-

ated or unripe in retrospect, they carry within them the seed of all

that we were later to become.

While Marinetti's opening manifesto for Italian Futurism

bristled with a polemical stance in favor of the transformed pres-

ent (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 typog-

raphy 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 Em-

mett Williams phrased it for the "language happenings" of a later

decade. Outrageous and aggressive, the Futurists' performances

mixed declamation and gesture, events and surroundings, indiffer-

ence 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."WO

RD

S I

N L

IBE

RT

Y

139

WORDS IN LIBERTY

Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.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 insti-tutions as museums and libraries. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely in-tended 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 ex-aggerated 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 mani-festos 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 mys-terious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of lan-guage, 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 Wil-liams 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 Mari-netti selbst 3 (circa 1915): Everything of any value is theatrical."

A Prologue to Futurism


140

WORDS IN LIBERTY



Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, re-

flected his emphasis on discarding what he conceived to be the static and

irrelevant art of the past and celebrating change, originality, and innovation

in culture and society.1 Futurism rejected traditions and glorified contem-

porary life, mainly by emphasizing two dominant themes, the machine and

motion. The works were characterized by the depiction of several succes-

sive actions of a subject at the same time. Marinetti's manifesto glorified

the new technology of the automobile and the beauty of its speed, power,

and movement. He exalted violence and conflict and called for the sweep-

ing 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



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


While Marinetti's opening manifesto for Italian Futurism bristled with a po-

lemical stance in favor of the transformed present (1909), the later mani-

festos 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

A Prologue To Futurism

Radical Mix Of Art And Life

144

Footnotes and endnotes

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 aca-

demic presses and journals can be sticklers for format: before proceed-

ing, check with your client or publisher to see if they have a specific

stylesheet that must be followed.)

145

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

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146

Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discard-ing what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society1.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the ma-chine 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 vio-lence 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 radi-cal mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a po-lemical stance in favor of the transformed present (1909), the later manifestos of Fu-turist poets & artists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2 , by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. 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' per-formances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915): Everything of any value is theatrical."



1 Philip Meggs, History of

Graphic Design,

Van Nostrand Reinhold,

1988

2 parole in liberta =

words set free (lib-

erty)

3 selbst = himselfWO

RD

S IN

LIB

ER

TY

147

WORDS IN LIBERTY



Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, re-

flected his emphasis on discarding what he conceived to be the static and

irrelevant art of the past and celebrating change, originality, and innovation

in culture and society.1 Futurism rejected traditions and glorified contem-

porary life, mainly by emphasizing two dominant themes, the machine and

motion. The works were characterized by the depiction of several succes-

sive actions of a subject at the same time. Marinetti's manifesto glorified

the new technology of the automobile and the beauty of its speed, power,

and movement. He exalted violence and conflict and called for the sweep-

ing 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



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


While Marinetti's opening manifesto for Italian Futurism bristled with a po-

lemical stance in favor of the transformed present (1909), the later mani-

festos of Futurist poets & artists offered formal/"technical" approaches

to the works then getting under way. The key term--still resonant today-

-was parole in liberta2 , by which poetry was to become "an uninterrupted

sequence of new images… 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, to-

ward 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'



and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa

1915): Everything of any value is theatrical."

A Prologue To Futurism

Radical Mix Of Art And Life

1 Philip Meggs, History of Graphic Design,Van Nostrand Reinhold, 1988

2 parole in liberta = words set free (liberty)

3 selbst = himself

148

WORDS IN LIBERTYA Prologue to Futurism

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Fi garo 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 society1.

Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depic-tion of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new 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 insti-tutions 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: 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 works then getting . The key term--still resonant today--was parole in liberta2 , by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analo-gies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. 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 happen-ings" 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 selbst3 (circa 1915): Everything of any value is theatrical."

1 Philip Meggs, History of

Graphic Design,

Van Nostrand Reinhold,

1988

2 parole in liberta = words

set free (liberty)

3 selbst = himself

149

WORDS IN LIBERTYA Prologue to FuturismFuturism was first announced on February 20, 1909, when the Paris newspaper Le

Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The

name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived

to be the static and irrelevant art of the past and celebrating change, originality, and innova-

tion in culture and society1. 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 sweep-

ing 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 bom-

bastic; its tone was aggressive and inflammatory and was purposely intended to inspire public

anger and amazement, to arouse controversy, and to attract widespread attention.

Radical mix of art and lifeBut 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 either and 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


While Marinetti's opening manifesto for Italian Futurism bristled with a polemi-

cal 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 liberta2 , by which poetry was to become "an unin-

terrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the

mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms

of collage and of image juxtaposition, more fully explored the use of innovative and expres-

sive typography in the visual presentation of language, as set in motion by forerunners like

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 decade. Outrageous and aggressive,

the Futurists' performances mixed declamation and gesture, events and surroundings, indiffer-

ence and engagement, to break the barriers between themselves and those who came to jeer

or cheer them. Wrote Marinetti selbst3 (circa 1915): Everything of any value is theatrical."

1 Ph

ilip M

eg

gs, H

istory

o

f Gra

ph

ic D

esig

n,

Van

No

stran

d R

ein

-h

old

, 198

8

2 p

aro

le in

liberta

=

wo

rds se

t free

(liberty

)

3 se

lbst =

him

self

150

Words in LibertyF u t u r i s m w a s f i r s t a n n o u n c e d on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society1. 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.

B u t i s i s t h e m o v e m e n t s w h i c h s u r v i v e , 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.

W h i l e M a r i n e t t i ' s o p e n i n g m a n i f e s t o for Italian Futurism bristled with a polemi-cal 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 liberta2 , by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerun-ners 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 selbst3 (circa 1915): Everything of any value is theatrical."

A

PROLOGUE

TO

FUTURISM

RADICAL

MIX OF

ART AND

LIFE



3 selbst = himself

151

WORDS IN LIBERTY

Futurism was first announced on February 20, 1909, when the Paris news-paper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discard-ing what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society1. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the ma-chine 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 vio-lence 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 radi-cal mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become.

While Marinetti's opening manifesto for Italian Futurism bristled with a po-lemical stance in favor of the transformed present (1909), the later manifestos of Fu-turist poets & artists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2 , by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. 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' per-formances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915): Everything of any value is theatrical."





3 selbst = himself

typographic treats workbook

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