initial source commit

README.md

@@ -1,4 +1,4 @@
-## © 2015 Matthew Butterick
+## © 2008–15 Matthew Butterick
 
 This is the source code for the Typography for Lawyers [web-based book](http://typographyforlawyers.com), which is an abbreviated version of the [paperback](http://typo.la/oc).
 

a-brief-history-of-times-new-roman.html.pm

@@ -0,0 +1,27 @@
+#lang pollen
+
+◊(define-meta title "A brief history of Times New Roman")
+◊(section-from-metas metas)
+
+◊image["tally-of-types.jpg"]
+
+◊style[#:type "text/css"]{
+ #doc p { font-family: "Times New Roman"; }
+}
+
+
+Times New Roman gets its name from the ◊em{Times} of London, the British newspaper. In 1929, the ◊em{Times} hired typographer Stanley Morison to create a new text font. Morison led the project, supervising Victor Lardent, an advertising artist for the Times, who drew the letterforms.
+
+Even when new, Times New Roman had its critics. In his typographic memoir, ◊em{A Tally of Types}, Morison good-naturedly imagined what William Morris (responsible for the opening illustration in ◊xref{page layout}) might have said about it: “As a new face it should, by the grace of God and the art of man, have been broad and open, generous and ample; instead, by the vice of Mammon and the misery of the machine, it is bigoted and narrow, mean and puritan.”
+
+Because it was used in a daily newspaper, the new font quickly became popular among printers of the day. In the decades since, typesetting devices have evolved, but Times New Roman has always been one of the first fonts available for each new device (including personal computers). This, in turn, has only increased its reach.
+
+Objectively, there’s nothing wrong with Times New Roman. It was designed for a newspaper, so it’s a bit narrower than most text fonts — ◊strong{especially the bold style}. (Newspapers prefer narrow fonts because they fit more text per line.) ◊em{The italic is mediocre.} But those aren’t fatal flaws. Times New Roman is a workhorse font that’s been successful for a reason. 
+
+Yet it’s an open question whether its longevity is attributable to its quality or merely its ubiquity. Helvetica still inspires enough affection to have been the subject of a 2007 documentary feature. Times New Roman, meanwhile, has not attracted similar acts of homage.
+
+Why not? Fame has a dark side. When Times New Roman appears in a book, document, or advertisement, it connotes apathy. It says, “I submitted to the font of least resistance.” Times New Roman is not a font choice so much as the absence of a font choice, like the blackness of deep space is not a color. To look at Times New Roman is to gaze into the void.
+
+This is how Times New Roman accrued its reputation as the default font of the legal profession — it’s the default font of everything. As a result, many lawyers erroneously assume that courts demand 12-point Times New Roman. In fact, I’ve never found one that does. (But there is one notable court that forbids it — see ◊xref{court opinions}.) In general, lawyers keep using it not because they must, but because it’s familiar and entrenched — much like those obsolete ◊xref{typewriter habits}.
+
+If you have a choice about using Times New Roman, ◊strong{please stop}. You have plenty of better alternatives — whether it’s a different ◊xref["system-fonts.html"]{system font} or one of the many professional fonts shown in this chapter.

about.html.pm

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+#lang pollen
+
+◊(define-meta title "about the author")
+◊(section-from-metas metas)
+
+
+◊margin-note{◊image[#:border #f "mb-hedcut.jpg"]}
+
+◊os{Matthew Butterick} I got my degree in design and typography at Harvard University. I began my career as a font designer in Boston. At the beginning of the Internet era, I started Atomic Vision, a website-design company in San Francisco. Later, I attended UCLA law school and became a member of the California bar. In 2012, I received the Legal Writing Institute’s Golden Pen Award for ◊em{Typography for Lawyers}.
+
+My other projects include Practical Typography, an online book (◊link{http://practicaltypography.com}), the fonts ◊xref{Equity}, ◊xref{Concourse}, ◊xref{Triplicate}, and ◊xref{Advocate}, and Pollen, software for publishing electronic books (◊link{http://pollenpub.com}).
+
+I live in Los Angeles with my wife Jessica and Roxy the boxer. 
+
+You can reach me at ◊link["mailto:mb@typographyforlawyers.com"]{mb@typographyforlawyers.com}. I welcome comments and corrections. I do not, however, dispense individualized critiques or recommendations. Nor do I have Word templates to give away. After all, the point of the book is for you to learn how to do these things yourself.
+
+
+◊em{Typography for Lawyers} is © 2010–15 Matthew Butterick. All rights reserved.
+
+◊gap[5]
+
+◊subhead{Image credits}
+
+
+Butterfly ballot and redesigned ballot in ◊xref{Why typography matters}: © 2003 William Lidwell, Kritina Holden, and Jill Butler, from their book ◊book{Universal Principles of Design} (see ◊xref{bibliography}). Used with permission.
+
+Highway sign in ◊xref{What is typography}: © iStockphoto.com / Double_Vision. Used under license. Modified by Matthew Butterick.
+
+Manual typewriter in ◊xref{Type composition}: © iStockphoto.com / slobo. Used under license.
+
+Computer keyboard in ◊xref{Type composition}: © iStockphoto.com / Amorphis. Used under license. Modified by Matthew Butterick.
+
+Metal type in ◊xref{Hyphens and dashes}: Public-domain image. Available from ◊link["http://commons.wikimedia.org/wiki/File:Metal_type.svg"]{Wikimedia Commons.}
+
+Caslon type specimen in ◊xref{text formatting}: Public-domain image. Available from ◊link["http://commons.wikimedia.org/wiki/File:Caslon-schriftmusterblatt.jpeg"]{Wikimedia Commons.}
+
+Page from the Kelmscott Chaucer in ◊xref{page layout}: Public-domain image. Scanned by Liam Quin (available at ◊link["http://www.fromoldbooks.org/WilliamMorris-KelmscottChaucer/pages/483-Troilus-and-Criseyde-II-In-May/"]{fromoldbooks.org}).
+
+Letter from B. F. Hallett in ◊xref{sample documents}: Public-domain image. Available from the Library of Congress “American Memory” collection (available from ◊link["http://memory.loc.gov/cgi-bin/query/h?ammem/rbpebib:@field(NUMBER+@band(rbpe+06102300))"]{memory.loc.gov}).
+
+Author illustration: © 2006 ◊link["http://www.nolinovak.com"]{Noli Novak.} Used under license.
+
+

accented-characters.html.pm

@@ -0,0 +1,14 @@
+#lang pollen
+
+◊(define-meta title "accented characters")
+◊hanging-topic[(topic-from-metas metas)]{Don’t ignore them}
+
+I assume you’re writing in American English, but you might still encounter ◊em{accented characters} in foreign words. Foreign words arise in two situations:
+
+◊numbered-list{
+
+In proper names, like people and places (◊em{Albrecht Dürer, François Truffaut, Plácido Domingo}). In names, accented characters must always appear accurately. Otherwise, the name is misspelled.
+   
+   
+In loanwords used in American English. Some of these words have become citizens and should be spelled without accents ◊em{(naive} for ◊em{naïve}, ◊em{melee} for ◊em{mêlée}, ◊em{coupe} for ◊em{coupé)}. Others have not and should not (◊em{cause célèbre}, ◊em{piña colada}, ◊em{Göt­ter­däm­merung}). Check a dictionary or usage guide.
+}

advocate.html.pm

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+#lang pollen
+◊(require pollen/template)
+
+◊(define-meta tfl-font-template "true")
+◊(define-meta title "Advocate")
+
+◊margin-note{
+◊div[#:style "text-align:center"]{
+◊link["http://typo.la/ats" #:class 'pdf]{◊image{advocate-type-specimen.png}}
+
+◊link["http://typo.la/ats" #:class 'buylink]{PDF specimen}
+
+
+}}
+
+
+◊mb-font-specimen{◊div[#:style "line-height:1.1;margin-top:-0.5rem"]{◊span[#:style "font-family:'advocate-c43';font-size:115%"]{THE SENATORS AND REPRESENTATIVES 
+shall receive a Compensation for their
+Services, to be ascertained by Law, and
+◊strong{paid out of the Treasury of the United
+States. They shall in all Cases, except}
+◊span[#:style "font-family:'advocate-slab-c43'"]{Felony, be privileged from Arrest.}
+◊span[#:style "font-family:'advocate-c45'"]{You can edit this paragraph.}}}}
+
+
+
+◊make-buy-table[#:people '(1 2 5) #:skus (list 
+advocate
+equity-concourse-triplicate-advocate)]
+
+
+◊font-details{Advocate includes 180 font files:
+= 3 weights (regular, medium, bold)
+× 3 widths (narrow, regular, wide)
+× 2 series (sans, slab)
++ 12 cloned styles
+× 3 stylistic variants (normal, tab, mid)
+× 2 file formats (OpenType, and TrueType-compatible OpenType TT)
+
+Read the ◊link["http://mbtype.com/license"]{font license} (it’s short) or the ◊link["http://mbtype.com/faq"]{FAQ}
+For more than five people, email ◊link["mailto:mb@mbtype.com"]{mb@mbtype.com}}
+
+
+◊numbered-list{
+An assertive display face for ◊xref{letterhead}, logos, and titles.
+
+
+Three widths and three weights, with sans and slab serif versions.
+
+
+Short, plain-English license.
+
+
+30-day return option.
+}

all-caps.html.pm

@@ -0,0 +1,14 @@
+#lang pollen
+
+◊(define-meta title "all caps")
+◊hanging-topic[(topic-from-metas metas)]{Fine for less than one line}
+
+◊em{All-caps text} — meaning text with all the letters capitalized — is best used sparingly.
+
+◊(omission)
+
+That doesn’t mean you shouldn’t use caps. Just use them judiciously. Caps are suitable for ◊xref{headings} shorter than one line (e.g., “Table of Authorities”), headers, footers, captions, or other labels. Caps work at small ◊xref{point sizes}. Caps work well on ◊xref{letterhead} and ◊xref{business cards}. Always add ◊xref{letterspacing} to caps to make them easier to read, and make sure ◊xref{kerning} is turned on.
+
+DON’T CAPITALIZE WHOLE PARAGRAPHS. THIS HABIT IS ENDEMIC TO LAWYERS, BUT IT’S ESPECIALLY COMMON IN CONTRACTS. MANY LAWYERS SEEM TO THINK THAT CAPITALIZATION COMMUNICATES AUTHORITY AND IMPORTANCE. “HEY, LOOK HERE, I’M A LAWYER! I DEMAND THAT YOU PAY ATTENTION TO THIS!” BUT A PARAGRAPH SET IN ALL CAPS IS VERY HARD TO READ. ◊strong{IT’S EVEN WORSE IN BOLD. AS THE PARAGRAPH WEARS ON, READERS FATIGUE. INTEREST WANES. HOW ABOUT YOU? DO YOU ENJOY READING THIS? I DOUBT IT. BUT I REGULARLY SEE CAPITALIZED PARAGRAPHS IN LEGAL DOCUMENTS THAT ARE MUCH LONGER THAN THIS. DO YOUR READERS A FAVOR. STOP CAPITALIZING WHOLE PARAGRAPHS.}
+
+All-caps paragraphs are an example of self-defeating typography. If you need readers to pay attention to an important part of your document, the last thing you want is for them to skim over it. But that’s what inevitably happens with all-caps paragraphs because they’re so hard to read.

alternate-figures.html.pm

@@ -0,0 +1,22 @@
+#lang pollen
+
+◊(define-meta title "alternate figures")
+◊hanging-topic[(topic-from-metas metas)]{Consider the context}
+
+Though we think of a font as a set of characters with a uniform visual appearance, the genesis of these characters is anything but uniform. Our writing system brings together characters that were originally handwritten by people in different countries, in different centuries. To achieve a uniform appearance, a type designer has to harmonize these disparate forms.
+
+Our uppercase alphabet came from the inscriptional capitals of the Romans. Our lowercase alphabet came from the European uncial alphabets of the Middle Ages, which themselves evolved from scribal approximations of the uppercase alphabet. 
+
+But our figures were invented in India. They spread west through the influence of Persian and Arab mathematicians. Traditionally they were known as ◊first-use{Arabic numerals}, but latterly as ◊first-use{Hindu-Arabic numerals}. Indic and Arabic languages, of course, look very different from European languages. Thus, figures have always presented a challenge for type designers, as they rely on shapes that are found nowhere in the uppercase and lowercase alphabets.
+
+Type designers have met this challenge by devising sets of ◊em{alternate figures}, intended for different typographic contexts. Three things to know in advance:
+
+◊numbered-list{
+It's never wrong to use the default figures in your font — namely, the ones you get when typing the keys 0–9. Those are put in the default position because they're intended to work well across a range of contexts.
+
+
+Not every font has every set of alternate figures listed here. Alternate figures are added based on the type designer's impression of how the font will be used and whether the alternates will be useful.
+
+
+If alternate figures are included in your font, they'll be implemented as ◊xref{OpenType features}. The caveats there also apply, especially pertaining to software support.
+}

ampersands.html.pm

@@ -0,0 +1,14 @@
+#lang pollen
+
+◊(define-meta title "ampersands")
+◊hanging-topic[(topic-from-metas metas)]{Use sparingly}
+
+The ◊em{ampersand} is typographic shorthand for the word ◊em{and}. The ampersand is halfway between a ◊xref{ligature} and a contraction, a stylized depiction of the Latin word et.
+
+The ampersand is one of the jauntiest characters. Font designers often use it as an opportunity to show off. Traditional ampersands take the shape of the word et. Modern ampersands are more stylized.
+
+◊image[#:border #f]{ampersands.gif}
+
+Ampersands are completely correct when they’re part of a proper name (◊em{Fromage & Cracotte LLP}) or an official citation format (◊em{Bus. & Prof. Code § 17200}).
+
+Past that, ampersands should be handled like any other contraction: the more formal the document, the more sparingly they should be used. Here and there, but not everywhere.

apostrophes.html.pm

@@ -0,0 +1,16 @@
+#lang pollen
+
+◊(define-meta title "apostrophes")
+◊hanging-topic[(topic-from-metas metas)]{Make sure they’re curly and point downward}
+
+The ◊em{apostrophe} has two functions we all remember from sixth-grade English class.
+
+◊numbered-list{
+An apostrophe indicates the possessive case ◊em{(Jessica’s bagel)}◊em{.}
+
+
+In contractions, an apostrophe takes the place of letters or numbers that have been removed (◊em{is not} becomes ◊em{isn’t}, ◊em{Patent No. 5,269,211} becomes ◊em{’211}).
+}
+
+
+Apostrophes always point downward. If the smart-quote conversion feature of your writing system is on (see ◊xref{straight and curly quotes}), then type an apostrophe with the same key you use to type a straight single quote ◊glyph{'}. Your word processor will convert this character to a curly apostrophe ◊glyph{’}. Or you can type an apostrophe directly, using the same key as a closing single quote.

appendix.html.pm

@@ -0,0 +1,5 @@
+#lang pollen
+
+◊(define-meta title "appendix")
+◊(chapter-from-metas metas)
+

arial-alternatives.html.pm

@@ -0,0 +1,13 @@
+#lang pollen
+
+◊(define-meta bumper-blank "true")
+◊(define-meta title "arial alternatives")
+◊hanging-topic[(topic-from-metas metas)]
+
+◊make-font-alternative-list{
+Arial
+Neutral
+Bernini Sans
+Cooper Hewitt}
+
+◊font-desc{When sans serif fonts emerged in the 19th century, they were used mostly at headline sizes, not ◊xref{body text} sizes. But modern typography uses sans serifs at all sizes. Designs like Arial and Helvetica were meant to be comfortable for extended reading. I abhor Arial — it’s clunky and painfully overexposed. By contrast, ◊xref{Neutral}, ◊xref{Bernini Sans}, and ◊xref{Cooper Hewitt} are new designs that aim for svelte plain-spokenness, but without being bland retreads of earlier designs. Cooper Hewitt, designed for the Smithsonian, is free.}

baskerville-alternatives.html.pm

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+#lang pollen
+
+◊title-block{◊topic{Palatino alternatives}
+◊short-rule{Get closer to the source}}
+
+◊make-font-alternative-list{
+Palatino Nova
+Iowan Old Style
+Verdigris
+Bembo Book
+}
+
+Palatino is the work of designer Hermann Zapf, who is a calligrapher by training. Many of his fonts reflect this influence. But the Palatino ◊xref{system font} is a harsh representation of Zapf’s original design. ◊xref{Palatino Nova} is Zapf’s own reworking of Palatino that restores its original fluid subtlety. ◊xref{Bembo Book} is a revision of the famous 1929 Monotype face, which was itself based on Italian Renaissance typography. Despite the name, so was ◊xref{Iowan Old Style}, but it’s a looser interpretation of that model. The lovely ◊xref{Verdigris} also draws on these influences.
+
+
+◊btw-list{
+
+These alternatives apply equally to Book Antiqua, which was created as a Palatino clone for Microsoft Windows. Book Antiqua has caused its share of controversy over the years — Zapf himself considered it an unethical pillaging of his work. But in recent times, the alleged pillager (Monotype) acquired the alleged pillagee (Linotype), extinguishing the beef.
+
+}
+
+
+
+

bates-numbering.html.pm

@@ -0,0 +1,8 @@
+#lang pollen
+
+◊(define-meta title "Bates numbering")
+◊hanging-topic[(topic-from-metas metas)]{Try orange Franklin Gothic}
+
+Just as paper is yielding to PDF as the preferred format for discovery, manually stamped ◊em{Bates numbering} is yielding to digital numbering.
+
+I prefer the convenience of digital Bates numbering. But I miss the look of the stamp. The blue ink and the distinct font made the number easy to spot on the page, even after being photocopied. Digital Bates numbering is often small, black, and set in Times New Roman or Arial — all of which camouflages the numbers.

bc.html.p

@@ -0,0 +1,33 @@
+<!DOCTYPE html>
+<html>
+<head>
+    <script type="text/javascript">
+
+    function get_query_variable(key)
+    {
+           var query = window.location.search.substring(1);
+           var vars = query.split("&");
+           for (var i=0;i<vars.length;i++) {
+                   var pair = vars[i].split("=");
+                   if(pair[0] == key){return pair[1];}
+           }
+           return(false);
+    }
+
+    function finish_form_with_query_variable(key)
+    {
+        var query_value = get_query_variable(key);
+        if (query_value != false) {
+            document.getElementById('post_form_item').value = query_value;
+            document.forms['post_form'].submit();
+        }
+    }
+
+    </script>
+</head>
+<body onLoad='finish_form_with_query_variable("item")'>
+    <form id="post_form" method="post" action="http://buy.mbtype.com/cart">
+        <input id="post_form_item" name="cart[add][id]" type="hidden" />
+    </form>
+</body>
+</html>

bibliography.html.pm

@@ -0,0 +1,57 @@
+#lang pollen
+
+◊(define-meta title "bibliography")
+◊(section-from-metas metas)
+
+◊(define (book-description . xs)
+`(div ((class "book-description")) ,@xs))
+
+This is not, by any measure, a comprehensive bibliography. Rather, it’s a selection of favorites from my own bookshelf that I consult most frequently in my work as a lawyer and a typographer.
+
+◊subhead{writing}
+
+Bryan A. Garner, ◊em{Garner’s Modern American Usage}, 3rd ed. (Oxford University Press, 2009).
+
+◊book-description{Long before he agreed to write the foreword for this book, Bryan Garner was a hero of mine. Garner thinks and writes about American English in a way that’s rigorous, convincing, and accessible. He is stern but not shrill; authoritative but not authoritarian. He is a vigorous advocate for clear, simple writing. His work should be mandatory reading for all writers.}
+
+◊subhead{Typography}
+
+Jan Middendorp, ◊em{Shaping Text} (BIS Publishers, 2012).
+
+◊book-description{If you get a second book on typography, get this one. Middendorp’s beautifully written and illustrated book is full of careful details and lucid explanations.}
+
+
+Robert Bringhurst, ◊em{The Elements of Typographic Style}, 4th ed. (Hartley and Marks Publishers, 2013).
+
+◊book-description{Bringhurst’s detailed book brings together the history, theory, and practice of typography.}
+
+Ellen Lupton, ◊em{Thinking With Type}, 2nd ed. (Princeton Architectural Press, 2010).
+
+◊book-description{Intended as an introduction to typography for design students, Lupton’s book is more accessible than Bringhurst’s. It includes color illustrations from every era of typography.}
+
+
+◊subhead{Fonts}
+
+Erik Spiekermann, ◊em{Stop Stealing Sheep & Find Out How Type Works}, 3rd ed. (Adobe Press, 2013).
+
+◊book-description{A book about fonts — how they differ in appearance and in function. Erik even used my font Equity for the body text.}
+
+Sofie Beier, ◊em{Reading Letters: Designing for Legibility} (BIS Publishers, 2012).
+
+◊book-description{Beier’s thoroughly researched and illustrated survey shows how empirical considerations have influenced type design for hundreds of years.}
+
+Tim Ahrens and Shoko Mugikura, ◊em{Size-Specific Adjustments to Type Designs} (Just Another Foundry, 2014).
+
+◊book-description{This is the nerdiest recommendation on this list. But I can’t leave it out—it’s a beautifully presented demonstration of the subtlety and thought that goes into the best-designed fonts.}
+
+◊subhead{Design principles}
+
+Edward Tufte, ◊em{Envisioning Information}, 4th printing ed. (Graphics Press, 1990).
+
+Edward Tufte, ◊em{The Visual Display of Quantitative Information}, 2nd ed. (Graphics Press, 2001).
+
+◊book-description{These are two of my favorite books. Tufte makes an eloquent and compelling case for why design matters. Both books are fantastically interesting and beautifully illustrated with examples of information design from many historical periods.}
+
+William Lidwell, Kritina Holden, and Jill Butler, ◊em{Universal Principles of Design}, 2nd ed. (Rockport Publishers, 2010).
+
+◊book-description{An excellent and accessible introduction to design principles that apply not only to printed documents, but to all objects that we interact with.}

block-quotations.html.pm

@@ -0,0 +1,14 @@
+#lang pollen
+
+◊(define-meta title "block quotations")
+◊hanging-topic[(topic-from-metas metas)]{Don't go on and on}
+
+Formatting ◊em{block quotations} isn't hard. Reduce the ◊xref{point size} and ◊xref{line spacing} slightly. Indent the text block between half an inch and a full inch on the left side, and optionally the same on the right. As with ◊xref{first-line indents}, make the side indents large enough to be noticed, but not so large that the ◊xref{line length} is too short. Don’t put quotation marks at the ends. They’re redundant.
+
+Block quotations are sometimes unavoidable. If a dispute involves the interpretation of an agreement, accuracy may demand extensive quoting.
+
+But as a means of textual emphasis, block quotations sometimes become, like ◊xref{all caps}, a form of self-defeating typography. Lawyers often dump text into a block quotation because they want to signal “This source is really important, so I’ve quoted a lot of it!”
+
+Instead, the actual signal a reader often gets is “Here’s something long and dull from another case whose meaning and relevance you’ll have to figure out for yourself because I can’t be bothered to summarize it!”
+
+The reader’s next thought is usually “Great—I can skip this.” 

body-text.html.pm

@@ -0,0 +1,30 @@
+#lang pollen
+
+◊(define-meta title "body text")
+◊hanging-topic[(topic-from-metas metas)]{Four important considerations}
+
+◊center{
+Please note:
+◊strong{BODY TEXT}
+is the most common 
+element of a document. 
+Therefore, how the body
+text looks will have the 
+most noticeable effect 
+on the appearance 
+of the document. 
+Consequently, 
+you should
+set up the
+body text 
+◊strong{FIRST}.
+
+Start with
+font, ◊xref{point size}, 
+◊xref{line spacing}, and
+◊xref{line length}, because 
+those four decisions will 
+largely determine how 
+the body text will 
+look. OK?
+}

bold-or-italic.html.pm

@@ -0,0 +1,10 @@
+#lang pollen
+
+◊(define-meta title "bold or italic")
+◊hanging-topic[(topic-from-metas metas)]{One or the other, as little as possible}
+
+Bold ◊em{or} italic — think of them as mutually exclusive. That is rule #1.
+
+Rule #2: use bold and italic as little as possible. They are tools for emphasis. But if everything is emphasized, then nothing is emphasized. Also, because bold and italic styles are designed to contrast with regular roman text, they’re somewhat harder to read. They’re fine for short bits of text, but not for long stretches.
+
+◊strong{Nevertheless, some lawyers — let’s call them ◊em{overemphasizers} — just can’t get enough bold and italic. If they feel strongly about a point, they won’t hesitate to run the whole paragraph in bold type. Don’t be one of these people. This habit wears down your readers’ retinas and their patience. It also gives you nowhere to go when you need to emphasize a word. That’s never a problem for overemphasizers, who resort to ◊u{underlining bold text} or ◊em{using a lot of bold italic}. ◊u{◊em{These are both terrible ideas}}.}

bulleted-and-numbered-lists.html.pm

@@ -0,0 +1,18 @@
+#lang pollen
+
+◊(define-meta title "bulleted and numbered lists")
+◊hanging-topic[(topic-from-metas metas)]{Don't type them manually}
+
+Are you still making ◊em{bulleted and numbered lists} by manually typing bullets or numbers at the beginning of each line?
+
+In the 21st century, no one should be doing this task by hand. Manually formatted lists are a waste of time and prone to error. I can get you started, but if you’re unfamiliar with automated lists, spend some time with your word processor’s manual or help file.
+
+◊(omission)
+
+◊btw{
+As I suggested in ◊xref{mixing fonts}, it’s acceptable to set a list index (i.e., a bullet or a number) in a different font than the list item itself. You can also make the list index a smaller point size.
+
+
+Asterisks are sometimes used as bullets, but they’re not qualified for the job—they’re too small and too high.
+}
+

business-cards.html.pm

@@ -0,0 +1,12 @@
+#lang pollen
+
+◊(define-meta title "business cards")
+◊hanging-topic[(topic-from-metas metas)]{Shrink and simplify}
+
+Business cards, like ◊xref{caption pages}, have to fit a lot of information in a small area. But they often try to do too much.
+
+For instance, the card layout below is fairly common among lawyers. I call it the baseball-diamond layout: information is pushed out to the corners, and your eye has to travel around the edge of the whole card to read everything.
+
+The guiding principles with business cards are the same as with ◊xref{letterhead}. Remove anything nonessential. Don’t worry about the text being small — there’s not very much of it. Build the layout from the text outward. The white space will take care of itself. If you work from the edges of the card inward, you’re more likely to end up with a baseball diamond.
+
+◊before-and-after-pdfs["business-card"]

calibri-alternatives.html.pm

@@ -0,0 +1,15 @@
+#lang pollen
+
+
+◊title-block{◊topic{Calibri alternatives}
+◊short-rule{Don't settle for a default Microsoft font}}
+
+◊make-font-alternative-list{
+Concourse
+FF Unit
+Fira Sans
+Whitney
+}
+
+
+Calibri does its job better than Cambria, though it’s still better on screen than in print. The rounded corners of the letters make text printed in Calibri seem soft. For a clean, slightly narrow sans serif font, you have better options. ◊xref{Concourse}, of course. ◊xref{FF Unit} is the "grown-up sister" of one of the world's most popular sans serif fonts, FF Meta, and the work of ◊xref{foreword} author Erik Spiekermann. Erik also designed ◊xref{Fira Sans}, also a descendant of FF Meta. Though it has fewer styles than FF Unit, you can't argue with the price: it's free. ◊xref{Whitney} takes inspiration from the famous 1908 face News Gothic, which Calibri resembles. 

cambria-alternatives.html.pm

@@ -0,0 +1,18 @@
+#lang pollen
+
+◊title-block{◊topic{Cambria alternatives}
+◊short-rule{Monotony can be fatal}}
+
+◊make-font-alternative-list{
+Guardian
+Elena
+Charter
+FF Tisa
+}
+
+
+It’s counterintuitive, but a well-designed font can have a lot of subtle variation between letters and still look consistent on the page. The converse of this principle is that a font with too much consistency can be numbing to read. Cambria is an example of this problem. It works well on screen, but on the printed page, it induces headaches. ◊xref{Guardian}, ◊xref{Elena}, and ◊xref{Charter} are similar to Cambria but avoid monotony. (Charter is even available for free.) ◊xref{FF Tisa} has a more relaxed, informal rhythm.
+
+◊btw-list{
+    ◊link["https://typekit.com/fonts/source-serif-pro"]{Source Serif Pro} is another very good open-source option. It comes in six weights, but doesn't have italics yet.
+}

caption-pages.html.pm

@@ -0,0 +1,15 @@
+#lang pollen
+
+◊(define-meta title "caption pages")
+◊hanging-topic[(topic-from-metas metas)]{Use a table for best results}
+
+If this book were a law-school class, reformatting a ◊em{caption page} could be the final exam. Caption pages pack a lot of typographic issues into a small area. How many can you spot?
+
+◊(omission)
+
+Recall the second ◊xref{maxim of page layout} — ◊em{divide the page into foreground and background}. The vertical rules on a caption page should seem like part of the background — they should not be darker or more prominent than the body text in the foreground. Removing unnecessary rules will make the body text area feel less cramped. Use as few as possible. In this revised version, I removed the vertical rule on the right and one on the left. I made the remaining rule thinner and moved it away from the text.
+
+Court filings have ugly typography as a matter of habit, not requirement. Court rules can be strict, but there’s still plenty of room for good typography (see ◊xref{how to interpret court rules}).
+
+◊before-and-after-pdfs["pleading"]
+

carriage-returns.html.pm

@@ -0,0 +1,12 @@
+#lang pollen
+
+◊(define-meta title "carriage returns")
+◊hanging-topic[(topic-from-metas metas)]{Only when you want a new paragraph}
+
+On manual typewriters, the ◊em{carriage} was the part on top that held the paper and scooted leftward as you typed. At the end of each line, you’d push a lever to move the carriage to the beginning of the next line. On electric typewriters, this lever became the ◊em{carriage return key}, which you’d press at the end of each line.
+
+The terminology has stayed with us, but on a word processor, you only use a carriage return to start a new paragraph.
+
+As with the ◊xref{word space}, use only one carriage return at a time. It’s common to see multiple carriage returns used to add vertical space between paragraphs. Bad idea. If you want vertical space after a paragraph, use ◊xref{space between paragraphs}.
+
+“But it’s so much easier to type two carriage returns.” I know. But in long, structured documents, extra carriage returns create unpredictable consequences as the document is edited. Whatever time you save with the shortcut will cost you later.

centered-text.html.pm

@@ -0,0 +1,24 @@
+#lang pollen
+
+◊(define-meta title "centered text")
+◊hanging-topic[(topic-from-metas metas)]{It's boring — use sparingly}
+
+◊em{Centered text} is overused. It’s the typographic equivalent of vanilla ice cream — safe but boring. It’s rare to see text centered in a book, newspaper, or magazine, except for the occasional headline or title. Asymmetry is nothing to fear.
+
+Yet it is feared. So for all the fans of centered text, a poem:
+
+◊p['((style "text-align: center;"))]{◊strong{An Ode to Centered Text}
+Centered text is acceptable when used for short phrases or titles.
+Or in documents, you can center major section headers
+like “Introduction,” “Argument,” and “Conclusion.”
+(It may be conventional in your jurisdiction
+to center certain text in court filings.)
+If you enjoy centering text, then
+you should learn to use the
+◊xref{hard line break} so
+your lines start
+in sensible
+places.
+OK?}
+
+Whole text blocks, including sentence-length headings in court filings, should not be centered. Centering makes text blocks difficult to read because both edges of the text block are uneven. Centered text blocks are also difficult to align with other page elements. See ◊xref{headings} for better options.

color.html.pm

@@ -0,0 +1,20 @@
+#lang pollen
+
+◊(define-meta title "color")
+◊hanging-topic[(topic-from-metas metas)]{Black is best}
+
+In typography, ◊em{color} is a term with two meanings.
+
+First, typographers will sometimes speak of a font as creating a certain ◊em{color} on the page — even when it’s black. Used this way, the word encapsulates a set of hard-to-quantify characteristics like darkness, contrast, rhythm, and texture.
+
+The second meaning is the usual one — ◊em{color} as the opposite of black and white. This was once an irrelevant topic, as most of us had to be satisfied with monochrome laser printers. These days, color printers are ubiquitous and more writing is delivered on screen. So color has become a practical consideration.
+
+◊numbered-list{
+On a page of text, nothing draws the eye more powerfully than a contrast between light and dark colors. This is why a bold font creates more emphasis than an italic font. (See also ◊xref{bold or italic}.)
+
+
+The perceived intensity of colored type depends not just on the color, but also on the size and weight of the font. So a thin or small font can (and should) carry a more intense color than a heavy or large font.
+
+
+I’m not saying it can never be done well, but when someone puts colored type on a colored background, I usually wish they hadn’t.}
+

columns.html.pm

@@ -0,0 +1,9 @@
+#lang pollen
+
+◊(define-meta title "columns")
+◊hanging-topic[(topic-from-metas metas)]{Your call}
+
+They’re unusual in legal documents, but I don’t object to ◊em{columns} in a long document like a ◊xref{contract} or settlement agreement. Columns are an easy way to get a shorter and more legible ◊xref{line length} without having to use large margins. On a standard 8.5″× 11″ page, two or three columns are fine. Four is too many.
+
+
+Usually columns look neatest when the rows of text are aligned vertically between columns (i.e., as if they were sitting on the same baseline). Look at a decent newspaper for an example. Getting this result takes a little extra effort. Note your ◊xref{line spacing} and make sure any ◊xref{space between paragraphs} works out to a whole multiple of the line spacing. The two most common options: set space between paragraphs to zero, or set it to be the same as the line spacing.

concourse.html.pm

@@ -0,0 +1,73 @@
+#lang pollen
+◊(require pollen/template)
+
+◊(define-meta tfl-font-template "true")
+◊(define-meta title "Concourse")
+
+◊margin-note{
+◊div[#:style "text-align:center"]{
+◊link["http://typo.la/cots" #:class 'pdf]{◊image{concourse-type-specimen.png}}
+
+◊link["http://typo.la/cots" #:class 'buylink]{PDF specimen}
+
+◊link["http://concoursefont.com" #:class 'buylink]{web specimen}
+
+}}
+
+
+◊mb-font-specimen{◊div[#:style "font-family:'concourse-t3';font-size:108%;position:relative;top:-.5rem;"]{◊span[#:style "text-transform:lowercase;font-family:concourse-c4;font-size:110tripl%"]{THE CONGRESS SHALL HAVE POWER} 
+to lay and collect Taxes, Duties, Imposts and 
+Excises, to pay the Debts and provide for the
+◊em{common Defense and general Welfare of the} 
+◊strong{United States; but all Duties, Imposts and}
+◊em{◊strong{Excises shall be uniform throughout.}}
+If you like, you can edit this paragraph.}}
+
+◊make-buy-table[#:people '(1 2 5) #:skus (list 
+concourse-basic 
+concourse-standard 
+equity-concourse-basic 
+equity-concourse-standard 
+equity-concourse-triplicate
+equity-concourse-triplicate-advocate)]
+
+
+◊font-details{Concourse Standard includes 108 font files:
+= 6 weights (light, book, medium, semibold, bold, black)
+× 3 series (roman, italic, and caps)
++ 9 cloned styles
+× 2 variants (regular and Tab, with tabular figures as the defaults)
+× 2 file formats (OpenType, and TrueType-compatible OpenType TT)
+
+Concourse Basic includes 48 font files:
+= 3 weights (book, semibold, and bold)
+× 3 series (roman, italic, and caps)
++ 3 cloned styles
+× 2 variants (regular and Tab)
+× 2 file formats (OpenType and OpenType TT)
+
+Read the ◊link["http://mbtype.com/license"]{font license} (it’s short) or the ◊link["http://mbtype.com/faq"]{FAQ}
+For details on character set and OpenType features, see the ◊link["http://typo.la/cots"]{PDF specimen}
+For more than five people, email ◊link["mailto:mb@mbtype.com"]{mb@mbtype.com}}
+
+
+◊numbered-list{
+A sans serif companion for ◊xref{Equity} suitable for text and display uses.
+
+
+Six weights in the Standard package, with real italics and small caps for every weight. It includes oldstyle and tabular ◊xref{alternate figures}. 
+
+
+The Basic package includes the three weights most useful for legal drafting.
+
+
+Separate caps fonts, which contain real ◊xref{small caps} and already include my recommended ◊xref{letterspacing}. 
+
+
+Short, plain-English license.
+
+
+30-day return option.
+}
+
+

contracts.html.pm

@@ -0,0 +1,15 @@
+#lang pollen
+
+◊(define-meta title "contracts")
+◊hanging-topic[(topic-from-metas metas)]{Use more white space; consider columns}
+
+
+Whether it’s a settlement agreement in PDF, a commercial lease on paper, or a terms-of-service agreement on a website, contracts are a diverse class of documents. Therefore, my typographic advice is more a principle than a prescription.
+
+Let’s move past the self-serving myth that typography in contracts doesn’t matter because people ◊em{must} read them. Wrong. As I said in ◊xref{why does typography matter}, readers are always looking for the exit. So the most we can say is that people are ◊em{supposed} to read contracts. As writers, we can encourage them. But can we force them? No way.
+
+In fact, it would be wiser for drafters to assume that ◊strong{most contracts go unread}. Why? Because no one wants to read a contract. And most contracts are poorly designed. Therefore, it doesn’t matter that people must read them. At best, they’re reading opportunistically. At worst, not at all.
+
+For instance, the other day, a certain music service made me promise that I had read their 20,551-word contract — 3,276 in ◊xref{all caps} — before I could buy a $1.29 song. What do you think I actually did? Right. What would you do? The same thing. And everyone else? They’re no different.
+
+◊before-and-after-pdfs["contract"]

courier-alternatives.html.pm

@@ -0,0 +1,20 @@
+#lang pollen
+
+◊title-block{◊topic{Courier alternatives}
+◊short-rule{When you must use a monospaced font}}
+
+◊make-font-alternative-list{
+Triplicate
+Pitch
+Source Code Pro
+Nitti
+}
+
+
+I’m in an awkward position. As your typography advisor, I’ve counseled you not to use ◊xref{monospaced fonts}. 
+
+But the truth is — I really like them. The golden age of monospaced fonts was probably the 1950s, when IBM led the typewriter industry and released a series of great monospaced designs. One of these was Courier, designed by Howard Kettler. But the ◊xref{system font} Courier New is a beastly imitation of the original: spindly, lumpy, and just plain ugly. 
+
+So I designed ◊xref{Triplicate}, a monospaced font family influenced by several typewriter fonts of the ’50s, and optimized for ◊xref{body text}. Triplicate has a feature that’s very rare among monospaced fonts: a genuine italic, instead of a sloped roman like Courier. 
+
+◊xref{Pitch}, ◊xref{Source Code Pro}, and ◊xref{Nitti} are other recent designs that show there's still room for exploration in monospaced fonts. Source Code Pro is even free.

court-opinions.html.pm

@@ -0,0 +1,24 @@
+#lang pollen
+
+◊(define-meta title "court opinions")
+◊hanging-topic[(topic-from-metas metas)]{More diverse than you might think}
+
+◊(define (madlib word)
+  `(span ((class "madlib")) ,word))
+
+ A common counterargument I hear from attorneys resistant to better typography is called What Judges Want. In Mad Libs format, it goes like this: “Sure Matthew, that’s a fine idea, but __◊madlib{noun} __ is what judges want, because all judges are __◊madlib{adjective phrase}__.”
+
+What goes in the blanks?
+“14-point type” ... “old and wear glasses.”
+“Times New Roman” ... “reading on paper.”
+“Boring typography” ... “only interested in substance.”
+
+Or anything, really. Because What Judges Want is based on the same faulty reasoning as all broad-brushstroke arguments. Whether you’ve met ten judges or a thousand, it’s apparent that they’re as different from each other as attorneys are. Why try to generalize?
+
+I don’t. Rather than debate What Judges Want, I encourage these attorneys to rely on evidence. Court rules are one example.
+
+Court opinions are another. If it were true that judges are “only interested in substance” — a favored contention — then we’d expect judges to put zero effort into the presentation of their own work. But that’s not the case. Sure, plenty of judges issue documents that look awful. Just as plenty of attorneys do. But many others appreciate that typography makes a difference.
+
+This next example is not fictional. It shows recent improvements made by the Utah Supreme Court to the typography of its opinions.
+
+◊before-and-after-pdfs["court-opinion"]

ellipses.html.pm

@@ -0,0 +1,26 @@
+#lang pollen
+
+◊(define-meta title "ellipses")
+◊hanging-topic[(topic-from-metas metas)]{Avoid using periods and spaces}
+
+An ◊em{ellipsis} (plural ◊em{ellipses}) is a sequence of three dots used to indicate an omission in quoted material.
+
+The ellipsis is frequently approximated by typing three periods in a row, which puts the dots too close together, or three periods with spaces in between, which puts the dots too far apart. So use your font’s ellipsis character, not the approximations.
+
+◊(omission)
+
+The problem with using periods and word spaces is that it permits your word processor to break the ellipsis across lines or pages, like so:
+
+◊captioned["wrong"]{◊font-scale[2]{imperative to . . 
+. courts}}
+
+
+◊(omission)
+
+Should you put word spaces around an ellipsis? As with the em dash (see ◊xref{hyphens and dashes}), that’s up to you. Typically you’ll want spaces before and after, but if that looks odd, you can take them out. If there’s text on only one side of the ellipsis, use a ◊xref{nonbreaking space} on that side so the ellipsis doesn’t get separated from the text.
+
+◊btw{
+ I’ve often wondered whether the zigzagging illogic of the ◊em{Bluebook} is calculated to protect its franchise—after all, if legal citation were distilled to a few simple rules, no one would need the ◊em{Bluebook}. Its subtitle—“A Uniform System of Citation”—compresses a lot of dark humor into five words.
+
+One problem with the ◊em{Bluebook}’s four-dot-sequence rules is that they use the same visual mark—four periods separated by spaces— to denote at least four distinct conditions. Namely: a deletion before a sentence-ending period (rule 5.3(b)(iii)); a sentence-ending period before a deletion (rule 5.3(b)(v)); a deletion both at the end and after the end of a sentence (rule 5.3(b)(vi)); and a deletion of one or more paragraphs (rule 5.1(a)(iii)). This invites ambiguity. When readers come upon a four-dot sequence, how do they know what it signifies? It may not be clear from context. Proper ellipses would help distinguish these conditions.
+}

emails.html.pm

@@ -0,0 +1,16 @@
+#lang pollen
+
+◊(define-meta title "emails")
+◊hanging-topic[(topic-from-metas metas)]{System fonts or don't bother}
+
+What about typography within ◊em{emails}? Unfortunately, due to the technical constraints of email systems, your options are limited.
+
+Unlike a PDF, fonts don’t get transmitted with an email. So even though you can compose an email in any font you like, recipients won’t see that font unless they also happen to have it installed. Moreover, recipients get their email using a variety of hardware and software, which have inconsistent and unpredictable typographic capabilities.
+
+This leaves two plausible policies:
+
+◊numbered-list{
+If you must format your emails, stick with common ◊xref{system fonts}, and make sure your messages don’t rely on spacing tricks specific to the font. (Those of you who insist on aligning things with multiple word spaces were already warned.) Simpler is better.
+
+
+Or you can just treat email as a typography-free zone. This is my policy.}

equity.html.pm

@@ -0,0 +1,59 @@
+#lang pollen
+◊(require pollen/template)
+
+◊(define-meta tfl-font-template "true")
+◊(define-meta title "Equity")
+
+◊margin-note{
+◊div[#:style "text-align:center"]{
+◊link["http://typo.la/eqts" #:class 'pdf]{◊image{equity-type-specimen.png}}
+
+◊link["http://typo.la/eqts" #:class 'buylink]{PDF specimen}
+}}
+
+
+◊mb-font-specimen{◊span[#:style "font-family:equity-caps"]{WE THE PEOPLE OF THE UNITED}
+States, in Order to form a more perfect Union,
+establish Justice, insure domestic Tranquility,
+provide for the common Defense, promote the 
+◊em{general Welfare, and secure the Blessings of}
+◊strong{Liberty to ourselves and our Posterity.}
+If you like, you can edit this paragraph.}
+
+◊make-buy-table[#:people '(1 2 5) #:skus (list 
+equity 
+equity-concourse-basic 
+equity-concourse-standard 
+equity-concourse-triplicate
+equity-concourse-triplicate-advocate)]
+
+
+
+◊font-details{Equity includes 48 font files:
+= 6 styles (regular, italic, bold, bold italic, regular caps, bold caps)
+× 2 weight grades (A and B)
+× 2 variants (regular and Tab, with tabular figures as the defaults)
+× 2 file formats (OpenType, and TrueType-compatible OpenType TT)
+
+Read the ◊link["http://mbtype.com/license"]{font license} (it’s short) or the ◊link["http://mbtype.com/faq"]{FAQ}
+For details on character set and OpenType features, see the ◊link["http://typo.la/eqts"]{PDF specimen}
+For more than five people, email ◊link["mailto:mb@mbtype.com"]{mb@mbtype.com}}
+
+◊numbered-list{
+A workhorse serif font for ◊xref{body text}.
+
+
+Fits as many words on the page as ◊xref{Times New Roman}, and stays legible down to small ◊xref{point sizes}.
+
+
+Designed to perform well on both high-end output devices and office printers.
+
+
+Comes with a separate set of caps fonts, which contain real ◊xref{small caps} and already include my recommended ◊xref{letterspacing}.
+
+
+Short, plain-English license.
+
+
+30-day return option.
+}

error.html.pm

@@ -0,0 +1,9 @@
+#lang pollen
+
+◊(define-meta title "Our sincere apologies for the 404 error that has just occurred")
+◊(section-from-metas metas)
+◊(define-meta toolbar-blank "true")
+ 
+The page you requested was not found.
+
+◊link["/index.html"]{Return to the Typography for Lawyers home page.}

firefox.css

@@ -0,0 +1,6 @@
+ol li {
+margin-left: 2.2rem;
+}
+ol li p{
+margin-left: .3rem;
+}

first-line-indents.html.pm

@@ -0,0 +1,12 @@
+#lang pollen
+
+◊(define-meta title "first-line indents")
+◊hanging-topic[(topic-from-metas metas)]{Between one and four times the point size}
+
+A ◊em{first-line indent} is the most common way to signal the start of a new paragraph. The other common way is with ◊xref{space between paragraphs}.
+
+First-line indents and space between paragraphs have the same relationship as belts and suspenders. You only need one to get the job done. Using both is a mistake. If you use a first-line indent on a paragraph, don’t use space between. And vice versa.
+
+◊(omission)
+
+But use your judgment — consider the width of the text block when setting the first-line indent. For instance, narrow text blocks (3″ or less) should have first-line indents toward the low end of this range. Wider text blocks should have bigger indents.

font-recommendations.html.pm

@@ -0,0 +1,30 @@
+#lang pollen
+
+◊(define-meta title "font recommendations")
+◊(section-from-metas metas)
+
+Fonts are only one ingredient of typography. And messing around with the font menu on your computer isn’t a substitute for knowing the fundamentals of type composition and text formatting. That’s why this chapter appears in the middle of the book, not the beginning.
+
+But we’ve covered that, right? So here’s the secret sauce: if you want the fastest, easiest, and most obvious upgrade to your typography, nothing beats a professional font.
+
+As a designer of professional fonts—including the ones used in this book—am I biased? Of course. But no one has seriously disputed that it’s true.
+
+If you consider the alternatives in this chapter and still prefer ◊xref{Times New Roman} or other ◊xref{system fonts}, I won’t think less of you. I’ll even concede that there are situations, like ◊xref{emails} and draft documents, where system fonts are your best option.
+
+But in general, for writers who care about typography, professional fonts are essential tools.
+
+◊(omission)
+
+◊subhead{Why use professional fonts?}
+
+The best professional fonts are better than any system font—and in ways that everyone, even people who think they don’t have an eye for typography, can appreciate. Though you can’t have the world’s best typographers lay out your documents, you can incorporate their work into your documents with a font.
+
+Professional fonts are also a great value. Yes, they cost money. But you can get a top-quality font family for under $200. (Though I’ve also included two that are free—◊xref-font{Cooper Hewitt} and ◊xref-font{Charter}.) These fonts will improve the appearance of every document you create, they’re distinctive, they’ll never break, they won’t be obsolete in three years, and they won’t need to be upgraded. Best of all, you can put them to work without learning anything new.
+
+◊btw{
+
+Most professional fonts are delivered in OpenType format (.otf extension). Some are offered in the older TrueType format (.ttf ). OpenType and TrueType files can be used on either Windows or OS X, so the technological distinctions are largely moot. One notable exception: Microsoft Office on Windows, for various historical reasons, still does better with TrueType fonts. So if you’re getting a professional font to use with Office, be sure to get the TrueType versions.
+
+
+What’s the difference between a font and a typeface? Historically, ◊em{typeface} referred to the overall family (e.g., Baskerville) and ◊em{font} referred to a specific instance of the family (e.g., 10-point Baskerville bold italic). This distinction made sense in the letterpress age, when each font corresponded to a case of metal type. But as Bryan Garner has pointed out, “[t]echnology has changed the meaning of this term ... font most often denotes a whole family of styles that can be printed at almost any size.” (◊em{Garner’s Modern American Usage}, 3rd ed., page 364.) Internet pedants may carp, but it’s fine to use ◊em{font} to mean both the family and a specific style. I do.    
+}