4. 8 picas
8 points
8 picas, 4 points
8-point Helvetica with
9 points of line spacing
8p
p8 or 8 pts
8p4
8/9 Helvetica
abbreviation meaning
5. Big60
60-point adobe garamond pro
A typeface is measured from top of
capital letter to bottom of lowest
descender, plus a small buffer space
In metal type, point size is height of
the type slug
6. Type
With hot metal type, all text
appears as a mirror image so that it
reads correctly when printed
Each individual piece of type is
known as a ‘sort’
point size
equals
height of
block
7. Was there anotherTroy for her to burn?
adobe garamond pro univers 55 bauer bodoni clarendon
william butler yeats
All of the above letters are set at the same
point size
Differences in x-height, line weight, and
character width affect the apparent scale
of the letters
8. set width
Horizontal measure of a letter
It consists of the body of the letter
plus a buffer of space protecting it
from encroachment by other letters
Intrinsic to the proportion of the
typeface
adobe garamond pro, 140 pt
11. Ty Ty
bembo regular
without kerning with kerning
Kerning is the automatic adjustment of
space between letters as prescribed by a table
embedded within the digital font
Intended to make the spacing between letters
in a word optically consistent
12. Type 1967
Type 1967
Kerning is used to adjust the distances between
letters to avoid character collisions and irregular
spaces
It creates a uniform typographic texture
Large type must always be kerned by hand—default
values from kerning tables will not work
no kerning no kerning
numeral 1 almost
always requires
manual kerning
-110 points
kerning
-130 points
kerning
helvetica neue 65
13. Kerning
-10 pt -9 pt
-6 pt -8 pt
-4 pt -12 pt
At large sizes, even a single word
may require extensive kerning
berthold akzidenz grotesk medium, 120 pt
15. Leading is the vertical measure
from the baseline of one line to
the baseline of the line below it
in a paragraph.
48 pt
leading
dtl documenta st regular, 40 pt
16. Leading is a hot-metal printing term that refers
to the strips of lead that were inserted between
text measures in order to space them accurately.
Leading is specified in points and refers nowa-
days to the space in between the lines of a text
block. Leading introduces space into the text
block and allows the characters to ‘breathe’ so
that the information is easy to read.
dtl documenta st regular, 30 pt
48 pt leading
17. Things fall apart. The cracks get wider: more
paper is used, with increasing ingenuity, to
cover them. Madness implodes, as people
are slowly crushed, or, perhaps worse, help
in crushing others. The abyss beckons.
Things fall apart. The cracks get wider: more
paper is used, with increasing ingenuity, to
cover them. Madness implodes, as people
are slowly crushed, or, perhaps worse, help
in crushing others. The abyss beckons.
itc johnston light
18 pt type on 21.6 pt leading
itc johnston light
18 pt type on 20 pt leading
Most computer programs assume a default
leading of 120% of type size
This often creates fractional points of leading
Do NOT leave leading set to ‘default’!
18. Things fall apart. The cracks get wider: more
paper is used, with increasing ingenuity, to
cover them. Madness implodes, as people
are slowly crushed, or, perhaps worse, help in
crushing others. The abyss beckons.
Things fall apart. The cracks get wider: more
paper is used, with increasing ingenuity, to
cover them. Madness implodes, as people
are slowly crushed, or, perhaps worse, help in
crushing others. The abyss beckons.
Things fall apart. The cracks get wider: more
paper is used, with increasing ingenuity, to
cover them. Madness implodes, as people
are slowly crushed, or, perhaps worse, help in
crushing others. The abyss beckons.
Things fall apart. The cracks get wider: more
paper is used, with increasing ingenuity, to
cover them. Madness implodes, as people
are slowly crushed, or, perhaps worse, help in
crushing others. The abyss beckons.
helvetica neue 45
14 pt type on 14 pt leading
(set solid)
helvetica neue 45
14 pt type on 16 pt leading
(set +2)
helvetica neue 45
14 pt type on 18 pt leading
(set +4)
helvetica neue 45
14 pt type on 20 pt leading
(set +6)
19. Things fall apart. The cracks get wider: more paper is used, with
increasing ingenuity, to cover them. Madness implodes, as people are
slowly crushed, or, perhaps worse, help in crushing others. The abyss
beckons: nevertheless, a febrile momentum keeps the train on the
tracks. The question that lies behind the analysis (should, of course, you
agree) is what action can anyone take?
Things fall apart. The cracks get wider: more paper is used, with increasing ingenuity, to cover them.
Madness implodes, as people are slowly crushed, or, perhaps worse, help in crushing others. The abyss
beckons: nevertheless, a febrile momentum keeps the train on the tracks. The question that lies behind
the analysis (should, of course, you agree) is what action can anyone take?
Things fall apart. The cracks get wider: more paper is used, with increasing ingenuity, to cover them.
Madness implodes, as people are slowly crushed, or, perhaps worse, help in crushing others. The abyss
beckons: nevertheless, a febrile momentum keeps the train on the tracks. The question that lies behind
the analysis (should, of course, you agree) is what action can anyone take?
Things fall apart. The cracks get wider: more paper is used, with in-
creasing ingenuity, to cover them. Madness implodes, as people are
slowly crushed, or, perhaps worse, help in crushing others. The abyss
beckons: nevertheless, a febrile momentum keeps the train on the
tracks. The question that lies behind the analysis (should, of course,
you agree) is what action can anyone take?
1 solid leading, larger type size (20/20 minion pro)
2 solid leading, smaller type size (14/14 minion pro)—column wider than optimal
3 increased leading (14/18 minion pro)—paragraph is still too wide
4 optimal paragraph width (14/18 minion pro)
21. The organization of text into columns
with hard or soft edges.
The four basic styles of alignment
define the fundamental architecture of
typographic layout.
ALIGNMENT
S E T T I N G T Y P E
22. GRAPHIC DESIGN and
typography are not the
same thing. That’s not to
say that graphic design
and typography are mu-
tually exclusive; of course,
typography is an integral
part of graphic design,
and graphic design en-
ters into every aspect of
typography.
But typography, be-
cause of the way it func-
tions, is more basic, more
conservative, and de-
pends on the cultural de-
velopment of the viewer
more than graphic design
in general. People learn
to read very early in life,
and reading depends on
a mutually agreed upon
tightly defined system
of symbols and graphic
conventions whereas
the larger conventions
and cultural symbols of
graphic design, while
8.5/12.5 gotham light, left
justified, 9 pica column
they undoubtedly are
important, are not as
central to its successful
conception.
The lines have always
been the most blurred at
the border between dis-
play type and graphic de-
sign. Display typography
tends to function more as
graphic design than body
copy: though it remains
type, and must be at least
legible, it works more as
a graphic element than
does body type, and is
more susceptible to the
tastes of fashion and is
used more expressively
than is body typography.
As such, graphic design-
ers tend to deal with
display typography more
intensively (and success-
fully) than they do body
type.
FLUSH LEFT / RAGGED RIGHT
23. TYPOGRAPHY makes at least two kinds
of sense. It makes visual sense and historical
sense. The visual side of typography is always on
display, and materials for the study of its visual
form are many and widespread. The history of
letterforms and their usage is visible too, to those
with access to manuscripts, inscriptions and old
books. This book has the fruit of a lot of long
walks in the wilderness of letters: in part a pocket
field guide to the living wonders that are found
there, and in part a meditation on the ecological
principles, survival techniques, and ethics that
apply. The principles of typography are not “a set
of dead conventions” but a place where ancient
voices speak from all directions and new ones
move to perhaps unremembered forms.
One question remains. When all right-thinking
human beings are understanding that other men
and women are free to be different, and free to
become more different still, how can one honestly
write a rulebook? What reason and authority
exist for these commandments, suggestions, and
instructions? Surely typographers, like others,
ought to be at liberty to follow or to blaze the
trails they choose.
Typography thrives as a shared concern,
and there are no paths at all where there are no
shared desires and directions. A typographer
determined to forge new routes must move, like
other solitary travellers, through uninhabited,
crossing common thoroughfares in the silence
before dawn. The Elements of Typographic Style
is about not typographic solitude, but the old,
well-travelled roads at the core of the tradition:
paths that each of us is free to follow or not—if
only we know the paths are there and have a
sense of where they lead. That freedom is denied
us if the tradition is concealed or left for dead.
Originality is everywhere, but much originality is
blocked if the way back to earlier discoveries is
cut or overgrown.
By all means leave the road when you wish.
That is precisely the use of a road: to reach
individually chosen points of departure. By all
means break the rules, and break them beautifully,
deliberately, and well.
10.5/15 berthold akzidenz
grotesk, fully justified, 18 pica
column
JUSTIFIED
24. GRAPHICDESIGNANDTYPOGRAPHY
are not the same thing. That’s not to say
that graphic design and typography are
mutually exclusive; of course, typography
is an integral part of graphic design, and
graphic design enters into every aspect of
typography.
But typography, because of the way it
functions, is more basic, more conserva-
tive, and depends on the cultural devel-
opment of the viewer more than graphic
design in general. People learn to read
very early in life, and reading depends on
a mutually agreed upon tightly defined
system of symbols and graphic conven-
tions whereas the larger conventions and
cultural symbols of graphic design, while
they undoubtedly are important, are not as
central to its successful conception.
The lines have always been the most
9/12 dtl documenta, right justified, 14 pica column
blurred at the border between display type
and graphic design. Display typography
tends to function more as graphic design
than body copy: though it remains type,
and must be at least legible, it works more
as a graphic element than does body type,
and is more susceptible to the tastes of
fashion and is used more expressively than
is body typography. As such, graphic
designers tend to deal with display typog-
raphy more intensively (and successfully)
than they do body type.
FLUSH RIGHT / RAGGED LEFT
25. GRAPHIC DESIGN and typography are
not the same thing. That’s not to say
that graphic design and typography are
mutually exclusive; of course, typogra-
phy is an integral part of graphic design,
and graphic design enters into every
aspect of typography.
But typography, because of the
way it functions, is more basic, more
conservative, and depends on the cul-
tural development of the viewer more
than graphic design in general. People
learn to read very early in life, and
reading depends on a mutually agreed
upon tightly defined system of sym-
bols and graphic conventions whereas
the larger conventions and cultural
symbols of graphic design, while they
undoubtedly are important, are not as
central to its successful conception.
10/12.5 itc johnston light, centre justified,
14 pica column
The lines have always been the
most blurred at the border between
display type and graphic design. Dis-
play typography tends to function
more as graphic design than body copy:
though it remains type, and must be at
least legible, it works more as a graphic
element than does body type, and is
more susceptible to the tastes of fash-
ion and is used more expressively than
is body typography. As such, graphic
designers tend to deal with display
typography more intensively (and suc-
cessfully) than they do body type.
CENTRED
26. GRAPHIC DESIGN and typography are not
the same thing.That’s not to say that graphic
design and typography are mutually exclusive;
of course, typography is an integral part of
graphic design, and graphic design enters into
every aspect of typography.
But typography, because of the way it
functions, is more basic, more conservative,
and depends on the cultural development of
the viewer more than graphic design in gen-
eral.People learn to read very early in life,and
reading depends on a mutually agreed upon
tightly defined system of symbols and graphic
conventions whereas the larger conventions
and cultural symbols of graphic design, while
they undoubtedly are important, are not as
central to its successful conception.
The lines have always been the most
blurred at the border between display type
and graphic design. Display typography tends
to function more as graphic design than body
copy: though it remains type, and must be at
least legible, it works more as a graphic ele-
ment than does body type, and is more sus-
ceptible to the tastes of fashion and is used
more expressively than is body typography.As
such, graphic designers tend to deal with dis-
play typography more intensively (and success-
fully) than they do body type.
GRAPHIC DESIGN and typography are not the same thing. That’s
not to say that graphic design and typography are mutually exclu-
sive; of course, typography is an integral part of graphic design, and
graphic design enters into every aspect of typography.
But typography, because of the way it functions, is more basic,
more conservative, and depends on the cultural development of the
viewer more than graphic design in general. People learn to read
very early in life, and reading depends on a mutually agreed upon
tightly defined system of symbols and graphic conventions whereas
the larger conventions and cultural symbols of graphic design, while
they undoubtedly are important, are not as central to its successful
conception.
The lines have always been the most blurred at the border be-
tween display type and graphic design. Display typography tends to
function more as graphic design than body copy: though it remains
type, and must be at least legible, it works more as a graphic ele-
ment than does body type, and is more susceptible to the tastes of
fashion and is used more expressively than is body typography. As
such, graphic designers tend to deal with display typography more
intensively (and successfully) than they do body type.
GRAPHIC DESIGN and typography are not the same thing.
That’s not to say that graphic design and typography are mu-
tually exclusive; of course, typography is an integral part of
graphic design, and graphic design enters into every aspect of
typography.
But typography, because of the way it functions, is more
basic, more conservative, and depends on the cultural develop-
ment of the viewer more than graphic design in general. People
learn to read very early in life, and reading depends on a mutu-
ally agreed upon tightly defined system of symbols and graphic
conventions whereas the larger conventions and cultural sym-
bols of graphic design, while they undoubtedly are important,
are not as central to its successful conception.
12/15 bembo, fully justified,
18 pica column
10/11 sabon, fully justified, 24 pica
column
8/12 sabon, fully justified,
18 pica column
27. GRAPHIC DESIGN and typog-
raphy are not the same thing.
That’s not to say that graphic
design and typography are
mutually exclusive; of course,
typography is an integral part
of graphic design, and graphic
design enters into every as-
pect of typography.
But typography, because
of the way it functions, is more
basic, more conservative, and
depends on the cultural de-
velopment of the viewer more
GRAPHIC DESIGN and typogra-
phy are not the same thing. That’s
not to say that graphic design and
typography are mutually exclu-
sive; of course, typography is an
integral part of graphic design, and
graphic design enters into every as-
pect of typography.
But typography, because of
the way it functions, is more basic,
more conservative, and depends
on the cultural development of the
viewer more than graphic design
in general. People learn to read
very early in life, and reading de-
pends on a mutually agreed upon
tightly defined system of symbols
and graphic conventions whereas
the larger conventions and cultural
symbols of graphic design, while
they undoubtedly are important,
are not as central to its successful
conception.
The lines have always been
the most blurred at the border
between display type and graphic
design. Display typography tends
to function more as graphic design
than body copy: though it remains
type, and must be at least legible, it
works more as a graphic element
than does body type, and is more
susceptible to the tastes of fash-
ion and is used more expressively
than is body typography. As such,
graphic designers tend to deal with
display typography more inten-
sively (and successfully) than they
do body type.
than graphic design in general.
People learn to read very early
in life, and reading depends on
a mutually agreed upon tight-
ly defined system of symbols
and graphic conventions where-
as the larger conventions and cul-
tural symbols of graphic design,
while they undoubtedly are im-
portant,are not as central to its
successful conception.
The lines have always
been the most blurred at the
border between display type
and graphic design. Display
typography tends to function
more as graphic design than
body copy: though it remains
type, and must be at least leg-
ible, it works more as a graphic
element than does body type,
and is more susceptible to the
tastes of fashion and is used
more expressively than is body
typography. As such, graphic
designers tend to deal with
display typography more inten-
sively (and successfully) than
they do body type.
8.5/12.5 akkurat, fully
justified, 10 pica column
8/11 dtl documenta,
fully justified, 10
pica column
28. Breaking words to produce text blocks that look
clean, with no unsightly gaps or ‘rivers’
Words should be broken between syllables
Words of four characters or less should not be
broken at all
Word spacing for justification should be limited
from 85% minimum to 125% maximum
Letter spacing for justification should be limited
from -5% to +5%
HYPHENATION
+ JUSTIFICATION
S E T T I N G T Y P E
29. theless
Things fall apart. The cracks get wider: more
paper is used, with increasing ingenuity, to
cover them. Madness implodes, as people are
slowly crushed, or, perhaps worse, help in
crushing others. The abyss beckons: never-
theless, a febrile momentum keeps the train
on the tracks. The question that lies behind
the analysis (should, of course, you agree) is
what action can anyone take?
24/26 minion pro, left justified, 36 pica column
hyphenate if word
extends beyond
hyphenation zone
hyphenation
zone
30. do not hyphenate
on first line
no more than two
consecutive lines
hyphenated
Things fall apart. The cracks get wid-
er: more paper is used, with increas-
ing ingenuity, to cover them. Mad-
ness implodes, as people are slowly
crushed, or, perhaps worse, help in
crushing others. The abyss beckons:
nevertheless, a febrile momentum
keeps the train on the tracks. The
question that lies behind the analysis
(should, of course, you agree) is what
action can anyone take?
18/20 minion pro, left justified,
22 pica column
31. 1 And I stood upon the
sand of the sea, and saw a
beast rise up out of the sea,
having seven heads and ten
horns, and upon his horns
ten crowns, and upon his
heads the name of blasphe-
my.
2 And the beast which I saw
was like unto a leopard,
and his feet were as the feet
of a bear, and his mouth as
the mouth of a lion: and the
dragon gave him his power,
and his seat, and great au-
thority.
3 And I saw one of his
heads as it were wounded
to death; and his deadly
wound was healed: and all
the world wondered after
the beast.
4 And they worshipped the
dragon which gave power
unto the beast: and they
worshipped the beast, say-
ing, Who is like unto the
beast? who is able to make
war with him?
5 And there was given unto
him a mouth speaking
great things and blasphe-
mies; and power was given
unto him to continue forty
and two months.
6 And he opened his
mouth in blasphemy
against God, to blaspheme
his name, and his taber-
nacle, and them that dwell
16/16 dtl documenta, left
justified, 16 pica column
revelation 13:1-10
king james version
in heaven.
7 And it was given unto
him to make war with the
saints, and to overcome
them: and power was given
him over all kindreds, and
tongues, and nations.
8 And all that dwell upon
the earth shall worship
him, whose names are not
written in the book of life
of the Lamb slain from the
foundation of the world.
9 If any man have an ear, let
him hear.
10 He that leadeth into
captivity shall go into cap-
tivity: he that killeth with
the sword must be killed
with the sword. Here is the
patience and the faith of the
saints.avoid hyphenating
across two columns
of text
orphan “orphan”
(2-word)
“widow”
(paragraph)
widow
32. When punctuation marks appear
at the beginning or end of a line of
type, an unsightly break is created
Hanging the punctuation outside
the measure creates a defined
edge which is more aesthetically
pleasing and improves readability
HANGING
PUNCTUATION
S E T T I N G T Y P E
33. “All this is very innocent of you; excuse me, I meant
insolent,” said Raskolnikov.
“That is to say that my motives are purely selfish.
Don’t worry, Rodion Romanovich, if I were consid-
ering only my own interests I should not have ex-
pressed myself so bluntly. I am not a complete fool.
In this connexion, let me tell you a strange psycho-
logical fact. A short time ago, justifying my love for
Avdotya Romonova, I spoke of myself as a victim.
Well, you must know that now I feel no love for her
whatever, none at all, so that event to me it seems
very strange, since I really did feel something…”
“As a result of idleness and depravity,” interrupted
Raskolnikov.
“All this is very innocent of you; excuse me, I meant
insolent,” said Raskolnikov.
“That is to say that my motives are purely selfish.
Don’t worry, Rodion Romanovich, if I were con-
sidering only my own interests I should not have
expressed myself so bluntly. I am not a complete fool.
In this connexion, let me tell you a strange psycho-
logical fact. A short time ago, justifying my love for
Avdotya Romonova, I spoke of myself as a victim.
Well, you must know that now I feel no love for her
whatever, none at all, so that event to me it seems
very strange, since I really did feel something…”
“As a result of idleness and depravity,” interrupted
Raskolnikov.
without hanging
punctuation
with hanging
punctuation
quotation marks
inside measure
quotation marks
outside measure
16/18 dtl documenta, left
justified, 30 pica column
34. “All this is very innocent of you; excuse me, I meant
insolent,” said Raskolnikov.
“That is to say that my motives are purely selfish.
Don’t worry, Rodion Romanovich, if I were consid-
ering only my own interests I should not have ex-
pressed myself so bluntly. I am not a complete fool. In
this connexion, let me tell you a strange psychological
fact. A short time ago, justifying my love for Avdotya
Romonova, I spoke of myself as a victim. Well, you
must know that now I feel no love for her whatever,
none at all, so that event to me it seems very strange,
since I really did feel something…”
“As a result of idleness and depravity,” interrupted
Raskolnikov.
“All this is very innocent of you; excuse me, I meant
insolent,” said Raskolnikov.
“Thatistosaythatmymotivesarepurelyselfish.Don’t
worry, Rodion Romanovich, if I were considering
only my own interests I should not have expressed
myself so bluntly. I am not a complete fool. In this
connexion,letmetellyouastrangepsychologicalfact.
A short time ago, justifying my love for Avdotya Ro-
monova, I spoke of myself as a victim. Well, you must
know that now I feel no love for her whatever, none
at all, so that event to me it seems very strange, since
I really did feel something…”
“As a result of idleness and depravity,” interrupted
Raskolnikov.
without hanging
punctuation
with hanging
punctuation
quotation marks
inside measure
hyphens
inside measure
hyphen
outside measure
quotation marks
outside measure
16/18 dtl documenta,
justified, 30 pica column
35. Improves readability by marking the
start of a paragraph
Generally between 5% and 10% of the
measure
Normally, the first paragraph is not
indented
INDENTATION
S E T T I N G T Y P E
36. Things fall apart.The cracks get wider: more
paper is used, with increasing ingenuity, to
cover them. Madness implodes, as people are
slowly crushed, or, perhaps worse, help in
crushing others.The abyss beckons: neverthe-
less, a febrile momentum keeps the train on
the tracks.The question that lies behind the
analysis (should, of course, you agree) is what
action can anyone take?
One particular and vigorous product of capi-
talism’s excess has been pop music, not so
much because of the form’s intrinsic merit (if
any) but because, for many, bar football, it’s
the only arena going in this country, at least.
So vigorous because so much has to be chan-
neled into so small a space: rebellion, cre-
ation, dance, sex energy, and this space, small
as it is, is a market ruled by commerce, and
excess of money.
It’s as much as anyone can do, it seems, to ac-
cept the process and carefully construct their
theatre for performance and sale in halls in
the flesh, in rooms and on radios (if you’re
very lucky) in the plastic.The limits imposed
(especially as far as effective action goes) by
this iron cycle of creation to consumption are
as hard to break as they are suffocating.
Things fall apart.The cracks get wider: more
paper is used, with increasing ingenuity, to
cover them. Madness implodes, as people are
slowly crushed, or, perhaps worse, help in
crushing others.The abyss beckons: neverthe-
less, a febrile momentum keeps the train on
the tracks.The question that lies behind the
analysis (should, of course, you agree) is what
action can anyone take?
One particular and vigorous product of capi-
talism’s excess has been pop music, not so
much because of the form’s intrinsic merit (if
any) but because, for many, bar football, it’s
the only arena going in this country, at least.
So vigorous because so much has to be chan-
neled into so small a space: rebellion, cre-
ation, dance, sex energy, and this space, small
as it is, is a market ruled by commerce, and
excess of money.
It’s as much as anyone can do, it seems, to ac-
cept the process and carefully construct their
theatre for performance and sale in halls in
the flesh, in rooms and on radios (if you’re
very lucky) in the plastic.The limits imposed
(especially as far as effective action goes) by
this iron cycle of creation to consumption are
as hard to break as they are suffocating.
16/16 perpetua,
left justified,
22 pica column
no indentation 16 pt line space between paragraphs
37. Things fall apart.The cracks get wider: more
paper is used, with increasing ingenuity, to
cover them. Madness implodes, as people are
slowly crushed, or, perhaps worse, help in
crushing others.The abyss beckons: neverthe-
less, a febrile momentum keeps the train on
the tracks.The question that lies behind the
analysis (should, of course, you agree) is what
action can anyone take?
One particular and vigorous product of
capitalism’s excess has been pop music, not so
much because of the form’s intrinsic merit (if
any) but because, for many, bar football, it’s
the only arena going in this country, at least.
So vigorous because so much has to be chan-
neled into so small a space: rebellion, cre-
ation, dance, sex energy, and this space, small
as it is, is a market ruled by commerce, and
excess of money.
It’s as much as anyone can do, it seems,
to accept the process and carefully construct
their theatre for performance and sale in halls
in the flesh, in rooms and on radios (if you’re
very lucky) in the plastic.The limits imposed
(especially as far as effective action goes) by
this iron cycle of creation to consumption are
as hard to break as they are suffocating.
Things fall apart.The cracks get wider: more
paper is used, with increasing ingenuity, to
cover them. Madness implodes, as people are
slowly crushed, or, perhaps worse, help in
crushing others.The abyss beckons: neverthe-
less, a febrile momentum keeps the train on
the tracks.The question that lies behind the
analysis (should, of course, you agree) is what
action can anyone take?
One particular and vigorous product of
capitalism’s excess has been pop music, not so
much because of the form’s intrinsic merit (if
any) but because, for many, bar football, it’s
the only arena going in this country, at least.
So vigorous because so much has to be chan-
neled into so small a space: rebellion, cre-
ation, dance, sex energy, and this space, small
as it is, is a market ruled by commerce, and
excess of money.
It’s as much as anyone can do, it seems, to
accept the process and carefully construct
their theatre for performance and sale in halls
in the flesh, in rooms and on radios (if you’re
very lucky) in the plastic.The limits imposed
(especially as far as effective action goes) by
this iron cycle of creation to consumption are
as hard to break as they are suffocating.
16/16 perpetua,
left justified,
22 pica column
10% indent 5% indent
10% looks
excessive
with wide
measures
first paragraph
is not indented
smaller indent interrupts
reader's eye just enough
38. Things fall apart.The cracks get wider: more
paper is used, with increasing ingenu-
ity, to cover them. Madness implodes, as
people are slowly crushed, or, perhaps
worse, help in crushing others.The abyss
beckons: nevertheless, a febrile mo-
mentum keeps the train on the tracks.
The question that lies behind the analysis
(should, of course, you agree) is what ac-
tion can anyone take?
One particular and vigorous product of capi-
talism’s excess has been pop music, not
so much because of the form’s intrinsic
merit (if any) but because, for many, bar
football, it’s the only arena going in this
country, at least. So vigorous because so
much has to be channeled into so small
a space: rebellion, creation, dance, sex
energy, and this space, small as it is, is a
market ruled by commerce, and excess
of money.
It’s as much as anyone can do, it seems, to ac-
cept the process and carefully construct
their theatre for performance and sale in
halls in the flesh, in rooms and on radios
(if you’re very lucky) in the plastic.The
limits imposed (especially as far as ef-
fective action goes) by this iron cycle of
creation to consumption are as hard to
break as they are suffocating.
Things fall apart.The cracks get wider: more
paper is used, with increasing ingenuity, to
cover them. Madness implodes, as people
are slowly crushed, or, perhaps worse, help
in crushing others.The abyss beckons: nev-
ertheless, a febrile momentum keeps the
train on the tracks.The question that lies
behind the analysis (should, of course, you
agree) is what action can anyone take?
One particular and vigorous product of capi-
talism’s excess has been pop music, not so
much because of the form’s intrinsic merit
(if any) but because, for many, bar football,
it’s the only arena going in this country, at
least. So vigorous because so much has to
be channeled into so small a space: rebel-
lion, creation, dance, sex energy, and this
space, small as it is, is a market ruled by
commerce, and excess of money.
It’s as much as anyone can do, it seems, to
accept the process and carefully construct
their theatre for performance and sale in
halls in the flesh, in rooms and on radios (if
you’re very lucky) in the plastic.The limits
imposed (especially as far as effective action
goes) by this iron cycle of creation to con-
sumption are as hard to break as they are
suffocating.
16/16 perpetua,
left justified,
22 pica column
10% hanging indent 5% hanging indent
often used in
list-led text
44. Designed by Adrian Frutiger
Released by the Deberny & Peignot
Foundry in 1957
Originally 21 variants—a number
unprecedented in type design
Frutiger’s systematic approach and
innovative naming scheme eliminated
confusion in type specification
UNIVERS
T Y P E S Y S T E M S
46. Experimental typeface designed by
Wim Crouwel in 1967
A response to the rise of electronic
communication
Contains no diagonals or curves
Letterforms designed for optimal display
on a video screen (CRT)
NEW
ALPHABET
T Y P E S Y S T E M S
47.
48.
49. Designed by Otl Aicher in 1988, as an experiment
in maximizing typographic legibility
Four basic variants:
Rotis Serif Uses full serifs
Rotis SemiSerif Uses partial and
hinted serifs
Rotis SemiSans No serifs,
stroke width variation
Rotis Sans Serif No serifs,
minimal stroke width variation
ROTIS
T Y P E S Y S T E M S
52. Designed by Peter Bil’ak for the Typotheque
Foundry
Fedra Sans (2001)
Highly legible humanist sans serif face
Fedra Serif A (2003)
Large x-height and short ascenders/
descenders designed to match proportions
of Fedra Sans
Fedra Serif B (2003)
Longer ascenders/descenders and increased
contrast between thick and thin strokes
FEDRA
T Y P E S Y S T E M S
53. Why, what could
she have done
Being what she is?
Was there another Troy
for her to burn?
william butler yeats
fedra sans
48 pt type, 48 pt leading
fedra serif a
48 pt type, 48 pt leading
fedra serif b
48 pt type, 48 pt leading
